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THE 



Pottery and Porcelain 



OF 



THE UNITED STATES 



AN HISTORICAL REVIEW OF AMERICAN CERAMIC 

ART FROM THE EARLIEST TIMES 

TO THE PRESENT DAY 



BY 

EDWIN ATLEE BARBER, A.M., PH.D. 

HONORARV CURATOR OP THE DBPARTMBNT OF AMBKICAN POTTERY AND PORCELAIN IN THE 

PENNSYLVANIA MUSEUM ; MEMBER OF THE HISTORICAL SOCIETIES OF 

PENNSYLVANIA, WISCONSIN^ AND VIRGINIA, ETC. 



WITH 223 ILLUSTRATIONS 



G. P. PUTNAM'S SONS 

NEW YORK LONDON 

27 WEST TWENTY-THIRD STRRBT SI4 BEDFORD STREET, STRAND 

S^e J|ni(kttbo(kei $ttu 

1893 



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X^-c.(L^ \ ^ Q ^ 










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COPYRIGHT, 1893 
BY 

G. P. PUTNAM'S SONS 

Entered at Stationers Hall^ Ij>ndon 
By G. p. Putnam's Sons 



Electrotyped, Printed and Bound by 

Ube Icnickerbocber preae, Tiew |^>rft 
G. P. Putnam's Sons 






FOREIGN writers would have the world believe that 
the United States can boast of no ceramic history. 
Even our own chroniclers have, singularly enough, 
neglected a branch of our industrial progress which is not 
altogether insignificant nor devoid of interest. On the 
contrary, it can be shown that the fictile art is almost as 
ancient in this country as in Great Britain, and has been 
developed in almost parallel, though necessarily narrower, 
lines. 

The need of a history of the Pottery Industry in 
America has long been felt, and has led to the prepara- 
tion of the present volume, which, it is hoped, will be 
found to possess some interest to the student of ceramics, 
as well as to the collector. 

The author claims that his work is not a mere compi- 
lation, but has been based almost entirely upon thorough 
personal investigations. Some of the time-honored fal- 
lacies which have been perpetuated by compilers have 
been omitted from this record, and special care has been 
taken to avoid the use of statements which could not be 
substantiated. This result could only be reached by 
patient and systematic research, by a thorough study of 



iv PREFA CE. 



the products of the potteries of the United States, and 
by consultation with intelligent potters in the leading 
establishments of the land. Much of the material con- 
tained herein appears for the first time, and will doubtless 
form the basis for other histories which will follow later. 

It does not come within the scope of this volume to 
include the history of every pottery which has been estab- 
lished since the time of Columbus, or which is now in 
operation in this country. Such a detailed review would, 
even if desirable, be manifestly impossible in an under- 
taking of this compass. The main purpose of the work 
is to furnish an account of such of the earlier potteries as, 
for any reason, possess some historical interest, and of 
those manufactories which, in later days, have produced 
works of originality or artistic merit. Confining myself 
necessarily to these limits, I have endeavored here to 
present a condensed but practically complete record of 
the development of the fictile art in America during the 
three centuries which have elapsed since the first settle- 
ment of the country. « 

I beg leave to express my sense of indebtedness to all 
who have contributed in any manner to the information 
contained herein, and I desire particularly to extend my 
thanks to Prof. Edward S. Morse, Mr. D. F. Haynes, 
Prof. Isaac Broome, Mr. W. W. Taylor, Mr. L. W. 
Clark, Hon. J. Hart Brewer, Prof. William H. Holmes, 
Dr. Marcus Benjamin, and Mr. Edward Lycett, for val- 
uable assistance and advice, and to the publishers of the 
Popular Science Monthly for the use of. cuts which 
appeared in my articles in that journal on American 



PRE FA CE. 



Pottery and Porcelain. Toward those who have refused 
or withheld information we shall not be uncharitable. 
The illustrations used in the following pages are, for the 
most part, entirely new, and have been made from fully 
identified examples. I have endeavored to select from 
the numerous treasures of art which have been placed 
at my service those which, in my judgment, best illustrate 
the various classes of wares produced in this country. 
I am highly gratified to be able to call the attention of 
lovers of art to the remarkable progress which has been 
made in ceramic manufacture in our midst within the past 
fifteen years, and if my efforts shall result, in any measure, 
in the breaking down of that unreasonable prejudice 
which has heretofore existed against all American pro- 
ductions, I shall feel that I have been abundantly re- 
warded. America, within the next few decades, is destined 
to lead the world in her ceramic manufactures, and the 
future student will be entitled to know something of the 
earlier struggles of the art in this country. 

E. A. B. 

West Chester, Pa., Sept. i, 1893. 




CONTENTS. 



CHAPTER I. hAoi 

Processes OF Manufacture ...... i 

CHAPTER H. 
American Wares and Bodies ...... iti 

chapter iii. 
Aboriginal Pottery . .... 14 

chapter iv. 

Early Brick- and Tile-Making 46 

chapter v. 
Early Potting in America (17TH Century) ■ ■ 53 

chapter vi. 
Potteries of the Eighteenth Century .... 59 

chapter vii. 
Operations during the First Quarter of the Present 

Century ........ 107 

chapter viii. 
The American China Manufactory 126 

chapter ix. 
The Pottery Industry krom 1825 to 1858 .... 154 

chapter x. 
East Liverpool, Ohio 192 



viii CONTENTS. 



CHAPTER XI. PACB 

Trenton, N. J. . . . . .211 

CHAPTER XII. 
Potteries Established between 1859 and 1876 244 

CHAPTER XIII. 

Cincinnati, Ohio ........ 273 

CHAPTER XIV. 

Development of the Ceramic Art since the Centennial . 304 

CHAPTER XV. 

Tobacco Pipes 338 

CHAPTER XVI. 

Ornamental Tiles ........ 343 

CHAPTER XVIL 

Architectural Terra-Cotta ...... 385 

CHAPTER XVIII. 

American Marks and Monograms .... 399 

CHAPTER XIX. 

Tiles for Decorative Effect ...... 415 

CHAPTER XX. 

Concluding Remarks ....... 423 

Index .......... 433 



ILLUSTRATIONS. 



Reuep Tilz Portkait of Edwin Atlee Barber FivHtiifiece 

I — Th« Bovce Clay Pbess, with Twenty-Four Chambers a 

a— Old-Fash lONED " Throwing- Wheel " 4 

3— "Kick- Wheel "(as NOW used) 5 

4-- Jigger" 6 

5 — Indian Pot, PEtwsyLvANiA. Collection Wvomihg Historical 

AND Geological Society 36 

6 — Indian Vessel, Pennsylvania. Collection Wyoming Historical 

AND Geological Society 3^ 

7 — Clay Pipe (Onondaga), New York 38 

8— Vase from Connecticut. James Terry Collection ... ag 

9 — Modern Cherokee Pot. Bureau of Ethnology .... 30 

10 — Mound Vase, Georgia 33 

II— Head Vass, Arkansas 34 

13 — Corrugated Watkr-Jar, New Mexico, James Terry Collection 36 

13 — Archaic Pueblo Jug, Arizona 37 

14 — Oouslz-Handled Muc, Utah 38 

15 — Ancient Water- Jar, Asizona 39 

16— Ancient Pottery Olla, Arizona 39 

17 — Ancient Pueblo Bowl, St. George, Utah 39 

iB — Pottery Dipper, Montezuma CaRon, Utah 40 

ig — Coiled and Painted Bowl, Cibola 41 

30 — Fragment of Ancient Pueblo Pottery. Painting of Antelope . 41 

31 — Moulded Frog Ornament 4^ 

32 — Modern ZuRi Meal Jar 43 

33 — ZuSi Indian Water Vessel 43 

24 — ZuBi Coiled Jar 43 

35 — Modern Pueblo Water Vessel, Cochiti, N. M 44 

a6— Pennsylvania Roofing Tiles (Eighteenth Century) ... 49 

37— Stoneware Money-Bank. R. C. Remmey 64 



ILL USTRA TIONS. 



PACE 



28 — Slip-Engraved Dish, Pennsylvania, 1762. (Barber Collection) 

Pennsylvania Museum 68 

2g — Tea-Caddy, Sgraffiato Ware. James Terry Colleciion 69 

30 — Large Slip-Decorated Dish, Pennsylvania, 1769. Pennsylvania 

Museum Collection 71 

31 — Two-Handled Puzzle Mug. (Barber Collection) Pennsylvania 

Museum 74 

32 — Sgraffiato Dish, Made in Pennsylvania in 1796, by John Leidy. 

(Barber Collection) Pennsylvania Museum .... 75 
33 — Slip-Decorated Vegetable Dish, Made by John Leidy, Pennsyl- 
vania, 1797 76 

34 — Sgraffiato Dish, Pennsylvania, 1826. (Barber Collection) 

Pennsylvania Museum 78 

35 — Slip Pitcher and Sugar-Bowl. Made by John Nase about 1830. 

Barber Collection 79 

36 — Deep Slip Dish. John Nase, 1847. (Barber Collection) Penn- 
sylvania Museum 80 

37 — Dull-Finished Sgraffiato Dish. Made by John Nase about 1847 81 

38 — Sgraffiato Plate. Made by Frederick Hilden brand about 1830 82 

39 — Sgraffiato Plate. Made by Jacob Scholl, Montgomery County, 

Pa.. 1831 83 

40— Sgraffiato Jars. Made by Jacob Scholl, about 1830 ... 85 

41 — Slip Dish. Made by Benjamin Berge, about 1830. Barber 

Collection 86 

42 — Pottery Flower- Vase. Made by Charles Headman, 1849. (Bar- 
ber Collection) Pennsylvania Museum 87 

43 — Terra-Cotta Jardiniere and Pedestau A. H. Hews & Co. 89 

44 — ^White Ware Fruit-Basket, Blue Decoration. Made in Phila- 
delphia about 1770. Pennsylvania Museum of Art 98 
45 — Pottery Money-Bank, Norwich, Ct. James Terry Collection 103 
46 — Albany Stoneware. Collection of Mr. S. L. Frey. Made about 

1809 113 

47 — Fancy Jug. ** Carlsbad" Mug. Water Keg, Central New York 

Pottery 1x4 

48 — Porcelain Vase, New York, 18 16 115 

49 — The Old Pottery, Jersey City, N. J 119 

50 — Toby Ale Jug. Made by D. & J. Henderson. Collection of A. G. 

Richmond 120 

51 — Hunting Pitcher. Designed by Daniel Greatbach, Jersey City 

Pottery 121 



ILL USTRA TIONS. xi 



I'AGE 



52 — "Worcester" Vase, Jersey City Pottery. Decorated by Mr. 

Edward Lycett 122 

53— *'K.ing" Vase, Jersey City Pottery, Decorated by Mr. W. 

Lycett 123 

54— The Old Water- Works, Philadelphia, Used as a China Manu- 
factory IN 1825 129 

55— Tucker Creamer. Sepia Decoration 130 

56— •* Grecian" Pitcher. (Barber Collection) Pennsylvania Museum 133 

57 — Portrait of Judge Joseph Hemphill 134 

58 — Hemphill Pitcher, with Portrait of Washington. (Barber 

Collection) Pennsylvania Museum 136 

59 — Vase, Napoleon at the Burning of Moscow. Mr. Ferdinand 

J. Dreer 137 

60— Small Covered Flower-Vase, Sepia Landscape. Mrs. R. C. 

Hemphill 141 

61 — Water-Pitcher, Decorated in Relief. Mrs. R. C. Hemphill . 142 

62 — Hemphill Vase. Collection of Hon. James T. Mitchell. 142 

63 — Hemphill Vase, with Painting of a Shipwreck .... 143 

64 — Hemphill Porcelain Tableware. Collection of Mr. W. S. Negus 144 

65 — Christening-Bowl. Mrs. Thomas W. Marshall .... 145 
66 — Tucker & Hemphill's China Manufactory. Philadelphia, 1832- 

'38. From a Vase Owned by Mrs. Thomas Tucker . 146 
67 — Large Porcelain Vase, Over-glaze Decoration in Gold and 

Colors. Owned by Mrs. Thomas Tucker 147 
68 — ** Vase-Shaped" Pitcher, Over-glaze Decorations in Colors and 

Gold. Pennsylvania Museum 148 

69 — Cologne Bottle, Raised Decorations, Gold Tracery. Mrs. 

Thomas Tucker 149 

70— Night-Lamp Decorated with Rural Scene in Colors. Mrs. 

R. C. Hemphill 152 

71 — Bennington Parian. Blue Pitted Ground 167 

72 — White Parian. U. S. Pottery 168 

73 — ^White Granite Ware. U. S. Pottery 169 

74 — Rockingham Monument. Made at Bennington, Vt., 185 i 171 

75 — Flint Enamelled Ware, Bennington Factory . 174 

76— O'Connell Pitcher 176 

77 — Porcelain Pitcher. Raised Decoration. American Porcelain 

Manufacturing Company, Gloucester, N. J 184 

78 — Porcelain Pitcher, Made by the Southern Porcelain Company 

about 1 86 1. Owned by Mrs. Edward Willis .... 188 



xii ILL US TRA TIONS. 



PACB 

79 — Parian Jug. Southern Porcelain Co., Kaolin, S. C. Mrs. J. 

Stoney Porcher 189 

80— The Old Bennett Pottery, East Liverpool, O 193 

81 — Sagb-Green Marine Pitcher. E. & W. Bennett, 1853 . . . 196 

82 — Recent Productions of the Edwin Bennett Pottery Company , 197 

83 — Portrait of Mr. Edwin Bennett 198 

84 — Thin China* TAte-A-TAte Set. Knowles, Taylor, & Knowlss 

Company 202 

85 — Decorated Thin China Chocolate Pot. Knowles, Taylor, & 

Knowles Company 203 

86— Small Vase, Relief Decoration. Exhibited at Chicago Fair . 204 

87 — Large Vase, Blue Ground, Gold Decorations. Chicago Fair . 205 

88—Portrait of Col. John N. Taylor 206 

89 — Portrait of Mr. John Moses 214 

90— Belleek Vase, Jewelled Decorations. Ott & Brewer Company , 216 

91 — Belleek Vase. Ott & Brewer Company 216 

92— White Granite Jardiniere. Ott & Brewer Company . . 217 

93— Portrait of Hon. John Hart Brewer 219 

94 — Base-Ball Vase. Modelled by Broome 221 

95 — Pastoral Vase and Bracket. Modelled by Broome . . . 222 

96 — Parian Bust — Cleopatra. By Broome 224 

97 — Vases. Burroughs & Mountford Company 225 

98 — "Ivory" Vase, Royal Worcester Style. Greenwood Pot- 
tery Company 227 

99 — Semi-Porcelain Plate, Cobalt-Blue Border and Gold Printed 

Tracery. International Pottery Company .... 230 
100 — Semi- Porcelain Tableware. International Pottery Com- 
pany 231 

loi — Shell and Cupid Pitcher — Belleek. Willets Manufacturing 

Company . . ' 233 

102 — Large Vase, Chrysanthemum Decoration. Willets Manufac- 
turing Company 234 

103 — Belleek Tray, Dresden Decoration. Willets Manufacturing 

Company 235 

104 — Works of the Wiixets Manufacturing Company, Trenton, 

N. J 235 

105 — Egg-Shell Porcelain— The "Engagement" Cup and Saucer. 

Ceramic Art Company 236 

106— Carved Vase. Ceramic Art Company 237 

107 — Two-Handled Cracker Jar. New England Pottery Company 246 



ILL USTRA TIONS. xiii 



PAGB 



io8 — Semi- Porcelain Vase. New England Pottery Company, 

1889 247 

109— jARDiNiftRE. New England Pottery Company .... 248 

no — Chocolate Jug. New England Pottery Company . 249 

III — Decorated Coffeb-Pot, Dark-Blue Ground. J. E. Jeffords 

& Company 251 

112 — Bone-China Mug, Raised Decorations. Union Porcelain 

Works, 1864 253 

113 — The Liberty Cup. Modelled by MOller. Union Porcelain 

Works 255 

114 — Greenpoint Porcelain Vase, in Embossed Gold and Jewel 

Work. Grotesque Lizards in Mat Gold .... 256 

115 — TftTE-A-TfiTE Set. Union Porcelain Works .... 257 

ii6 — Bust of Edwin Forrest as William Tell. Union Porcelain 

Works 258 

117 — Greek Reproduction, Chelsea Keramic Art Works. Boston 

Museum of Fine Arts 261 

1 18 — Chelsea FaIence. Barber Collection 262 

119 — A **Dengler" Vase, Red Ware, Modelled Designs. Boston 

Museum op Fine Arts 263 

120— Inlaid, Hammered, and Embossed Pottery. Chelsea Keramic 

Art Works 264 

121 — Crackle Vase. Boston Museum of Fine Arts .... 265 
122 — Plaque Representing "Spring." Designed by H. C. Robert- 
son, 1879 266 

123 — Terra-Cotta Boar's Head. Phoenixville Pottery. (Barber 

Collection), Pennsylvania Museum 268 

124 — Majolica. Phcenixville Pottery 269 

125 — White- Ware Pitcher. Phcenixville, Pa 270 

126 — The Witch-Jug. Hampshire Pottery. J. S. Taft & Company, 

Keene, N. H 271 

127 — ^Vases by Mrs. Maria L. Nichols, 1880 278 

128 — PoRCEi-AiN Vase, Underglaze Decoration. By Mrs. M. L. 

Nichols, 1878. Cincinnati Museum of Art .... 278 
129 — **Ali Baba" Vase, Underglaze Decoration. Miss M. L. Mc- 
Laughlin, 1880. Cincinnati Museum of Art .... 279 
130— White Clay Vase, Underglaze Decoration. Miss Clara Chip- 
man Newton, 1880 280 

131 — Moorish Vase, Inlaid Decoration. Mrs. C. A. Plimpton, Cin- 
cinnati Art Museum 281 



xiv ILL US TRA TIONS. 



FACE 

132 — Stone Jug, Incised Decoration. Miss Laura A. Fry, i88i. Cin- 
cinnati Art Museum 282 

133 — Portrait of Miss M. Louise McLaughlin 283 

134 — Old Rookwood 285 

135 — Portrait of Mrs. Maria Longworth Storer .... 286 

136 — Rookwood Plate, Printed Decoration 287 

137 — Large Pottery Bowl, Underglaze Decoration. By Mrs. Maria 

L. Nichols, 1882. Cincinnati Museum of Art . 288 

138 — Group of Rookwood Vases 289 

139— Dull-Finished Vasb. Decorated by Mr. A. R. Valentien. Penn- 
sylvania Museum, Philadelphia 291 

140— Mug. Decorated by E. P. Cranch 293 

141 — Tile from Isaac Abbott Set. Painted by E. P. Cranch. Rook- 
wood Pottery 294 

142 — Hand-Painted Tile. Rookwood Pottery 295 

143 — Ram's Horn Flower-Basket. Rookwood Pottery . 296 

144— Vase. Decorated by Mr. Shirayamadani. Pennsylvania Museum 297 

145 — The New Rookwood 298 

146—" Hungarian FaIence." Cincinnati Art Pottery Company . 300 
147 — Canteen-Shaped Vessel, "Kezonta" Ware, Cincinnati Mu- 
seum 301 

148 — Fan-Shaped Vessel, "Kezonta" Ware 302 

149 — Bennett FaIence. Wm. Lycett Collection .... 306 

150— Bennett FaIence. Wm. Lycett Collection 307 

151 — Portrait OF Mr. Edward Meakin Pearson 306 

152 — Mazarine Blue and White Pitcher, Raised Gold Decoration. 

Wheeling Pottery Company 310 

153 — " Canton China •' Pitcher. Steubenville Pottery Company 312 

154— "Canton China •' Vase. Steubenville Pottery Company . . 313 
155 — FaIence Vase. FaIence Manufacturing Company. By Mr. 

Edward Lycett 314 

156— Porcelain Vase. FaIence Manufacturing Company. By Mr. 

Edward Lycett 315 

157 — FaIence Vase. FaIence Manufacturing Company. By Mr. 

Joseph Lycett 317 

158 — Fink FaIence Vase. *' A Flight of Storks." Decorated in 
Gold and Bronze on an Ivory Ground. FaIence Manu- 
facturing Company 318 

159 — Portrait of Mr. David Francis IIavnes 321 

160— "Severn " Ware. Chesapeake Pottery 323 



ILL USTRA TIONS. xv 



FACB 

i6i — Castilian and Alsatian Semi-Porcelain Toilet Ware. Ches- 
apeake Pottery 324 

162— Useful and Decorative Semi-Porcrlain Wares. Chesapeake 

Pottery 325 

163 — *• Merchant OF Venice" Vase. Chesapeake Pottery . 326 

164 — MoKTESSAN Semi- Porcelain Toilet Set. Chesapeake Pottery . 327 

165 — Lamps and Vases. Chesapeake Pottery 328 

166 — Porcelain Clock. Chesapeake Pottery 329 

167 — Moorish Vase Designed by Miss Fannie Haynes. Collection of 

the Pennsylvania Museum of Art, Philadelphia . 330 

168 — ** Calvert" Vase. Chesapeake Pottery 331 

169 — Pauline Art Pottery, Edgerton, Wis. 333 

170 — Lonhuda Poitery 336 

171 — Glazing Rack for Pipes. Gibble Pottery 340 

17a — Tbrra-Cotta Pipe Heads. A. Peyrau, N. V. Collection op 

Jerome B. Gray 341 

173 — Some of the First Fancy American Tiles. Hyzer & Lbw- 

ellen 364 

174— A "Low" Tile 346 

175 — View of the Low Art Tile Works, Chelsea, Mass. 347 

176— An F. S. a 348 

177 — Plastic Sketch, by Arthur Osborne. " The Milky Way " 349 

178 — Tile Stove 350 

179 — Panel for Soda Fountain 351 

180 — Portrait of Hon. John G. Low 352 

181 — Encaustic Tile Design 354 

182— ••Old Age" 355 

183 — Intaglio Portrait. Modelled Tile 356 

184 — Six- BY Eighteen-Inch Panel — ** Swallows" .... 356 
185 — Twelve- by Eighteen-Inch Panel — *• Summer." Designed by 

Herman Mueller 357 

186 — Ten-Piece Panel — Six-Inch Tiles, 12 x 30 Inches. Designed 

BY Herman Mueller 357 

187 — Fifteen-Piece Tile Design, 18 x 30 Inches. By Herman Mueller. 

American Encaustic Tiling Company 358 

188 — View of the .New Works of the American Encaustic Tiling 

Company, Zanesville, Ohio 360 

189 — Six-Inch Reuef Tile. U. S. Encaustic Tile Works ... 361 
190— Bacchanalian Panel. Nine by Eighteen Inches. Designed 

BY Mr. W. W. Gallimore. Trent Tile Company 363 



XVI 



ILL USTRA TIONS. 



191 — Nine- by Eighteen-Inch Panel — "Fishing Boys.*' Designed 

BY W. W. Gallimore. Trent Tile Company 
192 — Relief Panel — " Mignon." By Scott Callowhill, after 

Lefebvrb 

193 — Intaglio — ** February fill Dyke." By Scott Callowhill, after 

Leader 

194 — Beaver Falls Stove Tiles 

195 — Six-Inch Relief Tile — "Sappho." By Broome 

196— Passion-Flovver Panel. By Broome 

197 — Relief Panel — *• Music," from Painting, Poetry, and Music 

FAaNG. By Broome 

198 — Dado in Romanesque Style. Beaver P'alls Art Tile Com- 
pany 

199 — " King Lear " 

300— "Winter." Modelled by Mersman .... 

201 — " Daughters of the Sea" Facing. Modelled by Mersman 

202 — Portion of Five-Foot Frieze in Loggia of the Rockafellbr 

Mansion, Tarrytown, N. Y 

203 — Panel after the French. Robertson Art Tile Company 
204 — Panel Modelled by H. C. Robertson after Dor£ 

205 — The Wilkes Screw Tile Press 

206 — Panel in Warehouse, Jersey City, N. J., Perth Amboy Terra 

CoTTA Company 

207 — Three Kilns. Perth Amboy Terra-Cotta Company 

208 — Bas-Rblief in the St. Anthony Club-House, Philadelphia, Pa 

Perth Amboy Terra-Cotta Company 

209 — Military Panel, G. A. R. Memorial Hall. Wilkes Barrb, Pa 

New York Architectural Terra-Cotta Company 
210 — Panel in Fifth Avenue Theatre, New York. New York Archi 

tectural Terra-Cotta Company 

211 — Panel in Residence of Mr. George Alfred Townsend, Gapland 

Md. New York Architectural Terra-Cotta Company 
212 — Works of the New York Architectural Terra-Cotta Com 

pany. Long Island City, N. Y 

213 — Medalijon of General Winfield S. Scott 

214 — Floral Panel. Stephens, Armstrong, & Conkling 

215 — Medallion of Columbus 

216 — Finials. Indianapolis Terra-Cotta Company 

217 — Light-Blue Double Panel, Oxidized Silver Frame. Low Art 

Tile. Designed by Arthur Osborne 



PACB 

364 
368 

369 
369 
370 

371 

372 

373 
375 
376 

377 

379 
381 

382 
383 

387 
389 

390 

391 

392 

393 

394 

395 
396 

397 
398 

417 



ILLUSTRA TIONS. 



2t8 — "Sappho." Purple-Gray Glaze, in Ivory Frame and I'ink 
Plush Border. Beaver Falls Art Tile Company. De- 
sighed BY Prof. Isaac Broome 

sig — Ouvb-Grbrk Glaze in Old Ivory SeTTiNC, Low Akt Tile, De- 
signed BY Osborne 

aao— Pastoral Panel IS Dull Finish. GlazeofPaleClarkt, Framkd 
(N Old Ivory. Trent Tile Company. Modelled by Galumore 

331 — " Spring " Pankl. Pale Apple-Greek Glaze ; Framed in Pinkish 
White. American Encaustic Tiung Company. Designed by 
Herman Mueller 

333— Three^Tile Panei^" Twilight." Blue Glaze, Cream White 
Frame. United Statks Encaustic Tile Works. Designed by 
Miss Ruth Wikterbotham 



CHAPTER I. 
PROCESSES OF MANUFACTURE. 

PREPARATION OF POTTERY CLAYS. 

THE methods formerly used in this country in pre- 
paring the clay for the potter's hand were of the 
most primitive character. The crude material 
was simply thrown into a tank or pit and manipulated with 
a spade or paddle, then taken out in large lumps and cut 
through and through with a fine wire stretched between 
the two hands of the workman, the pebbles and other for- 
eign substances being picked out as the work progressed. 
In 1835 a patent was issued to Adam Weber, of 
Womelsdorf, Berks Co.. Pa., for a contrivance for Puri- 
fying Potters' Clay, consisting of a hollow metal or 
wooden cylinder with a wire sieve placed across the bot- 
tom, through which the moist clay was forced by means 
of a block or piston, fitting the cylinder closely, and 
worked by a lever, the gravel being left on the wire 
netting inside of the tube. A similar apparatus is still 
employed in some of the potteries where coarse earthen- 
ware is made. 



POTTERY AND PORCELAIN. 



Slip-kilns were formerly employed to dry the clay. 
The materials were first mixed with water to the consist- 
ency of cream, and then passed through a fine sieve, after 
which the slip was subjected to heat until sufficiently 
dried to be fit for use. I have in my possession a 
drawing of the old-fashioned slip-kiln used at the Phila- 



1.— The Bovtr; Clay Press, wctfi Twf.ntv-foir Cicambers. 

delphia china factory of Messrs. Tucker & Hemphill, in 
1832. This consisted of a long, horizontal brick tire-box, 
at one end of which were built three partitions or pans, 
one after the other, in which the slip was poured, and 
flues passing around the sides furnished the heat neces- 
sary to dry the clay to the proper consistency. 



PROCESSES OF MANUFACTURE. 



To-day most of the clay used in potting is carefully 
washed before being shipped to the manufacturer, and 
the flint and feldspar are finely ground at the quarry. 
These materials, in due proportions, are placed in tanks 
called " plungers," with the necessary amount of water, 
and worked, tons at a charge, by machinery, in a short 
space of time. The mass is then sifted and afterwards 
forced through canvas bags held in what is termed a 
"press," the surplus moisture thus being expelled. An 
improved hydrostatic press, made by Mr. A. J. Boyce, of 
East Liverpool,. Ohio, and now used in many potteries 
with great success, is shown in the accompanying illustra- 
tion. 

