KANSAS CITY. MO PUBLIC LIBRARY
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DATE DUE
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The old i;tiiiia b
1 1 1 c i u d 1 1 4 i ni ti t f o r ,*i h 1 r
r i i"*o . i
THE OLD CHINA BOOK
Fig-, 24. ALMSHOUSE, NEW YORK, .-/. .SVmvMw/,
COLT.KOK, ,1, ,V/Vw>w
THE OLD CHINA BOOK
INCLUDING
STAFFORDSHIRE, WEDGWOOD, LUSTRE,
AND
OTHER ENGLISH POTTERY AND PORCELAIN
BY
N. HUDSON MOORE
NEW YORK
1'HMDHKICK A. STOKKS COMPANY
PUHLISHKRS
Ih FREDERICK A. STOKES C. CITY OK ALBANY, J7W,
!%., u ennCK JUSTICK MARSHALL/' ( Troy Lme.)
STAFFORDSHIRE WARES. 13
ware particularly for the American market, and used
incidents and scenes which appealed in a peculiar way
to the growing nation. The art of printing on pottery
had now become well known. Richard Sadler had
been practising it as early as 1752, and though, for
many years, only black was used yet blue was found
to run equally as well. The designs were engraved
on copper, and impressions made on tissue paper,
with prepared paints mixed with oil, and transferred
to the pottery. The deep, rich blue we admire so
much recommended itself on account of its cheapness
and durability, for although to-day we pay, with the
greatest eagerness, twenty-three dollars for a tiny
cup-plate, three and one half inches wide, it was made
to sell for three pence or even less. Although we
cannot say with assurance just why blue was chosen,
the fact remains that all the Staffordshire potters used
it, and to great advantage.
There is a certain style of design known as " flow
blue/' which has nondescript patterns, flowers, geomet-
ric designs, an.d occasionally landscapes, and which
has nothing whatever of beauty or interest to recom-
mend it, but which was sent over here in quantities,
and of which there is still much to be found.
Of all discouragements which a china collector has
to meet, the very worst is flowing blue, next comes
the inevitable willow pattern, which every English
potter made at one time or another, and which is as
plentiful as blades of grass. It varies in colour from
the fine old blue, to a tint so reddish as to be almost
purple, and is shown in every degree of clearness. It
Is worth next to nothing, but owners of it hold it at
the very highest market price.
H THE OLD CHINA BOOK,
After the rage for old blue had somewhat subsided,
say between 1835 and 1850, some of the potters took
to printing scenes from al! over the world, in various
colours, red, green, etc. This second period lacked the
interest of the first, for the pieces were less meritori-
ous and decidedly inartistic. Many of them are held
in this country, and I am in receipt of scores of let-
ters asking if they are not as valuable as old blue.
Perhaps I should say instead that the owners think
they are as valuable as old blue, and ask if this is not
the case.
Enoch Wood.
The list of Staffordshire potters should begin (after
we except Wedgwood, who will be treated in a separ-
ate chapter), with the name of Wood. Ralph, Wood
was succeeded by his son Aaron, a eleven- cutter of
moulds for salt-glazed stoneware with perforated and
raised borders. About 1783 Enoch, youngest son of
Ralph, started in the potting business for himself, 1 f c
had been a sculptor and had modelled busts of many
celebrated persons. Enoch, as before mentioned, is
the one who is of the most interest to us, as tlio bulk
of his work was made for, and sent to, this country*
Although a prosperous and prolific potter, Knjjtish
writers on pottery give him scant mention, aiuJ know
little about his work for the American market. In
their own country the Woods, Ralph, Aaron and
Enoch, are known principally for their succosnful
figure work and busts, rather than for Uusir flat wiim
Fig, 7, SHIP u CADMUS." IFwd.
Fig, 8. WOOD AND CALDWELL JUG,
STAFFORDSHIRE WARES. 15
There are two of these busts In the Boston Museum
of Fine Arts, made about 1781, of the Rev. John
Wesley and of John Whitfield.
They also made blue and white jasper and black
ware. They marked few of these pieces, admirable
though they were, and this practice they carried out
in much of the china sent to this country. The pieces
they did mark were sometimes impressed, the mark
being circular and an inch In diameter. In the center
is an eagle with a shield and below him " Semi-china.'*
Surrounding this are the words " E. Wood & Sons,
Burslem, Warranted." In addition to the impressed
mark is frequently found a mark in blue, consisting of
the name of the scene, an eagle with a branch in his
claws, and a scroll flowing from his mouth with the
words HKAXTTY."
SYNTAX PLATE, tfrw*.
STAFFORDSHIRE WARES. 33
deep and rich, and they are very decorative. In FIG.
33 is shown " The Valentine." The precious missive
seems to have been snatched away from its owner,
and she is trying to get possession of it again. The
other views are similarly coarse in sentiment, but
they are certainly very ornamental on the wall and
a beautiful piece of colour.
Not content with catering to the popular taste with
these Syntax and Wilkie patterns, Clews made the
third set, scenes from the life of Don Quixote. The
border is less pleasing than in the other patterns, as it
is irregular points and flowers. The colour of the
pieces is good, however, and they command fair prices,
not as high as either of the other sets, a nine and three
quarters-inch plate of " Sancho Panza at the Boar
Hunt/' bringing eleven dollars at auction.
There are two variations which have recently come
to light in the Syntax plates, which present two of
those china puzzles that are constantly arising to con-
fuse the china collector. One of these puzzles is a
plate, 4< Doctor Syntax returned from his Tour/' in a
medium shade of blue with a raised border. The mark
of Clews is on the back, the stilt marks are all right,
and the piece is light in weight, as all this ware is, I
have also been informed by a china collector that he
has in his possession a Syntax plate with the oak leaf
and acorn border, which has always been ascribed to
R. Stevenson and Williams.
Then comes the series of English views, consisting
chiefly of castles, abbeys and cathedrals. About
twenty-five of these have come to hand, but all are not
yet identified. The borders vary, some being much
beautiful than others, One of them, enclosing
34 THE OLD CHINA BOOK.
such views as Fountains Abbey, Ripon, etc., is large
flowers, too large in fact for the space they occupy.
The series is called "Select Views/' and bears this
name on the back enclosed in a little wreath of leaves
tied with a ribbon, and below, on a ribbon scroll, the
name of the view. Bluebells and aster-like flowers
make up the border of a second set, and just here
another puzzle comes to the front. Although this
bluebell border is used by Clews on at least eight or
ten views of such famous places as Wells Cathedral,
and Dulwich Castle, it is as a border of Adams that
we know it best. Lumlcy Castle (Kid. 34) is an ex-
ample. Occasionally the pieces, in addition to the
frame with flowers which enclosed the name of the
view on the back, bear the name of Clews, but not
always.
There is another* border also used by Clews, com-
posed of trees meeting in foliage at the top and with
growing plants at the base. This is entirely sur-
rounded by scroll work, consisting of circles with n
little leaf in the middle. Adams and Clews both used
this border also, and it can only be explained by pre-
suming that Adams bought some of Clews' patterns
when the latter's works were closed. The exact dates,
that is within a year or two, when various potters be-
gan or stopped potting, are quite uncertain. The
authorities to be relied on are town histories and
chronicles, and these are not so accurate as one could
wish. In the American views we have come to de-
pend quite implicitly on the certainty with which we
can allot a certain border to a certain potter, o that
these vagaries on English views are quite confusing*
However, on these foliage border views the name of
Fig. 33. " THE VALENTINE.' 1 dews.
