CHAPTER IX

LEEDS AND OTHER FACTORIES

Leeds Marks--The best period of Leeds--Leeds Cream Ware--Blue and White Ware--Leeds Ware decorated at Lowestoft, Castleford, Jackfield, Rockingham, Sunderland, and Newcastle--Table of Marks--Prices.

Leeds claims notice mainly on account of its fine cream ware that was produced in the period from 1783 to about 1800 when the factory was at its zenith. The date which commences its known history is the year 1760, a most pregnant year in the history of pottery. Before that there always exists some doubt as to the exact date or the particular maker. "Early Staffordshire" or "Whieldon" are as definite as most collectors dare go.

In 1762 Wedgwood's cream ware was perfected, and all Staffordshire was aflame with the prospects of something that at last was to stand artistically side by side with Bow and Chelsea and Worcester and Derby and Plymouth. It did nothing of the sort, but still it was the dream of the Staffordshire potters that it should by reason of its cheapness smash the new china factories, and it seems to have had no little share in doing this.

In 1775 the Leeds pottery was in the hands of Humble and Green. In 1783 it was known as Hartley, Greens & Co., and for the next ten years some splendid examples of cream ware were produced rivalling the best productions of Wedgwood, at first imitative, but later strikingly original, and possessed of extraordinary artistic qualities. Down to the opening days of the nineteenth century the trade in cream ware was considerable. Pattern books and catalogues were issued in French and German and Spanish, and the output from Leeds was very considerable, and the continental trade very extensive, especially with Northern Europe.

From 1825 to 1832 the firm was known as Samuel Wainwright & Co. From 1832 to 1840 the name changed again to the Leeds Pottery Company, under the managership of Stephen Chapel, who, together with his brother James, held the pottery till 1847. In 1850 Warburton, Britton & Co. were proprietors until 1863, and Richard Britton & Sons carried on the works until 1878 when the factory closed.

=Forgeries of Leeds Ware.=--Leeds ware has appealed, on account of its artistic qualities, to so wide a circle of collectors and admirers that it has had the honour of being forged with intent to deceive. Nearly all these pieces are marked either "Leeds Pottery," "L.P.," or "Leeds P." In addition to being copied for sale to unwary collectors some of the basket and other patterns have been of recent years made in Germany for sale in this country. But to any one who has had the opportunity of handling genuine old Leeds ware the lightness in weight, the fine finish, and the peculiar colour of the body, especially the slightly green tinge in the old Leeds glaze are never to be mistaken. The modern copies lack the fine potting, and they are slightly heavier in weight, and always without exception have a thick white, glassy glaze which fills the corners of the pierced work, and shows the touch of modern haste.

=Leeds Marks.=--The following marks occur on Leeds ware, largely on the blue-printed ware which was after 1791, for many of the finest examples of cream ware are unmarked. However, these marks used may be a guide: LEEDS POTTERY (often printed twice over and crossing at right angles), HARTLEY, GREENS, & CO., LEEDS POTTERY (either in two lines or in a semicircle), also the initials L.P. In its latter stage (1863-1878) R. Britton and Sons marked their ware R. B. & S. with the initial L enclosed in a circle.

The Don pottery at Swinton near Leeds, established about 1790, came in prominence about 1800, when one of the brothers Green, of Leeds, became owner. It passed through various vicissitudes of fortune, a comparison of the old pattern books show that many pieces made at the Don pottery were originated at Leeds. In 1834 it was purchased by Samuel Barker, and in 1882 it was still known as Samuel Barker and Sons.

The Don Pottery mark was both printed and impressed DON POTTERY in its early days prior to 1834, and sometimes the word GREEN appears above. Later in the Barker _régime_ a demi-lion rampant holding in his paws a pennon with the words "Don Pottery" was used, sometimes with the word BARKER, and sometimes with the initials S. B. & S.