TOOLS AND MACHINES USED IN THE MANUFACTURE OF 

POTTERY. 

The potter's wheel used well into the present century 
was a clumsy and primitive affair. It consisted of 
a perpendicular beam, generally about two feet in 
height, surmounted by a circular disk a foot or so in 
diameter. At the lower extremity of the beam or axis 
was a horizontal wooden wheel, four feet across, possess- 
ing four inclined iron spokes which extended from the 
beam to the rim of the wheel, which the workman pushed 
around with his feet. He sat on a framework behind the 
wheel, while in front were piled the lumps of clay to 
be manipulated. This contrivance was termed a ''kick- 
wheel." 

A great advance was made in potters* machinery a 
few years later, or in the first quarter of the present 



POTTERY AND PORCELAIN. 



centurj-, when the " throwing-wheel " was introduced into 
the more prominent factories. This was composed of a 
plate or disk winch was revolved by means of a belt which 
passed around two spindles and extended to a large ver- 
tical fly-wheel operated by a crank in the hands of a 
second person. This upright wheel usually measured 
four, five, or more feet in diameter, depending on the rate 
of velocity desired, the larger the wheel, the greater the 



3.— Old-fashioned '■Throwcno-Wheel." 

Speed to be attained. The revolving plate at which the 
potter sat was often ten or more feet from the crank- 
wheel, and the apparatus was therefore cumbersome, be- 
sides requiring the services of an extra hand. This 
device was a great improvement over the old " kick-wheel," 
as it secured uniformity of motion and enabled the 
operator to devote his entire attention to his work. This 
style of wheel, in time, was superseded by the more simple 



PROCESSES OF MANUFACTURE. 5 

form which is worked by a treadle with the left foot of 
the operator, and is still used in many of the smaller pot- 
teries. The subjoined engraving represents one of these 
" kick-wheels." as made at the present time by Messrs. 
Taplin. Rice, & Co., of Akron. Ohio. This firm also 
manufactures a power-wheel, such as is now operated in 
the larger factories, which is so constructed that the 
velocity can be regulated by a foot lever. 

"Jiggers" and "jollies" now greatly facilitate the 



J.— ■■Kick-Wkeel" (as now useo). 
manufacture of circular and swelled vessels, such as jars, 
jugs, crocks, cuspidors, and umbrella jars. A "jigger" is 
a machine which carries a revolving mould, in which the 
clay is shaped by a " former," which is brought down into 
the mould and held in place by means of a lever. We 
give on pJ^e 6 an illustration of one of the jiggers made 
by Mr. Peter Wilkes, of Trenton, N. J. A is the jigger- 
head or receptacle in which the mould is placed, which is 
screwed fast to the revolving spindle. 5 is a stationary 
iron column on which the frame or sleeve C slides up or 



PROCESSES OF MANUFACTURE. 



down. D is an iron fork which prevents the frame C 
from turning. E is the former or profile which shapes 
the interior of the vessel. The lever or pull-down, above 
the horizontal bar /% gives a transverse motion, and 
forces the former toward the side of the mould, i and 2 
are adjustable collars which are fastened by screws ; i reg- 
ulates the distance to which the collar or frame C must be 
lowered to give the proper thickness to the bottom of the 
vessel, while 2 acts as a stop to prevent the frame from 
being thrown up too high. 

A *' jolly" is a somewhat similar contrivance, consist- 
ing of a revolving disk or wheel on which the mould is 
placed. This is used principally for making plates, saucers, 
and articles termed '* flat ware," its speed being regulated 
by a lever pressed by the foot of the workman. 

The potter s lathe is a machine similar to the power- 
lathe used for wood turning, excepting that it can be re- 
versed by pressure of the operator's foot. A wooden 
block, made of the proper size for the cup or other article 
that is to be turned, is screwed to the spindle of the lathe. 

Other labor-saving machines have been applied to the 
making of pottery to some extent, but, owing to the 
nature of the materials used, it seems probable that the 
greater part of the work must always be largely done by 
hand. 

MOULDS AND MOULD-MAKING. 

The plaster-of-Paris moulds which are so generally 
used in the manufacture of pottery are made from a finely 
prepared plaster, and the mould-maker in a modern pot- 



8 POTTERY AND PORCELAIN. 



tery is an important personage. The model for any piece 
of ware, a jug for instance, having been designed and fin- 
ished, is taken in hand by the mould-maker, who makes 
a mould from it that will part in the middle. This is 
called the '* block mould," and is carefully preserved. 
From this a '* case " is made, which is a replica in plaster 
of the model. From this " case " as many working moulds 
as may be required can be made. Plaster-of-Paris moulds 
are used in the manufacture of all wares except such as 
are "thrown." 

PROCESSES. 

Throwing. — When a vessel is made by hand on the 
potter's wheel, the process is called throwing. This is 
the oldest method of pottery-making employed by civilized 
man and is still in use in many potteries. A lump of 
clay, of the proper weight for constructing a particular 
kind of vessel, is thrown on the revolving disk, and into 
this the potter thrusts his thumbs, and by drawing them 
outward and upward the plastic clay is rapidly thrown 
into the form of a vessel, the walls being drawn up be- 
tween the fingers and thumbs. A wet sponge is then 
pressed against the inside of the revolving clay to smooth 
the lining, and a small piece of leather is held against the 
outside surface to render it perfectly regular and to make 
the walls of uniform thickness. By manipulating the 
clay in this manner, the thrower can draw it up into any 
desired form, after which a fine wire is passed across the 
disk to cut the bottom of the vessel loose, when it is lifted 



PROCESSES OF MANUFACTURE. 



off and placed on a board to dry, and the process is then 
repeated. 

Turning. — When the ware has sufficiently dried, it is 
placed on the spindle blocks of the lathe, and the turner, 
with a thin steel tool, shaves the vessel to the proper 
thickness, then, reversing the lathe, he burnishes it until 
the surface is even and smooth. Incised ornamentation is 
sometimes added by the use of a small wheel, bearing an 
engraved device on the edge, called the '* runner," which 
is held in a frame. When placed against the piece of 
ware, while the lathe is running rapidly, the design is im- 
pressed around the circumference of the vessel. A deft 
hand is required to do this work. 

Pressing. — In making plates, saucers, and other flat 
ware, the workman, who is called a " presser," throws a 
thin ** bat " of clay upon the mould which forms the face 
of the piece. This is placed on the revolving *' jigger," 
and the back is shaped by a tool which is pressed upon it. 
The piece is then set aside to dry, after which it is taken 
from the mould, the edges trimmed, and it is ready for 
firing. 

In making hollow pieces, such as pitchers, covered 
dishes, and pieces of similar shape, the clay is carefully 
pressed into the mould, made in two parts, which are then 
brought together. The interior is then smoothed and 
the seams of the mould are covered with a strip of clay 
which is worked off smoothly and the mould is set aside 
until the plaster has absorbed sufficient moisture to allow 
the piece to be safely removed. The handles, knobs, or 
spouts, which have been made in other moulds, are then 



lo POTTERY AND PORCELAIN. 



fitted to the ware and fastened by slip. Then the vessel 
is smoothed and finished and sent to the *' green room " 
to dry. 

Casting. — This process consists in filling a hollow 
mould, which is divided into two parts and held together 
by a strap, with liquid clay or slip, which is allowed to 
stand the proper length of time and then emptied out. 
The porous plaster having absorbed a portion of the mois- 
ture from the slip, which is in direct contact, retains a thin 
shell the exact shape of the mould, which in a short time 
can be readily removed. In the manipulation of large 
vessels, where the weight of the shell would cause it to 
fall out when the mould is turned over to empty the slip, 
a method has been devised in Europe for forcing com- 
pressed air into the interior of the mould to take the place 
of the slip as it passes out, and thus hold the shell in place. 
By the method of casting, mould seams are partially 
avoided and a greater uniformity of thickness and even- 
ness of surface are obtained. Thin wares, such as Bel- 
leek china, are usually made by the casting process. 

KILNS. 

The construction of potterj' and porcelain kilns, or 
ovens, as they are usually termed in England, has changed 
but little in the past fifty years. They are conical struc- 
tures, built solidly of red brick, with a lining of fire-brick, 
and are generally about sixteen feet in diameter inside, 
and about the same in height to the crown or ceiling, 
above which the walls are narrowed and drawn upward 
like a chimney to furnish a draft for the fires. The ex- 



PROCESSES OF MANUFA CTURE. 1 1 



terior of the kiln is bound by a series of heavy iron hoops 
or girdles to give it greater strength. Around the base, 
at equal distances, are the fire-boxes or chambers which 
communicate by openings with the interior above and be- 
low. These vary in number, from eight to ten or more, 
according to the size of the kilns, which in spme cases are 
considerably more than sixteen feet in diameter. In some 
of the Western kilns slight modifications have been made 
in the fire-chambers for the employment of natural gas, 
which is used quite extensively for fuel instead of coal. 

Kilns used for the manufacture of hard porcelain are 
somewhat different, consisting generally of two stories, the 
upper one beingusedfor baking the biscuit, which requires 
less heat than is necessary for the glazing, which is after- 
wards accomplished in the lower story where the heat is 
more intense. Thus while a lot of ware is being baked 
the first time in the upper portion of the kiln, another lot 
of ware, which has already passed through the first firing, 
is being glazed below. This is the reverse method usually 
employed in burning earthenware and soft porcelain, 
which are either fired longer in the biscuit, at the same 
temperature, or are subjected to a greater degree of heat 
in the first firing. 

METHODS OF FIRING WARES. 

Ware that is to be burned in the kiln is protected by 
placing it in boxes or " seggars," sometimes called " sag- 
gers," made of buff-colored fire-clay. These are made of 
different shapes and heights, suitable for different forms 
of vessels. The ware is placed in these in layers of white 



1 2 PO TTER Y AND PORCELAIN. 



sand. The first seggar, filled with the *' green" ware, is 
then placed in the bottom of the kiln close to the side. 
Around the rim of the seggar a strip or " wad " of moist 
clay is then laid, after which another seggar is carefully 
placed on top, forming a cover for the one below. In 
this manner the seggars are piled to the crown of the kiln, 
the " wads " or cushions of clay helping to steady the pile, 
or '*bung,** as it is called, and preventing the smoke and 
fumes from coming into contact with the ware inside. 
Other tiers of seggars are placed close to each other until 
the interior of the kiln is full, after which the doorway is 
bricked up and plastered over with clay to make it perfectly 
tight. The fires are then started and raised to the requi- 
site degree of heat necessary to bake the biscuit. The 
length of time for firing varies, according to the body or 
composition of the ware, from twenty-four to forty-eight 
hours, usually the latter and sometimes even longer. 

When the biscuit ware is ready to be glazed the ** dip- 
per " immerses it in a tub filled with the glaze, which is of 
the consistency of cream, and, after shaking ofiF the surplus 
liquid, passes it to a boy who places it on a board at his 
side. The ware is then carried to the glost kiln for the 
second firing. In placing the pieces in the seggar, great 
care must be exercised to prevent them from touching, be- 
cause when the glaze melts in the heat of the kiln they 
would stick together and be ruined. The larger pieces 
are placed in the bottoms of the seggars, on coarse sand 
or finely broken flint, but flat pieces must be supported, 
one above another, by fire-clay pins with sharp, triangular 
edges, which are inserted though holes in the walls of the 



PROCESSES OF MANUFACTURE. 13 



seggar. Stilts, which are three-armed pieces of clay with 
points on both sides, fired hard, are also frequently em- 
ployed to keep apart certain articles. 

DECORATION. 

Pottery and porcelain are decorated either over the 
glaze, or under the glaze. In overglaze decoration, vitri- 
fiable colors are applied to the glazed surface of the 
finished ware and are fixed at a comparatively low tem- 
perature in the enamelling kiln, which does not injure or 
destroy them. In tmderglaze decoration the colors are 
placed on the ware either in the *' green " or unfired state, 
or on the biscuit before it is glazed, and must be sub- 
jected to a heat sufficiently intense to fuse the glaze 
which is afterwards applied. The colors which will stand 
this great heat are limited in number and are more liable 
to change in the kiln ; consequently the manipulation of 
underglaze colors requires considerable experience and 
skill to produce certain and satisfactory results. 

Decorations may be hand-painted ox printed^ and both 
methods may be employed either before or after the ware 
has been glazed. In the printing process which is used 
extensively at the present time, the designs are engraved 
on copper plates and transferred to the surface of the 
ware. Mineral colors, which have been mixed carefully 
with a prepared printing oil, are used to print the design 
on linen-tissue paper, which is then laid upon the ware 
and rubbed with a piece of soft flannel until it adheres 
evenly and firmly. In a few hours the paper is plucked 
from the ware and the printed design is then touched up 



1 4 PO TTER Y AND PORCELAIN. 



with color by hand, and gold lines are then frequently 
applied. In the underglaze process the print is usually 
washed off, instead of being removed by plucking, and 
then the ware is fired in the enamel kiln sufficiently to 
bum the oil out of the color. It is then dipped in the 
glaze and sent through the glost kiln. Gold decorations 
can be added after the glost firing, if desired. 

A quality of decoration, equal in durability to under- 
glaze work, is often obtained by printing on the glaze 
with underglaze colors and then firing the ware a second 
time in the glost kiln, which produces an effect that is 
difficult to distinguish from real underglaze printing. 

The raised gold work, seen on various grades of ware 
at the present day, is produced by tracing over a free- 
hand or printed design, which has been placed upon the 
glazed ware, with a yellow paste which gives the relief. 
This is fired in the decorating kiln and afterwards covered 
with either bright or dull gold and then fired again. 

Majolica ware is decorated by applying colors mixed 
with the glaze, with a brush, or by dipping, or by both 
methods ; the colors being soft blend easily at a tem- 
perature somewhat higher than the usual enamel or over- 
glaze heat, and thus beautiful effects are often secured. 
By the same method, soft or bone porcelain may be deco- 
rated by painting on the dry glazing before the latter has 
been fired. In so-called Barbotine, and some other styles 
of decoration, the colors are applied to the ware in the 
clay state or when partly fired, and a finish akin to that 
of majolica ware is thus secured. 

Rich mazarine blue, and some other brilliant colors, 



PROCESSES OF MANUFACTURE. 



15 



are obtained by laying the color on the glost ware and 
then firing in the glost kiln. This process is repeated, 
in many cases, several times before the depth and even- 
ness of color desired are secured. 

The beautiful king's blue of the Sevres porcelain is 
obtained by applying the color to the biscuit ware, which 
is afterwards subjected to the intense heat of the ''sharp 
fire." 




CHAPTER II. 

AMERICAN WARES AND BODIES. 

i j^ARTHENWARE is a term commonly used for 
' ^ all kinds of pottery wares suitable for household 
purposes, not strictly porcelain. 

Qiicaisware is a name given to an ivory- or cream- 
colored ware, first made by Josiah Wedgwood for Queen 
Charlotte about 1 762. The word is still used generally 
in the Middle and Southern States as a generic term 
applied to all kinds of household pottery wares. 

FaUnce, as defined by Webster, is "a collective name 
for all the various kinds of glazed earthenware and porce- 
lain." This term was probably first used in this country 
about 1876 to designate a decorative ware made in 
France from coarse materials, finely modelled and enriched 
with painted slip decoration under the glaze. It is now 
applied to underglaze pottery made in this country, nota- 
bly the Rookwood pottery of Cincinnati, the faYence of 
Chelsea, Mass., and the Lonhuda ware of Steubenville, 
Ohio. The name was also used in connection with a line 
of vitreous, colored wares, made by Mr. D. F. Haynes of 
Baltimore, Md., in 1883. 

Red Earthenware is made of a good quality of brick 



AMERICAN WARES AND BODIES. 1 7 

clay, being usually of a red or reddish-brown color. It is 
often glazed inside, and sometimes all over, with a lead 
glaze, which reveals the red color of the body. It is also 
frequently covered with a dense black glaze. Flower- 
pots, bean-pots, pie-plates, and roofing-tiles are familiar 
examples of red ware. Formerly such ware was rudely 
decorated with colored slips, or coated with yellow clay 
and embellished with incised designs. Of late years it 
has been wrought into cuspidors,y(fl:r^/;^^^r^^, and umbrella- 
stands, japanned or painted in various colors with floral 
and other decorations, when it is sometimes called lava 
ware. 

Terra-Cotta. — Under this head maybe gathered many 
grades of pottery, from the soft Albert ware, which is 
lightly fired and sold in the biscuit state, in ornamental 
forms for decorating, to the drain-pipe, which is essentially 
a stoneware. Architectural terra-cotta is very highly 
esteemed for building purposes. This is made largely of 
vitreous clays, and is usually of a dark-red color, but often 
of a rich cream tint, and also pure white. It is non- 
absorbent and very durable, withstanding fire, great pres- 
sure, and the corroding action of the elements. Its 
decorative character in detail work or in massive designs 
gives it great value with the architect. Fancy chimney- 
pots, garden vases, and other ornamental articles are 
closely allied to architectural terra-cotta in body. 

Stoneware is made from bluish clays which vitrify at a 
strong heat, and is glazed by throwing common salt into 
the kiln when the ware is nearly fired. Stoneware often 
shows great beauty, and, decorated with cobalt blue, 



1 8 POTTERY AND PORCELAIN. 



ornamented on the lathe, or etched with a dull point when 
soft, reveals artistic merit. It is strong, non-absorbent, 
and seen generally in crocks, jars, jugs, beer-mugs, drain- 
pipe, and chemical apparatus. 

Yellow Ware is manufactured from natural buff-colored 
clays, and covered with a transparent glaze. It is fre- 
quently decorated with bands of white or brown slip, and 
is used chiefly for baking purposes, in the form of nappies, 
bowls, pipkins, and the like. 

Rockingham Ware, as made in the United States, is 
simply yellow ware covered with a dark-brown glaze, and 
often mottled by spattering the glaze before it is fired. 
The name was first applied to potter)' made in England 
about 1 796, at the Swinton works, which were located on 
the estate of Charles, Marquis of Rockingham. The 
wares made at this place were claimed to be of superior 
quality, and to have received their mottled-brown color 
from repeated firings. 

Majolica Ware derived its name from a peculiar lustred 
ware thought to have originated in the island of Majorca. 
The term was afterwards used to designate the brilliantly 
glazed and enamelled wares of Italy, Very beautiful ma- 
jolica wares have been made, within the past twenty years, 
by English and Continental potters. Later, the manu- 
facture was undertaken by European and American pot- 
teries, but the quality was gradually cheapened and 
degraded, until the article became a drug on the market 

Cream-Colored Ware, known as ** C. C." ware by the 
trade, because of its yellowish tint in former years, is the 
cheapest grade of reliable white ware. It is now made 



J 



AMERICAN WARES AND BODIES. 19 

of excellent quality, almost equal in appearance to the 
higher grades of goods, and is used for cooking and table 
purposes. 

White GranitCy often called Stone China^ or Ironstone^ 
known as *' W. G/* by dealers, is a solid, serviceable ware, 
of a bluish tint, more largely used in the United States 
than any other grade of crockery. It is made of the 
materials common to all white wares, and to some porce- 
lains. Flint, feldspar, kaolin or china clay, and ball or 
marl clay enter into its composition. This is made into 
toilet, dinner, and tea sets and many other useful articles, 
both plain and decorated. 

SemZ'Porcelaifi, also known as Paris Granite or ** P. G.," 
Opaque China, and by various other names, is much the 
color of French china, and the best brands are so nearly 
akin to porcelain as to show translucency in the very thin 
parts. It is largely wrought into the finer grades of 
articles for family service, and decorated for dinner, tea, 
and toilet sets, often in an elaborate manner. 

Porcelain, or China, is always easily recognized by its 
vitreous fracture, fine grain, non-absorbent quality, and, 
unless very thick, by its translucency. It has for centuries 
commanded the admiration of men and is the highest de- 
velopment of the potters art. In firing, it is brought so 
near to the melting point that great durability is secured 
and, ordinarily, immunity from crackling of the glaze, or 
" crazing," as it is termed.^ In so-called soft porcelain, 
bone dust or phosphate of lime is largely used. 

' The Crackle ware of the Chinese and Japanese is subjected to certain processes 
to produce this effect. 



20 POTTERY AND PORCELAIN. 



The thin porcelain, called Bellccky takes its name from 
a town in County Fermanagh, Ireland, where it has been 
made for a number of years to great perfection. It is 
noted for its great thinness, light weight, and its beautiful, 
iridescent or pearly glaze, variously tinted. It is now 
made in the United States of excellent quality. The 
body is akin to Parian. 

Parian derives its name from its resemblance to a 
beautiful, ivory-tinted marble found in the island of Paros. 
It is a fine grade of porcelain, the ingredients being 
thoroughly ground together. It is usually moulded by 
the '* casting *' process, in the same manner as most thin 
china, and possesses the translucency and vitreous nature 
of porcelain, but is seldom glazed. 

The porcelains of Europe and the East have been 
divided by ceramic writers into two classes, — hard paste 
and soft paste. This would seem, in a great measure, to 
be too arbitrary a classification for our American wares, 
since the degrees of difference are often so slight that it is 
impossible to determine where soft porcelain commences 
and hard porcelain ends. By a gradual process of evolu- 
tion the lines of distinction are entirely obliterated, and we 
find that porcelain is made of every degree of hardness, 
from the softest bone china to the hardest ware with no 
trace of animal or vegetable substances. The tests which 
have been recommended by the books are, therefore, of 
little value in deciding this vexed question, but it may be 
well to enumerate these various tests and state the reasons 
why they cannot always be relied upon. 

1ST. The File Test. — It has been stated that hard 



AMERICAN WARES AND BODIES, 21 



porcelain, sometimes called «^//^r^/ porcelain, ox pate dure, 
cannot be scratched with a file. As a matter of fact, a 
good file will mark the hardest porcelain. This test, 
therefore, is unreliable. 

2D. The Foot Test. — It is held by some that the ap- 
pearance of the foot, or that portion of a vessel upon 
which it rests while being fired, is an indication of its 
hardness, and when rough and unglazed the piece is hard 
paste. In many instances soft porcelain presents the 
same appearance, because the glaze has been removed 
from the foot to prevent adhesion to the bottom of the 
sagger in which it is fired. This test, therefore, cannot 
be depended upon. 

3D. The Fire Test. — This, in the hands of an expe- 
rienced person, would be decisive, but, as it might result 
in the destruction of a valuable piece of ware in the in- 
tense heat of the kiln, it is impracticable. 

4TH. The Chemical Test. — The action of acids upon 
porcelain, in a finely powdered state, would reveal the 
presence of phosphate of lime, which, in the form of bone 
ash, enters largely into the composition of soft porcelain, 
sometimes called artificial porcelain, or pate teiidre, but 
the collector will hardly care to subject a rare specimen 
to the disintegrating process in order to decide the 
question. 

5TH. The Color Test. — If on holding a piece of ware 
to the light it shows a mellow ivory tint, it may be consid- 
ered strong evidence that there is sufficient bone in its 
composition to entitle it to be classed as soft porcelain ; 
but should the color possess a bluish tone it would in- 



2 2 PO TTER Y AND FOR CELAIN. 



dicate a hard or vitreous body. Where, however, the 
proportion of bone is small, this test would prove un- 
satisfactory. 

6th. The Fracture TesL — Should accident befall a 
piece of porcelain and the fractured edge present a glossy, 
vitreous appearance, extending quite through the ware, 
making it difficult to determine where the glaze that 
covers the outside begins and where it ends, it may with 
confidence be called hard paste. If, on the contrary, the 
fracture shows a granulated surface and seems dry and 
chalky, or upon touching it to the tongue reveals a slightly 
absorbent quality, and the glaze shows distinctly at the 
margins as thin layers of glass, it may safely be called a 
soft paste. When there is only a small proportion of 
bone, however, the body will be found to glisten to some 
extent, and this test, therefore, is not always conclusive. 

A connoisseur, by the touch, the color, the weight, 
and the general appearance, may, with some degree of 
certainty, be able to decide to which class a piece of porce- 
lain belongs, but in many cases it may be quite impossi- 
ble to settle this point without destroying the piece. 

There seems to be no conclusive test by which the 
collector can always distinguish hard porcelain from soft. 
Nor do we consider this a matter of any great importance. 
If the object under consideration possesses genuine beauty 
of form, or real merit in the decoration which has been 
placed upon it ; if it has historical value, or represents 
some particular phase in the ceramic development of any 
country or locality, it loses none of its interest because the 
owner or the practical potter is unable to decide in which 



i 



AMERICAN WARES AND BODIES. 23 

group to place it. The knowledge of the exact propor- 
tion of bone contained in its composition cannot add or 
detract from its real value as a work of art, and such ques- 
tions may properly be left for the investigation of the 
practical manufacturer. 



CHAPTER III. 
ABORIGINAL POTTERY. 

IT is not deemed advisable to enter at this time into 
any extended consideration of aboriginal and pre- 
historic fictile productions of the United States, a field 
which has already been so fully covered by the publica- 
tions of the Smithsonian Institution, our public museums 
of archEeology and ethnology, and various scientific 
societies, and the numerous monographs by the author 
and others, which have appeared in the magazines of the 
past twenty years. We may, however, very properly 
devote a few pages to a brief review of the art as prac- 
tised by the native races of this portion of North America. 
We are confronted at the outset with the difficulty of 
classifying the potteries of aboriginal tribes, the solution 
of which must necessarily involve us in the consideration 
of ethnic relations, which does not come within the scope 
of the present work. For the sake of convenience, we 
shall divide the territory now embraced in the United 
States into three great bands, extending from north to 
south, or approximately so, commencing on the extreme 
east with the Atlantic Slope, then passing to the Missis- 
sippi Valley, thence to the belt west of the Continental 



ABORIGINAL POTTERY. 25 



Divide, each of which is marked by a distinct and charac- 
teristic culture status. In taking up these several divisions 
of native ceramic art, we shall find that, while we are 
compelled to ignore, to some extent, the chronological 
sequence, the successive stages of development of the art 
followed the geographical arrangement from east to west. 
Thus we have three groups of pre-Columbian pottery, 
beginning with the crude manufactures of the Eastern 
States, advancing to the more artistic wares of the 
mounds, and ending with the highest native development 
of the ceramic art in the United States, as exemplified in 
the creations of the Pueblo or house-building tribes of 
the far West. Having adopted this classification, let us 
proceed to the consideration of these three divisions in 
the order named. 

I. — INDIAN POTTERY OF THE ATLANTIC COAST. 

The nomadic tribes which were found in possession of 
the country by the first white settlers, in the sections now 
known as the New England, Middle, and Southern At- 
lantic States, had scarcely progressed beyond the first 
stages of savagery. Their implements were fashioned 
from stone, and their utensils consisted of rude steatite 
pots, mortars dug out of rough bowlders, and a few 
earthern vessels. These latter were moulded by hand 
from coarse clay, intermixed with sand and broken shells, 
and being imperfectly baked, and consequently of an 
extremely friable nature, were easily destroyed. For this 
reason, few entire examples of their handiwork in clay 
have descended to us. Broken fragments, however, are 



26 



POTTERY AND PORCELAIN. 



plentiful among iki^ debris oi abandoned camps, and these 
serve to show the shapes of vessels and give us an idea of 
the primitive style of ornamentation employed in their 
manufacture. In form they were generally spherical, 
usually possessing a circular orifice or heavy collar, but 
sometimes surmount- 
ed with a square, 
triangular, or pentag- 
onal mouth. The 
decoration consisted 
of i n ci sed 1 i nes 
scratched in the clay 
with a stick or stone, 
or more elaborate 
markings produced 
by the impressions of 
fish vertebrae, cords 
or thongs, and in- 
dentations made by 
the thumb or finger- 
nail. Occasionally a 
moulded head or face 
was added in relief. 
Perfect specimens of 
this ware, found on 
the Atlantic Slope, and now preserved in public and 
private collections, are comparatively rare. Perhaps the 
most valuable and interesting series of such pots is 
that in the collection of the Wyoming Historical and 
Geological Society, of Wilkes-Barre, Pa., two of which 



S.— Indian Pot, Pennsvlv 
Collection Wvominc. H: 

Geological Society. 