Fig. 34, LUMLEY CASTLE, DL T RHAM, Cttws.
STAFFORDSHIRE WARES. 35
Adams or Clews is always stamped, but while they
make that matter clear, they never mark the name of
the view, which can only be identified from engravings
or views on other china.
Clews* mark, like most of the others, is subject to
variations. One of them is circles, impressed with a
crown in the center, and " Clews Warranted Stafford-
shire," in a circle about it. The " Picturesque Views "
set had a mark of Its own, which, in addition to the
crown, and " Clews Warranted Staffordshire/' im-
pressed, was put on all the pieces. It is a little view
with trees and a lake with a small boat. It has
through it a bar with the name of the view. These
were probably some of the last work done at the Co-
bridge works by James Clews, before he closed them
in 1829 or 1830.
"Joseph Stubbs.
For a potter who did not make any great number
of pieces for the American market, the name of Joseph
Stubbs is held in unusually high estimation. Nor,
after you have become acquainted with his work, will
this seem strange. Every piece which bears his name,
and even those which bear only his well-known border,
are admirable pieces of work in every way colour,
design and finish. FlG. 35 and FlG. 36 are a platter
and a plate by this maker, who made table services
decorated with American designs. He owned the
Dale Hall works at Burslem, from about 1790 to 1829
or 1830. The series he sent to this country is deco-
rated with what is called the eagle and scroll border,
and is generally arranged on plates with three eagles
36 THE OLD CHINA BOOK.
at equal distances between flowers and scrolls, and on
platters with four eagles. FlG. 35 is always eagerly
sought. It is the Boston State House platter, and on
the left is John Hancock's house, and in the fore-
ground his cows, or so it is supposed. On this platter
there are but three eagles in the border, though it is a
sixteen-inch size, and there are no gravy wells.
The question of these same gravy wells is a much
mooted one among collectors. Many prefer their
pieces without these depressions, which are found on
many of the choicest platters. It is always to be re-
membered, however, that, originally, the platters with
wells were those which brought the highest price.
The Boston State House platter sold in Boston, in
1901, for fifty-five dollars.
This lovely old platter always furnishes so much
food for thought that it seems slighting it to pass it
by with a mere mention. It shows those delightfully
sylvan days when the Common was common, a pasture
for cows. John Hancock's were not the only ones
pastured there, and the practice was continued till so
late as 1830, when it was discontinued' owing to the
protests of indignant citizens who objected to being
" tossed and gored " while pursuing their peaceful way
across the public grounds. The story goes, that once
upon a time many guests descended upon Mr. Han-
cock, and the servants were put to it for supplies ; so
that several went out and milked all the cows on the
Common to provide, at least, enough milk.
It was also from this same house we see through
the trees that the china was thrown from the dining-
room window. Mr. Hancock was, in his later years,
a sufferer from gout, and during his attacks the clatter
Fig. 35. PLATTER-BOSTON STATE HOUSE AND COMMON. StMs.
Fig. 36. NAHANT, Stubte.
STAFFORDSHIRE WARES. 37
of china on the mahogany made him very angry
One day, finally, it irritated him so much that he
ordered his negro butler to throw it all out of the win-
dow and substitute pewter ; so the Lowestoft for-
tunately it was not " old blue" was thrown carefully
on the grass, so as not to damage it, and became loot
for the butler. Negroes are true lovers of china ; they
hoard it away, and are always loth to part with It. I
know of much which has come out of cabins within
the last few years, where it has lain since war times,
when it was given away, or was rescued from deserted
houses and safely stowed away.
The Nahant plate is interesting also, showing life at
the beach and a curious vehicle in the middle distance.
Was it that fashionable equipage known as the Italian
chaise ?
The mark was Stubbs, impressed, in capital let-
ters, and, sometimes, " Joseph Stubbs, Longport,"
in a circle around a star. Apparently he took into
partnership later a man named Kent, for the name
" Stubbs & Kent, Longport," is found on many pieces.
He made the milk-maid designs found on tea and
toilet sets, and I have seen parts of tea-sets with decor-
ations of flowers, the pieces of exactly the same shape
and size as the milk-maid pattern, and having the
same curious, raised ornament in place of handles.
Prime does not mention either Stubbs, or Stubbs &
Kent, neither does Chaffers, and it is strange that
more is known about many of these potters and their
products in this country than in their own homes. In
addition to the fifteen or twenty American patterns
by which we know Stubbs, he made some beautiful
English views.
CHAPTER III.
STAFFORDSHIRE WARES, CONTINUED.
MANY collectors who began to gather these beau-
tiful wares years ago have been able to weed out their
poor specimens, and to settle down, either on one par-
ticular colour, like old blue, or on the different coloured
printed wares, or some one class of specimens like tea-
pots, pitchers or cup-plates, which latter class is, per-
haps, the most difficult to collect, and certainly, in
proportion to the size of the objects, the most costly.
For my own part it seems as if the greater pleasure lay
in a certain catholicity of taste, that a corner cupboard
the most charming place to display old china is a
greater mine of wealth and enjoyment if a jug has for
a background a platter or plate, and if a rare old
pepper-pot stands contentedly beside a cup and
saucer.
If you " specialize/' as seems the tendency now-a-
days in everything, what a collection the china con-
nected with New York State alone makes, and if you
include the coloured printed ware, as well as old blue,
your collection will number considerably over one
hundred pieces. Plates and platters are comparative-
ly easy to obtain. If you have the "gift/' which
must be born with you, like the knack of spelling, or
good looks, china collecting will come easy, Pieces
will drop down before you, fairly " blow in," as one
collector has it, and you will gather treasures from
STAFFORDSHIRE WARES, Continued. 39
most unexpected places, and for small sums. That
the ways of the collector are devious every one knows.
The simon-pure collector has got rid of every rag of
conscience, and in return has his collection, a fair
exchange many of us think.
If you live in a small city or town you may add to
your stores by sitting down and letting it be known
that you buy old china. You will be surprised at the
result, for though good, bad and indifferent will be
presented to you, careful culling will give much that
is good. Odd and unpromising bundles often yield
rare and curious pieces. Not long since a collector
was heard to remark that a ragged newspaper bundle
made his heart beat and his wallet throb in his pocket.
He never knew what would be drawn forth. I saw
three plates recently, all by Clews, ten-inch, dark blue,
and perfect, one from the Syntax, one from the Wil-
kie, and one from the Don Quixote set, which came
in this unexpected way. A man, who showed that he
held close communion with the soil, appeared at the
front door with a negligently wrapped newspaper
parcel one summer morning. He announced that he
had come to *' dicker," and then ensued a most amus-
ing scene, he falling and the collector rising, till at
last they met, and the bargain was struck. One's
feelings are apt to get the better of one under such
circumstances. The seller would not tell how he
came in possession of the plates, the only statement
that could be extracted from him was a nonchalant
" Oh, I got them in our town." What the town lost
no doubt it never knew, what the collector gained he
feels tingling through his veins every time he regards
his plates.
