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