CHAPTER VIII

THE SCHOOL OF WEDGWOOD

1760-1810

William Adams (of Greengates) (1789-1805)--John Turner (of Lane End) (1739-1786)--The plagiarists of Wedgwood--The Wedgwood influence--The passing of classicism--Table of Marks--Prices.

Potters who followed Wedgwood may be divided into three classes. Men such as John Turner and William Adams, who were competitors with him in friendly rivalry, each striving to emulate the successes of the other, and each doing original and independent work. Indebted, and greatly indebted to Wedgwood as these potters were, they produced work equal with his in technique. The blue jasper of William Adams, if anything, is rather finer than that of his master. John Turner, of Lane End, made jasper from a different formula to Wedgwood, being more porcellanous in character. These men, his friends and intimates, and Palmer, of Hanley, who was first to apply bas-reliefs to his black vases, in 1769, may be said to represent original research, as compared with uninventive copying.

The second class, which includes contemporaries such as Elijah Mayer, and Palmer, of Hanley, who must be included here (in spite of his streak of originality above alluded to, and his fine use of gilding to granitic ware), and Neale, his brother-in-law, and Voyez, the modeller, and Hollins, may all be said to be plagiarists who lived largely on Wedgwood's jasper and basalt ware, as well as several schools such as Hartley Greens (of Leeds), and Swansea and Spode, and many others who followed his cream-ware designs. In regard to Palmer and Neale and Voyez the case is very strong, as they are stated to have forged the mark "Wedgwood & Bentley" in some of their medallions; but against the others the case must not be pressed too closely, as they undoubtedly displayed a fertility of invention and an originality after they had once learned the Wedgwood manner. Leeds, in particular, having caught the spirit that Wedgwood had transplanted from the silversmith to his dessert services, produced cream-ware rivalling that of Etruria.

Tennyson had a set of verses which illustrate this situation. He tells of him who "cast to earth a seed" which grew so tall "it wore a crown of light."

"But thieves from o'er the wall Stole the seed by night."

Sown far and wide in every town, it won universal admiration, and, says the poet--who, by the way, was thinking of plagiarists of his own style--

"Most can raise the flowers now, For all have got the seed."

We must make one other point; it was Wedgwood who lighted the way even to his source of inspiration. He made no secret of his indebtedness to the art of the silversmith, and in recognising in the antiquarian works of Count Caylus and Sir William Hamilton a new field, he left it open for others to go to the same original sources, nor were his contemporaries slow in doing this. So that, in a measure, this second class of potters may be exonerated from the charge of plagiarism when we find them striking out for themselves.

Chippendale, when he promulgated his "Director" giving designs for furniture, straightway started a school of cabinet-makers, who worked after his designs in every locality in England. These early pioneers in art--Chippendale, the masterly adapter of all that was best on the Continent, and Wedgwood, translator of classicism into English pottery--worked with broad and generous spirit, and their contemporaries and those who came immediately after them helped themselves liberally to the overflowing profusion of ideas.

The third class is the great crowd of lesser men, potters who claim little attention for original work, but who are remembered as producing, as an echo to the great classic revival, designs and shapes and copies of Wedgwood's ware, sometimes in stoneware for jugs, and more often in cream-ware, without an added touch of originality. In this decadent period, when not only in Staffordshire but in other parts of the country this was being largely done, and not always done well, though there are exceptions to which we shall allude later, one is reminded of the pregnant words of Goethe: "There are many echoes, but few voices."

=William Adams (1745-1805).=--The Adams family are renowned in Staffordshire as being among the oldest potters in the country. In connection with classic ware William Adams, of Greengates, is pre-eminent. At his death, in 1805, the works were carried on by Benjamin Adams till 1820. There is considerable confusion between contemporary members of this family, both of the same name, William Adams (of Cobridge), William Adams (of Greenfield), and the subject of the present remarks, William Adams, of Greengates, who commenced as master potter there in 1789. There were other firms, such as J. Adams & Co., or Adams & Bromley, who made jasper ware between about 1870 and 1886, and who stamped their ware "ADAMS," or "ADAMS & CO." This, of course, does not come into the realm of collecting, and this latter firm has nothing to do with the old-established family of Adams. But collectors cannot be too careful when auction catalogues describe such ware as "Adams."

