Chapter XIII (2)

The marks used at the present day are, an old English letter L[Gothic L] within a gothic quatrefoil in a circle, impressed in the body of the ware; or the name of the pattern within an ornamental circle, and, below it, the initials of the firm, R. B. & S., printed on the surface.

LEATHLEY LANE POTTERY.

Closely adjoining the works I have been noticing is another small pottery, of whose history a few words may be said. They were established in the early part of the present century, by, I believe, a Mr. North, for the manufacture of black ware, but were afterwards used by the same person for the making of the ordinary white earthenware. From Mr. North the works passed into the hands of a Mr. Hepworth, who made the ordinary brown salt-glazed ware. It was next worked by Mr. Dawson, one of the trustees of the Leeds pottery, who took into partnership Mr. Chappell, of whom I have spoken as, for a period, proprietor of the Leeds pottery; and it was for some time carried on by Dawson and Chappell, afterwards by Chappell alone, and then by Shackleton, Taylor and Co. This partnership was dissolved in 1851, and the works were then continued by two of the former proprietors, Messrs. Taylor and Gibson. Since 1859, the factory has been continued to the present time by Messrs. Gibson & Co. The premises are small, and produce only the commoner and inferior kinds of earthenware for domestic purposes. These are white ware of the commonest kind, yellow ware made from the Wortley clays, and Rockingham ware.

CASTLEFORD.

Castleford, which has its stations on the “North-Eastern” and on the “Lancashire and Yorkshire,” and is in direct communication with the Midland and Great Northern Railways, lies about twelve miles from Leeds. It is, in great measure, supported by its glasshouses, its chemical works, and its potteries, which are still in full operation. Common brown ware had, I believe, been made for a considerable period, on the spot, the goods produced, of course, being pancheons and the ordinary classes of coarse vessels. The Castleford Pottery was established, towards the close of the last century, by David Dunderdale, for the manufacture of the finer kinds of earthenware, more especially Queen’s or cream-coloured ware, which was then being made so largely at Leeds and other places, as well as in Staffordshire. Mr. Dunderdale took into partnership a Mr. Plowes, and in 1803, the firm of D. Dunderdale & Co., which appears stamped on the goods, consisted of these two persons. The partnership was not of long duration, and after considerable dissension, was dissolved, Mr. Plowes removing to Ferrybridge, where he joined the proprietors of the pot-works there, his son removing to London, and Mr. Dunderdale continuing the Castleford Works alone. The next partner was Mr. Thomas Edward Upton, a relative of Mr. Dunderdale’s, and these two shortly afterwards took into partnership John Bramley (or Bramler) and Thomas Russell, who was not a practical potter, but was an hotel proprietor at Harrogate. At this time the proprietary was thus divided:--Dunderdale one half of the concern, Russell a fourth, and Upton and Bramley an eighth each. Considerable additions were made to the works at this time, and the change in the proprietary was commemorated by a grand feast, and by bonfires, and all kinds of extravagant rejoicings.

In 1820 the manufactory was closed, and in 1821 a part of the works was taken by some of the workmen--George Asquith, William and Daniel Byford, Richard Gill, James Sharp, and David Hingham. They were succeeded by Taylor, Harrison, & Co., Harrison having been an apprentice of David Dunderdale’s; and the place was for several years carried on by the latter and the son of the former, under the style of Taylor and Harrison. It is now closed as an earthenware manufactory (Messrs. Taylor and Harrison having given up the trade), and is carried on for stoneware alone. At these works, an offshoot, as I have shown, of the old pottery, the commoner descriptions of goods only are made.

At the close of the year 1825, I believe, the old works were taken by Asquith, Wood, & Co. They were joined in partnership by Thomas Nicholson, who had served his apprenticeship with Hartley, Greens, & Co., of the Leeds Pottery, and carried on the business as Asquith, Wood, and Nicholson, and afterwards as Wood and Nicholson alone. In 1854 another change took place, by which Mr. Nicholson, one of the old firm, retained the works, and took into partnership Thomas Hartley, the style of the firm being Thomas Nicholson & Co. A few years ago Mr. Nicholson retired from the concern, and it was then carried on by Thomas Hartley alone, and afterwards with partners, under the old name of Nicholson & Co. In December, 1871, Mr. Hartley died, and the Castleford Pottery was then, and still is, carried on by his co-partners, Hugh McDowall Clokie, and John Masterman, under the style of “Clokie and Masterman.”

The Castleford Works, under David Dunderdale & Co., did a large trade with Spain, the Baltic, and other “foreign parts,” principally in cream-coloured ware, and it is said that during the war the losses were so great, both in earthenware and in specie, as to cripple the works, and lead to their being closed. So great was the export trade of the firm, that they owned vessels of heavy burthen, which were kept trading with the Spanish and other ports. It is related that just before the peace of Amiens, one of Dunderdale’s ships was closely and hotly chased, but succeeded in outstripping her would-be captors. This was celebrated at Castleford, and the circumstance was remembered as “Dunkirk Races,” and is still talked of with pride by one or two of the old people with whom I have conversed.