40 THEOLDCHINABOOK.
Embarked on the hunt yourself, you never approach
your quarry with the direct question. " Have you
old china to sell ?" If you did your quest would be
in vain. After selecting your house, which will prob-
ably be well weather-beaten, with straggling lilac
bushes beside the door, and will perhaps boast a well-
sweep, you modestly knock, and when the door is
opened a crack, ask, " Does Mrs. Preston live here ? "
Of course you know she does not, and are not disap-
pointed in the reply, which you follow up by asking,
" Do you know where she does live ? " You are not
amazed that they do not, and then proceed to step
three in your pre-arranged schedule, and say, " I am
sorry, for I thought she might have some old china she
would part with/' Observe, you entirely eschew the
word " sell/* it is u part with/' No doubt the party
of the second part behind the door will, by this time,
have opened it a little wider, and if she has the truly
hospitable spirit of the country, will say, "Come
right in, perhaps I have got some/ 1 If she does not,
you must get along as well as you can by asking if
she knows of anybody in the neighbourhood who has.
When once inside the door the task is comparatively
easy, but every collector has his own little methods.
I know of one who has successfully worked a portion
of New Jersey, and who located many choice speci-
mens but could not get even within the houses which
contained them. He had in his employ a young man
of insignificant appearance, who had a "way with
him," who followed after the collector, at a decent
interval of a day or two, and gathered in easily and
at small prices the specimens which the collector him-
3el had not even been able to see.
Fiff. 37- CAPITOL AT WASHINGTON. KM
Fig:. 38. ALMS HOUSE, NEW YORK. AW^^
STAFFORDSHIRE WARES, Continued. 41
The true collector, who gathers his wares for the
pleasure of it, and who Is content to let his collection
grow by degrees, here a plate and there a platter,
now a pepper-pot and next month a pitcher, will
have each piece stand to him for joyful memories
and difficulties overborne. You may make mistakes,
but what of that ? Tuck the ware away when you have
found out your error ; you will know better next time.
6f IF* Ridgway.
Of course with the series of the well-known potters
one cannot make mistakes, and in following down the
Staffordshire potteries we come next to consider the
Ridgways, one of the best-known names, in America
anyway, in connection with the much-sought-after
"old blue,"
The pottery built at Hanley, Staffordshire, Eng-
land, in 1794, by Job Ridgway, the father of the
Ridgway brothers, produced much beautiful table
service and toilet sets as well, and a quantity of it
was sent to America. After some years the sons,
John and William, were admitted to partnership, and
the firm was known as Ridgway & Sons. Still later,
about 1814, after the death of Job Ridgway, the
father, the firm name became J. & W. Ridgway, and
it is through the work of the sons that we become
most familiar with the output of these potteries.
The chief contribution which J. & W. Ridgway
made to the dark blue American china was what was
known as the " Beauties of America " series. There
are twenty or more views on the various pieces which
42 THE OLD CHINA BOOK.
comprised the table services, and in FlG. 37 we give
the "Capitol at Washington/* FlG. 38 " Almshouse,
New York," and FlG. 39 " Boston Hospital" In
FlG, 40 is repeated the view shown in FlG. 37 the
" Capitol at Washington/' as it is the only drainer for
a fish plate that I have come across. The dish to
which it belongs has, long since, been broken, or at
least parted company, and it is a decorative piece,
even with the numerous holes that pierce it. The
border of this series of "American Beauties " is a con-
ventional rose with a few leaves set in medallions,
while around the central view is a small pointed edge
with dots. The colour is not so dark a blue as is seen
in many of Wood's pieces, is clearer and more shaded,
giving in this way a greater variety to each design.
In fact some of Wood's ware, for instance some of the
French views, are so dark that it is hard to distinguish
the pattern, showing that in many cases the designs
were used after they had become too worn to do good
work.
As is usual with this early china, the " beauties "
were chiefly alms and court houses, insane asylums
and churches, but the workmanship is so fine, the
colour so rich, and the medallion border so pleasing,
that every specimen of this china is truly a beauty,
and worth getting for its decorative value, if for
no other reason. The " Octagon Church, Boston "
(FlG. 41), is a notably handsome plate. It is really
the " New South Church/' and came to be called " Oc-
tagon " from the shape of the body of the building,
which was eight-sided. The original church was dedi-
cated in January, 1717. The pulpit was filled at first
by can4idate$ who were paid the moderate sum of
Fig, 39. BOSTON HOSPITAL. KMsway.
Fig. 40. FISH PLATTER SHOWING THE CAPITOL AT WASHINGTON.
STAFFORDSHIRE WARES, Continued. 43
twenty shillings per sermon. The picture on the
china is not of the old church, but as it appeared
when rebuilt in 1814. The church was beautifully
situated at the corner of Bedford and Summer streets.
The octagonal body was built in a square of seventy-
six feet diameter, and the steeple, " sky scrapers "
being unknown then, was deemed very lofty. This
church was demolished in 1868, to give way to busi-
ness buildings, and our "American Beauty" gains
new value as showing a New England landmark now
swept away. The quaint vehicle, a travelling chaise
no doubt, with post-boy, is as curious to our eyes as
the famous " one hoss shay," and we can hardly
imagine a modish Boston belle, with her sprigged
India muslin and Leghorn bonnet with ostrich plumes,
getting about in such a conveyance.
From 1814 to 1830, the brothers Ridgway worked
together ; but at the latter date they separated, John,
the elder, carrying on the works at Cauldon Place,
built by his father in 1802, while William established
half a dozen works in Staffordshire, and turned out
much ware for the American market. Indeed so
highly did he think of this country as a market for his
goods that he placed them on sale in several cities,
and came to this country with a view to establishing
a pottery here. A site was selected in Kentucky, but
the plans got little further, and William Ridgway
returned to England.
After the separation of the brothers the making of
the " Beauties of America" series was stopped. John
Ridgway made several patterns for the Harrison cam-
paign of 1840, of variations of the Log Cabin, which
were printed in black, brown, red and pale blue. The
44 THE OLD CHINA BOOK.
border was large stars, the space between them being
filled with scattered stars of a much smaller size.
Flatware, teapots and pitchers are found with these
designs. The marks found on Ridgway's " Beauties of
America " series are all in blue. First come the words
" Beauties of America," below that the name of the
particular view, and below that " J. & W. Ridgway."
William Ridgway made about fifteen patterns from
American views, but they are printed in other colours
than dark blue. There is a small series of views,
printed in light blue, marked "Catskill Moss/' and
" C C," which have only recently been identified as
being originated by William Ridgway. The borders
are irregular scales overlapped by sprays of moss.
The most interesting view in the series there are but
six or seven so far identified is a well-wooded scene
with a railroad showing one of the very early engines,
more of an English than an American type. How-
ever, the first locomotive used in this country was of
English make, and was called the " Stourbridge Lion/'
The cars are of the stage-coach pattern, but the view
is plainly marked "Albany and Schenectady R. R."
This road, sixteen miles long, was opened in 1830, and
for the first year the cars were drawn by horses, so the
view was probably made a year or two later.
In fact, the foundations on which the name of Ridg-
way must rest are the " Beauties of America " series
and their English views, and they are broad enough to
stand for many a long year yet.