The beautiful Adams blue which is of a violet tone is much admired, and in the finely-modelled classic reliefs the style is less frigid than Wedgwood, as William Adams drew his inspiration more from Latin than Greek models. As a rule his jasper is a trifle more waxen than that of Wedgwood, but never glossy. William Adams was a favourite pupil of Wedgwood, and was doubtless indebted to him for the guidance that set the young potter to work in friendly and amicable rivalry with his late master.

As a modeller he was of exceptional merit, and it is known that he designed, himself, several of his finest pieces, such as the _Seasons_, his _Venus Bound_, and _Cupid Disarmed_, his _Pandora_, _Psyche trying one of Cupid's Darts_, and the _Muses_. Monglott, a Swiss artist, was employed by him on jasper vases, and it is believed that Enoch Wood is responsible for designing the hunting scenes which appear on the fine stoneware jugs and tankards similar in style to the Turner jug illustrated (p. 267). Many of his jugs had silver mounts.

In regard to marks, that usually found is ADAMS impressed. Sometimes, though rarely, the mark is ADAMS & CO.; and later his son, Benjamin Adams, had the impressed mark B. ADAMS, which appears on stoneware and blue printed ware.

To those who desire to familiarise themselves with the genius of William Adams, there is a special volume by Mr. William Turner, entitled "William Adams, an Old English Potter" (Chapman & Hall, 1904), which is a full and learned monograph, dealing in thorough manner with the productions of William Adams and of his kinsfolk, the Adams family of potters.

We illustrate one of a pair of jasper vases in blue and white by Adams, in date about 1790. The classic figure subjects, as will be seen, display a simplicity and exquisite grace of modelling and arrangement not surpassed even by Wedgwood (see p. 261).

=John Turner, of Lane End (1739-1786).=--Wedgwood and Turner were intimates, and in considering Turner we must regard him as a friendly neighbour, as well as a rival potter. He made some remarkably fine jasper, though it differed in its body very greatly from that of Wedgwood, being more closely allied with porcelain. It contained no barytes in its composition. In design Turner, though not imitative, followed the Greek school and produced, as a modeller himself, some exquisitely proportioned pieces. We illustrate a fine vase in blue-and-white jasper which is especially graceful in design, the severity being relieved by the delicacy of the fine subject in relief of _Diana in her Chariot_ drawing a pair of goats and accompanied by flying cherubs (see p. 261). This subject, it will be noticed, is reproduced in a transfer-printed jug illustrated in a later chapter (p. 319).

But it is in the unglazed stoneware that he surpassed anything his contemporaries had done. It was about 1780 that he discovered, after hunting for clay even so far afield as Cornwall, the precise earth he wanted in his own neighbourhood at Longton. In colour it was a warm biscuit tone, and it was capable of being modelled with exactitude into fine sharp designs in relief. In stoneware jugs with classic figures in relief he set the fashion for half a century. His teapots and coffee-pots are models of graceful design. We illustrate a fine example of a _Teapot_ (p. 267), with the lid perfectly fitting, made to slide in a groove, and showing in clear relief the style of ornamentation for which Turner became so renowned. The other illustration, on the same page, of an equally perfect _Stoneware Jug_ with metal mounts, shows a slight departure from classic ornament. The figures are in old English costume, and are engaged in archery. It will thus be seen that even in the early days there was exhibited a tendency to depart from classic figure design and turn to equally graceful but homelier subjects. Possibly this influence may have been due to Enoch Wood, who is believed to have been employed by Turner as a modeller; but accurate information regarding Turner's modellers is not known.

Besides the above-mentioned wares, Turner also made black basalt of very high quality, being preferred by some connoisseurs to that of Wedgwood. He also was the first to introduce under-glaze printing into Staffordshire, and although he did not introduce the "willow pattern" (Spode brought that from Caughley), he made ware with this pattern printed in under-glaze blue, and his plates and dishes have perforated borders. We illustrate a fine example of this ware (p. 331).