As I have said, the staple production of the Castleford Pottery in Dunderdale’s time was the “Queen’s” or “cream-coloured ware,” which was made of an excellent quality, and of a good colour. In appearance it assimilated pretty closely to the cream ware made at the Herculaneum Works, and was not so fine or so perfect in glaze as that made at Leeds. In this ware dinner, dessert, and other services, as well as open-work baskets, vases, candlesticks, and a large variety of other articles, were made, both plain and painted, or enamelled, and decorated with transfer printing. In the accompanying engraving are shown some examples. Fig. 862 is one of a set of four central covered dishes painted in sepia with a border of vine leaves, grapes, and tendrils, of precisely the same design as appears on examples of Wedgwood’s make, and of Herculaneum, and other places. This set of dishes, when placed together for use, forms a circle of twenty-two inches in diameter. The sauce-boat (Fig. 863) is a part of the same service. The small oval sauce tureen (Fig. 861) and ladle show that double-twisted handles were made at Castleford as well as at Leeds, at Swinton, and other places. Open-work baskets, stands, plates, dishes, &c., were produced in great variety, and of designs in many instances closely resembling those of Leeds and other places. The accompanying engraving (Fig. 864) exhibits one of these. In what would now be called Parian, the Castleford Works in their early days produced some remarkably good and effective pieces. One of these, a hot-milk jug with its cover, shown on Fig. 865 is beautifully decorated with foliated and other borders, and with groups of figures in relief. Mugs, and other articles of the same material, were also produced. Examples of this kind of ware may be seen in the Museum of Practical Geology, Jermyn Street, and in many private collections.

Black or Egyptian ware of fine quality was made at Castleford in its palmy days, and is now of some degree of rarity. In my friend C. Roach Smith’s possession is a part of a service of this material, in which the hot-milk jug is of precisely the same pattern as the one engraved above. In fine white earthenware a large variety of goods was made by Dunderdale & Co., who produced a remarkably hard and compact body, and a glaze of considerable merit. In the late Mr. Pulleine’s possession, among other examples, was an oval fruit-dish, painted inside with a broad, bold, but not elegant border in red, and in the centre, in an oval, a landscape, with water, buildings, trees, figures, &c., in the same colour on a red tinted ground.

The marks used at these works appear to have been very few, and are easily recognised. They are--

D D & C^o*
CASTLEFORD

or

D·D & C^o
CASTLEFORD
POTTERY

impressed in the ware. The mark of the later proprietors when trading as “T. Nicholson & Co.,” was a circular garter, surmounted by a crown, and on the ribbon the initials of the firm--“T. N. & Co.”; in the centre the name of the pattern. The mark of the present firm is their initials within a border.

At the present day the Castleford Pottery, as carried on by Clokie and Masterman, manufactures all the ordinary kinds of earthenware, including white, printed, sponged, and the very commonest kinds of painted varieties; the principal patterns of services being “Willow,” “Wild Rose,” “Albion,” “Gem,” “Eton College,” “Verona,” etc., which are produced in blue, green, brown, and other colours. The body is firm and good, and the glaze of the usual quality. The old glory of the works has, however, long departed, and nothing artistic or beautiful is now to be seen in the place where once so many choice articles might be found. There is in connection with the pottery a flint mill, where flint, stone, glaze and colour are ground, and the clay is prepared by hydraulic pressure.

* * * * *

The _Eagle Pottery_ was established in 1854 by a company of workmen, under the style of “John Roberts & Co.,” and afterwards taken by Messrs. Pratt & Co., who sold the concern to Mr. H. McDowall, who continued to trade under the original style. Since the death of Mr. McDowall the buildings have been converted into a glass bottle manufactory. Only the most common classes of earthenware were produced.

PONTEFRACT.

Thoresby records that Francis Place, of the Manor House at York, spent much money upon his manufacture of “fine muggs,” and that he attempted it solely from a turn for experiments; but one Clifton, of Pontefract, took the hint from him, and made a fortune by it. The works of Mr. Clifton would probably be the forerunners of those of Ferrybridge, near the “town of liquorice.”

The FERRYBRIDGE POTTERY is situated at Ferrybridge, by Knottingley, and only a short distance from that famous seat of the growth of liquorice, Pontefract, whose “Pomfret cakes” are so well and, indeed, universally known. The pot-works at Ferrybridge are among the largest, if they are not the very largest, in Yorkshire, and have the reputation of being well arranged and convenient. They were established in 1792, by Mr. William Tomlinson, who had for partners Mr. Seaton, an eminent banker of Pontefract; Mr. Foster, a wealthy shipowner, of Selby; Mr. Timothy Smith, a coal proprietor; and Mr. Thompson, an independent gentleman, residing at Selby. The firm was styled “William Tomlinson & Co.,” until about the year 1796, when the proprietors took into partnership Ralph Wedgwood, of Burslem, when the style was changed to that of “Tomlinson, Foster, Wedgwood, & Co.”

Ralph Wedgwood was the eldest son of Thomas Wedgwood, of Etruria (the cousin and partner of Josiah Wedgwood), and was brought up at that place under his uncle and father. He was brother to John Taylor Wedgwood, the eminent line engraver, whose works are so justly in repute.

In my “Life of Josiah Wedgwood,” I gave, for the first time, as the result of considerable research, a notice of this remarkable man, Ralph Wedgwood, and of his inventions, and his family[113] and connections.