ABORIGINAL POTTERY. 



27 



are here figured. The first is a globular vessel, seven 
inches in height, and is one of the most perfectly pre- 
served examples known. It was found in a cave in 
Wyoming Co., Pa., in 1856. The entire surface is 
covered with thong markings, except around the neck, 
where are horizontal 
lines which may have 
been made with a flint 
or bone implement 
(111. 5). 

The second ex- 
ample is a fine illus- 
tration of this type 
of vessel. It meas- 
ures thirteen inches 
from base to lip and 
possesses a scalloped 
frieze two and a half 
to three inches in 
depth. This unusual- 
ly large specimen was 
discovered among 
the rocks in Wayne 
County, Pa. The 
ornamentation is of 

an entirely different character from that of the former. 
The spherical body is devoid of any attempt at embel- 
lishment, while the surface of the heavy rim is covered 
with incised lines and notches (111. 6). A somewhat 
similar pot, in the extensive collection of Mr. James 



6.— Indian Vessel, Pennsylvania. 

Collection Wyoming Historical ani 

Geological Society. 



28 POTTERY AND PORCELAIN. 

Terry, at the American Museum of Natural History, 
New York City, differs in the form of the frieze, which 
is triangular at the mouth. This is perhaps as fine a 
ceramic relic of the Lenni-Lenape Indians as can be found. 
It was discovered many years ago at Bushkill, Pa., and is 
eight inches high, the frieze being nearly one-third the 
height of the vessel. 

The Mohawk, Cayuga. Onondaga, and other tribes 
of Indians in New York State made vessels of a some- 



7, — Clay Pipk (Gnondacia), New York, 

what similar nature, of which a few perfect examples have 
been found in ancient remains, which have been assigned 
to the first half of the seventeenth century. Of these, the 
most curious are the so-called toy cups, from Mohawk 
sites, some of which measure scarcely an inch in 
diameter. 

Clay smoking pipes are frequently met with among 
the relics of the Eastern tribes. Examples of the trumpet 
form, with curved stem, and often moulded heads of birds 



ABORIGINAL POTTERY. 29 

and animals, are common in certain localities in the State 
of New York. Rev. W. M. Beauchamp. who has made 
a special study of these interesting objects, furnishes the 
accompanying illustration of a characteristic form from an 
Onondaga site near the town of Pompey, supposed to 
belong to the latter half of the seventeenth century. The 
bowl and stem are in one piece (111. 7). 

A vase over four- 
teen inches in height 
and eleven in diameter, 
with pentagonal mouth, 
also in the Terry collec- 
tion, is a beautiful ex- 
ample of elaborate dec- 
oration. The incised 
markings cover every 
portion of the surface 
and are so arranged as 
to produce a most pleas- 
ing effect. I n this speci- 
men, which was found 
... T7-, » \\T \ C" 8,— Vase FROM Connecticut. 

at East Windsor. Con- terry collection. 

necticut, we have a 

cke/-d' osuvre of eastern Indian art It is remarkable for 
its large size and excellent condition (111. 8). 

The modern Cherokee Indians of North Carolina 
continue the manufacture of an earthenware similar in 
material, form, and decoration to the ancient vessels already 
described. A characteristic example of recent work, 
made by women at the East Cherokee Reservation, 



30 POTTERY AND PORCELAIN. 

and owned by the Bureau of Ethnology at Washington, 
is represented in Illustration No. g, which has been fur- 
nished by Mr. W. H. Holmes, who states that the 
diameter at the rim is nine inches. The interior is 
finished with a black polish produced by smother firing. 
The outside is of a brownish color of baked clay and 
covered with incised pattern made by means of an 
engraved stamp. 
Many quaint 
allusions are 
made by the early 
historians to the 
custom of smok- 
ing among the 
Indian tribes of 
North America. 
One chronicler 
wrote in the sev- 
enteenth century, 
that the Floridian 



pos- 
sessed " a kinde 
of herbe dryed, which, with a cane and an earthen cup 
in the end, with fire and the dryed herbes put to- 
gether, do sucke thorow the cane the smoke thereof, 
which smoke satisfieth their hunger, and therewith they 
live foure or five dayes without meate or drinke." This 
" cornet of claie," which was a common accessory to the 
accoutrements of every warrior, is described by another 
as "a little pan, hollowed at the one side, and within 



ABORIGINAL POTTERY. 31 



whose hole there is a long quill or pipe, out of which they 
suck up the smoak which is within the said pan, after 
they put fire to it with a coal that they lay upon it." 
The smoking utensils described by these writers were 
pipe bowls made for the insertion of a separate reed 
stem, and not, as in the case of the New York examples, 
fashioned with head and stem in one piece. In the old 
Indian remains of Pennsylvania and New Jersey both 
forms are found. 

II. — MOUND-BUILDERS' POTTERY OF THE MISSISSIPPI VALLEY. 

Earthen vessels from the mounds are far more numerous 
and consequently present much greater variety in form 
and design. In general, it may be said, the texture of the 
clay is finer and the baking has been more thorough and 
uniform. The most typical form of mound vessel is 
probably the spherical water bottle, simple in outline, with 
elongated neck. Jars, basins, and urns, however, have 
been found in great numbers, and the modifications and 
variations of these are almost limitless. Many are truth- 
fully moulded after human, animal, and vegetable models, 
while others of more simple form are embellished with 
incised geometrical devices, in which the spiral or volute 
decoration is conspicuous. Not infrequently pieces are 
found which show traces of having originally been covered 
with a dark red pigment, and while some archaeologists 
make a distinction between the painted and unpainted 
wares in point of time, and possibly of origin, there seem 
to be no sufficient grounds for separating the two. On the 
contrary, both varieties of ware have been found in the 



32 POTTERY AND PORCELAIN. 



same mound and evidently represent the same era of 
American art. 

The stone graves of Tennessee have yielded an abun- 
dance of pottery, which is similar in all essential points to 
the vessels taken from the mounds. In the absence, there- 
fore, of conclusive evidence of a different origin or period 
of manufacture, we shall include them all under one gen- 
eral head. 

The subject of Mound-Builders' pottery is too vast to 
properly review in a work of this nature. All that can be 
here attempted is a brief description of a few characteristic 
and striking forms. We must leave the comprehensive 
treatment of this branch of American ceramics to others 
who are making the subject a special study. Every student 
of pottery is familiar with the great collections of mound 
vases which are preserved in the public museums of our 
principal cities. Cincinnati, Cambridge, Washington, New 
York, Davenport, St. Louis, and Philadelphia, all possess 
valuable series of these objects, and many private collec- 
tions throughout the country include examples of greater 
or lesser interest. 

In Illustration lo we have a modification of the water 
bottle form, a vase with three legs terminating in well- 
moulded human heads, from a mound in Richmond 
County, Georgia. This piece is seven and a half inches 
high and is a Tennessee type. It has a plain, slightly 
polished surface, but was probably painted in colors origi- 
nally. For the illustration of this curious example, I am 
indebted to Mr. W. H. Holmes of Washington, D. C. 

Another exceedingly interesting piece is a vase in the 



ABORIGINAL POTTERY. 33 



form of a human head, from Pecan Point, Arkansas. The 
face is coated with a light yellowish-gray slip, the remain- 
der of the surface being colored red. Incised lines occur 
on the face to represent tattooing, and the closed eyes 
and parted lips were evidently intended to convey the 
idea of death. This is not a pleasant object to look 
upon, but as a work of aboriginal art it possesses con- 
siderable merit (111. 11). 
The oldest smoking 
pipes, of which we have 
any knowledge, were 
made by the builders of 
the mounds, who ex- 
pended an enormous 
amount of time and 
labor and exercised a 
surprising degree of skill 
in the production of 
curious receptacles for 
the smoking material. 
These objects were 
usually fashioned from 

the hardest stones, and io.-MouNn Vase, Georgia. 

were frequently carved to represent certain birds and 
animals. They were made in one piece, the bowl rising 
from the centre of the curved base or platform, one end 
of which served the purpose of a handle, whilst the other 
projection formed the stem. Clay pipe-bowls have also 
been discovered in some of the mounds, which are pre- 
sumably of a more recent origin. 



34 PO TTER Y AND PORCELAIN. 

To the same people may be attributed the large earthen 
vessels bearing impressions of textile fabrics, found in 
Gallatin County. 111., and elsewhere, which are supposed 
to have been employed by their makers in the manufac- 
ture of salt. 



It. — Head Vase. Arkansas. 

The theory, which has been recently advanced, that 
the Indians were the builders of the mounds of the Mis- 
sissippi Valley, and consequently that the makers of the 
rude pottery of the Atlantic Coast were the descendants 
of the authors of the mound vases, cannot be discussed 
here, nor can it have any bearing on the classification 
which we are forced to adopt, which is a geographical, 
rather than an ethnical, one. 



ABORIGINAL POTTERY. 35 



III. PUEBLO POTTERY OF THE PACIFIC SLOPE. 

Of an entirely different character is the ceramic ware 
made by the ancient house-building races of the far West 
and still produced by their modern descendants, the Pueblo, 
Zuni, and Moqui Indians of New Mexico and Arizona, 
Throughout the ancient ruins of this section, and extend- 
ing from the western borders of Colorado, through Utah 
to the Gila River, embracing the valleys of the Rio Grande, 
the San Juan, and the Colorado, sherds and vessels, 
in all stages of entirety, are found in astonishing abun- 
dance. Three distinct varieties were manufactured, — one, 
a corrugated ware, formed by the spiral coiling of ropes 
of plastic clay and afterwards indenting the surface with 
thumb marks or covering it with basketry or woven fabrics, 
which left their impress on the yielding material ; the 
second, a red painted ware ; the third, a whitish ware, 
coated with white or red clay, and painted in vari-colored 
designs. Of the first class, the most common vessels 
were the large urns in which the makers stored their meal 
or buried the incinerated bones of their dead. Remark- 
ably well preserved examples of this type have been dis- 
covered in the canons and cliffs of this section, carefully 
hidden away in recesses where they have remained unmo- 
lested until taken from their resting-places by some en- 
thusiastic explorer. An exceedingly perfect specimen of 
this class, fifteen inches in height, which is entirely covered 
with an indented design produced by an ingenious arrange- 
ment of thumb pressures in the coils of clay, was discov- 
ered by Mr. Charles McLoyd of Durango, Colorado, in 
thewinterof i890-'9i,in theruinsof a cliff house in Grand 



36 POTTERY AND PORCELAIN. 

Gulch, Southern Utah, This vessel, when found, was 
filled with corn. This form of urn is frequently met with 
among the ruins of this section, and a number of remark- 
ably fine examples may be seen in the superb collection 
of the National Museum. In some instances the impressed 
designs have been produced by the application of textile 
fabrics or the use of shells, stones, and sticks. Rarely the 
coiling method was employed in the manufacture of ves- 
sels of more elaborate form, as in a remarkable water- 
bottle from New Mexico, in the 
tion. This is in the form 
il, possibly intended to 
e Rocky Mountain sheep 
ope. 

; red painted variety is 
made of a gray clay, 
considerably harder 
and more thoroughly 
burned than the coiled 
ware, and covered with 

ia.—CoRRi;i;ATEi> Water-Jar, New Mexico, a COating of dark red 
Jamks Terry C^lL[.ECT^^l^. i • .. t^i 

' coloring matter. 1 he 

surface is usually glossy, the result, probably, of burnishing 
with smooth pebbles. Geometrical devices are frequently 
painted on the surface in black. 

The third variety, which is by far the most abundant, 
is made of a finer clay, mixed with pounded shells, quartz, 
or flint. In color the body is a light gray-white, some- 
times almost approaching in quality and appearance the 
yellow or Rockingham body of the civilized potter. This 



ABORIGINAL POTTERY. n 



is greatly superior to any other ware produced by native 
tribes in the United States, it is generally covered with 
a fine white wash or slip, polished by burnishing, and 
decorated with geometrical figures applied in black, red, 
and buff. The colored designs, while crude, were some- 
times wonderfully well executed. The vessels of the 
ancient Pueblos excelled the productions of all other abo- 
riginal peoples in the United States in the variety of 
shapes. Mugs, pitchers, jars, urns, dippers, bottles, and 
bowls formed but a small portion of the fictile products of 
this section. Illustration 13 will 
convey an excellent idea of the 
older wares of this class. The 
original, which measures six or 
seven inches in height, was found 
in the ruins of the Canon de 
Chelly, Arizona. The form is 
crude, the outlines irregular, and 
the decoration poorly executed in 
black. From this same site, how- 
ever, the writer, some years ago, in connection with Mr. 
William H. Jackson, photographer of the United States 
Geological Survey, unearthed a number of fine specimens 
of similar ware, of superior workmanship. 

A form which is frequently met with in the San Juan 
valley is the mug with double handle, as shown in Illus- 
tration 14. In this example, which comes from the vicinity 
of Provo, Utah, the design is more carefully drawn. 

A very interesting discovery was made during the 
winter of 1891 and 1892 by Mr. Charles McLoyd, of Duran- 



38 POTTERY AND PORCELAIN. 



go, Colorado, who spent six months exploring the cafions 
of the San Juan and Colorado rivers. In a dry cave in 
Southern Utah he found a large coiled vase, covered with 
a flat stone, which contained a number of perfect pieces 
of earthenware undecorated and unturned. One of these 
specimens is now before me. It is a double-handled cup, 
three and a quarter inches in height, of a buff-colored 
clay, hardened by the heat of the sun. Being in an un- 
finished condition, these 
examples will throw con- 
siderable light upon the 
methods of manufacture 
as practised bythis ancient 
race. The presence of so 
many entire vessels in 
one place is evidence that 
they were stored away 
for future burning, and 
afterwards forgotten. 
M-Do^THLE-HANKLKD Muo. UTAH. A ^atcf jar from the 

Canon de Chelly, about 
ten inches in diameter (111. 15), is decorated in white and 
black. The body of the vessel is covered with a series of 
diagonal lines, between which the meander, or "walls of 
Troy" design forms the embellishment. 

A large olla, or jar, from the ancient province of Tu- 
sayan, Arizona, exhibits a different style of ornamentation, 
which consists of white figures on a black painted ground. 
This interesting piece is in the collection of Mr. T. V. 
Keam. The form of this specimen is somewhat unusual 



15. — Ancient WATER-jAr 



1 6. — Ancient 1 



r PuEBL" Bowl, St. Gec 



40 POTTERY AND PORCELAIN. 



in this section, and belongs to the type represented by 
the steatite ollas, which have been found so abundantly 
in California, where pottery was made to a very limited 
extent by the former inhabitants, and only of the very 
rudest character (111. i6). 

An example of the best ware made by the ancient 
Pueblos is shown in Illustration 17. It is a bowl or basin, 
of symmetrical shape, made of the grayish-white body, with 
polished and painted interior, from an ancient tumulus, 
near St. George, Utah. The design is regular and won- 
derfully well executed. 

A common form of pottery found among the remains 

of this interesting people is the dipper, or ladle-shaped 

vessel, which was extensively used for filling the water 

jars, and may have been employed as a drinking-cup. 

These were provided with straight handles, which were 

usually decorated in colors, and sometimes provided with 

a perforation at the end for suspension. The interior of 

the bowl generally received decorative treatment also, 

and in many instances the 

painted designs are most 

elaborate and ornamental. 

The specimen represented 

18.— PoTTERv nippKR, MoNTKzi-MA In Illustratlon 18 was found 

A^oN, TAIL j^ Montezuma Cafion, Utah. 

Some of these utensils possessed hollow handles, such as 

are in use at the present day by the Moqui Indians of 

Arizona, the purpose being to permit the water to be 

emptied from the bowl through the hollow tube in filling 

water jars. 



ABORIGINAL POTTERY. 41 

Occasionally pieces are met with which combine the 
principles of coiling and painting. A bowl, of archaic 



> Painted Bowl, 



form, from Cibola, shows a corrugated or coiled exterior 
surface, with the usual thumb indentations, and a polished 
white interior, with geometrical designs in black (ill. 19). 



o.—Fragment of Anciemt Pueblo Potterv, Paintim 



42 POTTERY AND PORCELAIN. 



The painting of animal figures was sometimes at- 
tempted by the ancient potters, though examples of this 
style are comparatively rare. A curious illustration of 
this class of ware is a fragment, with conventional paint- 
ing of antelope, picked up by the writer in the ruin 
district of the Rio San Juan (III. 20). 

In rare instances pieces have been discovered which 
possess moulded figures of reptiles and other subjects, as 
in the fragment of the neck of a vessel, on which is a 
modelled representation of a frog, which I discovered in 

Southwestern Colorado, now deposited in 
C the collection of the Academy of Natural 

Sciences, Philadelphia (111. 21). 

The modern house-building I ndians 

of Arizona and New Mexico continue to 
21 — MoL'LDEL) make pottery after the ancient methods. 
Frog Ornament. jIj^ ware, while inferior in body, is more 
elaborate in design and considerably richer in forms and 
variety of embellishment. Animal representations, both 
moulded and painted, are the rule rather than the excep- 
tion. A most characteristic form of vessel which is com- 
mon to the Moquis, Pueblos, and Zunis, is the meal jar, 
decorated with black, red, and buff paintings of deer, elk, 
and birds, on a white ground. The annexed engraving (III. 
2 2) shows a representative example of this type, from Zufii, 
with figures of deer and birds, surrounded with decorative 
designs. In depicting the former, the mouth is almost inva- 
riably connected by a passage extending to the stomach (?). 
Water bottles in the forms of birds, beasts, and rep- 
tiles, and in imitation of the human form, are made in 



ABORIGINAL POTTERY, 43 

great profusion by the Zuni potters. An effigy bottle, 
representing a mother owl with three little ones perched 
on her back, is a characteristic representative of this class 
(111. 23). The owl seems to have been a favorite subject 



23.— Modern ZuRi Meal Jai 



as. — Zi-Si Indian Water Vesseu a4. — ZuSi CoiLBD Jar. 



44 POTTERY AND PORCELAIN. 

with the native designer. The deer, elk, and bear were 
also represented, and among the more recent productions 
the domestic fowl, cow, and hog figure largely. 

The modern Zui\is also practise the coiling method to 

some extent in making their pottery, as may be seen in 

Illustration 24, which shows a jar or pot with corrugated 

surface and serpent-like, relief ornaments on opposite 

sides. 

The Indians of 
Cochiti, as in all of 
the nineteen Pueblo 
vi llages of New 
Mexico, manufacture 
ware of a similar 
character. A water 
vessel, here figured 
(111. 25), in form of 
a bird, with painting 
representing a hunt- 
ing scene, is an 
average production 
of the present day. 
It will be seen by a study of the foregoing illustrations 
that the artistic instinct was strongly developed in the 
village Indians of the Southwest. The simplicity of 
decoration, as shown in the tasteful combinations and 
variations of the fret and scroll, the triangle, and other 
elementary designs, the presence of a semi-glazed or 
polished surface, and their utilitarian forms entitle these 
productions to the highest place among the fictile manu- 



ABORIGINAL POTTERY. 45 

factures of American races. Such results could only have 
been reached by the intelligent and well-directed efforts of 
a sedentary people, who had for centuries remained in one 
place and had attained a high degree of proficiency in the 
useful arts. 

We are indebted to the Bureau of Ethnology for the 
majority of the illustrations of Pacific Slope pottery used 
in this chapter. 



CHAPTER IV. 
EARLY BRICK- AND TILE-MAKING. 

TH E belief that all of the bricks which were used in the 
construction of houses in this country previous to 
the middle of the eighteenth century were imported 
from Europe is widespread but erroneous. It is true 
that bricks were brought from Holland to New York 
in the seventeenth century, and some of the ancient build- 
ings in the New England States and Pennsylvania were 
built of bricks procured from Great Britain, yet it is 
equally certain that brick-making had become an estab- 
lished industry in America a few years after the arrival of 
the first white settlers. It is stated by Dr. J. Leander 
Bishop, in his History of American Manufactures, that 
bricks were burned in Virginia as early as the year 1612, 
and so rapid was the development of this art that " tyle- 
makers " in this new Colony were living well by their trade 
in 1 649. Two years previous to the latter date, brick- and 
tile-making were being carried on in New England as 
independent callings. Daniel Pegg and others manufac- 
tured bricks in Philadelphia in 1685, and, shortly after, 
numerous brickyards were in operation along the shores 
of the Delaware. Many residences throughout the coun- 



EARLY BRICK' AND TILE^MAKING. 47 



try, particularly in certain sections of Pennsylvania, were 
built of brick early in the eighteenth century. The cost 
of importing these supplies from England and transport- 
ing them to the rural districts, far removed from tide- 
water, would have been prohibitory. That building-bricks 
were extensively manufactured here previous to 1753 is 
indicated by a statement of Lewis Evans, of Philadelphia, 
who wrote to a friend in England in that year : '* The 
greatest vein of Clay for Bricks and Pottery, begins near 
Trenton Falls, and extends a mile or two in Breadth on 
the Pennsylvania side of the River to Christine ; then it 
crosses the River and goes by Salem. The whole world 
cannot afford better bricks than our town is built of. Nor 
is the Lime which is mostly brought from White Marsh 
inferior to that wherewith the old castles in Britain were 
formerly built." 

When burned, as formerly, in " clamps," the bricks 
formed their own kiln, piled on edge, a finger's breadth 
apart, to allow the heat to circulate between. Those 
which came in direct contact with the wood-fire in the kiln 
were blackened and partially vitrified on the exposed ends ; 
while the opposite extremities, which were farthest from 
the heat, were only partially baked, and consequently 
too soft for external use. The bricks which were uni- 
formly surrounded by heat came out red. To utilize all 
of the bricks produced, the black ends of the former were 
laid outward in the wall, thus combining utility with orna- 
mentation. Many of the older buildings were constructed 
in this manner, the black binders and red stretchers alter- 
nating, each layer breaking joints with that immediately 



48 PO TTER Y AND FOR CELAIN. 



above and below. This method of laying bricks was the 
most common in use and was known as the Flemish bond. 

The first roofing tiles used in America were in all 
probability brought from Holland. Peter Jagou built 
three houses on the Burlington Islands in the Delaware 
River, about 1668, of brick and tile. In 1670 he was 
plundered by the Indians and his dwelling was destroyed. 
Among the ruins of one of these structures Dr. Charles C. 
Abbott discovered, in November, 1891, some red and 
yellow bricks and examples of curled or ** pan " tiles which 
were apparently of Dutch workmanship, though Prof. 
Edward S. Morse, who has devoted much time to the 
study of the roofing tiles of the world, has suggested to 
me that as there is no evidence that these were imported, 
they may have been made in this country. In his instruc- 
tive article on Roofing Tiles, published in The American 
Architect and Buildiiig News, of April 23, 1892, Prof. 
Morse, referring to the flat roofing tile which has been 
found extensively in Eastern Pennsylvania, makes use of 
the following statement : *' As the form of this tile and 
its dimensions correspond to the average flat tile seen in 
Germany, it is almost certain that the tile was introduced 
by the early German emigrants to that region." 

Flat terra-cotta roofing tiles were made to a consider- 
able extent in certain parts of this country, particularly in 
the German settlements of Eastern Pennsylvania, early in 
the last century, and were commonly used on smith-shops 
and out-buildings, but rarely on dwellings. The art was 
brought from Germany, where the same methods of man- 
ufacture are, to some extent, still practised. In this con- 



EARLY BRICK- AND TILE-MAKING. 49 

nection the statements furnished by Prof. Morse possess 
considerable interest. He says ; " The making of flat 
tiles, as I saw it near Wurtzburg, was of the simplest de- 
scription. An iron frame having the outline of the tile 
to be made was the only important implement involved in 
the process. This frame represented the mould. The 
table upon which this rested consisted of a thick piece of 



36.— Pennsylvania Roofing Tiles (Eighteenth Century). 

plank, over which was spread a piece of woolen cloth, one 
edge of which was nailed to the lateral edge of the plank, 
while the opposite edge of the cloth had secured to it an 
iron rod, the weight of which kept the cloth drawn 
smoothly over the plank. The iron frame was now placed 
upon the cloth and clay was packed into it with the hands, 
and then pounded down with a wooden mallet such as a 
moulder might use. A straight-edge was used to scrape 



50 PO TTER Y AND PORCELAIN. 



away the superfluous clay, a little mass being left at the head 
of the tile which was afterwards shaped into the nib which 
was to hold the tiles to the laths or battens. This being 
done, a square piece of board notched at one end to admit 
the nib was placed on the frame. The workman then 
grasped the iron rod attached to the free end of the cloth, 
and with the other hand holding the board in its place, 
lifted the cloth and inverted the whole thing, transferring 
the soft tile to the board. The iron frame was then re- 
moved, and the board with its unbaked tile was placed in 
the sun to dry." Such was substantially the method re- 
sorted to by the early tile-makers in this country, with the 
difference that rain grooves were added to the upper sur- 
face of the tile by the finger of the workman before the 
clay had dried. The grooving, however, was not always 
accomplished in this primitive manner. Mr. Solomon 
Grimly of Schwenkville, Pa., informs me that his grand- 
father, in describing the process employed by the Mont- 
gomery County (Pa.) tilers in the early part of the eigh- 
teenth century, stated that the frame or mould in which 
the tile was formed was grooved in the bottom and into 
this the clay was pressed and the superfluous material 
was cut away by passing a strong thread or wire across the 
top, a lump being left at the upper margin which was drawn 
up with the fingers to form the catch or knob. The uni- 
formity of grooving which is sometimes noticed in tiles 
from the same source would seem to prove this statement 
to be correct. 

The knob was not always, however, formed in this 
manner, as examples have been found in other localities 



EARLY BRICK' AND TILE-MAKING. 51 

which show conclusively that the protuberance had been 
made separately, and afterwards attached to the tile. Mr. 
Grimly has sent me a specimen of this character, which 
he attributes to one Hiester (or Hiister), who is said to 
have made tiles in Upper Salford township, Montgomery 
Co., Pa., about 1735. 

At Bethlehem, Pa., the Moravians made similar tiles 
about 1 740, or earlier, until well into the present century. 
Mr. Robert Rau, of Bethlehem, has presented me with 
some interesting examples taken from an old building 
which was erected about 1 760. At many small potteries 
in Lancaster County, Pa., roofing tiles have been made 
for upwards of a hundred and twenty-five years, and on 
an old smithy near the village of Bird-in-Hand one of the 
tiles which covered the roof bears the date 1 769, which 
covers the entire surface, having been traced in the moist 
clay by the finger of the workman. Such tiles have been 
found in the debris of an old smith-shop, which was built 
in 1 799, at Cope's Bridge, on the Brandywine, near West 
Chester, Pa., which, while probably made by an English 
Quaker, are of the usual German form. Throughout the 
greater portion of Eastern Pennsylvania the flat tile is found. 
The writer possesses specimens from many localities, which 
vary slightly in size and style of grooving in the productions 
of different potteries. They measure thirteen to fourteen 
inches in length, six and a half to seven in width, and 
five eighths of an inch in thickness, and are broadly and 
shallowly grooved, for the purpose of allowing the rain to 
flow off, with a knob or hook at the upper margin of the 
under side for attachment. Mr, Jacob Swope, of Bird-in- 



52 POTTERY AND PORCELAIN. 

Hand, was making tiles in 1820, and in Bucks County, 
Pa., they were manufactured, of finer clay and somewhat 
smaller size, as late as 1850. In the German settlements 
of Pennsylvania, tiles from the old buildings are still in 
demand for lining baking-ovens, as they are considered 
superior for this purpose to fire-bricks, on account of 
their thorough burning. 



CHAPTER V. 
EARLY POTTING IN AMERICA. 