=The Plagiarists of Wedgwood.=--We have seen that John Turner, of Lane End, that William Adams, of Greengates, came under the strong influence of Wedgwood, but were no more imitators, in the broad sense, than Gainsborough and Romney may be said to be imitators of Sir Joshua Reynolds. It must be allowed in art that a school may arise under the guidance of some remarkable genius who tinges the originality of his contemporaries with his own master mind. Wedgwood had the inspiration to transplant classic decoration into Staffordshire--the rest was easy; having shown the way, crowds of lesser men seized the new ideas with avidity.

Chief among the direct copyists was Henry Palmer. He had a spark of originality, as we have seen, anticipating Wedgwood by some five years in applying bas-reliefs to his black vases, and the sprinkled marbled ware touched with gold was another success of his, but here his ingenuity ended. He must have been a great thorn in Wedgwood's side, for he is said to have procured every new pattern on its appearance and copied it. Voyez, who was a modeller and not a potter, assisted in this nefarious traffic; but Voyez, in spite of his rascality, was a clever modeller, and struck out a new line in his rustic or "Fair Hebe" jugs. He was employed at one time by Wedgwood, and probably by Ralph Wood. Voyez specialised on the intaglio seals, and added Wedgwood and Bentley's names to his handiwork. On other intaglios, equally imitative, and on vases is the name PALMER or the initials H. P.

Wedgwood himself--as do collectors nowadays--was obliged to acknowledge the fine quality of the work of Palmer and of Neale, for he admitted to Bentley that they were "serious competitors," and he evidently feared their activity, as he says, "We must be progressing or we shall have them treading on our heels."

The sagacity of Wedgwood's remark is obvious, for an examination of the Neale-and-Palmer jasper and other ware reveals an amazing mastery of technique. It is finely potted and well balanced in ornament and design. If it were not for the impressed mark such vases might readily pass as Wedgwood. It is not improbable that in the middle nineteenth century the names both of Adams and Palmer and Neale were ground out of the bases of some of their finer vases by ingenious persons, who passed them off as the work of Wedgwood.

=Marks--Palmer, Neale, Wilson.=--In regard to marks, H. PALMER or PALMER. HANLEY is the earliest--sometimes only the initials H. P. About 1776 he entered into partnership with his brother-in-law, and sometimes the mark NEALE alone is found and often NEALE & CO. These marks are usually in circles; on one piece appears I. NEALE, with the word HANLY (spelt wrongly) beneath. About 1778 Robert Wilson joined the firm, and after 1788 his name alone appears. Stoneware jugs--drab ground with cupids in relief--baskets, and cream-ware are often found marked WILSON surmounted by a crown with the letter C above. Sometimes this is present without the name. Wilson, too, is remembered for having introduced chalk into the body of his cream-ware, which was of exceptional value in whitening the ware and rendering it more adapted for under-glaze printing. At Wilson's death, in 1802, David Wilson succeeded to the pottery, and the firm shortly after became D. Wilson & Sons. These Wilsons made pink lustre, similar to that of Wedgwood, and also silver lustre, upon some of which the name of Wilson is impressed. This brings the factory down to 1820, when it passed into other hands.

We have seen that Adams and Turner and Palmer and Neale came more or less into touch with Wedgwood as contemporary rivals. Before coming to the crowd of lesser men, or lesser-known men, we must not omit Josiah Spode, who was a colleague of Wedgwood under Whieldon; Elijah Mayer, whose black basalt was almost equal to that of Wedgwood, and whose enamel cream-ware stands artistically very high; and Samuel Hollins, of Shelton, with fine red or chocolate ware, having as dense a character as Wedgwood's imitations of the Elers ware, and Hollins in his jasper produced some fine examples with original combinations of colours.

=Josiah Spode= the First (there are three potters in succession of that name) made, in common with other potters, the black basalt ware from 1770, when he commenced as potter, and he produced stoneware jugs similar in character to those of Adams and Turner, following the sporting subjects in relief and departing from the ultra-classical subjects of Wedgwood. This class of jug and mug was made by many potters--its character was English, and it was evidently popular. An illustration of the type appears on page 277. Davenport, of Longport, made the same pattern; it was made at Castleford, near Leeds, and Hollins and others adopted the design in relief of a fox-hunt, with horsemen dismounted preparing to join others at the "kill," which is shown on the reverse. In fact, it was almost as much copied in stoneware as the "willow pattern" was in blue-printed ware.