=The best period.=--But it is chiefly the best period, that is, Hartley, Greens & Co., from 1781 to about 1805, which appeals to collectors of old Leeds, though a pattern book was issued as late as 1814, which still maintained the old traditions, but when Hartley died in 1820 the factory practically went to pieces. The two brothers Green and William Hartley nobly carried on the manufacture of cream ware. At first they looked to Wedgwood for inspiration, but very shortly introduced a lightness of design in the exquisite and intricately pierced patterns in the borders, and original touches in the feather edges in relief and twisted handles and the floral terminals. The gadrooned or fluted edges of Leeds plates were sometimes painted in blue. The ware is extremely light in weight, and varies in colour from a pale, sometimes a very pale, cream colour to a light buff. We have seen how Wedgwood invented punches at first for his pierced cream ware. But he at a later stage had the perforations punched _en bloc_. But in Leeds ware each perforation is done separately by hand, and the edges are sharp and clean-cut. These are in the shape of diamonds, squares, ovals, and hearts, arranged in geometrical patterns. The characteristic feature of Leeds ware is the varied use of this pierced work in the rims of plates and dishes and trays and cups. This work was carried into such unlikely portions of the ware such as bases of candlesticks or plinths of massive candelabra. In conception no doubt it followed the work of the silversmith, but as it developed it acquired the character of some of the finest Oriental types of this class of ware, and in particular the Leeds potters achieved a ceramic triumph when they made, in the delicately pierced work with small apertures, something not dissimilar to the rice-grain form found on old Chinese white ware which in the case of Chinese wine-cups of white porcelain is filled with glaze. This especially fine style is at the present day being carried out by the potters at the Copenhagen porcelain factory. When held up to the light this porcelain of China and of Denmark is singularly beautiful, and looks as though it is perforated--but is not.

If Leeds at first copied Wedgwood and the Staffordshire cream-ware patterns the Staffordshire potters were not slow to return the compliment when they saw that Leeds had a note of originality, consequently we find many salt-glaze pieces of identical shape to some of Hartley, Greens & Co.'s patterns. It is improbable that salt-glaze ware was ever made at Leeds, though before salt-glaze was as well understood as it is now much of it was wrongly attributed to Leeds.

We give an illustration (p. 319) of a salt-glaze plate which has the typical perforated edge of Leeds cream ware, and is decorated with a transfer-print of a fable subject, illustrating "Hercules and the Waggoner." But Leeds very early did its own printing, and only the early examples were sent to Liverpool to Sadler and Green. At this time salt-glaze ware was in a bad way, and every effort was being made to compete with cream ware its new rival, and with porcelain which had struck the first blow at its supremacy as domestic ware. When cream ware was decorated by transfer-printing salt-glaze followed the new fashion, and leaving its lofty ideals of undecorated form it hastily assumed the enamel colouring of the English porcelain.

=Leeds Cream Ware.=--The various classes of Leeds cream ware may be roughly divided into two classes:

(1) _Plain or undecorated_, in which (especially by reason by the grace and lightness of structure imparted by the nicely balanced perforations) artistic excellence is reached by _form_ alone.

(2) _Decorated cream ware._ Decorated with enamel colours, green, red, lilac, and yellow being usually found, or transfer-printed in the early manner of Liverpool--black, puce, or red, or later by printing in blue.

In regard to the finer specimens of the cream ware dependent on form and exhibiting especial delicacy in the treatment of the pierced work, the illustrations here given convey a pictorial representation of the great variety and fertility of the design.

The two magnificent centre-pieces represent Leeds cream ware at its highest. The favourite form of the centre-piece is that in which tiers of escallop shells are supported by dolphins or by ornamental brackets. The left-hand centre-piece illustrated (p. 291) is in the form of the trunk of a tree, supporting four tiers of leaf-shaped dishes. The piece is surmounted by a classical draped figure. It is noticeable that the brackets have every resemblance to metal design. These large centre-pieces are made to take apart. This example illustrated takes into four pieces, which fit into each other with great accuracy, showing great technical perfection in potting. It is no less than 4 feet in height, and one of the largest pieces known. Its rich cream colour, the perfection of the glaze, and the graceful proportion in the structure, and the modelled figure have won for this and similar creations of Leeds the admiration of all connoisseurs.

The other centre-piece illustrated is 30 inches in height, and is constructed in the form of hanging baskets separate and removable. These baskets, which are of exquisite pierced work, are in three tiers supported from the central column. The top consists of a vase resting upon four winged figures. The piece is surmounted by a classical draped figure of Flora with a cornucopia.

Such pieces as these hold the blue riband of Leeds cream ware, and collectors who wish to find specimens only approximating to them in grace and beauty have to search as far afield as Russia and Sweden before they can hope to gratify their desire.

Another class typical of Leeds cream ware in its highest moods is the large class consisting of handsome cruets, baskets, and a great variety of candlesticks. The pierced work in these articles is of very fine character, and the design is happily lightened by this style of decoration. In regard to imitations of this cream ware, as has already been mentioned, they are heavier, are thickly coated with white glaze, whereas old Leeds pieces are extremely dainty and light in weight, and when the glaze is seen in the crevices where it may have run it is of a peculiar green, due to the use of arsenic.