THE potter's art was probably first practised in this 
country by the earlier emigrants in Virginia. Numer- 
ous small potteries sprung up to supply the modest 
needs of the simple-minded inhabitants, which furnished 
coarse earthenware utensils for culinary and other pur- 
poses. While such crude wares were made to a consider- 
able extent, no record of any one of the primitive kilns, 
which were insignificant affairs, has descended to us. The 
older chroniclers seem to have completely ignored, as 
unworthy of note, the existence of an art in their midst 
which had already become familiar to them before leaving 
their native soil. Previous to 1649 there were a number 
of small potters in Virginia who carried on a thriving 
business in the communities in which they operated ; and 
the first Dutch settlers in New York brought with them a 
practical knowledge of potting, and are said to have made 
a ware equal in quality to that produced in the ancient 
town of Delft, — hardly a white ware, but such as could be 
produced from the natural clays which abounded in the 
country. Prof. Isaac Broome, of the Beaver Falls Art 
Tile Works, informs me that the remains of an old kiln 



54 PO TTER Y AND PORCELAIN. 

fire-hole, saved from the ravages of time by being thor- 
oughly vitrified, still exist a mile or two below South 
Amboy, N. J., supposed to be a relic of the earlier pottery 
ware made on this continent, and most probably built by 
the Dutch to make stew-pans and pots. 

Among the immigrants of the seventeenth century 
were pot-makers, who had learned their trade in the 
mother-country, and Gabriel Thomas, who came from 
England, states in his Description of Philadelphia^ pub- 
lished in 1697, that "great encouragements are given to 
tradesmen and others. . . . Potters have sixteen pence 
for an earthern pot which may be bought in England for 
fourpence." 

Gilbert Cope, of West Chester, Pa., has discovered in 
his genealogical researches that one Joshua Tittery, from 
Newcastle-upon-Tyne, came over to Pennsylvania in the 
year 1683, in the employ of the " Society of Traders," 
as a glass-maker, and in his will he calls himself a potter. 
As early as about 1690 Philadelphia had at least one 
potter and one tobacco-pipe maker. 

FIRST WHITE-WARE MANUFACTORY IN AMERICA. 

Dr. Daniel Coxe, of London, one of the Proprietors, 
and afterward Governor of West New Jersey, was prob- 
ably the first to make white ware in the Colonies. While 
he did not come to America himself, he caused a pottery 
to be erected at Burlington, N. J., previous to the year 
1685, through his agent, John Tatham, who, with Daniel 
^ Coxe, his son, looked after his large interests here. We 
are indebted to Mr. John D. McCormick, of Trenton, for 



EARL Y POTTING IN AMERICA. 55 



calling attention to the following reference to this pottery, 
in the inventory of property offered for sale in the Jerseys, 
supposed to have been written about 1688, in the Raw- 
linson manuscripts, in the Bodleian Library, at Oxford, 
England, which has been carefully transcribed from the 
original and forwarded to me by the obliging librarian : 

'* I have erected a pottery att Burlington for white 
and chiney ware, a greate quantity to ye value of 1200 li 
have been already made and vended in ye Country, neigh- 
bour Colonies and ye Islands of Barbadoes and Jamaica 
where they are in great request. I have two houses and 
kills with all necessary implements, diverse workemen, 
and other servants. Have expended thereon about 
2000 li." * 

In the same MS., fol. 46, are ** Proposalls made by 
Daniell Coxe proprietary and Governor of ye provinces 
of East and West Jersey in America : 

" The above mencioned Daniell Coxe being resolved 
to sell his interest in Land and Government of the Colo- 
nies of East and West Jersey. The land amounting . . . 
unto one million of Acres (etc). 

** Itt is believed a thousand pounds per Annum cleere 
of all charges the said Daniell Coxe hath likewise at Bur- 
lington two houses and kill with all necessary materialls and 
implements with diverse servants who have made a greate 
progresse in a Pottery of White and China ware above 
1 200 li worth being already made and vended in the Coun- 
try neighbour plantations and the Islands of Barbados 
Jamaica &c. and well managed will probably bee very 

^ MS. Rawlinson, c. 128, fol. 39 b. 



56 PO TTER Y AND PORCELAIN. 



Advantagious to ye undertakers D : C: haveing expended 
thereon to bring it to perfeccion allmost 2ckx) li." 

It is recorded that in 1691 Dr. Coxe sold to the " West 
New Jersey Society" of London, consisting of forty-eight 
persons, his entire interests in the Province, including a 
dwelling-house and " pottery-house " with all the tools, for 
the sum of ;^9,ooo sterling. 

John Tatham bought of Dr. Coxe, in 1689, fourteen 
acres of land in Burlington. In 1690 he was elected Gov- 
ernor of East and West New Jersey, and subsequently 
erected in Burlington a ** great and stately palace." 

It is possible to gain some idea of the nature of this 
"white and chiney ware" by examining the statements of 
Dr. Plot, a contemporary, who published \i\s, Natural His- 
tory of Staffordshire in 1686, as quoted by the late Mr. 
Llewellynn Jewitt, in his Ceramic Art of Great Britain : 
*' The greatest pottery they have in this county is carried 
on at Burslem, near Newcastle-under-Lyme, where for 
making their different sorts of pots they have as many 
different sorts of clay . . . and are distinguish't by their 
colours and uses as followeth : — 

*' I. Bottle clay, of a bright whitish streaked yellow 
colour. 

*' 2. Hard fire-clay, of a duller whitish colour, and fully 
intersperst with a dark yellow, which they use for their 
black wares, being mixt with the 

'* 3. Red Blending clay, whidh is of a dirty red colour. 

*' 4. White clay, so called it seems, though of a blewish 
colour, and used for making yellow-color'd ware, because 
yellow is the lightest colour they make any ware of * 

' Page 97, vol. i., London, 1878. 



EARL Y POTTING IN AMERICA. 57 



In 1685 Thomas Miles made a white *'stoneware" of 
pipe-clay procured at Shelton. A few years after this, it 
is said that a potter named Astbury made ** crouch " and 
" white stone " ware in the same town, on which he used 
a salt glaze/ It is probable that the "chiney" of the 
Burlington pottery was in reality a cream-colored ware or 
a white stoneware somewhat similar to that made about 
the same time in England. It is not unlikely that the 
clay was brought from South Amboy, as Dr. Coxe owned 
considerable land in that vicinity. This clay has since 
been extensively employed in the manufacture of fine 
stone-ware. 

Mr, Francis B. Lee, son of the Clerk of the Supreme 
Court of New Jersey, has recently discovered the pleadings 
in a case apparently relating to the old Burlington Pottery, 
to which my attention has been called by William Nelson, 
Esq., correspending secretary of the New Jersey Histori- 
cal Society, as published in the A mertcanPo/Urs* Journal 
of April I, 1892. This reference seems to establish the 
fact that this pottery was in operation at least as early as 
1685. In examining a court book in and for Burlington 
jurisdiction, Mr. Lee found, in the records of a Court of 
Sessions (12 m. 20-22 days, 1685), a suit brought by 
James Budd against Edward Randall ("Ace* on debt"), 
reported as follows : 

** The deed or Indenture of agreem't betweene Plain't 
& deft Read & proved, & also ye bond of Two Hundred 
pounds from ye deft to ye Plain't for p'formance, also read 
and proved. 

* This was made of tobacco-pipe clay mixed with flint, and was superior to anything 
produced in England before. 



58 POTTERY AND PORCELAIN. 



** Mary Budd Attested sayth that shee being at Lon- 
don before ye Deft came away shee was told by an honest 
woman there who had some concerne amongst ye Potters 
at London that she feared ye Pott works here would come 
to nothing, for that the said deft Randall & ye other 
p'sons who were to come to manage ye same works had 
not skill to p'fect it 

" Wm. Winn Attested sayth that hee can finde noe 
Clay in the Countrey that will make white ware ; And 
further sayth that Edward Randall, the deft, is as good a 
workman as James Budd ye plaint can finde in England. 

** The Jury bring in this determination (vizt.) wee can 

give noe fynall determination of ye matter until materialls 

requisite shall come from England to prove ye skill of ye 
deft. 

*' Whereupon the Bench order that the said Edward 
Randall recinde ye Concerne of ye said James Budd until 
fitt materialls be sent for from such place in England as 
ye said Edward Randall shall appoint." 

From this it would appear that Randall, who was 
brought to America by James Budd to manage the Bur- 
lington works, was, for some reason, either because of lack 
of skill or the impossibility of procuring suitable clay, un- 
able to fulfil his contract to manufacture white ware up to 
that time. Later, as Dr. Coxe states, a great quantity of 
the ware was successfully manufactured here. 

The exact location of the old Coxe pottery is not 
known. It was probably situated somewhere between 
Burlington and Trenton, not necessarily in the former 
town, but somewhere in the county. 



CHAPTER VI. 

POTTERIES OF THE EIGHTEENTH 

CENTURY. 

EARLY OPERATIONS IN THE CAROUNAS. 

ACCORDING to tradition, china clays were sent to 
Europe from North Carolina more than two centu- 
riesago. The Indians are said to have carried it from 
the Smoky Mountains to the coast, " under the name of 
Unakah." as Mr. W. A. H. Schreiber of Webster, N. C, 
informs me, which was " their name for Smokies (meaning 
white), still called Unaka in Mitchell Co. and Unakoi in 
Cherokee." 

Previous to the middle of the last century, and before 
the manufacture of porcelain had been attempted in 
America, English potters were using china clays procured 
in this country. Mr. Llewellynn Jewitt, in his Ceramic 
Art of Great Britain, informs us that a patent was taken 
out in 1744, by Edward Heylyn, of the parish of Bow, in 
the county of Middlesex, merchant, and Thomas Frye, of 
the parish of West Ham, in the county of Essex, painter, 
for the manufacture of china-ware ; and in the following 
year they enrolled their specification, in which they state 
that the material used in their invention " is an earth, the 
produce of the Chirokee nation in America, called by the 



6o POTTERY AND PORCELAIN. 



natives unakery In 1878 and 1879, Mr. William Henry 
Goss, proprietor of the 'Extensive porcelain works at Lon- 
don Road, Stoke-on-Trent, contributed to the English 
Pottery and Glass Trades' Review a series of notes on Mr. 
Jewitt's work. In December of the former year he wrote : 
** The specification of this patent is of startling interest. 
Who would have thought, until Mr. Jewitt unfolded this 
document to modern light, that the first English china that 
we have any knowledge of was made from American china- 
clay ? Let our American cousins look out for, and treasure 
up lovingly, specimens of the earliest old Bow-ware after 
learning that."' Then follows the specification in full, 
as given by Mr. Jewitt, and Mr. Goss continues : '* This 
'unaker,' the produce of the Chirokee nation in America, 
is decomposed granitic rock, the earth or clay resulting 
from the washing being the decomposed felspar of that 
rock. It is curious that it should have been imported 
from among the Chirokees when we had mountains of it 
so near as Cornwall ; unknown, however, to any * whom it 
might concern * until Cookworthy discovered it twenty-four 
years later than the date of the above patent." William 
Cookworthy was acquainted with American clays as early 
as 1 745, for in a letter to a friend, dated fifth month, thirti- 

' It may be interesting to note that John Dwight, in 1671, took out a patent for the 
manufacture of " porcelaine " or transparent earthen-ware, and Mr. Jewitt remarks : 
** To Dwight, therefore, it will be seen by these patents, the credit of being the first 
inventor and maker of porcelain in England belongs. His name is thus one entitled 
to lasting honour as the pioneer of one of the best, most beautiful, most successful, and 
most flourishing arts ever practised in our kingdom." 

Mr. Charles Cooper, in an article, published in the Gentiematis Magazine oi Am^sX. 
1892, states that John Dwight's patent for the manufacture of porcelain was dated 
April 23, 1671, and informs us that the old Dwight pottery is still in operation in 
Church St., Fulham. 



THE EIGHTEENTH CENTURY. 6i 



eth, of that year, quoted by Mr. Jewitt, he writes : " I 
had lately with me the person who hath discovered the 
china-earth. He had samples of the china-ware of their 
making with him, which were, I think, equal to the Asiatic. 
'T was found in the back of Virginia, where he was in quest 
of mines ; and having read Du Halde, discovered both 
the petunse and kaulin. *T is the latter earth, he says, is 
the essential thing towards the success of the manufacture. 
He is gone for a cargo of it, having bought the whole 
country of the Indians where it rises. They can import 
it for £\i per ton, and by that means afford their china as 
cheap as common stoneware. But they intend only to go 
about 30 per cent, under the company." 

We must not conclude from this statement that the 
ware which Cookworthy had seen had been made in 
America. It is much more probable that the pieces were 
some of those produced at the Bow works, within the 
year that had just passed, from the recently discovered 
American materials. 

In 1765 and 1766 South Carolina clays were sent to 
the Worcester china works, and the Bristol works, for 
trial, but the results were not satisfactory. 

Miss Eliza Meteyard informs us, in \i^r Life of J osiah 
Wedgwood, that "as early as 1766, a Mr. Bartlem, a Staf- 
fordshire potter, who had been unsuccessful in his own 
country, emigrated to South Carolina, and commencing 
his trade there, induced various workmen to follow him." * 
In a letter to Sir William Meredith, Wedgwood thus 
expresses his alarm at this circumstance : ** The bulk of 

* See vol. ii., p. 475. 



62 POTTER Y AND PORCELAIN. 



our particular manufactures are, you know, exported to 
foreign markets, for our home consumption is very trifling 
in comparison, to what is sent abroad ; & the principal 
of these markets are the Continent & Islands of North 
America. To the Continent we send an amazing quan- 
tity of white stoneware & some of the finer kinds, but 
for the Islands we cannot make anything to rich and 
costly. This trade to our Colonies we are apprehensive 
of losing in a few years, as they have set on foot some 
Pottworks there already, and have at this time an agent 
amongst us hiring a number of our hands for establishing 
new Pottworks in South Carolina ; having got one of our 
insolvent Master Potters there to conduct them. They 
have every material there, equal if not superior to our 
own, for carrying on that manufacture ; and as the neces- 
saries of life, and consequently the price of labour amongst 
us are daily advancing, it is highly probable that more 
will follow them, and join their brother artists and manu- 
facturers of every Class, who are from all quarters taking 
a rapid flight indeed the same way ! Whether this can 
be remedied is out of our sphere to know, but we cannot 
help apprehending such consequences from these emigra- 
tions as make us very uneasy for our trade and Posterity." ' 
The apprehensions of the great potter seem to have been 
groundless, as the early venture to which reference is 
made proved abortive and ''disaster and death were the 
results. " In the same year, however, Wedgwood procured 
samples of the Carolina clays, from the country of the 
Cherokees, some 300 miles from Charleston, which, 

' Ibid.^ vol. i., p. 367. 



THE EIGHTEENTH CENTURY. 63 

proving satisfactory after trial, were for several years after 
used by him in larger quantities. Subsequently he im- 
ported clays from Florida, which he seems to have preferred 
to the former.^ 

Mines of fine kaolin are now being worked in Jackson 
County, N. C, which furnish clay for the best china made 
at Trenton, N. J., and East Liverpool, Ohio. This kaolin 
contains some oxide of cobalt which imparts to the ware 
a bluish tint, so desirable in fine porcelain bodies. 

MANUFACTURE OF STONEWARE. 

A stoneware factory was started in New York, at 
" Potter's Hill," near the ** Fresh-water Pond," back of 
the old City Hall, in or about 1735, by John Remmey, 
who came from Germany. On an old map of New York 
City, printed in 181 3, entitled, "A Plan of the City and 
Environs of New York as they were in the years 1 742, 

1743, and 1744, Drawn by D G in the 76th year 

of his age, who had at this time a perfect and correct recol- 
lection of every part of the same," Remmey & Crolius' 
pottery is marked. John Remmey died in 1762, but the 
business passed through three generations of Remmeys, 
all of the name of John, and was discontinued about 1820. 
Lateron, Joseph Henry Remmey, a great-grandson of the 
founder, moved to South Amboy, N. J., with some of the 
machinery of the old factory, and established a pottery 
there. His father, John Remmey the third, owned one of 

* Richard Champion, of the Bristol Porcelain works, arrived in South Carolina 
Dec. 6, 1784, and settled at Camden, S. C, as a planter. He did not, however, en- 
gage in the manufacture of pottery or porcelain in this country. See Two Centuries of 
Ceramic Art in Bristol^ by Hugh Owen, 1873. 



64 POTTERY AND PORCELAIN. 



the largest libraries in New York in his day, and possess- 
ing literary tastes, wrote and published, in 1799, Egypt 
as It Is, and contributed numerous editorials to the news- 
papers of that period. These facts have been furnished 
me by Mr. John F. Remmeyof Brooklyn, a son of Joseph 
Henry Remmey, from 
records tn his possession. 
About 1810. Henry 
Remmey, a brother of 
John Remmey the third, 
and grandson of the orig- 
inal John Remmey. went 
to Philadelphia and soon 
afterwards embarked in 
the stoneware business, 
which has been contin- 
ued to the present time, 
the proprietor of the 
works now being Mr. 
Richard C. Remmey, 
one of his great-grand- 
sons. The Philadelphia 
works have grown to ex- 
tensive proportions, ten 
large kilns being now in 
use. Here are manufac- 
tured chemical bricks of superior quality and stone and 
porcelain-ware of every description, for chemical purposes, 
some of the vessels having a capacity of two hundred to five 
hundred gallons. These productions have obtained almost 



THE EIGHTEENTH CENTURY. 65 



a world-wide reputation for hardness and durability. Mr. 
Remmey is now making preparations for the manufacture 
of porcelain bath-tubs and other large designs. Much of 
the clay used at these works is obtained at Woodbridge, 
N. J. In addition to these specialties, the factory pro- 
duces an extensive line of salt-glazed household utensils, 
such as mugs, pitchers, spittoons, jugs, crocks, and money- 
banks. The decoration is such as is usually found on 
similar wares ; — cobalt blue designs beneath the glaze, — 
in addition to which a more artistic style of ornamentation 
is employed to some extent, consisting of incised devices 
touched with blue. The quality of these various products 
is unsurpassed and the large quantity of goods manufac- 
tured here places this factory in the front rank of such 
establishments in this country and abroad. 

SLIP-DECORATED AND SGRAFFIATO WARE. 

Perhaps there are no products of the potter's art more 
interesting to the antiquary and the collector than the 
rude ** slip-decorated " pieces which were made in Eng- 
land and Germany during the seventeenth and eighteenth 
centuries. Among the most prominent of the earlier 
British slip-potters were Thomas and Ralph Toft, who, 
with others of less renown, have left some of these primi- 
tive productions, in the forms of dishes, drinking-cups, 
candlesticks, and miniature cradles, which are now eagerly 
sought by collectors, fine examples of which may be seen 
in the Museum of Practical Geology and the South Ken- 
sington and British Museums of London, as well as in a 



66 PO TTER Y AND PORCELAIN. 



number of private cabinets in England.' The decoration 
consists of childish designs, representing royal personages, 
lions, unicorns, birds, beasts, and flowers, executed by 
tracing liquid clays, or " slips," of different colors, on 
common red or buff pottery, through a quill attached to 
a hand-box, the flow of the diluted clay being controlled 
by means of a small air-hole in the upper part of the slip- 
box, which was closed or opened by the thumb of the 
decorator. By this contrivance a variety of ornamental 
effects was produced, such as the outlining of figures, the 
application of dotted or trellised borders, inscriptions, and 
dates. 

The recent discovery by the writer of slip-decorated 
pottery, and of sgraffiato, or incised red ware, among the 
products of old American potteries, possesses considerable 
interest. This latter style of ornamentation was common 
with Italian potters so long ago as the fifteenth century, 
and in Germany and England was employed to some 
extent two hundred years later. The decorative process 
consisted in covering the earthenware biscuit with a thin 
layer of lighter-colored slip, through which the designs 
were scratched with a style to expose the darker color 
below. A coating of transparent glaze, slightly clouded 
with green and yellow oxides, was then applied to the 
surface, and, after the final firing, the ware presented the 
appearance of a rich red intaglio beneath a greenish or 
mottled-yellow ground. During the latter half of the last 
century and the first half of this, many small potteries 
were established throughout the German settlements in 

* Those who desire to go further into the subject of British slip-decorated ware 
are referred to Examples of Early English Pottery^ Named ^ Dated ^ and Inscribed^ by 
John Eliot Hodgkin, F.S.A., and Edith Hodgkin. London, i8qi. 



THE EIGHTEENTH CENTURY. 67 



Eastern Pennsylvania, particularly in the counties of 
Bucks, Montgomery, Lehigh, Berks, and Schuylkill, where 
such ware was produced quite extensively. Its very 
homeliness and crude, but picturesque, ornamentation 
appealed strongly to the simple-minded country folk who 
used it in their daily avocations. The sentiments em- 
bodied in the quaint inscriptions and mottoes, which 
usually formed a prominent part of the embellishment of 
earthen plates, dishes, and jars, and the frequent presence 
of dates of manufacture, which were usually very exact, 
including the day of the month, caused such pieces to be 
carefully treasured and handed down from mother to 
daughter. 

Early specimens which have recently been discovered 
indicate such proficiency in slip-decoration as would lead 
us to infer that the art was by no means new to the 
potters of a century and a quarter ago in this country. 
The old English and German craftsmen plied their trades 
in this new field of labor on the same principles which had 
governed their ancestors a hundred years or more before. 

The oldest dated example of this ware which has yet 
come to light in the United States is a dish, fifteen inches 
in diameter and three inches deep, now in the Pennsyl- 
vania Museum, Philadelphia, which is embellished with 
floriated central devices, colored with red and green 
glazes, and the following inscription, carved in the white 
slip around the rim : 

" Not Be Ashamed I Advice thee Most 

if one Learneth thee what Thou not Knowest, 

the Ingenious is Accounted Brave, 

but the Clumsey None Desire to have, 1762." 



68 PO TTER Y AND POR CELAIN. 

This is evidently the work of a Germati potter, and 
was most probably made at one of the numerous old 
potteries in Montgomery County, Pa. (111. 28). 

The exact origin of this interesting example is not 
known, though there is no doubt that it was made in 



(Barber Colu) 



Pennsylvania. Several potteries are known to have been 
in operation in Montgomery and Bucks counties at the 
time of the date of this piece, where such ware was made. 
Mr. James Terry, of New Haven, Ct., is in possession of 



THE EIGHTEENTH CENTURY. 69 

a brown, glazed earthenware tea-caddy, five inches square. 

The front is covered with yellow sHp, which has been cut 

away to show some 

crude designs, by 

bringing out the dark 

color beneath, and 

the inscription : 

" Esther Smith 
Her Tea Cannister Sept 
6th 1767." 

There is reason to 
believe that this was 
made at theold Smith 
potterj' in Wrights- 
town township, 
Bucks County, Pa., 
erected in 1763 by 
Joseph Smith, where 
such ware is known 
to have been produced. The owner of the pottery 
had a sister Esther, who was bom in 1727, but as 
she was married to Thomas Lacey in 1 748, this piece 
could not have belonged to her. But Joseph Smith (born 
1 721) was married in 1743, and it is quite likely that he 
may have had a daughter Esther, named after his sister, 
who was probably the original owner of the cannister, 
shown in Engraving 29. 

Mr. Isaac Eyre, of Newtown, Pa., informs me that 
Thomas Paxson, of Buckingham, father of ex- Chief-Justice 
Paxson, of the Supreme Court of Pennsylvania, once told 



70 PO TTER Y AND PORCELAIN. 



him of an old dish that was made at the old Smith 
pottery, which contained the foUowing^ legend : 

" Here is health to the man who has a half Joe ' 
And has the heart to lend it, 
Let the dogs take him who has a whole Joe 
And has n't the heart to spend it." 

Dr. Lettie A. Smith of Newtown, granddaughter of 
Thomas Smith, who afterwards owned the potter)% 
remembers distinctly seeing some of her grandmother's 
decorated dishes, which contained four or more lines of 
poetry and the name of Thomas Smith, with dates. 

An earthen keg, covered with a black glaze, sixteen 
inches in height, with the name J. Smith and date 
I 799, is also believed to have come from the same pot- 
tery. It is in the possession of Mr. J. S. Williams of 
New Hope, Pa. The only examples remaining in the 
Smith family are an earthen bowl and a cofifee-pot deco- 
rated with raised work, now owned by Dr. Lettie A, 
Smith. 

Abraham or Isaac Stout, about 1775, made slip-deco- 
rated ware in Eastern Pennsylvania. A *' vegetable dish," 
a foot in diameter and two and a half inches deep, with 
conventional floriated pattern and the initials S. S.'on 
the margin, is owned by Miss Laura Swartzlander of 
Yardley, Bucks Co., Pa. This was one piece of a dinner 
set made by Mr. Stout for his daughter, Salome, the 
great-grandmother of the present owner. 

Christian Klinker, according to an old deed in posses- 
sion of Mr. Wm. J. Buck of Jenkintown, Pa., was an 

^ A ** Joe " was a gol 1 coin in circulation many years ago. 



TffE EIGHTEENTH CENTURY. 



"earthen potter maker," in 1792, near Bucksville, Bucks 
Co., and had resided there for at least five years previous 
to that date. 

An interesting slip-dish in the Pennsylvania Museum, 
Philadelphia, remarkable for its unusual size, light weight, 
and perfect condition, is embellished with a conventional 



1769. Pennsylvania Mu- 

design of tulips in white and green outlined with laven- 
der, on an orange-colored ground. This superb specimen 
measures seventeen and a half inches in diameter and 
possesses a double band of inscriptions in low German, 
and the date 1 769 (111. 30). This was made at one of the 
old potteries in Eastern Pennsylvania. 



72 PO TTER Y AND FOR CELAIN. 



In the extensive ceramic collection of Mr. George H. 
Danner of Manheim, Pa., is a large slip-decorated earthen 
dish adorned with a figure of a bird, under which is a 
heart on which the following inscription occurs : 

" This Dish 
and Heart 
shall never 

Part, 1773." 

This was made at one of the local pot-works, probably 
at the old Smith pottery in Bucks County. 

A curious old pottery dish, dated 1 789, in possession 
of a German family in Montgomery County, is remarkable 
for having three bands around the rim, each an inch wide, 
on which are inscriptions and ornamental devices, the 
central portion of the dish being decorated with a rudely 
executed floral design. The outer band contains a circle 
of words, as follows : 

** Mathalena Jungin, ihr Schiissel. 
Die Schiissel ist von Erd gemacht 
Wann sie ver bricht der Haffner lacht. 
Daruni nehmt sie in Acht." 

This, in English, would read : 

" Mathalena Jungin, her dish. 
The dish is made of earth 
When it breaks the potter laughs. 
Therefore take care of it." 



The second or middle band contains a wreath com- 
posed of ten flowers (tulips) and leaves. 

In the inner band is the following inscription : 



THE EIGHTEENTH CENTURY. js 



" Blumen Mollen ist gemein 
Aber den geruch zugeben vermach zur Gott allein," — 
" To sketch flowers is for me, but to give perfume belongs to God 
alone." 

This example is one of the few pieces which contain 
the names of the original owners. It is said to have 
been made at the old Cope pottery in Frederick township, 
Montgomery County. 

A second example inscribed with the recipient's name 
has recently come to light It is a well preserved plate, 
similarly ornamented, with an inscription incised in the 
back, which may be freely translated thus : ** This dish 
was made for Miss Hos (Hause) German Township, 
Berks county, June 4th 1814, so much from me, Henry 
Stofflet." The family tradition is that this was made by 
Stofflet as a wedding present for the lady whose name 
appears on it. Whether the prospective bride resided in 
Berks County, or the pottery was located there, we are 
unable to determine. The dish is now in possession of 
Mr. James Terry of New Haven, Ct. 

I am indebted to Mr. H. F. Shaddinger for the dis- 
covery of a two-handled puzzle mug, nine inches high, of 
light-red, glazed pottery, slightly streaked with brown (111. 
31). On one side is scratched the American eagle be- 
neath the glaze, with the word *' Leberty " above. On 
the reverse are inscribed the initials P X K and ** May 
5 the, 1809." On the bottom, scratched in the clay, occurs 

the inscription : 

" Phillip Kline 
his Muge 
May 5the 1809." 



74 POTTERY AND FORCE LAIN. 

The maker of this piece had a brickyard and pottery 
for common ware in Bucks County, in the year indicated. 
While this is not strictly an example of slip-decoration, it 
is a curious piece of incised pottery, made on the same 
principle as the puzzle mugs which have been produced 
in England for two hundred years. 