John Ridgway made one dark blue design of the
Capitol at Washington which is still made by his suc-
cessors. There are also to be found pitchers of white
ware, called the " Apostle " and " Tournament " pitch-
Fig. 41. OCTAGON CHURCH, BOSTON,
>Wv^,,,,':'' ; *,,^-?te*|pi
Fig. 42.
LAFAYETTE
LANDING.
Clews.
MT. VERNON.
Ridgtuay.
BATTERY AND CASTLE
GARDEN.
Wood.
STAFFORDSHIRE WARES, Continued. 45
ers. They are interesting and I know of one particu-
larly fine specimen with a cover, also of the ware.
These Apostle jugs are very quaint in their arrange-
ment. They are octagonal in shape, which, of course,
gives room for only eight apostles. The other four are
accommodated as follows : one forms the handle, one is
below the lip, and one within and one on the outside
of the lip. Those in the niches are full length, digni-
fied figures; the last four are rather crowded. In FlG.
42 is shown one other " Beauties of America" piece, a
preserve dish giving a view of Mt. Vernon. On
either side are grouped cup-plates, on the left a
" Landing of Lafayette/' and on the right " Castle
Garden," the latter by Wood, the former by Clews.
They are three and a half inches across the face, and
both are remarkably clear impressions of the views
shown. f
As we have said before, the collecting of cup-plates
is remarkably difficult, yet in South Framingham,
Massachusetts, there is a single collection numbering
over four hundred of these tiny pieces. That the
practice which we condemn as reprehensible to-day was
in good repute among our ancestors, these cup-plates
abundantly testify. Great-grandmama could not bear
to have her linen stained, or her mahogany marred
by the rims of teacups ; so when the fragrant Bohea
I doubt if they had Orange Pekoe in those days was
poured into the saucer to cool, the cup was neatly
placed in the little plate provided for it.
All the pieces of the historic sets seem to survive
except these plates. The only " Beauties of America "
cup-plate I have heard of is in this Massachusetts col-
lection, and has on it a picture of the Baltimore
46 THE OLD CHINA BOOK.
Exchange. Side by side with this choice piece are a
" Stoughton Church/' Philadelphia, with the acorn bol-
der, a " Mendenhall Ferry/ 3 " Savannah Bank/' and the
" Pittsfield Elm.'* " Mendenhall Ferry " is unusual on
a cup-plate, yet two five and one-half inch plates with
this view have come to light recently in a negro cabin.
The " Savannah Bank " is* more unusual still. There
are also examples of the Syntax, Wilkie and Don
Quixote designs.
A year or two ago I wrote that " historic cup-plates
were worth their weight in gold/' and some of my
correspondents took exception to my statement.
Within a few weeks I have heard of two four-inch
Lovejoy cup-plates which have come upon the mar-
ket, and give the respective prices they brought. The
first was sold at public auction in New York City,
and brought twenty-three dollars. The second was
" traded " by a collector, with two dollars and fifty
cents added, for the four following pieces ; one nine-
inch, dark-blue Wilkie plate " The Valentine," in
proof condition, by Clews ; one ten-inch, pink " Cat-
skill Mt. House, U. S./' by Adams, proof; one seven
and one-half-inch, dark-blue, "Southampton, Hamp-
shire/ 1 proof; one ten-inch brown, Picturesque Views
plate, " Troy from Mt. Ida." It seems as if my esti-
mate had hardly been high enough.
The Ridgways to pass on from American pieces
like all other potters of their time made many Eng-
lish views. These are all distinguished, like the other
pieces from their potteries, by fine colour and good de-
signs. The borders are unusual, flowers alternating
with quaint medallions of children and goats. The
central view is almost invariably set in an eight-sided
g, 43- ALL SOULS' COLLEGE AND ST. MARY'S CHURCH, OXFORD. Ridgway
Fig. 44 . BATTERY AND CASTLE GARDEN, NEW YORK. R. Stevenson.
STAFFORDSHIRE WARES, Continued. 47
panel, but the views are all made from careful sketches
and are handsome In colour and design (FlG. 43). It is
quite noticeable that the English views are much
better than the American ones, probably from the
better class of drawings they had to work from. Mr.
Prime mentions in his valuable work on " Pottery and
Porcelain" that they sometimes used the same view
under different names. He says that he has the " State
House at Boston" on one plate and the "City Hall,
New York/' on another, both views being of the latter
building. The Ridgways also started a series with a
very elaborate border of twisted scrolls which they
called the " Zoological Gardens." Two designs have
come to light so far: the bird cages and bear cages.
They are printed in various colours and were proba-
bly of late production.
Ralph Stevenson.
In studying and gathering this Staffordshire ware,
although it is all lovely and you cannot afford to miss
a piecethat you can possibly make your own, yet
it is impossible to prevent preferences for particular
makers, either from the colour, consistency of paste, or
manner of printing their ware. Everybody strives
after Ralph Stevenson's designs. There are identified,
so far, about twenty-one or twenty-two, and when you
secure one it is generally put in a commanding posi-
tion in your collection (FlG. 44). All the designs with
the vine-leaf border, which are so ornamental, are
eagerly sought and bring high prices, and you may
find these same central views with a raised border in
4& THE OLD CHINA BOOK.
white. One collector has written that he has a Syntax
plate with the acorn and oak leaf border, which is quite
as well known as the vine leaf. Perhaps it is the air of
mystery that surrounds all that is known of this potter
and his work, either when he potted alone or in com-
pany with Williams, which makes his pieces so desir-
able. No date can be given, with any degree of ac-
curacy, as to just when this firm worked, or whether
it was before or after the partnership that Stevenson
alone put forth his handsome pieces. It is curious
that in less than one hundred years the history of this
man and his pottery should be completely lost. His
works were at Cobridge in Staffordshire, and no doubt
he potted at the same time that the other Staffordshire
works were sending their wares here.
Carlyle says : " From a small window one may see
the infinite." We would paraphrase it to read : " On a
small plate one may read the history of a nation/' In
FIG. 45 is given a view of the Battle of Bunker Hill,
that event in our history which has made a hundred
thousand men to fight more bravely, and caused the
arrogance of other nations to meet with an unexpected
check. It is a lovely old tray, part of a fruit dish ; for
there was, no doubt, a basket to stand it in when it
was first sent over. The round spots in the border
are holes which pierce it, a very curious style of orna-
mentation. As we see it on the china the battle
seems almost a toy affair, the proverbial " thin red
line" broken by two little prancing horses in the cen-
ter. But in reality the very lite of the British army
were in this action, Percy's Northumbrians, the Royal
Irish, the Fourth Corps, or the Kings Own, and the
Royal Welsh Fusileers, bearing on their colours the
Fig-. 45. BATTLE OF BLINKER HILL. K. Stevenson.
Fig, 46, LAWRENCE MANSION, BOSTON, Stevenson*
STAFFORDSHIRE WARES, Continued. 49
badges of Edward the Black Prince, consisting of a
rising sun, red dragon and plumed hat, and the motto
Ich dien."
In the fulfilment of an ancient and honourable cus-
tom these Welsh Fusileers were preceded in review by
a goat with gilded horns and adorned with garlands of
flowers. Every first of March, on the anniversary of
their tutelary saint, David, the officers of the Fusileers
gave a splendid entertainment to all their Welsh
brethren. After the removal of the cloth, a bumper
was filled to his Royal Highness, the Prince of Wales,
whose health was always the first toast on that day.