But Josiah Spode is best known as devoting considerable skill in the improvement of under-glaze blue-printing cream-ware. In 1783 he brought two workmen into Staffordshire from Caughley, where under-glaze blue-printing under Thomas Turner was in full swing. Spode was not the first to introduce under-glaze blue-printing into Staffordshire; this is due to John Turner, of Lane End (whom we have described, maker of the fine jasper-ware and stoneware teapots and jugs), not to be confounded with Thomas Turner, the maker of porcelain at Caughley, who introduced the "willow pattern" in 1780, which same design was introduced into Staffordshire in 1784 by Spode--a year after his two men came over from Caughley. But this and blue transfer-printing is dealt with in a subsequent chapter.

Something should be said of Josiah Spode the Second (1797-1827), who continued the blue-printed ware, and produced a great number of stoneware jugs with decoration in relief similar to those we have alluded to, and produced jasper ware in blue and white with the familiar subjects of Wedgwood's day. To him must be given the credit of introducing colour into Staffordshire earthenware, colour such as it had never before attempted. His fine imitations of the Derby-Japan porcelain designs mark a new era in Staffordshire earthenware.

These illustrations show the imitativeness of this school of potters and the difficulty of identification.

The Spodes brought something new into Staffordshire earthenware. The elder Spode evidently had a strong love for Oriental subjects, as in the "willow pattern," which he "lifted" from Caughley porcelain. He broke away--and others followed him readily enough--from the cupids and psyches and gods and goddesses of the old world, and followed the newer-imported ideas in Chinese taste, now the fashion at Worcester, Bow, and other china factories. Leeds and Swansea were not slow in snatching at this new Oriental style of decoration.

In the Staffordshire cream-ware jug we previously illustrated painted in under-glaze colours, somewhat brown owing to the imperfect knowledge of the Staffordshire potter in under-glaze work submitted to great heat, we see an example of painted design in Oriental style, which came shortly to be more perfectly done in under-glaze blue, as in the painted plate of Leeds ware illustrated (p. 303).

But much in the same manner work such as the painted scenery on services like that made by Wedgwood for Catherine II. was shortly supplanted by black and purple and red transfer-printing done at Liverpool, so the short-lived under-glaze blue painting on earthenware was quickly killed by Spode and the other Staffordshire potters when they rapidly developed the under-glaze transfer-printing in blue.

It was quite an original departure, and owed nothing to Josiah Wedgwood (who never employed transfer-printing in blue), though it was adopted very successfully by the firm after his death. And Josiah Spode the elder most certainly had a strong influence in the potters of his day in acclimatising the "willow pattern" in Staffordshire, and in assimilating the best efforts of Chinese decoration as applied to blue-and-white ware. And Josiah Spode the Second, with equal originality, took up the next stage in adopting the gorgeous colouring of Japan.

This brings the story of the development of Wedgwood's cream-ware up to modern times. And the same chain of development might be traced in the history of some of the other great potters whose descendants still carry on the manufacture. Cream-ware at first painted, then transfer-printed in black or red, then painted in blue under-glaze--which was killed by the blue under-glaze printing--finally emulated the rich colours and gilding of porcelain.

To return to =Elijah Mayer= (1770-1813). From 1786 he appears to have produced black basalt tea ware; his fine teapots with the seated figure at the apex are well known, and his unglazed cane-coloured ware is much prized, with its simple decorations in lines of green and blue. We illustrate (p. 271) an example of a _Black Basalt Teapot_, and beneath it an illustration of a similar model by Birch, showing the imitativeness of this school of potters and how difficult it is to identify specimens. His cream-ware deserves especial attention, as his enamelling was in very artistic manner, and it stands out prominently among a crowd of imitators of Wedgwood's cream-ware borders. Every maker not only took the body of the ware, but in so doing he followed the designs by Flaxman or some of Wedgwood's other artists, still found in the old pattern-books to-day at Etruria. As an example of this imitation in detail, see the Swansea cream-ware plate illustrated (p. 397).