We illustrate two groups of Leeds cream ware, exhibiting the perfection of its pierced work. The chestnut basket in the upper group is partly derived from Wedgwood's model. There is an indication in the use of the sphinx in the pair of candlesticks of one of Wedgwood's models in basalt. But the treatment here is more graceful, and the character imparted by Leeds to its cream ware is peculiarly its own.

Leeds cream ware undecorated plates have a great variety of patterns in the pierced borders, and are always attractive to collectors. Some of the Leeds plates, with blue painted feathered edge, had either a crest or printed design in middle. In regard to colour, there are fine under-glaze blue plates in which there is as strong a leaning to Oriental pagoda designs as at Bow and Worcester. We illustrate a fine plate of this nature (p. 303), similar in design to plates impressed ASTBURY of Staffordshire. Under-glaze blue-printing (black printing over-glaze was done, but not to the same extent as in Staffordshire) was introduced about 1790. The willow pattern, among others, was a favourite design, and most of these printed blue plates are marked.

It may be of interest to the collector to know that there are marks on the old blue-printed Leeds ware which tell their own story. These marks were made by the "cockspurs" placed between each plate to keep them separate in the kiln. There were three of these little tripods of earthenware placed between each plate. They made, as they had only one point at their apex, only three "spur" marks on the front of the plates in the border, and nine "spurs" at the back, in groups of three.

In regard to subjects in colour it may be mentioned that a good many Leeds jugs bear names and dates upon them, from about 1769 to 1786. These enamel colours are green, red, lilac, and buff, and are not dissimilar to those employed at Lowestoft. We illustrate a fine Leeds mug with the characteristic twisted handle (p. 303), having Oriental figure in colour and dated and inscribed. The following curious and gruesome verses appear on it. Inside the mug is a modelled frog, as found in Sunderland examples.

"In marriage are two happy things allowed A wife in wedding-sheets and in a shroud. How can a marriage state be then accurs'd Since the last days are happy as the first."

Then follows "I. C. U. B. YY for me" (I see you be too wise for me). "SAMUEL CUDWORTH, 1777."

* * * * *

=Leeds Ware decorated at Lowestoft.=--There is a connection between Leeds and Lowestoft. It appears that some of the Leeds ware was sent undecorated to Allen, of Lowestoft, who decorated it there and refired it, disposing of it on his own account. The fine Leeds mug having the painted decoration, over-glaze of course, of a vessel, and entitled "Homeward Bound" (illustrated, p. 299), is typical of this work of Allen at its best. He appears to have procured ware from Turner and other Staffordshire potters for decoration and sale by himself. We illustrate (p. 303), a Staffordshire jug painted by Allen, of Lowestoft, representing a local scene, recognisable by the tower in the background. He inscribed it "A Trifle from Lowestoft." This is enamel work over-glaze, the key pattern at the rim is under-glaze and was done in Staffordshire.

Another Leeds jug decorated by Allen is that illustrated (p. 299), bearing the verses:--

"From hence to the deep May division be tost And prudence recovre What folly have lost."

The "have" is a peculiarly Suffolk idiom. The floral scrolls are in the usual low tones of Lowestoft colouring.

=Castleford= (1790-1820).--This factory, some twelve miles from Leeds, was established about 1790, contemporary with the establishment of the Don Pottery near Doncaster. This Castleford factory, under the proprietor, David Dunderdale, commenced to make cream ware, black basalt, and the usual stoneware teapots with ornaments in relief. The mark employed by this factory, when it was used, is D. D. & CO., CASTLEFORD. This is impressed, and is found on various imitative ware, such as clouded tortoiseshell plates in the Whieldon manner. One of the characteristics of Castleford teapots with raised figures is the use of a blue line at the edge and the tops of these vessels depart from the straight lines of Turner and are scalloped, as in the illustration (p. 307) of a Castleford black ware jug and cover, having the impressed mark of the factory.

=Rockingham.=--At Swinton, near Rotherham, as early as 1778 a factory was started by Messrs. Thomas Bingley & Co., who began to manufacture cream ware. The Leeds factory, apparently jealous of rivals, as in the case of the Don Pottery, soon had an active interest in this factory. In 1790 it became Greens, Bingley & Co., and the ware then made was blue printed and the highly glazed black pottery associated with Jackfield, of which we shall speak later. At this time a brown glazed earthenware became widely known and appreciated. It was cream ware which had received a heavy lead glaze richly and warmly coloured in brown. From 1796 to 1806 this glaze became extensively used, not only by Swinton or, as it afterwards came to be known, as "Rockingham," taking the name from the Marquis of Rockingham, upon whose estate the works were situated.