The goat, gilded and loaded with flowers, was brought
in, a pretty little drummer-boy mounted on his back,
and the drum major was to lead him three times
around the top of the table. But on March first, 1775,
at Boston, the goat had other views, and giving a
vicious spring, threw off the drummer-boy, leaped
over the officers* heads, and ran back to the barracks,
to the unconcealed joy of such of the Americans as
had gathered to see the festivities.
Opposed to all the trained soldiers of old England
were our twelve companies, each mustering fifty-six
effective rank and file. They were largely composed
of " raw lads and old men, half armed, with no prac-
tice or discipline, commanded without order, and God
knows by whom." Who can look on the quaint old
plate without a quicker beating pulse, and what is the
intrinsic value compared to the lesson of patriotism it
teaches us all ? The English potter was not sensitive
when he made us this design, and in any form it is a
welcome addition and an ornament to a collection.
In FIG. 46 is given another New England view. It
50 THE OLD CHINA BOOK.
has the well-known vine-leaf border, and is as beauti-
fully coloured and printed as was all the output of
these works. It is the Lawrence Mansion, Boston,
situated on Park street, a very elegant residence which
saw much hospitality. It would hardly be guessed
that the illustration shows a wash bowl the pitcher,
alas, did not survive which measures twelve inches
across, the usual size of these articles in the early part
of the nineteenth century. However, we read in Col-
onial records that our ancestors' habits were not as
primitive as might be inferred from the size of this
bowl. The whole family was " rounded up " Saturday
night for the weekly scrubbing, down to the unwilling
pickaninnies, who took their turn in the great tubs of
wood bound with brass, which stood before the kitchen
fire. This process was superintended by mammy, the
cook. This custom prevailed not only in the South
but in New England as well, and is mentioned in
Smith's " Colonial Days and Ways," a delightful
record of a dozen generations of sterling Connecticut
stock.
In FIG. 47 is presented a platter, beautiful in colour
and pleasing in design, which has been a subject of
much discussion among collectors. For years it has
been known as the Lawrence Mansion, but it has
at last been decided that it is not an American view
at all. Prominent collectors who have it, still keep
it in their collections, and hope sometime that it
will be identified. We give it in order that the two
pieces may be easily compared. The view shown in
FlG. 48 is a pretty rendering of the Capitol at Wash-
ington with which the other potters have made us
familiar.
Fig. 47 . SO-CALLED LAWREXCE MANSION,
Fig. 48. CAPITOL AT WASHINGTON. R. Stevenson.
STAFFORDSHIRE WARES, Continued. 51
The designs made by Ralph Stevenson & Williams
are quite as choice and interesting as those bearing
the imprint of Ralph Stevenson alone. The borders
are acorn and oak leaf, a pretty and artistic pattern
covering the edge of the plate, and separated from the
central design by a small beading. All the central
views are good and generally of interest, almshouses
being rather conspicuous by their absence.
In FIG. 49 is shown one of those early landmarks of
old New York that invite one to tarry awhile and
study it. It is the City Hotel, New York, which once
filled the entire front of the block on Broadway, be-
tween Thomas and Cedar streets. The building itself
was plain enough, architecturally, as one may see, but
it was comfortable without and within, and very well
furnished. The dining-room was large and famed for
its neatness, and it accommodated many guests and
numerous waiters. There was a second dining-room
devoted to ladies, and this was used, as occasion
demanded, for lectures, a favourite form of entertain-
ment, and more rarely for concerts. The proprietors
were two old bachelors, Jennings and Willard, famed
far and wide for their jovial manners and attention to
business. They performed all the duties incident to
their business, that haughty creation of modern times,
the hotel clerk, being then unknown. Jennings did
all the purchasing of supplies, while Willard presided
over the inside of the hotel ; and both men had that
happy faculty of remembering both names and faces
that is such a necessary factor in successful hotel-keep-
ing. Trinity Church steeple is visible in the distance,
and the woodpile in the foreground tells a tale of
leisure that is completely jarred out of mind by the
52 THE OLD CHINA BOOK.
ceaseless clang of the trolley which usurps its place to-
day.
Buckhora Tavern stood at Broadway and Twenty-
second street, and was another famous inn at about
the same time; but It was very much out of town,
quite a day's drive from the City Hotel.
Scudder's American Museum, which Is shown In
FlG. 50, was where P. T. Barnum first started as a show-
man and laid the foundation for the fortune he sub-
sequently made.
Quite as interesting as the old buildings which have
long since given way to many-storied business struc-
tures are the pictures of colleges which Stevenson
made. They are found on plates and platters and are
eagerly snapped up at high prices. I know of one
Harvard College plate, the one shown In FlG. 51,
which travelled for some years between town and
country as the cover for a butter-pot. The farmer's
wife brought it Into the house one day, instead of
removing it beforehand as usual, and thought that
she had been more than well paid when she took
two dollars for It. It is a ten-Inch, dark-blue plate,
in perfect condition, and Is quoted now at fifty dol-
lars. It shows Hollis Hall, built 1763, Harvard Hall,
1766, Holworthy and Stoughton. There is another
view on smaller plates, showing University Hall. It
has in the foreground a figure on horseback. Six-
inch plates (all these have the acorn border) show a
third view by Stevenson, also of University Hall.
So far as is known he made no views of Yale Col-
lege, which is odd, as after Harvard it was the oldest
college. In fact there are no views of it by any
maker in dark blue, but Columbia is shown in three
views by Stevenson.
Fig-. 49. CITY HOTEL, NEW YORK. 7?, S. &*
Fig. 5 o. SCUDDER'S AMERICAN MUSEUM, NEW YORK. R. S.
STAFFORDSHIRE WARES, Continued, 53
FIG. 52 shows a seven and one-half inch dark-blue
plate, with acorn border by Stevenson, showing Col-
umbia College as it was after 1820, when a belfry and
two wings were added. Starting out in 1756 as King's
College, after the Revolution the name was changed
to Columbia. The college buildings stood in a twenty-
acre tract presented by the legislature, between Fifth
and Sixth avenues and Forty-seventh and Forty-ninth
streets. One of the views has the vine-leaf border,
and is marked R. S. FlG. 52 is marked R. S. W., and
the third view, with flowers and scrolls on the border,
is marked A. Stevenson.
There has always been such a feeling of uncertainty
in the minds of the more conservative collectors as to
whether " R. S. W." really stood for R. Stevenson &
Williams, for it might belong to Ridgway, Son &
Wear, that the discovery by a well-known collector of
Pennsylvania of two Stoughton Church cup-plates
with the usual blue stamp, the R. S. W. mark, and also
the impressed mark Stevenson, is welcome assurance.
It has been known for some time that medallion plates,
with portraits of Lafayette and Washington, are In
existence, which bear in full the name of R. Stevenson
& Williams. But then again these have other borders
than the vine leaf or acorn.
There are portraits also by Stevenson which will be
spoken of in the chapter devoted to those designs.
There are also two designs in other colours than blue,
signed " R. S.," having a lace border with six bunches
of flowers, and enclosing as central view Erie Canal at
Buffalo, showing packet boat, the second view being of
the city of New Orleans.