Ralph Wedgwood, who was a man of extraordinary and varied ability, the originator of many important scientific inventions, and the author of the “Book of Remembrance,” published in 1814, in which the invention of the electric telegraph, under the name of the “fulguripolygraph,” is made known, and its benefits--precisely such as are now reaped by the public--are described, was born in 1766, and was brought up with his father at Etruria, where he received much valuable aid in chemistry, &c., from Josiah Wedgwood. He afterwards carried on business as a potter, under the style of “Wedgwood & Co.,” at the Hill Works, Burslem; but was ruined through losses during the war. While at the Hill, he prepared and presented to Queen Charlotte some fine examples of his manufacture, on the occasion of the restoration of health to the king, which were graciously accepted through the hands of Lord Cremorne. He then removed into Yorkshire, where, as I have stated, he entered into partnership with Messrs. Tomlinson & Co., of Ferrybridge, and thus again commenced business. This engagement, however, was not of long duration, his partners being dissatisfied at the large amount of breakage caused by his experiments and peculiar mode of firing, and the partnership being dissolved he retired from the concern, having succeeded in getting a thousand pounds awarded to him as his share of the business. He next removed to Bransford, near Worcester, where he issued prospectuses for teaching chemistry at schools, and thence to London, in 1803, travelling in a carriage of his own constructing, which he describes as “a long coach to get out behind, and on grasshopper springs, now used by all the mails.” This carriage was so extraordinary in its appearance as to be taken for a travelling show. While at Bransford he had been perfecting his inventions, among which was his celebrated manifold writer, which still maintains its high repute “against all comers.” One of his copying schemes, which he called a “Penna-polygraph,” that of writing with a number of pens attached to one handle, he found, on his arrival in London, had already been made by another person. His other plan, proving to be new, he called the “Pocket Secretary,” and afterwards the “Manifold Writer;” and on the 7th of October, 1806, after much discouragement and opposition, he took out a patent for this as “an apparatus for producing duplicates of writing.” In 1808 he took out a second patent for “an apparatus for producing several original writings or drawings one and at the same time, which I shall call a Pennæpolygraph, or pen and stylographic manifold writer.” An “ærial zone” was also proposed by him, and his invention was laid before the Admiralty, but judging from the following extract from a letter now lying before me, the invention was not considered to be a very feasible one. “The ærial zone is in proper hands if it is laid before the Admiralty, for there does not seem to be any greater likelihood of its becoming an article of general use than there is of the ladies leaving off muslin because some lose their lives every year by its use.”[114]

In 1806, Ralph Wedgwood established himself at Charing Cross, and soon afterwards his whole attention began to be engrossed with his scheme of the electric telegraph, first invented by his father, Thomas Wedgwood, which, in the then unsettled state of the kingdom--in midst of war, it must be remembered--he considered would be of the utmost importance to the government. In 1814, having perfected his scheme, he submitted his proposal to Lord Castlereagh, and most anxiously awaited the result. His son Ralph having waited on his lordship for a decision as to whether government would accept the plan or not, was informed that “the war being at an end, the old system was sufficient for the country!” The plan, therefore, fell to the ground, until Professor Wheatstone, in happier and more enlightened times, again brought the subject forward with such eminent success. The plan, thus brought forward by Ralph Wedgwood in 1814 (and, as I have stated, he received the first idea from his father), was thus described by him in a pamphlet entitled, “An Address to the Public, on the advantages of a proposed introduction of the Stylographic Principle of writing into general use; and also of an improved species of Telegraphy, calculated for the use of the Public as well as for the Government.” The pamphlet is dated May 29, 1815.

Ralph Wedgwood from Charing Cross removed successively to Piccadilly, and Southampton Street, Strand, where he continued producing his “Pocket Secretary” in large numbers, and did a profitable business. The advantages he gained were, however, lost by his researches concerning the electric telegraph, and in the end his business gradually decayed. He was a man of too eccentric and visionary nature for the ordinary pursuits of life, and was thus led into the speculative ideas rather than the substantialities of worldly existence. Among his schemes was one for the founding of an universal language, over which he held a lengthy and elaborate correspondence with Percy Bysshe Shelley and other men of the day. He died at Chelsea in 1837. He was three times married--first to Mary Yeomans, of Worcester, by whom he had issue Ralph Wedgwood, of Barnes and Cornhill; secondly, to Sarah Taylor; and thirdly, to Anne Copeland, by each of whom also he had issue.

After the dissolution of the partnership at Ferrybridge, which took place, I believe, about 1800 or 1801, when Wedgwood ceased to have any connection with the concern, the firm of “Tomlinson & Co.” was resumed, and so continued until 1834, when it changed to “Tomlinson, Plowes, & Co.;” Mr. Plowes, of the Castleford Works, having joined the proprietary.

In 1804, the name of the manufactory, which, up to that period, had been called the _Knottingley Pottery_, was changed to that of the _Ferrybridge Pottery_. This change was made for the convenience of foreign correspondence--a large foreign trade being carried on--Ferrybridge being at that time a post-town of some note, and the works being situated nearer to it than to Knottingley.

Mr. Tomlinson was succeeded by his son Mr. Edward Tomlinson, who continued the works under the firm of Edward Tomlinson & Co., until the year 1826, when he finally retired from the concern. A part of the premises were then worked for a short time by Messrs. Wigglesworth and Ingham; when the whole place was taken by Messrs. Reed, Taylor, and Kelsall, who continued the manufactory until the retirement of Mr. Kelsall, after which the works were continued by the surviving partners, Messrs. James Reed and Benjamin Taylor. Mr. Reed, who was father of Mr. John Reed, of the “Mexborough Pottery,” was a man of enlarged experience, of matured judgment, and of great practical skill; and in his time many improvements in the ware were made, and the manufacture of china introduced. He, in conjunction with his partner, took the Mexborough Pottery, and for some time carried on the two establishments conjointly. Ultimately Mr. Reed gave up the Ferrybridge works, and confined himself to those at Mexborough, while Mr. Taylor carried on the Ferrybridge works alone.

After Mr. Taylor gave up the works Mr. Lewis Woolf entered upon them as tenant for a few years, and in 1856 became the purchaser, and commenced manufacturing in his own name, and has continued from that time until the present day. In the following year, 1857, a large additional pottery was built closely adjoining, and, indeed, connected with the “Ferrybridge Pottery,” by the sons of Mr. Lewis Woolf. This new manufactory was called the “Australian Pottery,” and is still in full work. The proprietors of the joint works, “The Ferrybridge and Australian Potteries,” as they are named, now are Lewis, Sidney, and Henry Woolf, who trade under the style of “Lewis Woolf and Sons.”