In searching for examples of this curious ware, I have 
received much valuable assistance from Mr, Thomas B. 
Deetz, whose explo- 
rations through the 
old farm-houses in my 
behalf have resulted 
in the discovery of 
many a rare old piece, 
whose existence 
would never have 
been suspected had 
notmyattention been 
drawn to this untrod- 
den field by an old 
pie plate which I pro- 
3i.-T«o-HANDLEDri.Ki.E Mu,;. (barbbr curcd from him, the 

Coll.) Pennsylvania Museum. f^^j example of the 

kind that I had seen (see 111. 34). His knowledge of 
Pennsylvania German, which is generally spoken in this 
section of the State, enabled him to penetrate the mys- 
teries of ancient closets, and place at my command the 
hoarded treasures concealed therein. 

One John Leidy, a German, made sgraffiato and slip- 
decorated wares a hundred years ago, near the present 



THE EIGHTEENTH CENTURY. 75 

village of Souderton, Montgomery County, Pa. That 
both varieties were manufactured at about the same time 
is clearly shown in two elaborately ornamented dishes, 
ascribed to him, which have been religiously preserved as 



3a.— Sgrapfiato Dish. Made in Pennsylvania in 1796, BV John Leidv, 
(Barbf.r Coll.) Pennsylvania Museum. 

heirlooms by the recent owner. These interesting pieces 
measure each fourteen inches in diameter. The first, 
which is two and a half inches deep, with flat bottom and 
sloping sides, is adorned with floral designs carved in the 



76 POTTERY AND PORCELAIN. 

yellowish slip and covered with a green mottled glaze, 

and bears on the margin the date, November 9, 1796, and 

the following inscription : 

" Wer elwas will verschwiegen haben 

Der derf es seiner frau nicht sagen " (III. 32). 



t John Lbidv. Pennsvlvania, 

The second, two inches in depth, is traced with white, 
green, and dark blue slips, on a bright red body, in con- 
ventional devices, with bands of white around the margin. 
On the inclined rim is the following couplet : 



THE EIGHTEENTH CENTURY. jj 

" Lieber will ich ledig leben 
Als der Frau die Hosen geben," 

and the date, October, 1797 (111. 33). The mutinous 
sentiment contained in both legends evinces an inclina- 
tion on the part of the ancient artist to rebel against 
feminine domination. 

Of especial interest, from the fact that it was the first 
piece to call my attention to the existence of slip ware 
in the United States, is an incised, red pie-dish, eleven 
inches in diameter, ornamented with birds, branches, and 
the following inscription extending around the margin 
and overlapping below : 

" Fisch und Fogel ; gehoren nicht den frowen Flogel ; 
Aber Fogel Fisch, gehoren den Herren auf den disch," 

with the date May 16, 1826, beneath what was intended 
to represent the American eagle (111. 34). A free trans- 
lation of the above would be : *' Fish and birds are too 
good for rough fellows and should only be served to 
gentlemen." 

We are enabled to assign this piece to a particular 
maker through another example which has recently come 
to light. This latter, now in my possession, is of the 
same size and form, style of decoration, and, singularly, 
bears the same date, May 16, 1826. On the lower half 
is the American eagle, clutching an olive branch in each 
foot, but the upper design differs from that of the former 
in the substitution of flowers for the two birds. The 
inscription around the margin is as follows : 



78 PO TTER Y AND POR CELAIN. 

" Wer das lieben ungesund, 
So dadens docter meiten, 
Und wans den wibem weh dad ; 
So dadens sie nicht Iciten," 

This may be translated thus : 

" If love were unhealthy 
Then ihe doctor would shun it, 
And if it would pain the women 
Then they would not suffer it." 

The similarity of the workmanship and the formation 
of the letters in the two pieces, and, above all, the corres- 
ponding dates, prove 
them to be the work 
of the same hand. 
The second piece 
bears on the back a 
name and date, which 
have been scratched 
in the clay before it 
was burned, — "Sam- 
uel Troxel Potter 
May the i6th 1826." 
Whether Troxel was 

34.— SoRAFFiATo Dish, Pennsvlvania, 1826. the proprietor of the 

(Barbfr Coll.) Pennsylvania Museum. „.. ■ 

pottery or merely a 
workman employed there we are unable to determine, 
but it is certain that he made the two pieces described. 
These interesting specimens were probably part of a set 
made to fill a particular order. It is rather a remarkable 
coincidence that they should have been brought together 



THE EIGHTEENTH CENTURY. 79 

again, from widely separated localities, sixty-seven years 
after they were manufactured. 

Early in the present century John Nase produced simi- 
lar ware, at a pottery one-half mile west of the hamlet of 
Tyler's Port, Montgomery County, Pa., about four miles 
distant from Souderton, having, it is said, succeeded his 
father in the business. A dish in my possession bears 
the name Johannes Neesz (the father of John), and the 
date 1812, with the reverent words : 

" Lieber Vatter im Himmel reich. 
Was du mir gibst das es ich gleich." 



35.— Sup Pitcher an 

I have procured from some of his descendants a num- 
ber of examples of the work of John Nase, who manu- 
factured both slip and incised ware in plates, mugs, vege- 
table dishes, and other useful forms. One of these is a 
small pie-plate with sgrafifiato decoration, — a leaping stag 
and spray of conventional flowers, Pennsylvania German 
inscription, and date, 1814. He also made pottery toys, 
such as small tubs and bird-shaped whistles. That he was 
a skilful potter is amply shown in some of his finer work. 
An elaborate sugar-bowl and small creamer with twisted 



So POTTERY AND PORCELAIN. 

handle, which I have recently acquired from a reliable 
source, are decorated with dotted figures and festoons of 
yellow slip, and covered with a heavy, rich, dark-brown 
glaze which sparkles with an auriferous sheen akin to 



1S47. (Uakber Coll.) 

goldstone. The bowl is mounted with a lid that is built 
up into a crown-shaped ornament by the coiling of thin 
ropes of clay into spirals and scrolls. In form the piece 
bears a remarkable resemblance to some of the early 
English posset-pots (111. 35). 



THE EIGHTEENTH CENTURY. 



A characteristic piece of slip-decoration from the 
Nase pottery is shown in Illustration 36. Black and 
white slips have been traced on the red body to form 
the figure of a bird surrounded with foliage, and the 
words : 

" Ich koch was ich kan 

" I cook what I can 
Is my pig neat, so is my man," 



37, — Dull-Finished Sgraffiato Dish. Made by John Nase about 1B47. 

A peculiarity of some of the work of John Nase is the 
absence of glazing on some of the sgraffiato ware. These 



82 POTTERY AND PORCELAIN. 

pieces have the appearance of being covered with a thin 
glossy wash or varnish, an effect produced by smearing 
the inside of the saggers in which they were fired with 
glaze, which in the kiln would vaporize and form a slight 
deposit on the ware, technically known as " jw^ar " glaze. 
A large pie-dish of this character has scratched upon it 
the figure of a mounted soldier, in Continental uniform, 
with trumpet and sabre (111. 37), Patches of green, blue. 



38, — ScRAFFiATO Plate. Made Vi Fkeberick Hildknbranii aboiit 1830, 

and red glazes have been appUed to the petals and leaves 
of the flowers, but the ground is dull-finished. This 
design seems to have been a favorite one at the Nase 
pottery, as several examples have recently come into my 
hands. In some instances the trumpet has been replaced 
by a tobacco-pipe in the right hand of the rider, as in a 
highly glazed specimen in the Pennsylvania Museum, 
Philadelphia, which bears the date 1S47. A large pistol 



THE EIGHTEENTH CENTURY. 83 



is sometimes substituted for the sabre. It has been sug- 
gested that the mounted figure was intended to represent 
General Washington, but the inscriptions which are found 
on such pieces bear no allusion to the central design. 

Frederick Hildenbrand was a contemporar}' of John 
Nase, and had a pottery two miles west of Tyler's Port. 



39. — Sgbafnato Plate. Made by Jacob Sholl, Montgomery County, 
Pa., 1831. 

Examples of his work are scarce, but one which has been 
carefully preserved by a daughter serves to show the 
character and quality of his productions. This is a dull- 
finished plate, eight and a half inches in diameter, orna- 
mented with the figure of a lion, passant, picked through 
a coating of white slip. On the back the name of the 



84 POTTERY AND PORCELAIN. 



workman, Johanes Leman, is scratched in the paste. 
Leman is said to have worked at several of the potteries 
in the vicinity at different times (see 111. 38). 

Another pottery was in operation about a mile south 
of Tyler's Port, which was owned by one Jacob Sholl. 
He made incised ware of a good quality and considerable 
artistic merit. Some of his plaques were embellished with 
floral designs, with and without inscriptions, a number of 
them being dated 1831. An interesting plate from this 
pottery is shown in illustration 39. It is unglazed, save 
where patches of green have been applied to petals, and 
bears the above date. A large pie-dish from the Sholl 
pottery (Barber collection) contains the incised device of 
a large eagle which covers the entire surface. In each 
talon it grasps a spray of flowers, and in its beak it holds 
a scroll with the English inscription, '* Liberty in the 
year 1832." The plumage is represented by numerous 
small curved incisions, revealing the red body beneath. 

A pair of covered jars, in the possession of one of 
Sholl's descendants, are objects of considerable beauty 
and reveal the touch of an artist. Bold floral designs are 
engraved in the yellow slip which covers the surface, and 
the leaves and petals are tipped with green and blue 
pigments under the rich glazing. On the bottom of each 
a conventionalized flower is stamped in the paste (see 
chapter on Marks). These are the only examples of such 
ware which have come to my notice that bear factory 
marks. Michael Fillman was a potter at Sholl's establish- 
ment, and IS said to have executed some of the best work 
produced there. 



THE EIGHTEENTH CENTURY. 85 



The following inscription is found both on a sgraflfiato 
dish, dated 1831, and a spherical jar or flower-pot with 
floral designs, from the Shell pottery : 

" Alles verfreszen und versoffeti vor Meinem end 
Macht ein richdig Testament " — 

" Everything consumed in gluttony and drinking before my end, makes 



40. — Sgraffiato Jars, Mads by Jacob Sholl, about 1830. 

From the old pottery of Benjamin Berge, which was 
also situated in Montgomery County, the author has a pie- 
dish, thirteen inches in diameter, containing the figure of 
a bird, apparently a pigeon, standing on a branch, in the 
attitude of plucking its breast. Entirely around the 
border extends a curved spray of coarse flowers. This 
effective piece is decorated with yellow slip, but the design 
is not raised, as in the other examples figured, but beaten 



86 



POTTERY AND PORCELAIN. 



or pressed into the red body, as is done at the present 
day in the common red kitchen earthen-ware, presenting 
a perfectly smooth surface (III. 41). 

A coarse, red potterj', with rude floral slip designs in 
low relief, the raised parts covered with yellow, brown, and 
green glazes, was made by Michael and Andrew Head- 
man, near Rich Hill, Bucks County, Pa., more than half 
a century ago. The business is still being carried on by 
a son, Charles Head- 
man, but I am in- 
formed that the man- 
ufacture of ornamen- 
tal potter}' has been 
discontinued. A 
flower-holder, a foot 
in height, which was 
made in 1849, is 
a characteristic ex- 
ample of the better 
class of ware manu- 
factured here in for- 
mer years (III. 42). 
Many of the inscriptions which occur on the old slip- 
decorated wares of Pennsylvania were intended for orna- 
ment rather than the perpetuation of valuable precepts, 
while others were designed solely to amuse ; hence we 
find among them some whose sentiments are more forci- 
ble than elegant. They were executed generally by 
illiterate German workmen, which fact will account for 
the introduction of misspelled words, which are often diffi- 




41.— Sup Dish. Maiie by Benjamin Berhe. 

AflOl T 1S30. liAHliFR Col-LKCTION. 



THE EIGHTEENTH CENTURY. 87 

cult of translation, even to those familiar with the 
Pennsylvania German dialect. The following will suffice 
to show the general character of these inscriptions : 

On a large circular, slip-traced vegetable dish of the 
eighteenth century : 

" Gluck und unglttck 
tst alle tnorgen unser FrUh stUck " — 
" Fortune and misfortune is every morning our breakfast." 



4a. — Pottery Fi^wer-Vasb. Madb by Charles Heahman, 1849. (Barber 
Coll.) Pennsylvania Museum. 

On a deep dish, decorated with white and black slip 

designs on a red ground : 

" An diesem disch gefalt mirs nicht 
Derkoch der wascht die fin(g)er nicht " — 
" (To eat) on this dish it does not please me 
The cook has not washed his fingers," 



88 POTTERY AND PORCELAIN. 



The earlier potters of this section, bringing their art 
with them from the fatherland, employed tolerably cor- 
rect German in these inscriptions, but their descendants 
in time drifted into the Pennsylvania German. There 
were English potters, however, among them, though 
pieces with English legends are scarce. The old potteries 
where inscribed ware was produced have entirely dis- 
appeared, and I have seen no pieces which were made 
later than the middle of the present century. The Penn- 
sylvania Museum and School of Industrial Art, Phila- 
delphia, possesses the largest collection of this ware 
extant 

TERRA-COTTA. 

The terra-cotta works now operated by Messrs. A. H. 
Hews & Co., at North Cambridge, Mass., were started in 
Weston, Mass., previous to 1765, by Abraham Hews, 
great-grandfather of the present senior member of the firm. 
The ware manufactured at first consisted of household 
utensils, such as bean-pots, pudding and milk pans, jugs, 
etc., and the entry of transactions for one year was con- 
fined to a single page of the day-book. These products 
were usually sold in exchange for such commodities as 
molasses. New England rum, and other staple merchandise 
which formed the basis of barter in those days. 

The clay used at Weston for some years was brought 
from Watertown, and at a more recent date from Cam- 
bridge, Mass. 

During the first century of this pottery's existence, the 
firm name was changed several times, first to Abraham 



THE EIGHTEENTH CENTURY. 89 

Hews & Son, then to Abraham Hews & Sons, and 
later to Abraham Hews' Sons, three brothers of Abraham 
Hews second. In 1865 the present proprietor was ad- 
mitted to partnership in the business, and five years later 
the establishment was moved 
to its present location, at which 
time the firm consisted of 
Messrs, A. H. & Horatio 
Hews. The latter soon after 
retired and the business was 
continued in the name of the 
former. Previous to the fire, 
which destroyed a portion of 
the works and all of the ma- 
chinery, on December i, 1891, 
it was claimed that this factory 
manufactured more hand and 
machine-made flower pots than 
any other establishment in the 
world. Large numbers of um- 
brella stands, jardinihres, cus- 
pidors, lamp-stands, garden 
vases, and other fancy earthen- 
ware were made from natural 

clays, a specialty in art pottery 43.— Terra-Cotta jAnoiNcfeRK and 
being reproductions of an- p^o^^*"- a. h. Hews & Co. 
tique shapes, after Grecian, Roman, Etruscan, Phceni- 
cian, and Cypriote models, including creditable imita- 
tions of the productions of the Widow Ipsen of 
Copenhagen. In the plain biscuit state, for decorators, 



go POTTERY AND PORCELAIN. 



such ware is known as Albert and Albertine, the latter 
differing from the former in the application of floral 
designs in high relief. Copies of old Peruvian vases 
have also been attempted, which included some of the 
double "whistling-jars" so well known to collectors of 
Incarial vessels. The most artistic and characteristic 
variety of terra-cotta made here, however, are the garden 
vases and pedestals of a rich, dark color which maybe seen 
in the shop windows of almost any of our city florists. 
These are made of natural clays, without artificial coloring, 
and ornamented with classic designs in relief. The works 
have been rebuilt and are now running again, with im- 
proved facilities for supplying the ever growing demand 
for goods of this character, which the intelligent efforts 
and conscientious business methods of more than a 
century and a quarter have so abundantly merited. 

As early as 1 760, a pottery and glassworks had been 
established at Germantown, now a suburb of Quincy, 
Mass., through the exertions of Joseph C. Palmer and 
Richard Cranch, two progressive land owners, who were 
instrumental in establishing manufacturing enterprises of 
various kinds at that point. The late Mr. E. P. Cranch, 
of Cincinnati, Ohio, a grandson of the latter, left among 
his personal effects some fragments of pottery and glass 
which had been picked up by his father on the site of the 
old works. One of the pieces of pottery is three quarters 
of an inch in thickness, coarse in texture, and heavily 
glazed. Other examples are thinner, almost vitreous, and 
slightly iridescent, and were apparently never glazed, or 
but thinly. There seem to be no evidences of any sort of 
decoration. 



THE EIGHTEENTH CENTURY. 91 

FIRST CHINA WORKS IN PHILADELPHIA. 

Not until 1 769 was there any serious attempt made to 
manufacture fine china on this side of the Atlantic. In 
Watson's Annals of Philadelphia y we find the brief state- 
ment that ** the desire to encourage domestic fabrics gave 
rise, in 1771, to the erection of a flint-glass manufactory 
near Lancaster, by which they hoped to save /" 30,000 to 
the province. A china factory, too, was also erected on 
Prime Street, near the present Navy Yard, intended to 
make china at a saving of /" 15,000." ^ In a foot-note the 
author adds : " This long row of wooden houses afterwards 
became famous as a sailors' brothel and riot-house on a 
large scale. The former frail ware proved an abortive 
scheme." The glassworks to which Mr. Watson refers 
were established at Manheim, Lancaster County, Pa., by 
Baron William Henry Stiegel, who came from Manheim 
in Germany. Examples of colored glass goblets and 
other pieces may be seen in the extensive collection of 
Mr. George H. Banner of that town. Mr. Charles Henry 
Hart, of Philadelphia, made the interesting discovery, a 
few years ago, of some old advertisements in the news- 
papers of the last century which throw considerable light 
on the early American china works, and he has kindly 
placed at my disposal the results of his researches. The 
first of these announcements, which appeared in the latter 
part of the year 1 769, is as follows ; 

*' New China-ware. — Notwithstanding the various dif- 
ficulties and disadvantages, which usually attend the intro- 
duction of any important manufacture into a new country, 

^ Vide^ vol. ii., p. 272. 



92 POTTER Y AND PORCELAIN. 



the Proprietors of the China Works, now erecting in 
Southwark, have the pleasure to acquaint the public, they 
have proved to a certainty, that the clays of America are 
productive of as good Porcelain, as any heretofore manu- 
factured at the famous factory in Bow, near London, and 
imported into the colonies and plantations, which they 
will engage to sell upon very reasonable terms ; and as 
they purpose going largely into this manufacture as soon 
as the works are completed, they request those persons 
who choose to favor them with commands, to be as early 
as possible, laying it down as a fixed principle, to take all 
orders in rotation, and execute the earliest first ; dealers 
will meet with the usual encouragement, and may be as- 
sured, that no goods under Thirty Pounds' worth, will be 
sold to private persons out of the factory, at a lower ad- 
vance than from their shops. All workmen skilled in the 
different branches of throwing, turning, modelling, mould- 
ing, pressing, and painting, upon application to the Pro- 
prietors, may depend on encouragement suitable to 
their abilities ; and such parents, as are inclined to bind 
their children apprentices to either of these branches, must 
be early in their application, as only a few of the first 
offering will be accepted, without a premium ; none will 
be received under twelve years of age, or upwards of fif- 
teen. All orders from the country, or other provinces, 
inclosed in letters, post paid, and directed to the China 
Proprietors in Philadelphia, will be faithfully executed, 
and the Ware warranted equal to any, in goodness and 
cheapness, hitherto manufactured in, or imported from 
England." 



THE EIGHTEENTH CENTURY. 93 



This card, which was printed first on December 29, 
1 769, fixes the date of the beginning of this enterprise, as 
it clearly states that the works were then in course of erec- 
tion. Subsequently the proprietors advertised for bones, 
offering twenty shillings per thousand ** for any quantity 
of horses or beeves shank-bones, whole or broken, fifteen 
shillings for hogs, and ten shillings for calves and sheep 
(a proportionable price for knuckle bones), delivered at 
the china factory in Southwark," concluding with the an- 
nouncement that the capital works of the factory were 
then completed and in full operation. The projectors of 
this enterprise were Gousse Bonn in, who had most proba- 
bly learned his trade at Bow, and George Anthony Morris, 
of Philadelphia. In January, 1771, they applied to the 
Assembly for pecuniary assistance, in the form of a pro- 
vincial loan, the petition as laid upon the table in the 
Assembly room, being given in full by Colonel Frank M. 
Etting, in his History of Independence Hall, which reads 
as follows : 

"the address of the proprietors of the china 

manufactory. 

" Worthy Sirs : — We, the Subscribers, actuated as 
strongly by the sincerest Attachment to the interest of 
the Public as to our private Emolument, have at our sole 
Risque and Expense introduced into this Province a Manu- 
facture of Porcelain or China Earthen Ware, a Commodi- 
ty, which by Beauty and Excellence, hath forced its way 
into every refined Part of the Globe, and created various 
imitative Attempts, in its Progress through the different 



94 POTTERY AND PORCELAIN. 

Kingdoms and Principalities of Europe, under the Sanc- 
tion and Encouragement of their several Potentates. 
Great Britain which hath not been the least backward, in 
Royal Testimonials of Favour to the first Adventurers, 
in so capital an Undertaking, cannot yet boast of any 
great Superiority in Workmanship, surpassing Denmark, 
France and the Austrian Netherlands, she yields the 
Palm to Saxony, which in her Turn gives place to the 
East Indies. America, in this general Struggle, hath 
hitherto been unthought of, and it is our peculiar Happi- 
ness to have been primarily instrumental in bringing her 
forward ; but how far she shall proceed, in a great Measure, 
depends on the influence of your generous Support. We 
have expended great Sums in bringing from London 
Workmen of acknowledged Abilities, have established 
them here, erected spacious Buildings, Mills, Kilns and 
various Requisites ; and brought the work, we flatter our- 
selves, into no contemptible Train of Perfection. A sam- 
ple of it we respectfully submit to the Inspection of your 
Honourable House, praying it may be viewed with a 
favourable Eye having Reference to the Disadvantages 
under which we engaged ; if happy enough to merit your 
approbation we v/ould not wish to aspire at the Presump- 
tion of dictating the Measure of your Encouragement, but 
with all Humility hint at the Manner. You, Gentlemen, 
who are appointed to a dignified Pre-eminence by the free 
Votes of your Countrymen, as well for your known At- 
tachment to their truest Welfare, as superior Knowledge, 
must be sensible, that capital Works are not to be carried 
on by inconsiderable Aids or Advancements : Hence it is. 



THE EIGHTEENTH CENTURY. 95 



we beg leave to point out the Propriety of a Provincial 
Loan, at the Discretion of your Honourable House, inde- 
pendent of Interest, for a certain Term of Years. Under 
such Indulgence, on our Part we shall not be deficient in 
the Display of a Lively Gratitude, and the Promotion of 
the Colony's service, by the introducing of an additional 
Number of Experienced Workmen the Extension of our 
Buildings, and Improvement of the Manufacture, en- 
deavoring to render it equal in Quality to such as is 
usually imported, and vending it at a cheaper Rate. We 
have the Honour, etc., etc." 

Whether they were successful in procuring the loan 
does not appear, but later in the same year they adver- 
tised for *' zaffer or zaflfera," without which they could 
not make blue ware. 

A curious old lottery ticket, in the possession of Mr. 
Ferdinand J. Dreer, of Philadelphia, issued in 1771, evi- 
dently has reference to this factory, and shows the straits 
to which the proprietors were driven to raise funds for the 
enterprise. The ticket reads as follows : 

NEW CASTLE LOTTERY 

FOR THE ENCOURAGEMENT OF THE AMERICAN CHINA 

MANUFACTURE. 

1771. No. 2257. 

This Ticket entitles the Bearer to such Prize as may be drawn 
against its Number, free from any Deduction. 
D. 
Tobias Rudolph. 



96 POTTER Y AND PORCELAIN. 



In April, 1772, the following appeared in the Philadel- 
phia papers : 



n 



WANTED. 



" By the Proprietors of the China Manufactory in 
Southwark, Several apprentices to the painting branch, a 
proper person being engaged to instruct them : The ad- 
vantage resulting to poor people by embracing such an 
opportunity of bringing up their children creditably, are 
too obvious to be overlooked. 

*' Wanted also, several apprentices to the other 
branches, of equal utility and benefit to children. None 
will be received under indentures for less than seven 
years, and will be found during that term in every neces- 
sary befitting apprentices." 

Shortly afterward they advertised for ** fifty wagon 
loads of white flint stone." The attempt to make porce- 
lain at this time, however, proved a failure in a financial 
point, and in the latter year the proprietors made a public 
appeal for charity in behalf of the workmen who had been 
brought to a foreign country and were left without means 
of support. After running about two years, the factory 
was permanently closed, the real estate was sold, and 
Bonnin returned to England. 

Little is known of the ware made here. The fact that 
zaffre was used shows that blue decorated ware was made. 
The employment of bones in large quantities indicated 
that if porcelain was made here, it was similar to the Eng- 
lish bone china. No mention is made in any of the ad- 



THE EIGHTEENTH CENTURY. 97 



vertisements of kaolin, and we may therefore conclude 
that hard porcelain was not attempted. The Bow works 
at that period were making little but blue and white <:hina, 
as was the case with all of the early English factories, 
which employed almost exclusively lapis lazuli and zaflfre 
to color beneath the glaze. It is curious, however, to note 
what Messrs. Bonnin and Morris assert in their petition 
in relation to the wares produced in Great Britain, be- 
cause the fame of Josiah Wedgwood's Basal tes or Egyp- 
tian Black Ware, first made in 1766, and the earlier 
productions of the Etruria works, which began operations 
in June of 1769, should have reached America previous to 
1 771. For several years before the latter date Chelsea 
had been turning out some fine porcelain exquisitely 
moulded and decorated in several colors. At other fac- 
tories throughout England artistic china was also made to 
a limited extent with polychrome decoration. Previous 
to the year 1770 the Bow factory had commenced to use 
gold and colors over the glaze, but this fact may not have 
been known to the American potters. Whether any of 
the ware produced here was ornamented above the glaze 
in colors is not known, because we have not been able to 
positively identify any pieces of this character, although 
several examples, embellished with baskets of roses in 
natural colors and other floral decorations, are claimed to 
have been made at the Southwark factory. In the light 
of all the evidence which we possess, we can only be cer- 
tain that cream-colored ware was made here, both in plain 
white and decorated in blue. An example of the latter is 
a small white ware fruit-basket in the cabinet of the 



POTTERY AND PORCELAIN. 



Franklin Institute in Philadelphia, six inches in diameter 
and of excellent workmanship. The sides are of basket 
or openwork pattern, studded with flower-shaped orna- 



ments in relief. The decoration is blue, under the glaze, 
consisting of a floral design In the bottom and zaffre blue 
rosettes around the sides. Underneath occurs a small P 



THE EIGHTEENTH CENTURY. 99 



in blue, which may have been the factory mark (Philadel- 
phia), or the initial of the decorator. There is little rea- 
son to doubt the authenticity of this piece, which was 
** made about the time of the Revolution," and deposited 
in the Institute by Dr. James Mease, author of A Picture 
of Philadelphia (181 1), who was an authority on his- 
torical matters and generally reliable in his statements. 
We know of no other white ware factory in this country 
which was in operation at that time.' 

" The broken China fruit basket which I have the 
pleasure to present to the Franklin Institute, was part of 
a dinner set, and the first attempt at the manufacture of 
China in the United States, the history of which is as 
follows : 

" Mr. Gousey Bonnin of Antigua, came to Philadelphia 
before the American War, and his father having been a 
correspondent of my father's, they became intimate. 
What led him to the speculation, I never heard, but in an 
unfortunate hour, he resolved to undertake the manufac- 
ture of China the clay for which he procured from White- 
Clay-Creek in the State of Delaware, a few miles from the 
City of Wilmington, and with the aid of five hundred 
pounds loaned him by my father he erected a long frame 
building in Prime St. southward, which I believe now leads 
from the navy yard west. 