This "Rockingham ware," of smooth surface and fine reddish brown colour, was very popular, and a teapot was made, known as the "Cadogan," which was an imitation of the Chinese puzzle teapot. It was made without a lid and was filled by turning it upside down. An opening, very much in the manner of the safety glass inkpot, admitted the tea, and on reversing the vessel it could be poured out. Some of these teapots are marked "Rockingham," or "Brameld," or "Brameld & Co.," and sometimes "Mortlock," a London dealer for whom they were made. In 1806 the Leeds interest passed out of the firm, and the factory remained in the hands of John and William Brameld. In 1826 it assumed the name of the Rockingham Works, and used the crest of the Fitzwilliam family. China was made there from 1820, and the factory obtained considerable reputation and was still in the hands of the Brameld family till the close of the works in 1842. A gorgeous Rockingham china dessert service made for William IV. costing £5,000.

We illustrate a "Cadogan" teapot, with its rich brown glaze, and moulded in the form of a peach, with smaller peaches applied at the top. It is a remarkably un-English design, and it is singular that it became so fashionable.

=Jackfield.=--We mention Jackfield here, as it has become among collectors quite a generic term for all highly glazed black ware, especially little teapots and cream jugs. It is certain that Elijah Mayer and other Staffordshire potters largely made this ware, and Bingley & Co. (Swinton) among a crowd of others. Jackfield is in Shropshire. Its history as a pot works is as old as any in the country, but it is chiefly in the period between 1760 and 1765, when Maurice Thursfield carried on the little factory, that it became renowned for its black ware. It is quite unlike black basalt. It is red clay, covered with a bright and highly lustrous black glaze. This is ornamented with oil gilding, which in use has almost disappeared. Some of the ware is decorated with raised ornaments of vine leaves. The lids of teapots often have a bird, with outstretched wings. The designs were not original, and are found in salt-glaze and in Whieldon ware, and some of this so-called "Jackfield" ware may be attributed to him.

=Newcastle and Sunderland.=--On the Tyne, the Wear, and the Tees there were a group of potters working at Gateshead, at Hylton, at Stockton-on-Tees, but mainly at Newcastle and Sunderland. There is nothing exceptionally artistic in any of these productions. Some of these transfer-printed mugs were made by Dixon & Co., of Sunderland, to commemorate the building of the Iron Bridge over the Wear, which was begun in 1793 and completed in 1796.

Among the names found on this ware are impressed: SEWELL, or SEWELLS & DONKIN, or SEWELLS & CO., sometimes with the addition of ST. ANTHONY'S. These were made at St. Anthony's, near Newcastle, in date about 1780 to 1790.

FELL, or FELL NEWCASTLE, made at St. Peter's, Newcastle, about 1815.

SCOTT, or SCOTT BROS., made ware at Southwick, Sunderland, 1789-1803, when they were succeeded by MOORE & CO.

J. PHILLIPS, HYLTON POTTERY, appears on some Sunderland pieces. This firm was established as early as 1765.

FORD is another name in connection with the South Hylton works about 1800.

DIXON, AUSTIN & CO., sometimes with the addition of SUNDERLAND, is found at the beginning of the nineteenth century.

W. S. & CO., with the word WEDGEWOOD (having an additional "e") was the mark used by William Smith & Co., of Stockton-on-Tees, or even "WEDGWOOD & CO." Against this firm Messrs. Josiah Wedgwood & Sons, of Etruria, obtained in 1848 an injunction to restrain the use of their name.

Another equally confusing mark to collectors is that of a firm near Pontefract, who marked their ware "Wedgwood & Co." sometimes with the word name of the factory, "Ferrybridge," and sometimes "Tomlinson & Co." Their ware is mainly cream ware of an ordinary type.

In regard to the productions of Newcastle and Sunderland these are best known by the familiar mugs and jugs having a nautical flavour, with ships in black transfer decoration, and never without verses appropriate to the _clientèle_ of sailors, for whom they were made. These mugs and jugs are frequently decorated with pink lustre at the rims and in bands around the body. A feature which associates these northern factories with Leeds is the frequent use of a modelled frog crawling up the inside of the vessel, which was intended as a practical joke on the person who was lifting the jug to his lips. These frog mugs were previously made at Leeds, and the one illustrated (p. 303) has a frog so affixed in the inside.