These works, besides a very large local and coasting trade, had extensive transactions with several foreign ports. From their first establishment to the time of the issuing of the famous Berlin decree by Napoleon, Messrs. Tomlinson & Co. had done a very extensive and lucrative trade with Russia, for which country the finer and more expensive kinds of earthenware, including cream-colour, Egyptian black, and other kinds of fancy bodies, were made, both pressed, printed, enamelled, and gilt. The decree cut short the trade with the Continent; but shortly after this commercial blow, which was severely felt by the Yorkshire potters, the River Plate was opened by Sir Home Popham, a circumstance which was taken immediate advantage of by the Ferrybridge firm. “One of the partners immediately proceeded there, and succeeded in establishing a good market until the royal family emigrated to Brazil, when the same partner moved up to Rio de Janeiro, to which port a large business was for many years carried on.”

The wares principally made were the following:--cream and cane-coloured ware, in which services and most articles in general use were manufactured, either plain, pressed (_i.e._, with raised patterns), painted, or printed. Green glazed ware, in which dessert services and other articles were made, and which were of a lighter colour than what Wedgwood produced. Egyptian black ware, of the usual quality made at the period. Fine white earthenware, in which was produced all the usual kinds of goods in enamelling, blue printing, painting, &c. Artists of considerable ability were employed at the works, and I have seen examples which are of thoroughly good character, and will vie with some of the best contemporary productions of the Staffordshire potteries.

In the time of Messrs. Reed and Taylor china of a very fine quality was made, but the manufacture was not of long duration. Tea and coffee services, dessert services, scent bottles, and a variety of articles, were made of this body, and were remarkably good in form and in style of decoration. Examples of Ferrybridge china are now of extreme rarity.

Cameos, medallions, and other ornamental articles in the time of Ralph Wedgwood’s connection with the works, were made in imitation of those of Josiah Wedgwood, to which they were, however, very inferior both in body and finish.

The combined works at the present time (by which of course I mean the joint manufactory of the “Ferrybridge and Australian Potteries”) give employment to about five hundred hands, and do a large trade with Australia and other foreign markets. In white earthenware, which is the staple trade of the works, the ornamentation consists of a large variety of patterns in transfer printing, in common painting, in lustre or “tinsel,” and in sponged patterns. Enamelled and gilt goods, too, are made, and of qualities to suit the different markets for which they are intended. For the Egyptian markets, to which large quantities of goods are sent, lustred or tinselled patterns are adapted very extensively. In “jet ware,” dessert services, candlesticks, toilet trays, and other articles are made. In this ware, I believe I am right in saying that a large number of services have been made especially for the Chinese market. In Egyptian black the ordinary varieties of articles are made, as they are also in Rockingham ware. In “blue jasper” ware, _i.e._, a blue glazed ware, absurdly so called, many useful and ornamental articles are made, as they are also in a variety of other bodies.

The marks used at the Ferrybridge Pottery have been but few. So far as my knowledge goes, those which will be of interest to the collector are the following--

TOMLINSON & CO.

impressed in the bottom of the ware,

WEDGWOOD & CO.

impressed on cameos, made during the time of Ralph Wedgwood’s connection with the works.

FERRYBRIDGE.

also impressed, and one variety of which mark is peculiar from having the letter D reversed thus--

FERRYBRIDGE[with d of bridge backwards]
P

A shield, with the words--OPAQUE GRANITE CHINA in three lines, supported by a lion and unicorn, and surmounted by a crown. This mark is also impressed, and occurs on green-glazed ware, as does the one just spoken of.

The mark at the present time is that of the lion and unicorn with the shield and crown, and the words, “Ferrybridge and Australian Potteries,” sometimes impressed, and at others printed on the goods, with the names of the bodies, as “granite,” “stone china,” &c., added.

SWINTON-ROCKINGHAM CHINA.

When pot-making was first practised in Swinton and its district, it is, of course, impossible to say, but I believe that as early, at all events (if not at a much earlier period), as quite the beginning of last century, a hard brown ware, of much the same quality as that made at Nottingham and Chesterfield, was produced on Swinton Common, where clays useful for various purposes were abundantly found. In 1745, it appears that a Mr. Edward Butler, seeing the advantage offered by the locality through its clays, which consisted of a “common yellow clay used for the purposes of making bricks, tiles, and coarse earthenware; a finer white clay for making pottery of a better quality; an excellent clay for making fire-bricks; and also a white clay usually called pipeclay;” established a tile-yard and pot-works for common earthenware, on a part of the estate of Charles, Marquis of Rockingham, which lay closely contiguous to Swinton Common, where these clays existed. The memory of this old potter, the founder of the works which afterwards became so famous as the “Royal Rockingham China Works,” is, it is pleasant to record, at the present day preserved in the name of a field near the now ruined factory, called “Butler’s Park.” Butler at these works produced the ordinary classes of goods then in use, but principally the hard brown ware to which I have just alluded. An interesting example of this period was in the possession of the late Dr. Brameld, and is engraved on Fig. 866. It is a “posset-pot” of the usual form of those which, at that period, were in such general use in Derbyshire and Yorkshire; it bears the date of 1759. This interesting example has a fragment of a label, written at “Swinton Pottery,” which authenticates it as having been made by, or for, John Brameld.

In 1765 the works were taken by William Malpass, who held another small pot-work at Kilnhurst, in the same neighbourhood, and he continued them for some years. With him were associated in partnership, I believe, John Brameld, and subsequently his son, William Brameld, of whom I shall have more to say presently. Mr. Malpass continued to manufacture the same varieties of ware as his predecessor, and held the works, or rather was a partner in them, at all events as late as 1786.