Of course Stevenson made " English Views," and,
54 THE OLD CHINA BOOK.
as might be expected, they are as admirable as the
work with American designs. The oak leaf and acorn
decorate one series, the lace border, which we have
just mentioned in connection with two American
scenes, surrounds a fine view of Eaton Hall. Fonthill
Abbey, with a graceful foliage border, is plainly marked
on the scroll on the back, R. S." and " Panoramic
Scenery." The name of the view is not given, but the
same building is shown on pieces by other makers
which are stamped, and is in this way easily identified.
He probably began a series of views of the English
lake scenery, for one such view is found with a very
ornate flower and scroll border. It is marked " British
Lakes, R. S. & S.," and is identified as Lake Win-
dermere. The design of Harewood House is very
handsome, the view being well composed and decora-
tive, and, as is so invariable with this potter, the colour
is very fine (FlG. 53).
E. J. Phillips & Co.
This firm, like so many others whose work we seek
and cherish, has its history wrapped in obscurity. It
has been ascertained that they had potteries at Long-
port, Staffordshire, at least as late as 1830, and two
pieces are in evidence as coming from their works.
The first and most interesting to us is a cup and saucer
(FlG. 54), showing Franklin's tomb. The name of
Franklin is on the urn which surmounts the tomb.
This design was a favourite one with potters. The
Woods made three tomb designs, and there has always
been much discussion as to the figures standing in
51. HARVARD COLLEGE. J?. S. &*
Fig-. 52. COLUMBIA COLLEGE. 7?. ,7. fir-
STAFFORDSHIRE WARES, Continued. 55
contemplation near them. One collector by years of
patience has got together six cups and saucers, all with
tomb designs, five of them by Wood and the sixth
being the rare one by Phillips, given in FlG. 54.
Next to cup-plates, cups and saucers seem to be the
most difficult pieces to come across, though why, as
they are large and stout, one can hardly say. They
do not boast any handles, and were fashioned to hold
a generous measure of the infusion. Robert Morris
had one of the finest houses In Philadelphia filled with
beautiful furniture and luxuries of every description.
The Prince de Broglie visited Philadelphia some few
years after the Revolution and called upon Mrs.
Morris. He says, writing of the visit, " I got some ex-
cellent tea, and I think I should be drinking It yet if
the Ambassador had not charitably warned me when
I had taken the twelfth cup, that I must put my spoon
across my cup whenever I wanted this species of tor-
ture by hot water to stop, since, said he to me r ' it is
almost as bad manners to refuse a cup of tea when it
is offered to you, as it would be indiscreet for the mis-
tress of the house to offer you more when the cere-
mony of the spoon has shown what your wishes are in
the matter/ " If Mrs. Morris's cups approximated
the size of this one we do not wonder the Prince called
it " torture by hot water." Probably, though, her
cups were porcelain ones and these large ones came
in when tea was a less expensive beverage.
Washington and Franklin both liked blue china for
every-day use, and the father of his country, plain
citizen though he called himself, liked his household
appointments abundant and suitable. His " every-day
use " was blue and white Canton, and there is a letter by
5 6 THEOLDCHINABOOK.
him ordering a set : " Not less than six or eight dozen,
however, and proportionable number of deep and
other plates, butter-boats, dishes and tureens will suf-
fice."
Franklin liked blue and white also, and among some
barrelfuls which he sent over to his wife, was a certain
little squat blue and white pitcher, which he particu-
larly commended to his wife's notice, for he says, " I
bought it because it reminded me of you know who ! "
No doubt this preference for blue and white was
largely Instrumental in influencing the English potters
to use the colour blue when they were starting to
make their wares attractive to our market.
In the Phillips tomb scene the figure of the man has
on long trousers. In one of Wood's designs the figure
wears small clothes, is standing by the tomb, and
carries in his hand a scroll. For years this has been
known as " Lafayette at Franklin's Tomb," and the
reason why collectors have decided that it is Washing-
ton. is curious. When Lafayette visited this country
in 1824 he was sixty-seven years old. Knee breeches
had begun to be discarded shortly after eighteen hun-
dred by young men, but were retained by some of
their elders till 'as late as 1820, or thereabouts. Trous-
ers had become an established fashion by 1824, and
it was unusual to see small clothes except on the
limbs of some conservative member of the old regime.
Top boots with the yellow lining falling over, and
cordovans or half boots, made of elastic leather and
fitting itself to the shape of the leg, also belonged to
this time.
To the mind's eye the vision of Lafayette is always
that gf an heroic figure, with a queue, brocade coat, silk
Fig-. 53. HAREWOOD HOUSE, ENGLAND. X. S & W.
Fig. 54. CUP AND SAUCER SHOWING FRANKLIN'S TOMB. Phillips.
STAFFORDSHIRE WARES, Continued. 57
stockings, and with a sword by his side, as he, no doubt,
was when, at twenty, he came to prop our feeble
fortunes. But these pieces were made after his visit
in 1824, when he was comparatively an old man,
weakened by years of exile and imprisonment and by
cares of state in his own perturbed country. He wore
the prevailing trousers, a coat with skirts, his own
hair, and no sword. It is the running down of these
small details which has resulted in settling the design
to be some other figure than Lafayette's, presumably
Washington's or Jefferson's, though the lace ruffles on
the shirt front are hardly consistent with what we are
instructed to regard as Jeffersonian simplicity.
The second piece, marked with the firm name of
E. J. Phillips &Co., is an English view of Eton College,
with a very ornate border of flowers and scrolls. It
comes on the tiny toilet sets we have mentioned, and
is a handsome building with many little pointed tur-
rets. This college was founded by Henry VI in 1440,
very near to Windsor, and the habit worn by the boys,
the short coat and beaver, makes them almost as
marked figures in the streets of London as the Blue-
coat Boys, with their indigo robes and bare heads.
No English works on pottery make any mention of
Phillips, and it would seem as if the time had come
for a comprehensive and well-written work on the
pottery and porcelain of Great Britain. Amid the
number of voluminous works so far issued there is no
mention of the vast quantity of semi-china or pottery
made for this market, or even of the numerous and
elaborate sets of English views, with which we are
becoming more familiar. There are pieces of this
ware to be found bearing the words " British
58 THEOLDCHINABOOK.
Flowers ** on the back, the words being surrounded by
a pretty floral wreath. There are also the impressed
Initials " E. & G. P.," which seem to stand for E. & G.
Phillips plainly enough. The designs on the face of
the china are graceful bunches of fruits and flowers,
distinguished by the same careful printing and true
blue which we notice on the other Phillips designs.
These pictures are, of course, of trifling value, as are
all pieces with merely floral embellishment, and such
designs as were Issued by the Halls. These series
are named respectively " Oriental/* " Italian," and
" Indian " scenery, and are marked with the firm name
of I. Hall & Sons, the scenes on the front being indica-
tive of the countries represented. On the Indian
views elephants and pagodas abound, and the oriental
views are equally striking. These latter views were
taken from " Travels in Mesopotamia/* printed about
1828. (See list of English Views.)