" The workmen were doubtless procured from England, 
and China or Ware of quality of the broken Specimen 

* Since the above was written, the example described has been placed in the Penn- 
sylvania Museum, together with the original letter of presentation by Dr. Mease to the 
Franklin Institute in 1841, which has recently come to light. This letter, given here 
in full, absolutely identifies this piece and gives us further facts relating to the old 
Southwark factory. 



loo POTTERY AND PORCELAIN. 



was made, but to what extent I cannot say : However the 
news was soon conveyed to England that the manufacture 
had commenced, when speedily arrived cargoes of the 
English or Dutch Ware sufficient to supply the demand 
of the Colony or Colonies. Unable to withstand the com- 
petition with the manufacturers in Europe, Mr. Bonnin 
ceased his labours. 

*' The dinner set of his China was all that my father 
got for his ;^50o. 

'' The quality of it was about equal to the Delft ware of 
Holland of which much of the American table sets was 
composed, and which was first imported into England 
previously to being sent to this Country, the direct trade 
being prohibited. 

*' James Mease. 

"February 22, 1841." 

It does not seem probable that porcelain was ever 
made here. All white ware was known, at that time, as 
" china." The wording of some of the advertisements, 
however, would seem to indicate that the proprietors had 
the manufacture of a finer ware in contemplation before 
the disastrous termination of the enterprise. At least no 
examples of true porcelain made at this factory have, as 
yet, come to light. 

The year 1 769 seemed to have marked the establish- 
ment of several important ceramic manufactories in the 
United States. While the Philadelphia china works were 
in course of erection, a similar project was under con- 
sideration in Boston, as appears by an advertisement in 
the Boston Evening Post (weekly), of May 15, 1 769, a tran- 



THE EIGHTEENTH CENTURY. loi 



script of which has been kindly furnished by the librarian 
of the Boston Athenaeum, which reads as follows : 



ii 



WANTED : 



** Samples of different Clays and fine white Sand. Any 
Person or Persons that will send about 31b. of Clay and a 
Pint of fine white Sand to Leigh's Intelligence Office in 
Merchants Row, Boston^ (if its the Sort wanted) the 
Proprietors will have advantageous Proposals made to 
them to supply a Quantity. Boston, May 12^ -^7^p." 

A subsequent advertisement in the same paper, under 
date of October 16, 1769, shows that the enterprise was 
then in full operation : 

** Wanted immediately at the new Factory in New- 
Boston, four Boys for Apprentices to learn the Art of 
making Tortoise-shell, Cream and Green colour Plates, 
Dishes, Coffee & Tea Pots, Cups and Saucers, and all other 
Articles in the Potter s Business, equal to any imported 
from England. Any Persons inclining to bind out such 
Lads to the aforesaid Business, is desired to apply imme- 
diately at the said Factory or at Leigh's Intelligence- 
Office. Boston, Octo. 16, lydgy 

In Holt's New York Journal of 1774 and 1775 an ad- 
vertisement appeared describing the ware made in that 
city at that early day. It is given here in full : 



4< 



EARTHEN WARE. 



** Now manufacturing, and to be sold at the well known 
House called Katechemet's Mead-House, about mid way 



I02 POTTER Y AND PORCELAIN. 



between the New City-Hall and the Tea-Water Pump, 
on the left hand side of the road as you go out of the 
city ; where city and country store-keepers may be sup- 
plied with any quantity of said Ware, at reasonable rates. 
The Ware is far superior to the generality, and equal to 
the best of any imported from Philadelphia, or elsewhere, 
and consists of butter, water, pickle and oyster pots, por- 
ringers, milk pans of several sizes, jugs of several sizes, 
quart and pint mugs, quart, pint, and half pint bowls, of 
various colours ; small cups of different shapes, striped and 
coloured dishes of divers colours, pudding pans and wash 
basons, sauce pans, and a variety of other sorts of ware, 
too tedious to particularize, by the manufacturer, late 
from Philadelphia, 

"Jonathan Durell. 

'* N. B. — The purchaser of twenty shillings, or upwards, 
may depend on having it delivered to any part of this 
city, without charge." 

From the above it would appear that even before the 
Revolution the wares made in Philadelphia had acquired 
a reputation abroad for excellence. It seems that Jon- 
athan Durell had been previously a manufacturer in Phila- 
delphia. In his new field of labor he produced ''striped 
and coloured dishes of divers colour Sy' which he claimed to 
be ''equal to the best of any imported from Philadelphia." 
What was the nature of this ware ? Most probably the 
red and black pottery, variegated with green and yellow 
oxides, which was so commonly made at that period. 



THE EIGHTEENTH CENTURY. 



103 



Mrs. S. L. Oberholtzer of Norristown informs me that 
her ancestors, Thomas, John, and Paxson Vickers, succes- 
sively carried on the manufacture of earthenware in Chester 
County, Pa., In West Whiteland township, for an unin- 
terrupted period of seventy years previous to 1823, and 
from that date until 1865, in Uwchlan township. In addi- 
tion to the ordinary 
household pottery, 
they made elaborate 
vases for flowers, 
animal and orna- 
mental figures. Mrs. 
Oberholtzer has in 
her possession an 
interesting series of 
objects from this 
pottery, consisting of 
pie-dish moulds, roll- 
ers, pounders, and 
other tools used in 
the work, the oldest 
dated example being 
a mould on which 
occur the initials J. 
v., and the date 1806. The buildings of this old pottery 
have long since disappeared. 

Before the beginning of the present century several 
stoneware and earthenware potteries were in operation in 
Connecticut. At " Bean Hill," near Norwich, good ware 
was made and specimens of pottery in the form of " money- 



— Pottery " Money-Bank," Norwich, Ct. 
James Terry Collection. 



1 04 PO TTER Y AND PORCELAIN. 



safes " for children, one bearing the date 1 794, and another 
181 2, the latter owned by Mr. James Terry, of New 
Haven (111. 45), are still in existence. A cider-bottle, 
in the shape of a hollow ring, made to carry on the arm 
of a mower in the field, is also extant. 

In 1 791, John Curtis was making a good quality of 
pottery in Philadelphia, from clay obtained where the 
brewer)'^ now stands, at Tenth and Filbert streets, and his 
name is found in the city directories as late as 181 1, in the 
same business. 

One of the earliest potteries established in Vermont 
was that of John and William Norton, two brothers, who 
came from Connecticut and commenced making red earth- 
enware at Bennington, in 1793. Seven years later they 
took up the manufacture of plain stoneware, which has 
been continued down to the present time. The business 
is at present carried on by Messrs. C. W. Thatcher and 
E. L. Norton, the former being the first person not a 
Norton who has ever had an interest in the establishment. 
The junior member of the firm is a great-grandson of 
John Norton, one of the founders. 

It is probable that other potteries in America followed 
the example of the Burlington pottery in the manufacture 
of white ware previous to the opening of the previous 
century. Mr. John D. McCormick, proprietor of the 
American Potters' Journal, Trenton, N, J., states that 
** the New Jersey Journal, printed at Elizabethtown, in 
its issue of January 25, 1792, contains the following: 
'The Pennsylvania Society for the Encouragement of 
Manufactures and the Useful Arts,' in their list of pre- 



THE EIGHTEENTH CENTURY. 105 



miums for that year offer the following : The conditions 
are — 

" * I. — To such person as shall exhibit the best speci- 
men of Earthenware or Pottery, approaching nearest to 
Queensware, or the Nottingham or Delf ware, of the mar- 
ketable value of fifty dollars — a plate of the value of fifty 
dollars, or an equivalent in money. 

'* ' 2. — To such person as shall exhibit the best speci- 
men of Stoneware, or that kind of Earthenware which is 
glazed with salt, of the value of fifty dollars, a plate of 
fifty dollars* value, or that sum in specie.' 

•' The exhibitors were required to have the ware manu- 
factured in New Jersey or Pennsylvania. Here we have 
abundant proof that there was ware manufactured here 
closely resembling Queensware in quality, and that its 
manufacture was encouraged by the society whose adver- 
tisement we have just quoted." As we have already seen, 
salt-glazed stoneware had been made by at least one 
pottery, in New York, which started in 1735. 

A stoneware pottery was in existence at Norwalk, 
Connecticut, as early as 1780. Mr. James Lycett, who is 
at present operating the establishment which is said to be 
a continuation of the original concern in that place, be- 
longs to a family of potters who have been identified with 
the trade in Stoke-upon-Trent for a hundred years. It 
is claimed that his grandfather built the kilns for the 
Spode works when the first porcelain was made there in 
the year 1800. His father and uncle came to this country 
in 1849, and for some time worked at the United States 
Pottery in Bennington, Vt., where the uncle died. The 



POTTERY AND PORCELAIN. 



senior Lycett then went to Norwalk, where he worked in 
the pottery of Mr. Asa Smith, afterwards the A. E, 
Smith's Sons Pottery Co., and subsequently the Norwalk 
Pottery Company, now owned by Mr. Lycett. 

At Old Bridge (now Herbertsville), N. J.; stoneware 
was made at Van Wickle's pottery, from South Amboy 
clays, in the first decade of the present century, and similar 
ware was manufactured at Roundabout (now Sayreville) 
on the Raritan, about 1802. 



CHAPTER VII. 

OPERATIONS DURING THE FIRST QUARTER 

OF THE PRESENT CENTURY. 

ANDREW MILLER had a pottery at 37 and 39 Sugar 
i Alley, Philadelphia, previous to 1791, where he con- 
tinued to make common earthenware for many years. 
He was succeeded by Abraham and Andrew Miller, Jr., 
who, from 1 8 1 o to 1 8 1 6, operated a pottery at the corner of 
Seventh and Zane streets. Shortly afterwards Abraham 
Miller became sole proprietor, and at the Exhibition of 
the Franklin Institute, held in October, 1824 (the year in 
which the Institute was founded), he displayed some " red 
and black glazed tea-pots, coffee-pots, and other articles of 
the same description. Also a sample of platinated or lus- 
tre pitchers, with a specimen of porcelain and white ware, 
all of which," according to the report of the judges, " ex- 
hibited a growing improvement in the manufacture, both 
in the quality and form of the articles. It is but a few 
years since we were under the necessity of importing a 
considerable proportion of this description of ware for 
home consumption, but since our potters have attained 
the art of making it equal, if not superior, to the imported, 
and as cheap, they have entirely excluded the foreign ware 
from the American market." 



io8 PO TTER Y AND PORCELAIN. 



In the Report of the Exhibition of the Franklin Insti- 
tute, held in October, 1835, it is recorded that **a novel 
and interesting exhibition was furnished from the pottery 
of Mr. Abraham Miller, of Philadelphia, consisting of a 
variety of specimens of black and red earthenware, in the 
various stages of its manufacture, from the crude material 
to the finished ware," and at the Exhibition of 1842 he 
made a display of finer earthenware, such as plates, 
vases, and ornamental flower-pots. Soon after he com- 
menced the manufacture of charcoal furnaces in great 
numbers, the larger patterns being provided with a cylin- 
der attachment for roasting coffee, and open grates of 
fire-brick. 

About 1840 Mr. Miller moved his factory to James 
Street near Broad, as appears in the following card, which 
has been furnished by Mr. J. H. Buck: 

ABRAHAM MILLER 

WAS WtEJfiOVEn HIS Jni^JTUFJiCTOnW^ 

From Zane Street to James, near Broad Street, 

SPRIIfO GARDE!f« 

Wk^re his Wark§ are fufio in futt operation^ condueled hy hit htte Fhreman^ Mr, C. J. BovrLTTX. 

His Warehouse eontiniies in Zarie Street, 

Next door West of iU former place* wberc he has constanlly for Sale, by 

wnoE.i:sAE.e owl retail, 

A lar^c Assortment of PORTABLE FURNACES, STOVE CVTJNDERS, TIRE 
BRICKS and SFABS, TEA-POTS and EARTHENWARE, PIPE CASES, DENTISTS' 
FURNACES, MUFFLES. SLIDES, Sic. d&cKAOLIN and CLAYS, erude dr prepared; 
SI LEX and SPAR, crude or levigated to an impalpable powder, and free from impurities. 

SaUi made only at the Warehoute^ Xane Street, 

SILEX, or FELSPAR ground^ or any article in his line made to order, as speedily as 
finotlcahle. 

(P^AH Orders arc to Ik left at the Warehouse, only, where they will be promptly 

Rllinir. Prhtlvr. <|, CHMtmil M 



THE PRESENT CENTUR Y. 109 



Abraham Miller was one of the most progressive 
American potters of his day and a man of more than 
ordinary intelligence and ability, and at one time repre- 
sented his district in the State Senate, where he was the 
courageous advocate of numerous reform measures. He 
was one of the most prominent members of the Franklin 
Institute for many years, and was frequently selected as 
one of the judges for the awarding of premiums at the 
annual exhibitions. 

It will thus be seen that Mr. Miller was probably the 
first in this country to make the lustred or silvered ware 
which had become celebrated in England. He was also 
one of the first on this side of the Atlantic to experiment 
in making porcelain, in which he was remarkably success- 
ful, but for some reason he never produced it for the 
market. His standard or staple productions were red, 
yellow, Rockingham, and a limited quantity of white ware. 
He was well versed in the constitution and peculiarities 
of clays, and at one time made, for his own gratification, 
some figures with lace-work drapery, which he produced 
by employing real lace, which he carefully covered with 
slip of the proper quality and consistency, and which, 
after being burned away in the kiln, left the clay form as 
perfect in texture as the original. He made a Tam 
O'Shanter mug in Rockingham which was very popular 
at one time, large numbers of them being produced about 
1840. Mr. Miller procured much of the machinery and 
many of the moulds of the Tucker and Hemphill factory 
when the latter was closed in 1838. He died about 1858 
and the business was continued by his foreman. 



I lo POTTER Y AND PORCELAIN. 

MR. CHARLES J. BOULTER, 

who was at one time connected with the Tucker and 
Hemphill China Manufactory in Philadelphia, where he 
remained until the works were closed. Subsequently he 
became connected with Mr. Abraham Miller at Zane and 
Seventh streets in the capacity of foreman, and when this 
pottery was moved to James Street near Broad, in 1840, 
he became superintendent of the new establishment. 
After Mr. Miller's death Mr. Boulter carried on the busi- 
ness for many years, manufacturing watch-makers' sup- 
plies, dentists', assayers', and cupellers' portable furnaces, 
muffles, slides, tiles, and fire-bricks. He subsequently 
moved the works to 161 7-1627 North Street, and when 
he died, on March 2, 1872, the business passed into the 
hands of his daughters, two of whom. Misses E. A. and 
A. L. Boulter, still carry it on. 

A ** china" manufactory existed in Philadelphia in 
1800, but very little is known regarding it. A friend has 
recently shown me a letter, dated August 14, 1800, writ- 
ten by a merchant of that city to his wife, who was then 
visiting in New Jersey, in which occurs the following 
interesting bit of news : *' On account of a man being 
murdered at the China Factory on Monday evening last, 
a block maker by trade, a number of the same profession, 
with Rope makers and Carpenters, assembled and on 
Tuesday evening began to pull down the buildings ; they 
continued at their work till yesterday mid-day, — it was 
pulled down by Ropes in spite of all the Squires and 
Constables that could be collected — say every house, 
only leaving the Chimneys standing." The writer, an 



THE PRESENT CENTUR V. 1 1 1 

ancestor of the present owner of the letter, was in busi- 
ness at that time near Fourth and Chestnut streets, and 
we are led to infer that the factory was somewhere in that 
neighborhood. All white ware at that time was known 
as china, and the term was evidently applied to queens- 
ware, — hardly to porcelain. 

Messrs. Binney and Ronaldson made yellow and red 
tea-sets in South Street, Philadelphia, in 1808. 

A queensware pottery in Philadelphia, in 1808, was 
known as the Columbian Pottery, of which Alexander 
Trotter was proprietor, and examples of his work were 
exhibited at Peale's Museum in that year. At the great 
Republican dinner of July 4, 1808, an "elegant jug and 
goblets from the new queensware manufactory of Trotter 
& Co." formed part of the table service. Governor 
Simon Snyder, in his message to the Pennsylvania 
Legislature, in December, 1809, referred to this factory 
when he stated that *' we have lately established in Phila- 
delphia a queensware pottery on an extensive scale." 

The Columbian Pottery was situated on South Street, 
between Twelfth and Thirteenth, in 1810. The ware 
produced there was claimed to be equal in quality and 
workmanship to the best made in Staffordshire. Mr. 
Trotter retired from business about 181 3. 

Captain John Mullowny was a brickmaker on Locust 
Street, near Schuylkill, Philadelphia, in 1808 and 1809. 
A year later he moved to No. 228 Pine Street, the 
Washington Pottery, where he made bricks and earthen- 
ware. Little is known of this manufactory save what is 
contained in the following advertisement, which appeared 



112 PO TTER Y AND PORCELAIN. 



in the Aurora^ — General Advertiser^ published in Phila- 
delphia, in May, 1810: 

" Washington Ware, 

Manufactured in Philadelphia at the 

Washington Pottery : 

Red, yellow, and black coffee-pots, 

Tea-pots, pitchers, etc., etc. 

and for sale, 

Wholesale and retail at the ware-house in High, 
between Schuylkill 6th and 7th streets. 



Any device, cypher, or pattern put on China or other ware at the 
shortest notice, by leaving orders at the ware-house as above. 

yourneymen Potters^ and a few Boys^ may find constant employment, 
by applying at No. 228, Pine St. or the Ware House above." 

From this it will be seen that the warehouse was on 
Market Street, near Seventeenth, in 1810, while the works 
were on Pine Street. In 1813 the latter seem to have 
been moved to the Market Street warehouse, and Captain 
Mullowny became director, in which capacity he served 
for three years or more. 

In the early part of this century many of Philadelphia's 
prominent potters learned their trade at the old Mullowny 
pottery. 

Israel Seymour made stoneware in Troy, N. Y,, from 
about 1809 to 1865. 

Paul Cushman had a stoneware factory at Albany, 
N. Y., in the first decade of this century, and some ex- 
amples of his salt-glazed ware are now in the possession 
of Mr. S. L. Frey, of Palatine Bridge, N. Y., one of which 
bears the inscription, impressed on the surface of the jar, 



\ 



THE PRESENT CENTURY. 



113 



and twice repeated around the body, *' Paul Cushman 
Stone Ware Factory 1809 Half a Mile West of Albany 
Gaol/' Another, in the form of a jar, fourteen inches in 
height, is marked with the maker's name ; while a third, 
possessing two ear-shaped handles, is decorated with in- 
cised vine-work, in addition to the name (111. 46). 

The Central New York Pottery ^ of Utica, N. Y., was 
built by a Mr. Nash about the year 181 9. In 1828, Noah 
White came into posses- 
sion, and in 1840 the firm 
name became Noah White 
& Sons, the new partners 
being Nicholas A. and Wil- 
liam White. About 1853, 
the last named member 
withdrew, and the style 
became Noah White, Son 
& Co., William N., a son of 
Nicholas, being admitted. 
In 1865, on the death of 
the head of the house, the 
name was altered to N. A. 
White & Son, and at the 
decease of the latter, in 1876, the business passed into 
the hands of the survivor. In 1880, the firm name was 
again changed to N. A. White & Son, when Charles N. 
White, the present manager of the works, was admitted. 
In 1886, Mr. N. A. White died, at the age of sixty-eight, 
having been on the property for sixty years. 

The original business was the manufacture of coarse 




46. — Albany Stoneware. Collection 
OF Mr. S. L. Frey. Made about 1809. 



1 14 POTTERY AND PORCELAIN. 



stoneware, such as butter crocks, jugs, and jars. In 1852, 
the manufacture of fire-brick was added, and still continues. 
At present the works make a specialty of " Flemish " 
stoneware goods of a high grade. The decorations are 
artistic and attractive, the colors used being blue, brown, 
and green. Beer-mugs, tankard-jugs, " growlers," wine- 
jugs, flower-vases, punch-bowls, match-stands, and spit- 
toons, in many handsome designs and sizes, form but a 
portion of the products of these works. The metal- 



" Carlsbad" Mug. 



covered mugs and tankards made here compare favorably 
with the best imported manufactures of the same class 
both in form and ornamentation. Special designs and 
decorations, with suitable inscriptions in English and Ger- 
man, are made to order. The pieces are marked on the 
bottom with a number corresponding to the price-list 
number, which gives capacity and size. It is gratifying 
to Americans to know that goods of such superior 
excellence and artistic merit can be made at home and 



THE PRESENT CENTUR V. ( 1 5 



at prices which insure successful competition with foreign 
wares. 

Daniel Freytag was making at No. 192 South Fifth 
Street, Philadelphia, in 1811, a finer quality of china-ware 
than had yet been produced in the United States. It was 
made of various colors, and was embellished with gold and 
silver; and in 1817 David G. 
Seixas manufactured an imita- 
tion of the Liverpool white 
crockery from native Ameri- 
can clays with great success, 
continuing the business until 
1822. 

Porcelain was made in New 
York City early in the cen- 
tury, probably by Dr. Mead. 
How long this factory was 
in operation is not known, but 
it is believed that a fine grade 
of ware was made there from 
American materials. A vase 
fifteen inches in height, of soft 
body and exceedingly white 
glaze, is preserved in the Pennsylvania Museum. This 
was "finished in New York in 1816," and is supposed 
to have been made at that factory. The handles are 
modelled in the semblance of female figures (III. 48). It 
is entirely devoid of gilding or coloring, and is made in 
two parts, held together by a screw and nut, after the 
French manner. 



1 1 6 PO TTER Y AND POR CELAIN. 



THE HAIG POTTERY, PHILADELPHIA. 

In i8i2 Thomas Haig, who came from Scotland, 
where he had learned his trade as a queensware potter, 
established a pottery in the Northern Liberties, Philadel- 
phia, where he commenced the manufacture of red and 
black ware. At the second annual exhibition of the 
Franklin Institute, Philadelphia, in 1825, Mr. Haig ex- 
hibited some specimens of red and black earthenware, 
** which, if they had been sent in time, might have entitled 
him to the silver medal." This exhibit consisted of tea- 
pots, coffee-pots, pitchers, strainers, cake-moulds and pans, 
" from clay taken in the city. These articles are consid- 
ered of very superior quality, and are in the opinion of the 
judges better than goods of the same kind, brought from 
England. The body of the ware is perfectly burned and 
deprived of all absorbent qualities. The glaze is good 
and free from cracks, and the workmanship is neat." Judg- 
ing from examples in my own possession, which were 
made at that pottery about that time or a few years later, 
this flattering description of the ware does not seem to 
have been undeserved. Indeed the quality of the glazing 
and neatness of the workmanship are superior to similar 
wares made at the present time by other potteries. 

At the third annual exhibition, in 1826, the Franklin 
Institute awarded Thomas Haig a ** Bronzed Medal" for 
the best red earthenware sent in. 

In 1833, after the death of the founder, his two sons, 
James and Thomas, carried on the business, and in 1858 
were making stoneware, chemical ware, crucibles, etc., in 



THE PRESENT CENTUR V. 117 



addition to earthenware, and were using steam for grind- 
ing the clay. At the death of the former, Thomas Haig 
assumed complete control, and died recently, in his eighty- 
third year. The manufacture of stoneware was discon- 
tinued some years ago, but fire-brick, tile, Rockingham, 
and yellow wares are still made. A few years ago relief 
plaques and vases were produced, a number of female 
artists being employed in their decoration, but this branch 
was soon discontinued for want of suflficient patronage. 

At the present time this pottery is also producing 
terra-cotta flower-pots, fancy earthenware pitchers, glazed 
hanging baskets, and vases after antique designs, which 
latter are furnished m biscuit to decorators. One of the 
potters employed here, Mr. John S. Jennings, has pro- 
duced some very ingenious miniature pieces in the form of 
vases, molasses jugs, mugs, and pitchers, which are said to 
be the smallest specimens ever made in the regular manner 
on the potter's wheel, some of them being scarcely as 
large as a pea. Another of Mr. Haig's workmen makes 
a specialty of '* puzzle mugs," on the principle of those 
made at Brampton, England, in the last century, which 
are almost identical in form to some produced by John 
Wedgwood as early as 1691, of which an interesting ex- 
ample may be seen in the Museum of Practical Geology, 
London. 

A stoneware pottery was started at Elizabeth, N. J., 
somewhere about 18 16. At a later date it was operated 
by a Mr. Pruden who made yellow and Rockingham wares. 
We have seen some large, heavy water pitchers, decorated 
with patriotic symbols in relief, which were produced 



1 1 8 POTTER Y AND PORCELAIN. 



about the time of the Centennial Exposition. The factory 
is now owned by Messrs. L. B. Beerbower & Co., who 
make ironstone china, cream-colored and print-decorated 
goods in druggists' ware, toilet, table, and culinary sets. 

The pottery now managed by the widow of Henry 
Cast, Lancaster, Pa., dates back to about 1825. Common 
red and yellow wares were made there, and at one time a 
limited amount of white ware. Fancy figures, fountains, 
and statuettes were also produced to some extent in red 
clay. Latterly this pottery has produced a considerable 
number of cinerary urns for crematories. At one time 
white clay tobacco pipes were made, and a few fancy 
glazed umbrella and cane handles. Floor tiles of yellow 
clay, octagonal and rhomboidal, were also made to some 
extent some fifteen years ago. These were heavy, un- 
glazed tiles, six or eight inches across, and an inch in 
thickness. 

THE JERSEY CITY POTTERY. 

The Jersey Porcelain and Earthenware Company was 
incorporated in '* the town of Jersey, County of Bergen," 
on December 10, 1825, under an act of the New Jersey 
Legislature, in which George Dummer, Timothy Dewey, 
Henry Post, Jr., William W. Shirley, and Robert Abbatt, 
Jr., were named as incorporators. In the following year 
the products of the factory were awarded a silver medal 
at the exhibition of the Franklin Institute, Philadelphia, 
as being the ** best china from American materials." In 
the Trumbull-Prime collection is a small porcelain bowl, 
with heavy gold band, which was made at this pottery, of 



THE PRESENT CENTUR Y. 119 



good body and excellent glaze. The manufacture of 
porcelain, however, does not seem to have been 
continued there for more than about three years.' 

The works were purchased by Messrs. D. & J, Hen- 
derson about 1829, and a year later they exhibited " flint 
stoneware " of a superior quality at the Franklin Institute. 
Mr. A. G. Richmond, of Canajoharie, N. Y., possesses a 



49. — The Old Pottery, Jkksev City. N. J, 

mottled Toby jug made at that period and marked " D & 
J. Henderson, Jersey City," in a circle, impressed in the 
paste (111. 50). In 1833, David Henderson organized The 
American Pottery Manufacturing Company, " for the 
purpose of manufacturing the various kinds of pottery, at 

' In a pamphlet on The Mineralogy of Chester County, Fa.. Delavtate, and Mary- 
land, published by Geoi^e W. Carpenter in i8s8, it is staled that " Ihe manufactory 
of porcelain at Jersey City has been discontinued, and that at Philadelphia is stated to 
be the only one in the United Sutes." 



I20 POTTERY AND PORCELAIN. 

the works already erected." By an act of Assembly 
passed January i8th in that year, Messrs. David Hender- 
son, John V. B. Varick, Robert Gilchrist, John Cassedy, 
and J. Dickinson Miller, of Jersey City, and Edward 
Cook, George Tingle, and John Steele, of New York, 
were appointed commissioners to receive subscriptions to 
the stock, which was to 
be limited to $150,000. 
We know little about 
the ware produced here 
during the next seven 
years, excepting the fact 
that a buff or cream- 
colored body, of excel- 
lent quality, was used 
extensively. For the 
first time in America 
the English method of 
transfer printing in dec- 
oration was adopted by 
these works. During 
the exciting Presiden- 
tial campaign of 1840, 
or shortly after the elec- 
tion, a large eight-sided water-pitcher of cream-colored 
ware was produced, bearing on each of the four front panels 
black underglaze prints, consisting of an engraving of a 
log cabin at the top, over tlie legend " The Ohio Farmer," 
a portrait bust of W. H. Harrison in the centre, and the 
American eagle below. This piece was marked on the 



THE PRESENT CENTURY. 



bottom, in black, under the glaze, with a flag bearing the 
inscription, "Am. Pottery Manuf". Co. Jersey City" 
(see chapter on Marks). At this time Daniel Greatbach, 
who came from a family of noted English potters, and is 
said to have been at one time a modeller for the Ridgways 
of Cauldon Place, England, was employed at this factory, 
and designed a large number of ornate pieces, some 
of which were produced until the factory was closed. 
An earthen water-pitcher, 
embellished with hunting- 
scenes in relief,and handle 
in form of a deer-hound, 
continued to be a popular 
design for nearly half a 
century (see 111. 51). 