In 1778 Mr. Thomas Bingley became a principal proprietor of the Swinton works, and had for partners, among others, John and William Brameld, and a person named Sharpe. Mr. Bingley was a member of a family of that name which had been resident at Swinton for more than four hundred years, and is now worthily represented in the person of Mr. Thomas Bingley, who still resides there. The firm at this time was carried on under the style of Thomas Bingley & Co., and, being thriving, indeed opulent, people, the works were greatly enlarged, and conducted with much spirit. An extensive trade was at this time carried on, and besides the ordinary brown and yellow wares, blue and white dinner, tea, coffee, and other services were made, as also a white earthenware of remarkably fine and compact body, and other wares of good quality.

A highly interesting example of this period, 1788, is shown on the accompanying engraving (Fig. 867), which exhibits a two-handled drinking-cup, with the name of one of the proprietors, “William Brameld,” on one side, and the date “1788” on the other. This curious cup, which is five and a quarter inches in height, is of fine white earthenware with a bluish coloured glaze. The upper part, both inside and out, two narrow borders round the centre, the handles, and the base, are ornamented with blue transfer-printing. The rest of the vessel is black, the name, date, and ornaments upon it being gilt. The borders of blue printing are much the same as those around “willow pattern” plates, and from this it may be inferred that the “willow pattern” was at that period produced in Swinton.

From about the year 1787 down to 1800, the firm traded under the style of “Greens, Bingley, & Co.” This was consequent on some of the Greens of the “Leeds Pottery,” (which see)--having become partners, and taken an active part in the Swinton manufactory, with Mr. Bingley, Mr. Brameld, and those who were connected with them in those works. Mr. John Green became acting manager of the Swinton works, and afterwards, as I am informed, founded the “Don Pottery.”

I possess some original letters from John Green, dated “Leeds Pottery,” of April and June, 1788, addressed to “Mr. John Brameld, Swinton, near Rotherham,” giving directions not only concerning the works themselves, but relating to the partnership:--

“Should be glad you and Mr. Bingley will look over the
partnership-deeds, and if there be anything that do not meet
your ideas, please point it out. When you have done this you
may send them in a small box directed for me; they never was in
my mind when at Swinton, or should have done the needful then.
I have writt Charles with some sponges and ... informing him I
expect 4 C^m kills per week exclusive of china, which I hope he
will be able to manage without increasing the wages.” ... “Hope
your buisket kill turns out well. You have room now if you will
but make neat goods and be observing to get money; but it will
require a strict attention to keep every weelband in the nick.”

In the same letter he speaks of consignments of flint by Mr. Brearey to Selby and Tadcaster. He also offers Brameld from himself and partners a commission of 5 per cent. on all “wearing apparell sould to your works.”

The partnership with John Green was carried on in the style of “Greens, Bingley, & Co., Swinton Pottery;” and the same price-lists which were printed at Leeds with the Leeds pottery heading, had that heading cut off, and that of “Greens, Bingley, & Co., Swinton Pottery,” written in its place. Later on large fresh price-lists were printed. They were headed “Greens, Hartley, & Co., Swinton Pottery, make, sell, and export wholesale all sorts of Earthenware, Cream Coloured or Queens, Nankeen Blue, Tortoise Shell, Fine Egyptian Black, Brown China, &c., &c. All the above sorts enameled, printed, or ornamented with gold or silver.” On the fly-leaf was a printed circular, dated “Swinton Pottery, 1st February, 1796,” announcing an advance in prices and a revised system of counting.

The patterns used at Leeds were evidently, to some extent, adopted at Swinton; and I possess some original drawings and designs on which the numbers for each of those works are given. For instance, in teapots, Leeds No. 149 was Swinton No. 68; Leeds 133 was Swinton 69; 218 was 70; and 252 was 71, and so on.

Late in the last century, about the time of which I am now writing, a peculiar kind of ware was first made at these works, and took the name of “BROWN CHINA,” and afterwards that which it has ever since maintained where attempted to be made, of “ROCKINGHAM WARE.” This ware, which is of a fine reddish-brown, or chocolate colour, is one of the smoothest and most beautiful wares that has ever been produced at any place. The body is of fine hard and compact white earthenware, and the brown glaze, by which the peculiar shaded and streaky effect of this class of goods was produced is as fine as it is possible to conceive, and required to be “dipped” and passed through the firing no fewer than three times before it could be considered perfect. In this exquisite ware tea, coffee, and chocolate services, jugs, drinking-cups, &c., were produced, and continued to be made to the close of the works in 1842. Since that time “Rockingham ware”--in every instance falling far short of the original in beauty and in excellence--has been made by almost every manufacturer in the kingdom, and has always, especially for tea and coffee pots, met a ready and extensive sale. One special article produced in this ware was the curious coffee pot, formed on purely scientific principles, which is usually known to collectors as the “Cadogan pot.” This curious piece was formed on the model of an example of green Indian ware, said to have been brought from abroad[115] by the Marquis and Marchioness of Rockingham, or the Hon. Mrs. Cadogan, and preserved fifty or sixty years at Wentworth before it was thought of being copied. It has a small opening in the bottom to admit the coffee, but none at the top and no lid. From the hole in the bottom a tube, slightly spiral, was made to pass up inside the vessel to within half an inch of the top, so that after filling, on the “pot” being turned over into its proper position for table use, the coffee was kept in without chance of spilling or escape.