Mayer made black glazed tea ware, and this, when unmarked, is very commonly attributed by beginners to Turner. The marks impressed are E. MAYER, and after 1820 E. MAYER & SON. At a later period the mark was JOSEPH MAYER.

=Samuel Hollins= (1774-1816), with his red and chocolate unglazed ware decorated with ornament in the Elers manner and made from the clay at Bradwell Wood, is deservedly noteworthy as well as for several important departures in colour in the stoneware teapots and coffee-pots which he made of green, with touches of applied ornament in blue jasper. He followed silver designs, and avoided the cold, classic forms of Wedgwood. He departed from the straight lines of the Turner teapot. He loved ornament, and there is a touch of elaboration in his design, as though attempting to shake off the severe formality of the Brothers Adam style of design, and he strongly loved colour.

Samuel Hollins was one of the proprietors in the New Hall china works, and his successors were T. and J. Hollins, who continued to make jasper ware in the style of Wedgwood. Their names are impressed on many examples.

=The Wedgwood influence.=--In the latter days of the eighteenth century and the early days of the nineteenth, the direct influence of Wedgwood became something more remote. But even in early nineteenth-century days there were undeniable traces of the old models and the old form of ware. Take, for example, the unmarked early nineteenth-century _Black Basalt Teapot_ in the form of a barrel, with the grape-vine ornament in relief, and the pine cone at top of lid (illustrated p. 277). Undoubtedly this has left all classic form, but it has retained the technique of Wedgwood. In some of the buff-coloured, unglazed stoneware jugs which are unmarked, there is the inclination to follow the sporting subjects in relief, which Adams and Turner and Spode so successfully adopted, and the twisted snake-handle and reptilian-modelled mouth become original in treatment. In general, it may be said, that the classic influence remained for a considerable time in the stoneware of various kinds, but in the cream-ware which is the main stream of English earthenware, the forms and the ornamentation more rapidly departed from the styles of Wedgwood's queen's ware.

Hence we find two opposing influences working against each other in the Staffordshire potters' minds. The best of them in their highest flights essayed to make jasper, or to copy or emulate Wedgwood's classic style in vases and important ornamental pieces. Most of them largely made the stoneware of various colours, and also the black basalt. All of them made cream-ware, which was the staple ware of Staffordshire, in a thousand different forms. As time went on all except cream-ware began to deteriorate from the earliest prototypes, and the later forms are debased in design and inferior in potting.

=The passing of classicism.=--From the first there were those who were classic only by compulsion. Wedgwood was regarded as too classic for vulgar tastes. The cream-ware and the coloured figures display a ready appreciation of public wants. Even Voyez descended to rusticity in his jugs. Spode had a leaning for Oriental subjects in his blue printed ware, which was quickly adopted by Leeds. Adams leaned to landscape subjects after Claude and English scenery. Nor was this all. The cream-ware figures and the mugs and jugs provided full scope for the potter's fancy in political, satirical, patriotic, and humorous and fancy subjects. From Sunderland to Swansea the cream-ware took to itself more homely sentiments and more characteristic design. It became, during the last quarter of the eighteenth century and the first quarter of the nineteenth, as English as if the gods and goddesses had never descended into Staffordshire, and as though Wedgwood had never been.

Most of this cream-ware was transfer-printed, the Caxtons of Staffordshire had found blank spots enough to fill on their white ware, and in filling them they have left us a permanent record of popular feeling which was at the time strong enough to induce them to rush into print on every conceivable subject with queer engraved decoration and whimsically illiterate verse.

=Marks.=--The following are some of the names, mostly found as impressed marks, on ware of the Wedgwood school, in date from 1760 to 1835, a period of three-quarters of a century. In many cases in addition to ware bearing traces of a classic influence, the potters made cream ware with blue-printed decoration, a style which was not employed at Etruria until the second Wedgwood period, on the death of Josiah Wedgwood in 1795.[4]

[Note: 4 Compare this with the List of Marks on Transfer-printed Ware, pp. 347-35.]