There are thousands of pieces of Staffordshire ware
in this country, literally of no value except as family
heirlooms, printed in all colours and diversified by
fancy titles, such as "Ivy," "Myrtle," etc. Even
Wedgwood made a little fine pattern which he called
" Jassamine/' and which I have found in a whole tea-
set. It Is clearly and beautifully printed in brown,
the pattern fulfilling the laws of design, and even to
the lettering on the back showing that attention to
detail for which this potter was remarkable. These
latter pieces are not useful even for decoration, and
would better occupy a back shelf in a pantry closet.
From about 1830 to 1850, a potter named Clementson
had the Sydenham potteries. He made "iron-stone* 1
and signed It " Sydenham, J. Clementson/* The colour
STAFFORDSHIRE WARES, Continued. 59
was often a pale blue ; the subjects are what our
grandmothers would have called in " classical style/*
and they have little beauty and small merit.
Riley is another name which the china hunter often
runs across, and comes to connect with a splendid
shade of blue, decorated with fruits and flowers.
Many eighteen-inch platters have come to my notice
signed by this firm, " J. & R. Riley/' all of which make
a fine spot of colour, but lack the historic interest
which we are apt to demand. They made the univer-
sal willow-pattern In their ware, and at least contrive
to give it an artistic touch and some approach to
grace. The name Riley is impressed, or the lettering
Is " Riley semi-china." (See list of English Views.)
This " willow.pattern," which most china collectors
devoutly wish had never been invented, was first
Introduced on English wares at the Caughley Pottery,
which became known as the Salopian works. It was
first put on porcelain ware about 1780, and became so
popular that it was freely copied at almost all other
works and was put on stone-ware, pottery and por-
celain indiscriminately. That all people do not feel
an antipathy to the willow-pattern is shown from a
letter which lies before me. In it a gentleman tells
me that he has a country place called " The Willows/'
and In it are three thousand pieces of willow-pattern
china, some of which, in peculiar shapes, he had made
in England ! Besides all these reproductions he had
carpets made In the same design, " wall-papers, bed-
spreads, furniture covering, and draperies, in cotton,
silk and linen/' Surely there may be too much of a
good thing.
Why the really handsome " blue dragon " pattern
60 THE OLD CHINA BOOK.
did not suceed In winning popularity and the willow
did, will forever remain a mystery to the china col-
lector. Pieces of this dragon pattern may be found
occasionally tucked away In dusty " butteries/' and it
may have an edge showing traces of having been
richly gilded. The specimens are not always marked,
but the letter " S " in blue under glaze, sometimes
having a small cross in addition, a butterfly, or a pair
of crossed swords, like the familiar Dresden mark,
were all used at Caughley. Such pieces are desirable
and should be secured if possible. The oblong plat-
ters with circular centers are worthy a place in any
collection.
Fig. 55. RHODE ISLAND. T. Mayer.
Fig. 56. PENNSYLVANIA. T. Mayer.
CHAPTER IV.
STAFFORDSHIRE WARES, CONTINUED.
ABOUT the year 1829 the Dale Hall works at
Burslem again changed hands. They were bought
from Joseph Stubbs by the Mayer brothers, who be-
came successful potters. Just at what time Thomas
made his ornamental set of the Arms of the States is
not known, but they are merely marked with the
name T. Mayer. His mark is very conspicuous, and
is found on the plates and platters on which these
seals are usually found. There is an impressed mark
of " T. Mayer, Warranted/* and " Stone Staffordshire,"
with an eagle. In addition there is also an impressed
eagle in blue, with a ribbon in his mouth, with the
well-known words " E Pluribus Unum " on it. He
bears a branch in one talon, and bolts in another, and
has, as a background, thirteen stars. The border is
alike on all the pieces, vine leaves and trumpet flowers.
The marginal borders are overlapping scales broken
at equal distances by wheels. Inside there is a lace-
like border surrounding the arms themselves. These
are by no means easy pieces to find. Pennsylvania
(shown in FIG 56), is taken from an eighteen-inch
platter, which is valued at over one hundred dollars.
At a recent sale in New York City only two were
offered, both badly cracked, one an eight-and-three-
quarters-ijich plate and one a ten-inch plate, and yet
62 THE OLD CHINA BOOK.
each brought In the neighbourhood of fifteen dollars.
A perfect plate, with the Rhode Island Arms, eight
and three quarters inches in size, cannot be had for
less than twenty-five dollars. Just why these Arms
should command more than the New York Seal it is
hard to say. Perhaps less were made. At any rate
the fact remains that it is so.
Recently an artist wrote to ask if the New York
Arms had any value. He was gratified to be assured
that it was worth a round sum. In the early days of
" rummage sales/* three or four years ago, there were
great opportunities to pick up old china, which had
lain neglected scores of years, and which house-
keepers were glad to clear out. It was in such cir-
cumstances that the Queen's ware pitcher (shown in
FIG. 3), was secured for six cents. But these Arms
plates and platters, when one does find them, are
usually in very fine condition, not scratched or greased.
Perhaps it was their unfamiliar look which saved them,
as a feeling of reverence seems to have saved the
scriptural pieces.
In FiG. 58 is shown Delaware, one of the hand-
somest of the series, though that of South Carolina,
with its palmetto tree, comes next to Pennsylvania,
which is undoubtedly the most ornamental and best
coloured of them all. The whole thirteen would be a
noble decoration for a hall or dining-room and an
interesting study as well, for some changes have been
made from the original designs. For instance in the
Arms of New York the figures now stand beside the
shield instead of being seated. Delaware preserves
hers quite as it was originally. Rhode Island still
uses an anchor and the word Hope, but in different
Fig". 57. NEW YORK. T. Mayer.
Fig, 58. DELAWARE. T. Mayer
STAFFORDSHIRE WARES, Continued. 63
arrangement, while South Carolina lias abandoned
her characteristic tree and uses two ovals In a circle,
less agreeable in every way.
I made an interesting discovery the other day in
looking over some sugar bowls and teapots of old
blue, all decorated with the tomb design. One
had the design showing Washington's Tomb (so
marked). The design was exactly like the one on
Wood's pieces; but the border, which was somewhat
indistinct, was of other flowers than those which Wood
uses. But the seated figure, the setting sun, the
temple in the distance were identical. Yet the
piece was plainly marked with the impressed stamp
" T. Mayer, Stone, Staffordshire, Warranted, 57 all in
the familiar circle with eagle in the center. Of course
Mayer did not make sugar bowls alone. There must
have been other pieces to go with the sugar bowls, and
the former may very easily have been overlooked, or
classed as belonging to other makers, as the sugar bowl
is usually the only piece marked in these tea sets.
All these years Mayer has been credited with making
the Arms only, and now the tomb piece has appeared,
and there may be other patterns yet awaiting identi-
fication (FlG. 59).
Lowell says, "I stand by the old thought, the old
thing, the old place and the old friend." We do not
give anything time to grow old, to get that dignity
which a hundred years bestows. We are too anxious
to renew, rebuild, pull down and put up something
larger. I think that one of the reasons why this old
china is so eagerly sought is because it stands for a
measure of antiquity ; it has the hall mark of age, and
we love to have it to sober down our newness of
Q THE OLD CHIN A BOOK.
yesterday. There are some people who are harbouring
these angels unawares, I have a letter from one
enthusiast in the West, who discovered that she had
in the attic a perfect vegetable dish of the " Landing- of
Lafayette." She says, "I read your description
carefully, and then flew up to the attic and got down
that old blue dish which had lain there ever since I
could remember. When it was dusted and I saw the
pattern and lettering, a weird, holy, sentimental thrill
crept down my spine, and I had to write and let you
know I had it: 9
William Adams & Sons.