It is worthy of remark that tea and “Cadogan” coffee pots of genuine Rockingham ware, the first of which was made for the Marchioness of Rockingham, have the reputation of being by far the best of any, and are said, I know not upon what principle, to produce a better and purer flavour than any others.[116] I have been told it as a fact, that George IV., who was as great a connoisseur in tea as he was in many far less harmless matters, invariably, for a long time, used one of the then fashionable Rockingham ware pots. I have it from undeniable authority that the royal _penchant_ for this kind of ware thus arose. When he, while Prince Regent, visited Wentworth House, the seat of Earl Fitzwilliam, these teapots were in use, and were much admired. On the return of the prince and suite to London, inquiries were made for them at John Mortlock’s, in Oxford Street, who supplied the palace. He at once saw that they would come into considerable repute, ordered largely, contracted to have his own name stamped upon them, and enjoyed the questionable reputation of being their inventor. Mr. Mortlock, I believe, ordered as much as £900 worth of this ware in one season alone.

In 1796, the firm was, as before, “Greens, Bingley, & Co.;” and from a list of prices and goods now in my possession, it appears that a large variety of articles were produced. The list is thus headed:--

“Greens, Bingley, & Co. Swinton Pottery, make, sell, and export
wholesale, all sorts of Earthen Ware, viz., Cream-coloured, or
Queen’s, Nankeen Blue, Tortoise Shell, Fine Egyptian Black,
Brown China, &c. Also the above sorts enameled, printed or
ornamented with gold or silver.”

Among the articles in cream ware, enumerated in this list, are all the separate items for services in Paris, Bath, concave, royal, queen’s, feather, and shell-edge patterns, which were produced “printed or enamelled with coats of arms, crests, cyphers, landscapes, &c.; also blue printed Nankeen patterns;” dishes, covers, compotiers, tureens, plates, butter-tubs, baking-dishes, nappies, glass trays, fruit plates, fruit baskets pierced and plain, tea-trays, garden-pots and stands, shaving-basins, salts, castors, cruets, egg-cups, spoons plain and pierced, ice-cellars, candlesticks, inkstands, wafer and sand boxes, fountain inkstands, bidets, &c., furnished castors, tureen ladles, chocolate stands, quintal flower horns, radish dishes, crosses with holy-water cup, ice pails, broad mugs, bowls, ewers, basins, &c., milk ewers, tea and coffee pots, tea canisters, chocolate cups and saucers, &c., &c.

In 1806, the firm of “Greens, Bingley, & Co.” was dissolved. At this time, as appears from a memorandum of resolutions, passed at a meeting held on January 22nd, 1806, preparatory to the dissolution, that the partners (present) were--“William Hartley for himself and others (this was William Hartley, principal proprietor in the Leeds Pottery), Ebenezer Green for himself and others (this was another of the partners in the Leeds Pottery), George Hanson, Thomas Bingley, John Brameld, and William Brameld.” These resolutions are as follows:--

“At a meeting held at Swinton Pottery, on Wednesday,
the 22nd day of January, 1806.

Present

William Hartley for himself and others.
Ebenezer Green for himself and others.
George Hanson.
Thomas Bingley.
John Brameld.
William Brameld.

1st. That no more Coals be got at Wath Wood Colliery.

2nd. That on the 1st of February next the Engine, Gins, and
every thing that is valuable belonging to us, be removed from
the Colliery to the Pottery premises, and that the Pits be
rail’d round.

3rd. That no more stone be got from the Quarry on Wath Wood.

4th. That the Willows be immediately cut and brought to the
Pottery.

5th. That the Manure on hand be sold.

6th. That the Crop or Crops on the Farm be immediately valued.

7th. That the Coals on hand be disposed of in the best manner
possible.

8th. That as many Men be immediately discharged from the
Manufactory as can be conveniently done; retaining for the
present only as many as may be necessary to compleat the orders
already taken, and make a few things that may be needful to
assort the Stock on hand.

9th. That a Schedule of every thing belonging to the Colliery
and Quarry be immediately taken.

10th. That these Resolutions be carried into Execution by C.
Prince.”

At the dissolution of partnership, the whole concern fell into the hands of two of the partners, Messrs. John and William Brameld, who, with other partners, continued the works with considerable spirit under the style of “Brameld & Co.” until their death. The old price-lists, which I have already named, continued to be used, but had the words “Greens, Bingley” erased with the pen, and “Brameld” substituted, so that the heading commenced “Brameld & Co., Swinton Pottery.” They were later on joined in partnership by the younger branches of the family, who eventually, as I shall show, became proprietors of the manufactory. By Messrs. John and William Brameld additional buildings were erected, and great improvements made in the ware. About this time cream-coloured ware was made very extensively, and a remarkably fine white earthenware--the “chalk-body,” as it was technically called--was successfully produced, but, owing to its costliness through loss in firing, was made only to a small extent, and is now of great rarity.

About the year 1813, the sons of the old proprietors, on the death of Mr. William Brameld, succeeded to the concern. These were Thomas Brameld, George Frederick Brameld, and John Wager Brameld, and to them the great after-success of the works was due. These gentlemen considerably enlarged the manufactory, made many improvements in the wares produced, and erected a flint mill on the premises, which after the close of the china works continued to be worked by their descendants.

Mr. Thomas Brameld, the eldest of the partners, was a man of the most exquisite taste, and he laboured hard to raise the character of the productions of the Swinton Works to a high standard of excellence. In this he succeeded to an eminent degree. In 1820 he turned his attention to the production of china ware, and made many experiments in bodies and glazes. Having expended large sums of money in the production of this, his favourite project, and in making Art-advances in his manufactory, the firm became, as is too frequently the case with those who study the beautiful instead of the strictly commercial in the management of their works, slightly embarrassed. This was considerably increased by the great loss, both in earthenware and money, which the firm sustained consequent on the war. In 1825, which it will be remembered was a year of great commercial difficulties, Messrs. Brameld succumbed to the embarrassments that had for some time affected them, and a meeting of themselves, their creditors, &c., was held at Rotherham. At this meeting, Mr. Thomas Brameld produced some remarkable examples of his china ware, the result of long and patient labour on his part, and these being highly approved by all who were present, and appearing likely to succeed, Earl Fitzwilliam, the owner of the property at Swinton, in the most laudable and kindly manner, agreed to assist in the prosecution of the work by the advance of capital, and by taking an active part in the scheme.