In 1842, an exhibit of 
goods produced by this 
company was made at the 
Franklin Institute, con- 
sisting of embossed ware, 

jugs, tea-ware, etc., which sl-Hunt.ng p>tcher. designed bv Dan- 
■• ** lEL Greatbach, Jersey City Pottery. 

took a silver medal. A 

glazed white-ware spittoon, evidently one of this series, is 
still preserved in the cabinet of the Institute, which is 
decorated with raised, conventional designs in white, on a 
dark-blue ground, the upper surface being fluted and in 
solid blue. A cream-colored potter)' pan or nappie, of 
fine body and glaze, in the same collection, with impressed 
mark, American Potty Co. Jersey City, is another ex- 
ample of the excellent ware produced at that time. 



122 POTTERY AND PORCELAIN. 

The name of the establishment was changed to Tke 
Jersey City Pottery about forty years ago. Many of the 
best potters of the old school in the United States learned 
their trade at this factory. In 1848 large quantities of 
druggists' jars were being made. After several alterations 
in the firm name, 
Messrs. Rouse and 
Turner became pro- 
prietors. The for- 
mer, Mr. John Owen 
Rouse, came from 
the Derby Works, 
England, nearly forty 
years ago. Mr. Na- 
thaniel Turner was 
born and reared 
among the Stafford- 
shire potteries at 
Tunstall, and since 
his death, in 1884, the 
business has been 
carried on by Mr. 
Rouse alone. The 
products of the fac- 

5^.-" WORCESTER" V.SE. JERSEY en V POTTERY. ^ f^^ ^^^^ ^ 

Decorated bv Mb. KnwARn I.ycett. ' ^ 

have been ornamen- 
tal forms in white biscuit and glazed ivory white for 
decorators, and porous cups for telegraphic purposes, of 
which some 5,000 have been produced weekly. Of the 
plain shapes in ivory white ware, one of the most graceful 
is the " Worcester" vase, so-called because it is a repro- 



THE PRESENT CENTUR V. 1 23 

duction of an old pattern produced at the Worcester 
Works in England. It is said that George Washington was 
presented with a vase of 
this shape by Mr. Samuel 
Vaughan of London, in 
conjunction with a pair of 
vases of different design, 
which have been identi- 
fied as Worcester pieces. 
An example of this form, 
from the Jersey City Pot- 
tery, is shown on p. t22. 
It measures two feet in 
height and was decorated 
by Mr. Edward Lycett. 
On a turquoise blue, mot- 
tled ground are artistically 
painted Howers. poppies 
on one side, and on the 
other hollyhocks in nat- 
ural colors. A graceful 
wreath of convolvulus or- 
naments the cover. The 
handles are gilded, and 
bands of gold encircle top 
and bottom. 

Another effective form — 

was called the " King" 
vase. The example here 
figured was decorated by Mr. W. Lycett, now of Atlanta, 
Georgia. The subject on the side shown in the engraving 



1 24 PO TTER Y AND PORCELAIN. 



is "The Tired Dancing Girl." The painting is applied to 
the ivory tint of the ware, the borders and handles being 
of dead gold, heightened with black. On the reverse side 
is a floral group. This piece measures sixteen and a half 
inches in height. 

When Mr. Rouse first became connected with the 
works he found a large quantity of the old stock of un- 
decorated porcelain in the warerooms, which has since 
been sold. A large number of engraved copper plates on 
hand at that time, since stolen or lost, showed to what ex- 
tent transfer printing had formerly been practised. Hun- 
dreds of the old moulds were, until recently, stored in the 
loft of the old building, among which were four different 
varieties and sizes of Toby jugs, a pitcher with rope and 
anchor decoration in relief, and another with raised designs 
of tulips, a figure of Christ, an Apostle jug with raised 
representations of apostles in panels, hunting pictures, 
etc., some, if not all, being the work of Greatbach. We 
have seen examples of the largest Toby pitcher made here 
(about 1840), nearly a foot in height, with excellent brown 
glaze outside and lined with white. Pitchers and other 
pieces were also decorated with medallion portraits of 
prominent men, modelled in relief, a likeness of Daniel 
O'Connell being among the best. 

In the summer of 1892 the old pottery property passed 
into other hands, and the old buildings, which had stood in 
almost their original condition for more than sixty-five 
years, were torn down to make way for a new manufactur- 
ing establishment. Both wings of the original structure 
were standing, in a good state of preservation until Novem- 
ber of that year, when the work of demolition commenced, 



THE PRESENT CENTUR Y. 125 



and at the same time wagon loads of the old moulds, which 
had cost thousands of dollars, the accumulation of over half 
a century, were hauled away and ruthlessly dumped on the 
meadows. Thus has disappeared one of the oldest ceramic 
landmarks, dear to the memory of many an old potter 
still living, as the cradle of the pottery industry in the 
United States. All of the moulds of vessels were de- 
stroyed, but from this wreck a small series of ornamental 
designs, believed to have been, for the most part, made 
by Greatbach during the earlier years of the pottery's 
existence, were rescued by Mr. Rouse and, at the solicita- 
tion of the writer, placed in the collection of the Pennsyl- 
vania Museum of Art. These consist of finely modelled 
leaves, animals in hunting scenes, floral designs, and other 
decorative details. 

In 1878 Messrs. Rouse and Turner presented to the 
Metropolitan Museum of Art, New York, a pottery barrel, 
with relief ornaments, made about 1830, at this pottery, 
by David Henderson. A many-sided pottery pitcher, sur- 
mounted with Toby head, is owned by Rev. F. E. Snow, 
of Guilford, Conn., on which is the mark, "American 
Pottery Co., Jersey City, N. J." impressed in a circle. 

Mr. John O. Rouse still continues the manufacture of 

porous cups within two blocks of the site of the old 
pottery. 




CHAPTER VIII. 
THE AMERICAN CHINA MANUFACTORY. 

AS we have already seen, several partially successful 
attempts had been made toward the manufacture 
of porcelain by progressive potters in the United 
States previous to the year 1825, but to Mr. William Ellis 
Tucker, of Philadelphia, belongs the honor of being the 
first to supply the home market with a purely American 
product of this character. The story of his remarkable 
life-workand thehistoryof the factory which he established, 
the first important one of its kind on this side of the 
Atlantic, cannot fail to prove of especial interest to the 
ceramic student. Commencing his investigations with no 
previous knowledge of the composition of the ware, nor of 
the processes of its fabrication, he set resolutely to work 
to discover its hidden mysteries, and, wholly unaided by 
the practical experience of others, he succeeded in a few 
years in perfecting from new and untried materials, a 
porcelain equal in all respects to the best which England 
had produced after eighty years of continual experiment. 
His body was neither that of the French potters nor the 
true bone of the English, but partook of the characteristics 
of both, the proportion of phosphate of lime, as shown 
by analysis, being about eight per cent., a very much 



AMERICAN CHINA MANUFA CTOR Y. 127 

smaller percentage than in the English bone body. While, 
therefore, the Tucker china cannot be classed as a soft 
paste, its specific gravity and thoroughly vitreous char- 
acter would seem to fairly entitle it to be called a hard 
porcelain, which it more nearly resembles. Indeed, fire- 
tests made by Prof. Isaac Broome, to whom I submitted 
specimens, show that the Tucker porcelain will stand a 
higher degree of heat than the Sevres ware. 

Strange as it may appear, but little has been published 
relative to this early venture, although sixty years ago 
Philadelphians justly prided themselves on their '' China 
Factory," and were in the habit of taking strangers to 
visit it, as one of the principal points of interest in the city. 
The following account of this enterprise includes most of 
the material which I prepared for Lippincott 's Magazine 
of December, 1892, and a number of the illustrations used 
here have been furnished through the courtesy of the 
editor of that journal. 

During the years 1816 to 1822, Benjamin Tucker, a 
member of the religious Society of Friends, had a china 
shop on the south side of Market (then called High) 
Street, at No. 324, between Ninth and Tenth streets, 
Philadelphia, near where the new Post-Office building now 
stands.' Within this period he built a small kiln in the 
rear of his property for the use of his son, William Ellis 
Tucker, who was thus enabled to employ much of his time 
in painting on the imported white china and firing it in 

' Some time previous to 1825, Benjamin Tucker, the father, retired from the china 
business and established a select academy at the southwest corner of Fifth and Mul- 
berry streets, where for several years he was known as a prominent educator. He had 
been a teacher from 1799 to 18 14, as the Philadelphia directories show. 



1 28 POTTER Y AND PORCELAIN. 



the kiln. These attempts at decoration were at first 
crude and unsatisfactory, but they served to arouse an 
interest in the subject, which soon led him to commence 
experimenting with different clays which he procured in 
the vicinity of the city. These investigations finally 
resulted in the production of a fair quality of opaque 
queensware. He then turned his attention to kaolin and 
feldspar, and, after repeated failures, he at length suc- 
ceeded in discovering the proper proportions of these in- 
gredients, with bone-dust and flint, necessary for the 
manufacture of a high grade of porcelain. The body thus 
obtained was translucent and of considerable hardness, 
density, and toughness, and capable of withstanding ex- 
treme changes of temperature. The glaze was perfectly 
adapted to the body and of excellent composition. 

About the year 1825, Mr. Tucker first seriously at- 
tempted the manufacture of the ware as a business venture. 
The old water-works at the northwest corner of Schuylkill- 
Front (Twenty-third) and Chestnut streets were obtained 
from the city, in which the necessary kilns, etc., were 
erected.' On October 23, 1826, he purchased four acres 
of land, on which a feldspar quarr)' was situated, from 
Alexander Dixon, of Newcastle County, Delaware. 

Mr. Thomas Tucker, a younger brother, who was at a 
later date, as we shall see, associated with him in the busi- 
ness, prepared an historical sketch of this factory, which was 
read before the Historical Society of Pennsylvania, on 
June 8, 1868. The following quotations from this paper 

' Mr. Charles Henry Hart informs me that a water-color, by Captain Watson, of 
the Royal Navy, entitled, "View from the Porcelain Factory near the Schuylkill 
Permanent Bridge," was exhibited at the Academy of Fine Arts, Philadelphia, in 
1829. 



AMERICAN CHINA MANUFACTORY. 129 



will show some of the difficulties encountered in the manu- 
facture of porcelain at that period : 

" He burned kiln after kiln with very poor success- 
The glazingwould crack, and the body would blister ; and, 
besides, we discovered that we had a man who placed the 
ware in the kiln who was employed by some interested 
parties in England to impede our success. 



54, — The Old Watkk-Wokks, 1'iilla Delphi a, Used as a China Manufactory 
IV 1835, 

" Most of the handles were found in the bottom of the 
seggars after the kiln was burned. We could not account 
for it, until a deaf-and-dumb man in our employment 
detected him running his knife around each handle as he 
placed them in the kiln. 

" At another time, every piece of china had to be 
broken before it could be taken out of the seggar. We 
always washed the round O's, the article in which the 



I30 



POTTERY AND PORCELAIN. 



china was. placed in the kiln, with silex ; but this man had 
washed them with feldspar, which of course melted, and 
fastened every article to the bottom. But William dis« 
charged him, and we got over that difificulty." 

While the body and glaze of Tucker's earlier pieces 
were good, the workmanship and decoration were inferior. 
A premium was offered by the Franklin Institute, at 
its Fourth Annual Exhibition, held in Philadelphia on 
October i8, 1827, "for the best specimen oi porcelain^ 
to be made in Pennsylvania, either plain white, or gilt,'^ 

and the following is taken from 
the report of the Committee on 
awards : '* This is a manufac« 
ture of great importance to the 
country, as most of the capital 
expended is for labour ; the ma- 
terials being taken from our soiI> 
in great abundance and purity. 
The highest credit is due to Mr. 
Wm. E. Tucker for the degree 
of perfection to which he has brought this valuable and 
difficult art. The samples (No. 174) of this ware were 
made by him. The body of the ware appeared to be 
strong, and sufficiently well fired, the glaze generally 
very good, the gilding executed in a neat and workman* 
like manner. Some of the cups and other articles bear 
a fair comparison with those imported," and for this 
exhibit a silver medal was awarded. 

In 1828 Mr. Thomas Tucker commenced to learn the 
different branches of the business. At the exhibition of 




55. — Tucker Creamer. 
Sepia Decoration. 



AMERICAN CHINA MANUFACTOR Y. 131 



the Franklin Institute in this year, Mr. Tucker received a 
second silver medal for the exhibit of one hundred pieces 
of best porcelain made in the United States, gilt, painted, 
and plain. The Judges compared it favorably with the 
best French china, and pronounced it superior in white- 
ness and gilding. During the same year, Mr. Thomas 
Hulme, of Philadelphia, invested some money in the 
business and was admitted to partnership, as appears by 
the mark found on a number of pieces made in that year, 
being printed in red, beneath the glaze, — "Tucker & 
Hulme, China Manufacturers, Philadelphia, 1828." These 
examples show a marked improvement in decoration over 
anything that had emanated from this factory before. 
The rough brown daubs intended for embellishment, but 
execrable to a degree, gave place during this period to 
artistic groupings of flowers and fruits, painted in natural 
colors. This partnership, however, does not seem to have 
continued for more than a year or so. Whether the 
withdrawal of funds from the business by Mr. Hulme 
proved an embarrassment to the senior partner does not 
appear, but it is known that Mr. Tucker soon afterward 
experienced the necessity of government support, and 
applied to Congress for aid. He placed himself in com- 
munication with some of the public men at the national 
capital, among others Andrew Jackson, as the following 
letter will show : 

** Washington, April 3d, 1830. 

" Sir, — I have had the honor to receive your letter of the 3d of 
March, and since, the porcelain which it offered to my acceptance. I 
was not apprised before of the perfection to which your skill and per- 



132 PO TTER Y AND PORCELAIN. 



severance had brought this branch of American manufacture. It 
seems to be not inferior to the finest specimens of French porcelain. 
But whether the facilities for its manufacture bring its cost so nearly 
to an equality with that of the French, as to enable the moderate pro- 
tection of which you speak to place it beyond the reach of competition 
in the markets of the world, is a question which I am not prepared to 
answer. If congress could be made acquainted with the experiments 
on the subject, and they should confirm your favorable anticipation, 
there would be scarcely a doubt of its willingness to secure the impor- 
tant results of the manufacture. I do not see, however, any mode by 
which this can be effected on any other principle than that of protec- 
tion. You would probably have a right to a patent for the discovery, 
but this right would have to be determined in the usual way. Congress 
have refused to make a donation to the heirs of Robert Fulton for the 
national benefits resulting from his discovery, upon the principle that 
the Constitution does not provide any other reward for the authors of 
useful discoveries than that which is contained in the article in relation 
to Patents. The same objection would of course defeat your applica- 
tion for $20,000, as a remuneration for this discovery, or as a reward 
for its free communication to the world. 

" It will give me much pleasure to promote the objects you have in 
view, so far as they are within my constitutional sphere. There is no 
subject more interesting to me than that which concerns the domestic 
economy of our country, and I tender you my sincere thanks for an 
example of its success so creditable to yourself. 

"With great respect believe me 
" Yr. Obt. Svt 

"Andrew Jackson. 
" Mr. Wm. Ellis Tucker, 

"Philadelphia." 

While his application to Congress proved futile, he 
continued the manufacture, and in 1831 received from the 
American Institute of New York a silver medal for an 
exhibit of his wares in that year. 



AMERICAN CHINA MANUFACTORY. 133 



On the 22d of August, 1832, William Ellis Tucker 
died, but previous to that date Judge Joseph Hemphill,' 
of Philadelphia, had been admitted as a partner in the 
business. The latter had recently returned from a trip to 
Europe, where he had become deeply interested in the 
manufacture of porcelain. Messrs. Tucker and Hemphill 
purchased the property at the southwest corner of Schuyl- 
kill-Sixth (Seventeenth) and Chestnut streets, where they 
erected a large factory, 
storehouse, and three kilns, 
and greatly increased the 
producing capacity of the 
works. In 1832, scarcely 
two months before Mr. 
Tucker's death, they made 
another appeal to Congress 
for the passage of a tariff 
bill which would afford 
them protection from for- 
eign competition. In re- 

■^ 56, — " Grecian Pitcher. (Barbbr 

ply to a letter written to collection) Pennsylvania Museum. 

Henry Clay at that time, the following, bearing on this 
subject, was received : 

' Judge Hemphill was burn in lJeU«>re Co., Fa,, on January 7, 1770, and was 
appointed President Judge of ihe DUlrict Court in Philadelphia, by Gov. Snyder, in 
181X. serving in Ihal capacity for several years. lie afterwards represented that cily 
in Congress for three terms. He died on May 29, 184Z. 

1 have not been alile to ascertain thai WiUUra Ellis Tucker, the china manufac- 
turer, was related to William E. Tucker, who was at one lime a prominent landscape 
and historical engiaver in Philadelphia. The latter, while a contemporary of the 
former, lived until 1S57. and was never interested in the porcelain industry. The 
similarity of names has naturally !ed to the erroneous impression thai the potter and 
the engraver were one and the same, especially as the earliest ])roduclions of the 
Pliilsdelphia China Eaclory were often decorated with landscapes and historical views. 



134 POTTERY AND PORCELAIN. 



; 23d June, 1832. 

"Gentlemen : — I received your favor of the sist inst. on the subject 
of your manufacture of Porcelain. I had been previously aware of its 
existence, and had seen some beautiful specimens of its production. 

"When the Tariff bill shall be taken up in the Senate, I will take 
care that its attention shal] be drawn to it. Such is the state of parties 
here, however, the friends of protection combating against the Treasury 



S7. PORTEAIT W JUUOB JOSEPH liEMPHlU. 

bill, sustained by the whole weight of the Administration, that it is 
extremely difficult to anticipate results or any part of the Tariff. 
" With great respect, 

" I am your ob. serv., 
" Messrs. Tucker & Heuphill, " H. Clay. 

" Porcelain Manufacturers, 

"Philadelphia." 

A card in my possession, which has been kindly sent 
to me by Mr. James H. Buck, of Philadelphia, was issued 



AMERICAN CHINA MANUFACTORY. 135 

from the new factory at Seventeenth and Chestnut streets 
about that time, a fac-simile of which is here given. It is 
interesting on account of the information it contains. 

I AHEERICAIV CHXyA ]!LL1V1JFA€TORT,| 

% 8.W. Comer of SehuyUm Sixth fy Chemui St9.^ - 

% OB AT THE DEPOSITOBT9 




Where is constantly kept on band, a superior assortment of % 
Cbiha, comprising Divvbb Ssts, Tsi. Sbts» Vasbs, Maktba 
Obvaxbht8» PiTCHXBSy Fruit B^iSKSTS, &C.9 &C9 either plain 
orornamentedy and of the latest patterna, which loay be par- 
chased for Cash, at reduced t>rice8. 

ALSO 1.HB OmBXD VOR SALR, 

riRE-BRICM » TULB^ % 

Of a superior quaVitjr, manufactured in part firotto the materials % 
of whicn tbe China is composed.— These have been proved, by 
competent judges, to be equal to the best Stourbridge BriciL 

After the death of the founder, Mr. Thomas Tucker 
continued to superintend the business, which was carried 
on in the name of Joseph Hemphill, who associated with 
him his son, the late Mr. Robert Coleman Hemphill, of 
West Chester, Pa. 

In the settlement of Mr. Tucker's estate, the value of 
three kilns and slip pan, at the new factory, was estimated 
by Mr. Brinton Corlies, the appraiser, at $i,ioo, "the 
iron work not included." 

Soon after the business passed into the hands of 
Judge Hemphill artists and artisans were brought over 
from France, England, and Germany, and a more pre- 
tentious style of decoration was introduced. The French 
methods of ornamentation came much into vogue about 
this time. The ware was sold very extensively to the 
well-to-do people in Pennsylvania and New Jersey, and 
nearly every family of prominence or wealth had table 



136 



POTTERY AND PORCELAIN. 



services or pieces made to order and decorated with 
initials, monograms, medallions, or amorial bearings, usu- 
ally enclosed in wreaths of flowers or gold tracery. Com- 
pact bands of exquisitely painted flowers, in which the 
rose, tulip, and forget-me-not were generally prominent, 
encircled many of the finer pieces. Some of the vases 
and pitchers and many of the table pieces were close 
copies of Sevres forms, 
and some of the ware 
sold at the present 
time for French work 
by bric-a-brac dealers, 
was made in Phila- 
delphia between 1833 
and 1838. Excellent- 
portraits of prominent 
men were painted on 
some of the larger 
pieces, an example of 
the latter being still 
preserved in a pitcher 
owned by Hon. Wil- 
liam Wayne, of Paoli, 
Pa., which is embellished on one side with a view of 
the historic monument at Paoli, and on the other with 
a colored likeness of Major-General Anthony Wayne, 
copied from an oil portrait by Charles Wilson Peale. 
This interesting piece is one of a pair made for Colonel 
Isaac Wayne, son of General "Mad Anthony," and is 
marked on the bottom, in red, " Manufactured by Jos. 



58. — Hemfhiu. Pitcher, with Portrait 
Washington. (Barber Collection) 

Pennsylvania Museum. 



AMERICAN CHINA MANUFACTORY. 



Hemphill, Philad." A similar example, in the Pennsyl- 
vania Museum, is a pitcher containing a tinted portrait 
of General Washington, which, according to Mr. Charles 
Henry Hart, an authority on Washington portraits, is 
evidently a copy of one of William Birch's enamels after 
Stuart's first picture, known as the Vaughan portrait, now 
in the possession of Mrs. Joseph Harrison, of Phila- 
delphia. Mr. Ferdinand J. Dreer, of the same city, also 
owns a porcelain vase on which 
is a painting of Napoleon at the 
burning of Moscow, which he 
purchased at the factory in 1833. 

In this year Judge Hemphill 
received honorable mention at 
the Exhibition of the Franklin 
Institute for his exhibit of " vari- 
ous samples of American porce- 
lain, in the moulding and glazing 
of which great improvement has 
been made since the last-exhibi- 
tion ; the body of the article is 

considered equal, if not superior 

to that of the imported." He 

also received a diploma and 

silver medal from the American Institute of New York 

in the same year. 

The porcelain works continued with varying success 
for several years. By an Act of Assembly dated April 
15, 1835,' an American Porcelain Company was incor- 

' .\n Act lo Incorporale an American P( 
Thomas 1', Cope, Alej:»nder Read. Williai 



Sy. — Vase, Napoleon at n 

Burning of Moscow. M 

Ferdinand J. Dreer. 



138 POTTERY AND PORCELAIN. 



porated, consisting of Eastern gentlemen, to whom Judge 
Hemphill sold his interest. Whether this company ever 
operated the works does not fully appear, but it would 
seem doubtful, as Judge Hemphill made an exhibit of 
wares again at the Franklin Institute in 1836. It is said 
that the company, being unfortunate in other enterprises, 
were not able to give the porcelain manufacture proper 
attention. 

On October i, 1837, after the retirement of Judge 
Hemphill, the factory was leased for a term of six months 
by Mr. Thomas Tucker, who purchased all of the unburned 
ware then on hand, with the other materials and fixtures, as 
appears in an article of agreement signed by John Rynex, 
at Boston, who seems to have acquired the property, or 
acted in the capacity of agent. The new proprietor con- 
tinued the manufacture of fine porcelain for about a year, 
until he had filled a store, which he had taken on Chest- 
nut street, above Seventh, with the ware. He then 
discontinued the making of porcelain, and engaged in the 
business of importing china from Europe. In the latter 

Thompson, Robert Coleman Hemphill, and William M. Muzzey were appointed Com- 
missioners. 

'*Sec. 5. The said company in the name and style of the American Porcelain 
Company . . . shall have the further right ... to rent or purchase, in 
fee simple, the existing factory and house adjoining, at the comer of Schuylkill 
Sixth and Chestnut streets, in the city of Philadelphia, with such other ground 
as may be deemed necessary, also to purchase and hold, as aforesaid, quarries of 
feldspar, beds of kaolin and clay and to procure every material used in the manu- 
facturing of Porcelain, either plain, white or decorated with paintings and gilding, 
and all the machinery, apparatus, tools and utensils required for the above purpose, 
and to employ all such workmen, tradesmen, painters, gilders and other artists of every 
description that may be necessary to carry on the establishment, either by sending 
to Europe or otherwise : And further, in order to enable the company to commence 
immediate sales, they shall have the right to purchase the American Porcelain on hand 
at the above factory, whether finished or in an unfinished state." — (Pamphlet Laws of 
Pennsylvania^ 1835, p. 338.) 



AMERICAN CHINA MANUFA C TOR V. 1 39 

part of 1 84 1 he sold out his entire stock at his store, 100 
Chestnut St., through Mr. C. C. Mackey, auctioneer. 
Mr. Tucker afterwards engaged in the cotton business, 
and died in Philadelphia in July, 1890. 

It thus appears that the manufacture of Tucker 
and Hemphill porcelain was discontinued in the year 
1838, after extending over a period of about thirteen 
years. 

Kaolin for the earlier Tucker factory was obtained 
from the land of Israel Hoopes, in New Garden township, 
Chester County, Pa., now occupied by Graham Spencer. 
Feldspar was quarried from a large deposit on property 
owned by Alexander Dixon, near Christiana Hundred, 
Newcastle County, Delaware, about six miles from Wil- 
mington, placed in barrels, hauled to the latter place, and 
loaded on vessels for shipment to Philadelphia. Blue 
clay, or fire-clay, was brought from John Flood's farm, 
four miles from Perth Amboy, N. J., which property came 
into possession of the heirs of W. E. Tucker at his 
death. 

Mrs, Moses Johnson, of Berlin, Md., a great niece of 
Alexander Dixon, owns some of the earlier pieces made 
by Mr. Tucker, which were sent to her grandmother, as 
samples of the ware, about 1825 ; and Wilton Agnew, of 
Kennet Square, Pa., a nephew of Mr. Dixon, has in his 
possession two saucers, the remains of a set which was 
made for his mother about the same time, of spar taken 
from the Dixon quarry. These examples are all embel- 
lished with sepia landscapes. 

Joseph S. Quarll, of Toughkenamon, Pa., Is the pos- 



1 40 PO TTER Y AND POR CELAIN. 



sessor of two handsome pitchers, with floral paintings, 
made from kaolin which he helped to haul from New 
Garden to Wilmington in 1828, for the Tucker and 
Hulme factory. These are marked on the bottom, in 
red, ''Tucker & Hulme, China Manufacturers, Philadel- 
phia, 1828," and Esther H. West, of Avondale, nearby, 
has a third piece, similarly signed and dated. 

The feldspar quarries of Tucker and Hemphill were 
situated, in 1832, on Jacob Way's farm, directly opposite 
the Alexander Dixon quarries in Delaware, and in 1837, 
Judge Hemphill procured kaolin from the land of John 
Pennington, West Grove, Pa. 

The first productions of the W. E. Tucker period are 
now scarce. The only attempts at ornamentation were 
crude and inartistic. Simple landscapes, butterflies and 
the like were painted roughly, always over the glaze, in 
sepia or brown monochrome. The former were all of the 
same general character, — a house, with lake in the fore- 
ground and mountains in the distance, produced by a few 
sweeps of the brush, — but no two exactly alike in details. 
The decoration was always done by hand ; the printing 
or transfer process does not seem to have been employed 
at any time in the history of the works. A sugar-bowl 
and coffee-pot, with large butterflies rudely painted in 
brown, are the property of Joseph S. Quarll, and are 
characteristic examples of this period. Occasionally 
historic buildings were represented, as in a small plate in 
the possession of Mrs. Annie C. Tyndale, of Media, Pa., 
who received it from Mr. Horace J. Smith, of Phila- 
delphia. This contains a painting of William Penn's 
cottage in monochrome. 