The names are arranged alphabetically, and, where of interest, the class of ware associated with the potter is given.

William Adams 1787-1805 Fine jasper ware of the highest (of Greengates) quality. Stoneware and blue-printed ware.

J. Aynsley 1790-1826 Silver lustre. Transfer-printed ware. Melon- and barrel-shaped teapots.

Batty & Co. Vases and jugs, classic figures as frieze, printed in under-glaze blue touched with vermilion.

E. J. Birch Black basalt ware of good quality (sometimes marked with E.I.B. impressed).

Bott & Co. Busts painted in colours. Vases transfer-printed.

J. Clementson 1832-1867 White ware blue-printed with foreign scenery. (Marked with name and phoenix.)

Clews 1814-1836 Stoneware jugs. Blue-printed cream ware. Picturesque views and subjects after Wilkie's pictures, Rowlandson's _Dr. Syntax_, _Don Quixote_, &c.

Close & Co. from 1843 Cream ware with printed decoration (Successors to W. in brown. Adams & Sons, of Stoke.)

Cookson & Harding 1856-1862 Cream ware blue transfer-printed. C. & H. (late Hackwood.)

Davenport (Longport) 1793-1834 Cream ware painted and printed. (Firm continued Handles in form of dolphins. Plates till 1886.) and dishes--dragons and fret border printed in blue; ground pencilled in scale pattern.

Eastwood 1802-1830 Vases small, jasper, Wedgwood style; stoneware blue and buff. W. Baddeley, of _Eastwood_, is believed to have used this mark, frequently found.

Hackwood 1842-1856 Cream ware painted with knights and armed figures.

Harding 1862-1880 Blue glazed earthenware, white ornaments in relief. Brown glazed jugs and teapots in Rockingham style.

Harley about 1809 Teapots, white glazed stoneware; cover surmounted.

Heath 1770-1777

Heath & Bagnall 1777-1785

Heath, Warburton 1786- & Co.

S. Hollins 1774-1816 Jasper ware, white ground cameo figures in blue.

T. & J. Hollins 1802-1820 Similar ware to above.

A. & E. Keeling 1786-1828 Black basalt and cream ware.

Lakin Cream ware blue-printed with English landscape subjects, &c.

Lakin & Poole 1770-1846 Dishes and cream ware. Centres often finely painted with exotic birds in Worcester style.

J. & T. Lockett 1786-1829 White stoneware and salt-glaze.

E. J. Mayer 1770-1813 Black basalt tea services, &c., with animals in relief; silver lustre.

E. Mayer & Son 1813-1830

Mayer & Newbold 1823-1837 Made porcelain as well as earthenware (marked M. & N.).

Mayer & Elliott Cream ware, blue-printed.

F. Meir White glazed earthenware services, English landscapes printed in blue, dishes with pierced border.

Morr & Smith

Moseley 1802-1825 Black basalt ware; teapots, &c.

Myatt 1802-1840 Unglazed red ware coffee-pots in Elers style. Engine-turned with wavy patterns. Sometimes marked with an oval enclosing letter =W=.

H. Palmer 1760-1775 Fine jasper ware, granitic vases; figures.

Neale & Palmer 1776-1778 Jasper ware strongly imitative of Wedgwood.

Neale & Co. 1778-1788 Jasper ware and classic figures.

Phillips (Longport) 1760-1830 Small dishes; salt cellars, cream ware, Oriental decoration, blue-printed.

Pratt Vases and jugs, white stoneware, with blue figures in relief; border of vine.

Ridgway 1790-1854 Various elaborate marks used. W. Ridgway and W. Ridgway & Son. In 1836 the firm became W. Ridgway, Morley, Wear & Co.

Riley

Rogers 1786-1829 Blue-printed stoneware. Inferior imitations of Wedgwood.

Salt 1820-1864 Figures enamelled in colour.

Shorthose 1783-1802 Black basalt vases and flower jars.

Shorthose & Heath 1802- White glazed earthenware, transfer printed in red over-glaze. Subjects--children at play, &c. Cream ware embossed with wicker pattern pierced border. (Mark printed in red, also impressed.)

Sneyd about 1850 Imitations of Portland vase, &c.