This being done, Mr. Brameld set himself to his task with renewed spirit, and with a determination to make his porcelain at least equal to any which could then be produced, and in this he certainly succeeded. The works were altered and enlarged; modellers and painters, the most skilful that could be procured, were employed; and every means taken to insure that success, artistically and manipulatively, which quickly followed. In this ware, dinner, dessert, breakfast, and tea services, vases, groups of figures and flowers, and numberless articles, both of utility and ornament, were produced, and were all characterised by pure taste, and an excellence of design and workmanship which told much for the skill and judgment of the mind that governed the whole of the manufactory.

Mr. George Frederick Brameld, the second of the partners, devoted himself to the strictly commercial part of the business on the Continent. He for some time resided at St. Petersburg, a large trade with Russia being carried on by the firm.

Mr. John Wager Brameld, like his brother, was a man of pure taste. He was an excellent artist, and some truly exquisite paintings on porcelain by him have come under my notice. He was a clever painter of flowers and of figures, and landscapes. In flowers Mr. Brameld went to Nature herself, collecting specimens wherever he went, and reproducing their beauties on the choice wares of the works. At Lowestoft I remember seeing a set of three vases painted in flowers, which, it is said, Mr. Brameld gathered on the Dene, at that place, on one of his visits, and which vases he presented to the father of their present owner.[117] In the same hands is an elegant snuff-box, bearing an exquisite painting of “The Politician,” with groups of flowers, and bearing the words, “Brameld, Rockingham Works, near Rotherham,” “The Politician, J. W. Brameld.” This being a signed piece of John Wager Brameld’s, is particularly interesting. Mr. Brameld’s time was chiefly devoted, however, to travelling for the firm in the United Kingdom, and to the management of the London house, so that his artistic productions did not make a feature in the goods generally made at the works.

Mr. Thomas Brameld, who resided at Swinton House, Swinton, a delightful residence overlooking the valley of the Don (to whose taste Swinton is deeply indebted for the preservation from destruction of two fine old Norman archways from the destroyed chapel), died in 1850. He left four sons, the Rev. John Thomas Brameld, late of Mansfield; the Rev. George William Brameld; the late Rev. Arthur James Brameld, of New Wortley, who was accidentally drowned soon after I made his acquaintance; and the late Dr. Henry E. Brameld, to each and all of whom--especially the two last named--I was indebted for much assistance in the preparation of this notice. Mr. John Wager Brameld died in 1851, leaving an only son, who was accidentally drowned while bathing near Swinton. The last of the partners, Mr. George Frederick Brameld, died unmarried in 1853.

The regulations laid down for the keeping of time by the workmen at Swinton, and for their guidance over their work, were remarkably well considered and clear; the original document of about 1829, in Mr. Brameld’s handwriting, is in my own possession, as is also another from which I learn some particulars as to the overlookers of that time. Richard Shillito was to have charge of the earthenware department as general overlooker, with ... Hulme to assist him; William Horncastle had charge of the Warehouse, &c.; Mr. Wager had charge of the men at the farm; Mr. Baguley had “charge of all the painting and gilding department in china and enamel earthenware.” John Speight, “the painting, &c., &c., in earthenware biscuit work;” George Liversedge was overlooker and manager of the printing department; Joseph Bullough was sorter of biscuit ware; William Speight had charge of the mill, and also “the care of and management of all gold, colours, and glazes, &c., he giving them out as they may be properly wanted to use.”

Earthenware of various kinds--“Brown China,” or “Rockingham ware,” green glazed ware, biscuit figures and ornaments, hard fine white stoneware, cream-coloured ware, and other varieties of goods were also still made; and the works, which, at this time--the time when china began regularly to be made (1826)--with the assistance of the Earl Fitzwilliam, assumed the name of the “ROCKINGHAM WORKS,” began to use the crest of the Fitzwilliam family as the mark of the firm.

In 1826 (November 17), Messrs. Brameld & Co. secured the services of an excellent painter, “Mr. John Cresswell, painter on china,” and articles of agreement (in my own possession) were drawn up by which Cresswell engaged himself to them for five years at 7s. 6d. a day for the first three years; 9s. 3d. a day for the fourth year; and 10s. 6d. a day for the fifth year. In 1830 the firm received an order for a service from the Duchess of Cumberland:--

“At Kew, October 23, 1830.

“Her Royal Highness the Duchess of Cumberland most graciously
inspected the Pattern Plates (5) prepared for the purpose; and
was pleased to express herself much gratified therewith, and
commanded me to get up her Service with

6 Plates Interiors, style of Original.
6 „ Shells.
6 „ Birds.
6 „ Fruit.
6 „ Landscapes (real views).
6 „ Marine.

and the comports, elevetated, (_Des Assiettes Elevès_) to be
same of those of His Majesty; to be shewn to her as they are
prepared in turns for the King to see.

Price 250 Guineas.

36 Plates, gad g.
12 Comports, or W. S.
2 Cream Bowls.
2 Ice Cellars.

J. W. BRAMELD.”

And in 1833, from the Duke of Sussex:--

_Memorandum of a Dessert Service for H.R.H. The Duke of
Sussex._

Kensington, 30th Nov., 1833.

Forms same as H.M.’s.

Plate--Essex--but same size as H.M.’s.