The Adams family, first the father, William, then the
two sons whom he associated with himself, had potter-
ies In seven different places. The original works were
at Stoke, were opened early t in 1800, and were operated
until the sons were taken Into business, about 1830.
Some years later works were built at Tunstall and
Greenfield, where much printed ware was made, the
old blue being superseded by other colours.
The only American design in dark blue which the
elder Adams produced was a picture of the old china
warehouse of Mitchell and Freeman, which stood on
the corner of Chatham street, Boston (FlG. 60). It
has the handsome foliage border with which we are
familiar on the English views, with the ever-present
pine tree on the left side, to distinguish It from the
Fig. 5 ..j. WASHINGTON'S TOMB. T. Mayer.
Fig. 60. CHINA WAREHOUSE,
BOSTON. Adams.
Fig.6i. COLUMBUS AND
INDIANS. JrtW,
STAFFORDSHIRE WARES, Continued. 65
foliage borders by the other makers. On some of the
small-sized plates this tree is omitted. When the
firm removed to Tunstail they made a number of
American designs, all of them interesting from the
careful manner in which they were printed and from
their choice and artistic borders.
The Columbus series consists of eight views of
highly imaginary scenes In the adventures of Colum-
bus after landing on our shores. FlG. 61 gives one of
them from a private collection in New Jersey. The
borders are irregular medallions, with different ani-
mals, and in the spaces between are pretty bunches of
roses. These views are printed in red, mulberry, black,
etc., and while not held at high prices a perfect ten-
inch plate brings about five dollars, are both orna-
mental and interesting. Adams had a predilection for
medallion borders, for there is a single view of New
York City, most humourous in design, with three large
medallions of a sailor boy and a ship, filling almost
the whole border.
Another series, with roses and scroll-work border,
has ten or fifteen designs, printed in red, black, etc.,
of such scenes as Conway, N. H., Harper's Ferry, etc.
As in the other series all the designs are very pictorial
and pleasing, the printing is good and clear, and the
shape of the plate pretty.
But our chief interest in Adams's ware lies in the no-
tably fine English views, of which they issued such a
number, presumably before the sets dealing with Amer-
ican subjects, as the use of different colours for printing
succeeded the use of the dark blue. In the foliage
series which was mentioned before, is shown a splen-
did fifteen-inch platter, with the picture of St.
66 JHE OLD CHINA BOOK.
George's chapel, Regent Street, London, on It (FlG.
62). The mark on the back is a printed blue eagle
with extended wings, and grasping a twig in one claw,
and four arrows or darts In the other. Below him is
a ribbon festooned, and on it is printed the name of
the view. There are many views in Regent's Park,
London, almost as many as in the Wood's series. In
the series with the border of bluebells and other
flowers, which has been used by Clews as well as
Adams (see FIG. 34), the stamp, with the name of
the view in a scroll, with flowers, is identical with the
mark used by Clews, except that Adams's name
appears also. There are eighteen or twenty of these
views already identified, and Branxholm Castle, Rox-
burghshire, one of them, is shown in FlG. 63.
It Is so unusual to find any mention of the Stafford-
shire potters in English works, that the scrap of
information contained in Downman's " English Pot-
tery and Porcelain " is welcome. It says that William
Adams was Wedgwood's favourite pupil, and that he
was initiated Into all the mysteries of Etruria. That
it was his experiments which led to improvements in
the blue jasper body by adding gold filings to its
chief ingredient, the sulphate of baryta. "After
Josiah's death Adams settled at Tunstall and pro-
duced many fine specimens of ornamental jasper and
basalt ware." It goes on to say, what has already
been mentioned, that most of Adams's manufacture
was marked with his name, impressed, or " by a peculiar
border ornament of interlaced circles." Of course
there is no mention of either the American or Eng-
lish printed blue ware.
Fig. 6a. ST. GEORGE'S CHAPEL, REGENT STREET, LONDON.
Fig, 63. BRANXHOLM CASTLE,
A daws.
Fig. 64. JOHN HANCOCK HOUSE,
Jackson.
STAFFORDSHIRE WARES, Continued. 67
. elf y. Jackson.
The firm of J. & J. Jackson, which occupied a
position of Importance among the minor Staffordshire
potters, made many designs particularly for our mar-
ket, in various shades of red, mulberry and brown, and
also in light blue and black. They had works at Bur-
slem, England, and, as they made no dark blue ware,
It is probable that they came on the scene rather late.
No record Is found of them after 1845, so that the
numerous specimens of their ware which abound
over here, were made prior to that time. The best
known piece by them Is the Hancock House, Boston
(shown in FIG. 64). I have seen it in eight-Inch plates
alone. It Is most often found In red or brown, and
makes an ornamental piece of colour, particularly in the
red, which is a rich shade. Although these plates
are not In the much-desired blue, they command very
high prices, a perfect one, even In its small size, bring-
ing between fifteen and twenty dollars, and one with
a crack holding its own for twelve dollars. It is
pleasant to think that It is the historic interest that
makes it valuable.
Before John Hancock came into the possession of
this stately house he passed through many stirring
times. In ante-Revolutionary days living was stren-
uous, and many and secret were the meetings in out-
of-the-way taverns in the suburbs of Boston, when
companies of rangers and minute men were organized.
Mr. Hancock was a brilliant figure in these days, six-
feet tall, broad-shouldered and dressed in the tip of the
mode. He appeared one night at one of these secret
68 THE OLD CHINA BOOK.
meetings dressed in an apple-green cloth coat, with
knee breeches of silver net tied at the knees with pea-
green ribbon. He wore white silk stockings and pumps
with large silver buckles, and displayed much fine lace
at wrist and throat. His hair was rolled and pow-
dered and tied In a queue. No wonder such a figure
took the fancy of Dorothy Q., when, in 1775, Hancock
and Adams, who were excepted from a general pardon,
were taking refuge In the house of the Rev. Mr. Clarke
at Lexington. She was staying in the same house
under the care of an aunt, and Dorothy and her
gallant lover whiled away the tedious hours In court-
ship, while the graver Mr. Adams discussed theology
and politics with their reverend host.
The Hancock mansion was built in 1737 by Thomas
Hancock, and came by inheritance to his nephew,
John Hancock. The site of the new State House
was Hancock's pasture, and orchards surrounded this
princely mansion. The building was of stone, a low
stone wall protected the grounds from the street, and
a paved walk and a dozen steps conducted to the
mansion. A wooden hall, sixty feet long, was at-
tached to the north wing, and here Hancock received
D'Estaing In 1778, Lafayette in 1781, Washington in
1789, and in later times Lords Stanley and Wortley,
Labouchere and Bougainville. Governor Hancock
was a generous host, and during the stay of D'Estaing
forty of his officers dined every day at the governor's
table. It is a pity that the efforts to retain this nota-
ble mansion were not successful. As late as 1863 it
remained Intact and filled with the original relics,
pictures and furniture. But it was pulled down, and
with it disappeare