Josiah Spode 1770-1797 Black basalt ware. Stoneware (_the First_) jugs with sporting subjects in relief.

Steel 1780-1824 Jasper and ornamental ware, white relief on blue, dark blue figures in relief on pink ground, &c.

W. Stevenson about 1828 White glazed ware, classic figures in relief on pale blue ground; impressed mark W. Stevenson, Hanley.

John Turner 1739-1786 Fine Jasper ware of excellent (of Lane End) quality. Stoneware jugs, &c., of warm biscuit colour unglazed. Black basalt, and under-glaze, blue-printed ware.

Walton 1806-1839 Figures-classical Lions, _Fishwife_, _Gardener_, &c.

Warburton 1751-1828 Rarely marked. Mrs. Warburton, of Cobridge, in 1751 made great improvements in cream ware prior to Wedgwood's queen's ware. In 1828 the firm was J. Warburton & Co.

Wilson 1788-1820 Stoneware jugs with classic figures in relief. Ornamental vases in Wedgwood style. Copper lustre ware.

E. Wood 1784-1790 Cream ware, basket pattern, &c. Busts.

Wood & Caldwell 1790-1818 White glazed earthenware. Figures, coloured busts, &c.

Enoch Wood & Sons 1820-1846 Figures of classic form.

PRICES.

=School of Wedgwood.=

ADAMS. £ s. d.

Jug (with old Sheffield plate lid), chocolate band with Bacchanalian subject. Escritt & Barrett, Grantham, April, 1907 2 2 0

Jug, blue jasper, with figure subjects of _Seasons_ in white relief, old Sheffield plate cover. Sotheby, May, 1908 6 5 0

Sucrier and Cover, marked "ADAMS & CO." Sotheby, November, 1908 2 14 0

TURNER.

Female figure of a "Water Carrier" in black basalt, marked TURNER. Sotheby, December, 1905 3 5 0

Teapot and Cover, blue ground with classical subjects in high relief; impressed mark, TURNER. Sotheby, November, 1908 2 6 0

Teapot, of different form, similar decoration, unmarked. Sotheby, November, 1908 2 4 0

Sucrier and Cover, similar decoration; impressed mark, TURNER. Sotheby, November, 1908 3 12 0

Cake Plate with classic decorations in relief; impressed mark, TURNER. Sotheby, November, 1908 4 10 0

Coffee Pot and Cover, similar style; impressed mark, TURNER. Sotheby, November, 1908 4 0 0

NEALE & PALMER.

Vase and Cover with medallions, wreaths and masks in relief, in gilt on mottled grey-blue ground, marked NEALE, HANLEY. Puttick & Simpson, Nov., '08 4 10 0

Vase and Cover, urn-shaped, with medallion and figure subject in white relief; ram's head handles, wreaths and borders in gilt on mottled-blue ground, marked H. PALMER, HANLEY. Puttick & Simpson, November, 1908 3 10 0

RALPH WOOD.

Figure of Apollo with lyre. Sotheby, May, 1908 2 5 0

Figures, Boy and Girl Harvesters, square bases; one marked R. WOOD. Sotheby, May, 1908 10 5 0

E. WOOD.

Bust of John Wesley, signed ENOCH WOOD. Sotheby, June, 1906 2 0 0

E. MAYER.

Four plaques of Cupids in relief; mark impressed, E. MAYER, and dated 1784. Sotheby, November, 1905 1 18 0

HEATH.

Plate of cream ware, crudely decorated for the Dutch market, subject--Abraham offering up Isaac (Hodgkin Collection). Sotheby, December, 1903 0 3 0

LAKIN.

Dish decorated with border of rose, shamrock, and thistle. Prince of Wales' feathers and lion over crown in centre. Made for the Prince Regent (George IV.); marked "Lakin." Sotheby, February, 1906 2 0 0

Pair of _Lakin_ plates from above service. Sotheby, November, 1907 3 0 0

LAKIN & POOLE.

Mug, with mask head on front, marked "Lakin & Poole," and four shell dishes. Sotheby, June, 1906 1 6 0

IX

LEEDS AND OTHER FACTORIES