The ware, as a whole, is rather crude in its potting and slightly inferior to similar Staffordshire ware, but all these northern factories are now closed, and the quaint doggerel, the queer nautical allusions, and the strain of patriotism found on much of this humble earthenware always appeal strongly to the collector.

=MARKS USED AT LEEDS, CASTLEFORD, ROCKINGHAM, NEWCASTLE, AND SUNDERLAND.=

=Leeds.=

From 1783, Hartley, Greens & Co.

1825-1832, Samuel Wainwright & Co.

1832-1840, Leeds Pottery Co.

1840-1847, Stephen and James Chapel.

1850-1863, Warburton, Britton & Co.

1863-1878, Richard Britton & Sons. After which the works closed.

=Don Pottery= (at Swinton near Leeds).

1790-1834, at one time in hands of John Green, of Leeds Pottery.

1834-1850, Samuel Barker, and

1851-1882, Samuel Barker & Sons.

Late Marks used by the Barkers during above period:--

In addition to the lion with pennon the word BARKER was added later, when the mark was _printed_.

Another _printed_ mark was an eagle and ducal coronet, used when the firm became Samuel Barker & Sons in 1851. But was shortly discontinued, and the lion-printed mark again used.

=Castleford= (near Leeds), 1790-1820.

David Dunderdale & Co., and the impressed mark in margin is found on some of the productions of the Castleford Pottery.

=Rockingham.=

The name of the factory at Swinton, established 1757. Came into the hands of the Bramelds in 1807. Ceased, 1842.

The "Cadogan" lower glazed teapots sometimes bear the impressed mark "Mortlock," the London agent for whom some of them were made.

The crest of the Fitzwilliam family was printed as a mark after 1826, and is also found _printed_ on porcelain made at the Rockingham factory.

=Newcastle-on-Tyne=.

Fell of Newcastle (about 1815), impressed cream ware mugs and jugs with this mark. Various figures appear underneath, denoting the particular pattern.

=Sunderland.=

Messrs. Sewell, established about 1780, after Sewell & Donkin, used these marks.

Other Sunderland makers--DIXON, AUSTIN & CO., DIXON & CO., SCOTT BROTHERS & CO. (established 1788), PHILLIPS & CO. (established about 1800), J. PHILLIPS, HYLTON (established, 1780), DAWSON (about 1810)--impressed their names on ware.

PRICES.

LEEDS. £ s. d.

Coffee Pot and Cover, with mask under spout, twisted handles, decorated in colours. Sotheby, June, 1906 2 2 0

Basket dish, with stand and covers with embossed and open work. Sotheby, June, 1906 2 2 0

Jug, painted with flowers, inscribed "John Barnes, Chadlington, 1769." Sotheby, July, 1907 2 10 0

Teapot and cover, painted with portraits of George III. and Queen Charlotte. Sotheby, November, 1908 2 8 0

Teapot and cover, printed in red, with lady and gentleman taking tea, with negro servant at side; on reverse, a shepherd and sheep. Sotheby, November, 1908 1 10 0

Jug, printed with transfer medallions of ladies seated in a garden, blue and black bands at rim. Sotheby, November, 1908 1 14 0

CASTLEFORD.

Loving cup with handles, painted with fruit and roses, made for David Dunderdale. Escritt & Barrett, April, 1907 3 15 0

JACKFIELD.

Figure of _Diana_ (height 10 in.). Escritt & Barrett, April 1907 3 5 0

Jugs, brown glazed, two. Sotheby, November, 1907 1 1 0

ROCKINGHAM.

Small "Cadogan" Teapot, marked _Brameld_, richly gilt upon brown, and another without gilding. Sotheby, June, 1906 1 14 0

Milk jug modelled as cow, brown glaze; Figure of Horse; Jug, brown glaze, with twisted handles, marked _Rockingham_. Sotheby, June, 1906 2 5 0

"Cadogan" Teapot, rich brown glazed; impressed mark. Sotheby, May, 1908 1 2 0

SUNDERLAND.

Sugar Basin and Cover and six cups and saucers, painted with figure subjects on yellow ground, marked SEWELL. Sotheby. November, 1905 1 13 0

NEWCASTLE.

Frog mugs and jugs vary in price from 10s. to £2, according to the style of decoration.

X

TRANSFER-PRINTED WARE