4 Large Dress Plates.
4 Second size do.
8 Small do. do.
4 Ice Pails (Handles à la Warwick).
4 Pine and Grape Baskets.
8 Peach Baskets--say 4 Mulberry and 4 Pine.
4 Fruit Comports.
4 Shell „
----
40 pieces perhaps 500 guineas.
6 doz. of Plates will be 360 „
---
860 „
Say £600,
for 2/3.

In the same year Messrs. Brameld & Co. became the purchasers from Mr. George Green of his interest in the Kilnhurst Pottery (which see). In 1840, Messrs. Brameld were in negotiation for the purchase from Mr. Dillwyn of the Glamorgan Pottery at Swansea (which see); but the purchase was not made.

In 1830, the Rockingham Works received an order for a splendid dessert service for King William IV., which was executed in the highest style of the art, and gave intense satisfaction. The original sketches for this service are in my own possession, and are named “Original Designs for His Majesty’s Dessert, 12th Nov., 1830, per J. W. B.” (John Wager Brameld). They are pen-and-ink sketches by himself. Of this service I shall have yet to speak. At this time the works assumed the name of “Royal Rockingham Works,” and the proprietors called themselves China Manufacturers and Potters to the King, Queen, and Royal Family. In 1838, the manufacture of china and earthenware bed-posts, cornices, &c.--a somewhat novel feature in the art--was added to the other productions of the Rockingham Works. In that year a patent was taken out in the name of William Dale[118] for “certain improvements in constructing columns, pillars, bed-posts, and other such-like articles;” consisting of several ornamental pieces or compound parts of china or earthenware,” “united, strengthened and supported by a shaft or rod passing through the whole length of the same, and furnished with screw nuts or other description of fastenings, and collars,” &c. These bed-posts and other similar things were made at the Rockingham Works, though never to any extent. They are now of very great rarity, but examples are in my own possession. The body is white, the prevailing colour being _Rose-du-Barry_, with yellow flowers, &c. Another of these interesting examples is white with an effective chintz pattern in colours; while others have small groups and sprigs of flowers, the outline in transfer printing, and filled in with colour. In my own possession, too, are several of the original drawings of designs for beds, window cornices, lamps, candelabra, tables, &c., which are remarkable for their elegance and beauty. An elegant work-table of this description of ware, of simple but very effective design and excellent workmanship, is in the possession of Mr. Wilson of Sheffield. It is 2 feet 6 inches high and 1 foot 6 inches in diameter at the top. Among the designs to which I have alluded is one representing a small and remarkably elegant table of somewhat similar, but much more ornate character, on which is a fish-globe stand of corresponding design.

Although the Rockingham Works were eminently successful in an artistic point of view, they were not so commercially, and in 1842 were closed, after involving not only their noble owner, but the absolute proprietors, in a loss of very many thousands of pounds. Only sixteen years had elapsed since the introduction of the china manufacture to the works, but those had been sixteen years of beauty, and of artistic and manipulative success. No man better understood his art than Mr. Thomas Brameld, no man laboured harder and more disinterestedly in the ennobling of that art than he did, and few men, either before his time or since, succeeded in accomplishing greater or more honourable things. He and his brother looked to Art instead of commerce, and the result was embarrassment and loss.

At the close of the Rockingham Works in 1842, the stock, &c., was sold off and dispersed, and the manufactory which had produced so large a quantity of elegant services, &c., was entirely discontinued. A small portion of the building was taken by an old and experienced workman, Isaac Baguley (formerly employed at the famous Derby China Works), who was one of Messrs. Brameld’s best painters and gilders. Here he commenced business in a small way on his own account, and continued to do some little business until his death. Mr. Baguley did not manufacture the wares himself, but purchased what he required in the biscuit and white state, from other makers, and then painted, gilt, and otherwise ornamented them for sale. At his death, his son, Alfred Baguley, succeeded him, and, for a few years, carried on this decorative branch of the business on the old premises. Mr. Baguley decorated with commendable taste earthenware and porcelain, and produced some extremely good and effective designs in modelling, and clever patterns in decoration. One of his specialities was the old Rockingham ware, which he produced of a far purer and better quality than any other house. To this branch he paid particular attention, and produced the Rockingham chocolate or brown glaze on a china body. In this “Rockingham china,” breakfast and tea services, tea and coffee pots of the good old designs, drinking horns, jugs, &c., were made, and, being gilt in the same manner as the old Rockingham ware, have a remarkably pleasing appearance, while in touch they are all that can be desired. Mr. Baguley also made the famous old “Bishopthorpe” and “Wentworth” jugs. His mark was the same as that of the old works--the crest of Earl Fitzwilliam (Fig. 880) with the name--

_Baguley_
_Rockingham Works._

Fig. 869.]

In 1852, a small portion of the works was tenanted by some earthenware manufacturers, who traded as “P. Hobson & Son,” but their occupation was of only short duration, and now the whole place is closed.

The Rockingham Works--a view of which in their palmiest days is on a dish made by Twigg, in my own collection--when in full operation, gave employment to a considerable number of hands and occupied a large area of ground.[119] At the present time the place is a sad and desolate-looking wilderness. The buildings have most of them been removed, and others, at the time of my visit, were being taken down. The whole place was in ruins, and in the area, where but a few years ago all was life, activity, and bustle in the execution of a royal order, “weeds and briars grow;” while in the centre of the wreck stood a building bearing the almost defaced words, “This way to the China Room,” where no china, save broken fragments scattered about on the “shard rucks,” was to be seen.

Of the “brown china” or “Rockingham ware” services, Cadogan pots, &c., I have given notices. It will be sufficient to add that although all which was made at these works were not marked, they usually bore the impressed marks of “ROCKINGHAM,” “BRAMELD,” or “BRAMELD & CO.,” or the name of “MORTLOCK.”