AMERICAN CHINA MANUFACTORY. 141 

During the Tucker and Hulme period, as has already 
been shown, there was a decided improvement in decora- 
tion. In addition to the pieces already mentioned, Mrs. 
Francis D. Wetherill. of Philadelphia, owns two pairs of 
pitchers made in 1828, one being marked in gold with 
the initials of her grandfather, Mr. John Price Wetherill, 
and the other pair with those of her great-uncle, Mr. 
Samuel P. Wetherill, the latter being dated. These were 
all made at the same time and are ornamented on both 
sides with bunches of tulips, roses, etc., in natural colors. 
In my own possession are a teacup 
and saucer of fine, smooth paste 
and graceful form, embellished with 
gold fern work, and a small pitcher 
decorated in colors. In the Penn- 
sylvania Museum at Fairmount 
Park, Philadelphia, may also be 
seen another specimen, presented 

by Mr. Charles Henry Hart, which ^ ^ ^ u 

' ■' ' 60.— Small Covered Flower- 

Is somewhat thicker and heavier vase, Sepia Landscape. 

Mrs. R. C. Hemphill. 
than the others described above, 

and decorated only with gold bands and the letters C. B. 

This piece was made for Mr. Charles Burd and is marked 

on the bottom. In red, beneath the glaze, " Tucker & 

Hulme, Philadelphia, 1828." 

A complete tea service belonging to Mrs. William 

Mcllvaine, of Reading, Pa., procured from the factory in 

1834 or '35, is decorated with sepia landscapes and gold 

bands, and conclusively shows that the monochrome style 

was still employed to some extent after Judge Hemphill 

took control. 



142 POTTERY AND PORCELAIN. 

We have no 
means of identi- 
fying the ware 
produced during 
the Tucker and 
Hemphill era, 
because the part- 
nership was of 
such brief dura- 
tion and none 
of the pieces ap- 
pear to have 
been marked. 
Of the Hemphill 

period however ^'" — Water-Pitcher, Dkcorated in Reuef. Mrs. 

" ' ' RoBBET Coleman Hemphill. 

numerous exam- 
ples are in existence. Perhaps some of the finest are 
owned by Mrs. Robert Coleman Hemphill, of West 
Chester, Pa., a daughter-in-law of Judge Hemphill, which 
were made expressly for the 
family by the best workmen 
in the factory. A small flower- 
vase, painted in colors, shows 
the best work produced. A 
cylindrical flower-pot, with 
wreath of flowers encircling 
the circumference ; a toilet-set, 
decorated in the same elab- 
orate manner and heavily 
63. — Hemphill Vase. Collection ., , , , . . 

OF Hon. James T.Mitchell. glided; a large water- pitcher. 



AMERICAN CHINA MANUFACTORY. 143 

the lower half with raised ornamentation in white, 
consisting of horses and dogs, the upper portion dec- 
orated with a band of artistically painted flowers and 
gold tracery, are a few of the pieces which remain of a 
large collection. The relief design on the latter bears a 
remarkable resemblance to 
that which occurs on an 
old English parian pitcher 
in the Trumbull-Prime col- 
lection at Princeton. The 
chef-d'oeuvre of the series, 
however, is a cylindrical 
night lamp, of thin, trans- 
parent porcelain, exqui- 
sitely decorated with a 
continuous rural scene in 
bright colors, extending 
around the centre (see 
III. 70). 

Hon. James T. Mitch- 
ell, of the Supreme Court 

of Pennsylvania, is the ^ 

owner of a flaring vase, i 
six inches high, on which 
is painted a group of fruits and flowers and on the oppo- 
site side, in gold, " E. Tyndale, 1833," having been made 
for his mother at the Hemphill factory and presented to 
her in that year. 

A pair of amphora-shaped vases in the possession of 
Mrs. Amanda Spiegel, of Philadelphia, which were pre- 



144 POTTERY AND PORCELAIN. 

sented to her father-in-law, Mr. Isaac Spiegel, when in 
the employ of Judge Hemphill, are copies of an old 
S&vres form and measure about a foot in height, being in 
two parts. They are of a good semi-transparent body, 
decorated with much goldwork and marine views depict- 
ing shipwrecks. The painting is excellently executed, 
evidently by a French artist (111. 63). 

Mr, William S. Negus, of Bound Brook, N. J., has a 



64,— Hemphill Porcelain Table-wake. CoLLEL-noN ok Ms. W. 5. Negus. 

table service which was made by Judge Hemphill about 
1834. It is remarkable for its bands of pink roses and 
heavy goldwork, the interior of the cups being solidly 
gilded half-way to the bottom. 

A christening-bowl, " Presented to the First Presby- 
terian Church, West Chester, Chester County (Pa.), Feb- 
ruary 22, 1834. by Joseph Hemphill of Philadelphia," is a 
fine example of the ware made at that time. It measures 



AMERICAN CHINA MANUFACTORY. 145 

nine and one half inches across and is decorated with 
heavy gold bands at the top and bottom, solidly gilded 
handles, and gold wreath with blue forget-me-nots, in 
which is inclosed the above inscription, also in gold. 

In the family of the late Mr. Thomas Tucker, of 
Philadelphia, some of the best pieces of the later produc- 
tions of this factory are preserved. These include two 
pairs of cologne bottles (see 111, 6g), of different size 
and design, made after Chinese patterns, elaborately 
ornamented with goldwork applied to relief designs, and 
the date 1837; a vase with painting of the factory at 



Seventeenth and Chestnut streets, and a pitcher painted 
with flowers and birds, after nature, the mate of which is 
owned by Mrs. General Hector Tyndale of the same city. 
Perhaps one of the finest examples ever made by Mr. 
Tucker is the large vase, owned by his widow, which is 
over two feet in height and embellished with a wreath of 
richly painted flowers and gold and salmon-colored bands. 
The plinth is solidly gilded, as are the handles, which are 
in the form of eagles' heads, with wings meeting above. 
The manner in which Mr. Tucker came into possession 
of this valuable piece is interesting. Walking down 



146 POTTERY AND PORCELAIN. 



Second Street one day he happened to see it perched 
on a shelf in the top of a window in a second-hand shop, 
and immediately recognizing it as one which he had 
himself made, years before, he purchased it and took it 
home. 



One of the most characteristic patterns produced by 
the old Philadelphia China Factory was the classical 
pitcher with circular body, arched handle, and corrugated 
band at base. This form has become the most familiar 



AMERICAN CHINA MANUFACTORY. 147 

to the public because it was a favorite with the manufac- 
turers and seems to have been peculiar to this factory. It 
was known as the 
" vase-shaped " pat- 
tern. Another rather 
common form was ' 
the cylindrical vase 
with flaring mouth, 
a reproduction of an 
old French form. It 
is not generally 
known that the 
Tucker and Hemp- 
hill productions in- 
cluded an almost 
endless variety of 
ornamental as well 
as utilitarian forms, 
hence some of the 
rarest pieces are not 
recognized by collec- 
tors, but are thought 
to be French. Some . 
idea may be obtained I 
of thevarietyof forms 
when it is known that 67.-Large Porcelain Vase. Ov«*laze D.co- 

KATiON IN Gold and Colors. Owned by 
the original pattern Mrs. Thomas tucker. 

books (which at the suggestion of the writer have been 
presented to the Pennsylvania Museum by Mrs. Thomas 
Tucker) show, during the last six years of the factory's 



I4S 



POTTERY AND PORCELAIN. 



history, over 140 different standard designs in table pieces 
and vases alone. Many other pieces, such as spirit lamps 
with teapots, flower jars, miniature and picture frames, 
smelling vials, inkstands, mantel ornaments, etc, were 
made to some extent, and examples of these are still 
occasionally met with. Small porcelain bottles with stop- 
pers were made in three forms, — cordate,' shell-shaped, 
and eared, and daintily dec- 
orated in colors, for holding 
smelling salts and cologne. 

Other forms of pitchers 
made at these works were 
called the "Star," "Gre- 
cian," " Fletcher," and 
"Walker" shapes. Some 
of the most characteristic 
decorations, in addition to 
those already described, 
were landscapes in black, or 
in brown and green, tiny 
pink roses scattered over 
the entire surface, and 
large bold roses in natural 
colors. On table ware, festoons of gold and minute 
bands of gold flowers ; small blue, green, and brown 
"corn flowers"; purple and green vines; green peri- 
winkles with brown stems ; pink, blue, and green 



68. — "Vase-Shaped" Pitcher, Over. 

GLAZE Dbcokation in Colors and 

Gold. Fennsvlvai^ia Museum. 



1 The plaster 


mould fuc 1 


he he>rt-bhape<i scent bottle »a: 


s until recently in the 


Franklin Iiistilut. 


e. It is n< 


)w in the collection of the 1' 


ennsylvania Muteum, 


Philadelphia. 









AMERICAN CHINA MANUFACTORY. 149 



sprays ; wreaths and bunches of flowers in which the 
rose, tulip, forget-me-not, morning-glory, ragged-robin, 
honey-suckle, — all in delicate colors, 
and fern leaves and moss rose-buds 
in gold. Scalloped cups and saucers, 
with broad vertical bands of alter- 
nate pink and brown, were also 
made, and handles of sauce boats 
and other utensils were often moulded 
in the forms of serpents' and lizards' 
heads. 

The following price list of articles 
made at Seventeenth and Chestnut 
streets, between 1832 and 1838, copied 
from the records of the factory, will 

show what the public paid in those 69.-CologneBottle, 

Raised Decoration 

GoldTkacery. Mr 

Thomas Tuckbr. 



Pitchers $1.00 each. 

Teapots i.o6| ' 



Sugars 

Coffee-pots 

Creams 

Gravy boats 

Shell dishes 

Custard stands 

Square comforts . . 
Round dishes. . . . 

Fruit baskets 

Stands for same. . . 



75 
6.i 



1 50 POTTER Y AND PORCELAIN. 

High comporteers 2.50 each. 

Cake stands i.oo '* 

SaladSy octagon 2.00 *' 

Tumblers 3.00 doz. 

Large plates 4.50 " 

Cup plates 1.50 " 

Plates 2.50 " 

4.00 

Muffins 2.00 " 

Dishes 2.00 each. 

" X.7S " 

Saucers 1.50 doz. 

2.00 

Cake saucers 0.25 each. 

Terrenes 3.50 " 

Cups 1.50 doz. 



The pattern books of the china factory contain draw- 
ings of pieces not enumerated in the foregoing list, on 
which the selling prices were marked. From these books, 
which have been kindly placed at my disposal, I take the 
following : 



Cylindrical spirit lamps, with teapots $1.60 each. 

Vase shaped " " " " 2.50 '* 

Large pedestal vases (undecorated, of course) 1.50 " 

French vase (amphora-shaped) 1.50 " 

Butter coolers i.oo " 

Funnels 2.00 " 

Pitchers (Fletcher's shape) 1.50 " 

" (Walker shape) third size 37 J " 

" (Grecian shape) 75 " 

" (Vase shape) i.oo ** 

" (Star shape) i.oo " 

Round jugs, small 50 '^ 

Some of the wages paid at the factory to artists, in 
1832, for decorating pieces were as follows : 



AMERICAN CHINA MANUFACTORY. 151 



« 4( 



Landscapes (in brown) 4 cts each. 

Phoenix 2 " " 

Bands (gold) 8 ** doz. 

Best groups (colored) 18} " each. 

Common groups 12^" " 

Fruit baskets 18J " " 

Mantels/ richly ornamented 25 

Cyphers, from one to four , 2 

Prices for burnishing, same date : 

$10 Pitchers 15 cts. 

Vases, full gilt 15 cts. 

The wages paid for making, turning, finishing, etc., 
were as follows : 

Mantel ornaments, large size 8 cts. each. 

second size 6 " " 



Large size coffee-pots 20 

Oyster dishes, large size 25 

Slop bowls 4 

Moulded cups i 






" saucers i " " 



Extra large size dinner plates 3 ' 

" breakfast plates 2 " '' 

Tea plates i ct. " 

Cup plates I ct. ** 

For Moulding : 

Teapots 12} cts. 

Pitchers (two quarts) 12^^ " 

Gravy boats i2j " 

Fruit baskets 20 " 

John Basten, from England, was foreman of the 
factory for many years. Mr. George Morgan, who is still 
living and now in the employ of the S. S. White Dental 

^ Mantel ornaments. 



152 POTTERY AND PORCELAIN. 

Manufacturing Company, Philadelphia, when a boy 
turned a wheel for one of the throwers in the old China 
Manufactory. His elder brother, Joseph Morgan, was a 
moulder in the works during the entire period of the 
factory's existence. Andrew Craig Walker, recently 
deceased, was one of the best hands employed in mould- 
ing the finer pitchers and many pieces are still preserved 
with his mark, a " W." scratched under the glaze. Isaac 
Spiegel and J acob Baker 
tended the kilns and superin- 
tended the preparation of the 
clays, and it is said that the 
former made many valuable 
suggestions to the proprietors 
of the works in regard to im- 
provements in the construc- 
tion of the kilns. Other work- 
men in the factory were Wil- 
liam Hand, an Englishman, 
widely known among the craft 
JO.— nujht-Lamp Decorated with o" account of his diminutive 
Rural Scene IN Colors. Mrs, stature, ThomaS B. Harned. 
R. C. Hemphill. 

Charles Frederick and one 

Vivian, a Frenchman. Charles j. Boulter was also con- 
nected for some time with the establishment and William 
Chamberlain, a Philadelphian, was employed as one of 
the decorators. It is difficult, at this late day, to procure 
information relative to many of those connected with the 
establishment, as nearly all have passed away. The pri- 
vate marks of some of the moulders and turners are given 



AMERICAN CHINA MANUFACTORY. 153 



in our chapter on American Marks and Monograms, 
but other initials are frequently met with on pieces of 
the Tucker and Hemphill ware, which cannot now be 
identified. 

It is impossible to set down any rules by which this 
ware can always be known. There are certain peculi- 
arities of form and decoration which are easily recognized 
and some pieces may be identified by the private marks 
upon them. Many, however, which are not marked, can 
with difficulty be distinguished from French productions, 
even by the connoisseur. 

Just why this venture should not have proved more of 
a financial success, we are unable to understand at this 
remote period, though it can readily be seen that the high 
cost of foreign skilled labor and the expensive gilding 
which was used so lavishly were, doubtless, important 
factors in the heavy losses which the promoters of the 
undertaking sustained. The pieces yet in existence are 
generally carefully preserved as heirlooms in the families 
of those who procured them from the manufacturers, and 
the few examples which, from time to time, find their way 
into the market are eagerly purchased by collectors, both 
on account of their comparative rarity and because they 
possess qualities which have not been surpassed by the 
best of imported or domestic productions. 




CHAPTER IX. 
THE POTTERY INDUSTRY FROM 1825 TO 1858. 

A STONEWARE pottery was established in Balti- 
more, Md., in 1827 by Mr. Ferine, who was after- 
wards joined by his son, Mr. T. P. Perine. At the 
death of the senior partner, the latter became sole pro- 
prietor. The style is at present M. Perine & Sons. They 
manufacture stoneware in the usual lines of useful 
articles, Rockingham, hand- and machine-made flower- 
pots, terra-cotta drain pipe and fire-clay chimney pipe. 
They make a specialty of fancy flower-pots and stands 
and hanging- baskets, in unique designs. They received 
the Centennial medal for superiority of goods exhibited 
in 1876. The trade of this house is mainly wholesale 
and extends throughout the Southern as well as the 
Northern States. 

In 1831 Messrs Horner & Shirley were engaged in 
the manufacture of flint stoneware in New Brunswick, 
N. J., in which year they exhibited some of their produc- 
tions at the Franklin Institute, Philadelphia. 

As early as 1832, or thereabout, plain 6re-brick and 
tile were made by the American China Factory in Phila- 



THE INDUSTRY FROM 1825 TO 1858. 155 

delphia, then operated by Messrs. Tucker & Hemphill. 
They advertised these products as being " of a superior 
quality, manufactured in part from the materials of which 
the china is composed. These have been proved, by 
competent judges, to be fully equal to the best Stour- 
bridge brick," which have been celebrated for their excel- 
lence for nearly a century and a half. The fire-clays of 
the Stourbridge district have been used for upward of 
three hundred years by British manufacturers. 

Isaac Spiegel, a workman at the old Philadelphia China 
Factory of Messrs. Tucker & Hemphill, started in busi- 
ness for himself in Kensington, Philadelphia, about the 
year 1837. He made Rockingham, black and red ware 
of good quality, some in ornamental shapes, such as 
miniature barrels, card-baskets, and Rockingham figures. 
Some of the machinery was moved to his pottery from 
the Hemphill factory on the closing of the latter, and 
he secured many of the moulds which had been used 
for making ornamental porcelain pieces. In 1855 Mr. 
Spiegel retired from active business, and was succeeded 
by his son, Isaac, who carried on the works until 1879. 
He made fire-brick and tiles in 1858, and later produced 
mantel ornaments in Rockingham, such as figures of lions 
and dogs. In 1880 John Spiegel, a brother of the latter, 
resumed the business, and a few years after made Barbo- 
tine ware, biscuit decorated with floral designs moulded 
separately and attached to the surface of vases. He also 
made vases and plaques in biscuit for decorators, but dis- 
continued this branch some years ago. At present he is 
engaged in burning magnesia for the drug trade. 



I s6 PO TTER Y AND FOR CELAIN. 



THE OHIO VALLEY. 

Mr. John Hancock came to America from England in 
1828 and commenced the erection of a pottery at South 
Amboy, N. J. In the following year he sent over for his 
wife and son Frederick, who brought with them two 
turners, one from Minton's named Bernard Houston, and 
one thrower, Charles Harrison. On the arrival of these 
workmen Mr. Hancock had his pottery finished and com- 
menced at once the manufacture of yellow ware. Mr. 
John Hancock was a potter of large and varied experience, 
having served an apprenticeship at Etruria with Josiah 
Wedgwood. According to his son, Mr. Frederick Han- 
cock, who is still living in Bennington, Vt, at an advanced 
age, he was at one time manager for Mr. James Clews at 
Cobridge, England, and made the colors used in decorat- 
ing the wares at that factory. In 182 1 he left Clews and 
went with Mr. Lewis Weston Dillwyn, at the Cambrian 
Potteries, Swansea, Wales. 

In 1840, Mr. Hancock, with his son, went to Louisville, 
Ky., and started a stoneware pottery there. In 1841 the 
elder Hancock went to East Liverpool, Ohio, and en- 
gaged in the manufacture of yellow and Rockingham 
wares, in the building called the Mansion House, in com- 
pany with Messrs. James Salt and Frederick Mean Mr 
Hancock died in East Liverpool in 1842. 

Mr. Frederick Hancock, who was born in 181 7, came 

to the United States from Hanley, Staffordshire, in the 

fall of 1829, and learned the stoneware trade with Mr. 

Israel Seymour of Troy, N. Y. In 1839 ^^^ went to Ben- 
nington, Vt., and worked in the stoneware pottery of 



THE INDUSTRY FROM 1825 TO 1858. 157 



Messrs. Norton & Fenton for a short time. In 1840, as 
we have seen, he accompanied his father to Louisville. 
In the following year he returned to Bennington, where, 
in the spring of 185 1, he worked in the United States 
Pottery. He next went to Worcester, Mass., in 1858, 
and established another pottery which he operated 
until 1877, when he sold his interest and returned to 
Bennington. 

The Lewis Pottery Company was incorporated in 
Louisville, Ky., in the year 1829, for the purpose of mak- 
ing queensware and china, the incorporators being Robert 
Ormsby, James McG. Cuddy, Jacob Lewis, Edmund T. 
Bainbridge, and John J. Jacob. Messrs. Vodrey & Frost, 
who had been in business in Pittsburgh, Pa., for about 
two years, were induced by these parties to move their 
plant to Louisville in that year, and began the manufac- 
ture of a fair grade of cream-colored ware. Mr. Frost 
retired in two or three years, and the business was con- 
tinued by Messrs. Vodrey and Lewis until about 1836, 
when the firm was dissolved. The dissolution was oc- 
casioned by the advent of a prominent English potter, 
Mr. James Clews, who, being a man of fine presence and 
a fluent talker, so impressed some of the capitalists of 
Louisville that he succeeded in forming a company with 
an ample capital for building and operating a new pottery 
at Troy, Indiana. 

POTTERY AT TROY, INDIANA. 

Mr. James Clews operated the extensive potteries at 
Cobridge,* England, from about 1820 to 1829, which had 



158 POTTERY AND PORCELAIN. 



been worked since 1808 by Messrs. Bucknall & Steven- 
son, and afterwards by Mr. A. Stevenson. He was also 
proprietor of other works lying between Cobridge and 
Burslem, and manufactured extensively white-ware table 
services for the American market Many of his now 
highly prized pieces were decorated with dark-blue trans- 
fer prints of American views, examples still being common, 
in the cabinets of American collectors. Among the most 
familiar of these are views on the Hudson River, the 
Erie Canal, the ** States" plate, of which I have seen 
nine varieties, and services embellished with a representa- 
tion of the •* Landing of Gen. Lafayette at Castle Garden, 
New York, 16 August, 1824.*' Perhaps no English potter 
was better known on this side of the Atlantic through 
his wares than Mr. Clews. The deep, rich coloring of his 
under-glaze printing was not surpassed by any other man- 
ufacturer of that day, and the mark, ** Clews Warranted 
Staffordshire," impressed in a circle around a crown, 
made his name a household word throughout the States. 

It is not generally known that Mr. James Clews, after 
the closing of his English works in 1829. came to America 
and took charge of a similar manufactory in the United 
States, yet such was the case, and this fact will add 
greater interest to his productions, which, having pre- 
ceded him to this country, we still preserve. The town 
of Troy, Indiana, was selected for the location of the new 
works, on account of its favorable situation on the Ohio 
River, which furnished excellent transportation to the 
larger cities of the South, East, and West, and because 
of its proximity to the necessary materials for manufac- 



THE INDUSTRY FROM 1825 TO 1858. 159 



turing, which had been recently discovered, of excellent 
quality and in great abundance. The Indiana Pottery 
Co. was incorporated by special act of the Legislature 
of January 7, 1837, the incorporators being Reuben 
Bates, James Clews, Samuel Casseday, William Bell, 
James Anderson. Jr., Edmund T. Bainbridge, Perly 
Chamberlin, William Garvin, John B. Bland, Jacob 
Lewis, and Willis Ranney. The capital stock was $100,- 
000, with privilege to increase to $200,000, and the act 
recited that the same parties had previously been transact- 
ing business as the ** Lewis Pottery Co." From the His- 
tory of Warrick, Spencer, and Perry Counties (Ind.) we 
extract the following relating to this enterprise : ** It was 
thought that the finer ware made so extensively in Eng- 
land could be made from the Troy clay. Reuben Bates 
gave as his portion of the investment a tract of about 160 
acres of land, on much of which was the clay. The other 
members of the company furnished means to build the 
necessary houses and buy the necessary apparatus. Sup- 
posed experienced potters in considerable numbers were 
induced to come from England, as this was thought 
necessary to insure success to the new enterprise. . . . 
The pottery started up with flattering prospects, but in a 
short time .... the impossibility of making white 
ware from the clay was demonstrated, and after a year of 
anxiety and effort on the part of the company, business 
was suspended and the property was either transferred to, 
or placed in charge of, Samuel Casseday, of Louisville, 
who after that, from time to time, leased it to the leading 
workmen who had come from England, or others." 



1 60 PO TTER Y AND FOR CELAIN. 



It is a matter of surprise that under Mr. Clews' man- 
agement the products of the Troy works should not have 
proved of a higher order, since his earlier cream-colored 
ware and stone china, made in England, were of a su- 
perior quality. His failure in this respect can only be 
explained by the incompetency of his workmen and the 
unsuitableness of the clays which were used. The attempt 
to make white ware resulted only in the production of an 
inferior grade of pottery of a dark cream color, fragments 
of which have been sent to me by Mr. Benjamin Hinchco 
of Troy, who unearthed them in digging around the 
premises. The manufacture of this was soon discontinued, 
and yellow and Rockingham wares were substituted. I 
have searched in vain for pieces of print-decorated ware 
made by Mr. Clews in America from plates used by him 
in England, since it would seem reasonable to suppose 
that he would bring some of the old engravings, which 
had originally been made for the American market, with 
him to his new field of labor. The only style of decora- 
tion which I have been able to find on any of his Ameri- 
can-made wares is a rudely painted border in blue, under 
the glaze, such as was common on the cheaper grades of 
white ware made at that time. Messrs. William Brown- 
field & Sons, who now carry on the Cobridge works in 
England, inform me that none of the old plates are now 
in existence. 

After considerable money had been sunk in the Troy 
venture, the business was discontinued, and Mr. Clews 
returned to England, where he died, in 1856, at the age 
of about seventy. He was a remarkably sagacious and 



THE INDUSTRY FROM 1825 TO 1858. 161 



enterprising manufacturer in his day, and at one time 
amassed considerable wealth, much of which he subse- 
quently lost. His son, Mr. Henry Clews, of New York 
City, is well known in financial circles. 

In the spring of 1839, ^^ company induced Mr. 
Jabez Vodrey to move to Troy and take charge of the 
pottery. With what hands he could procure in Louis- 
ville, he put the pottery in operation in March of that 
year, and continued to run it with varying success until 
1846, when, from lack of skilled labor and capital, he 
was forced to abandon it, and in 1847 nioved to East 
Liverpool, Ohio. 

In 1 85 1, John Sanders and Samuel Wilson leased the 
Troy works from Mr. Casseday, who was then the recog- 
nized owner of the property, and continued the manu- 
facture of yellow and Rockingham goods until 1854, when 
the buildings were burned down ; but another pottery 
was soon afterwards erected on the same site. Mr. 
Sanders continued the business until 1863, when he died. 
Mr. Benjamin Hinchco then leased the property and 
operated the works until they were torn down, about 
twenty years ago. 

William Ridgway, of Hanley, England, was another 
eminent potter who commenced operations in this country 
after having manufactured extensively for the American 
trade for many years in England. He was associated 
there with his brother John, under the firm name of J. & 
W. Ridgway, and many of the old blue pieces now so 
eagerly sought for by collectors, with American views, 
were made at the Hanley potteries. Of these, the series 



II 



1 62 PO TTER Y AND POR CELAIN. 



entitled ** Beauties of America," which included views of 
the Philadelphia Library, Staughton's Church, Philadel- 
phia, Capitol at Washington, and City Hall New York, were 
the most familiar. William Ridgway afterwards left his 
brother and became interested in no less than six impor- 
tant potteries in England. He continued to hold the 
American trade by making extensively china with light 
blue and black prints of American scenery. Of the latter 
I have before me some river scenes, such as views on the 
Hudson, the Delaware Water Gap, the Bridge at Harper's 
Ferry, the Columbia Bridge on the Susquehanna (Pa.), 
and others. Few collectors who are familiar with the 
Ridgway china are aware that the younger brother, 
William, contemplated the removal of his manufactory to 
this country. He pushed his plans so far as to commence 
the erection of a pottery on a large scale in Kentucky, 
which for some reason was never completed. The ruins 
of the partially built walls are still to be seen near the 
mouth of the Big Sandy River, near the West Virginia 
line. 

A family of German potters, whose name was Boch, 
commenced the manufacture of porcelain hardware trim- 
mings on Long Island, N. Y., about 1850, which industry 
has since flourished to such a remarkable degree at Green- 
point. They started, at various times, several potteries 
and were sometime connected with the ** Empire" and 
"Union Porcelain Works," and two different factories at 
Flushing. William Boch & Brother exhibited at the 
Crystal Palace Exhibition of New York, in 1853, stair 
rods and plates of decorated porcelain, plain and gilded 



THE INDUSTRY FROM 1825 TO 1858. 163 



porcelain trimmings for doors, shutters, drawers, etc. 
Noah Boch, a grandson, is now connected with the knob 
department of the Greenwood Pottery, at Trenton, N. J. 

Charles Cartlidge had a china factor)^ at Greenpoint 
previous to the middle of the present century. He had 
been a potter in England, and was agent for the Ridgways, 
an English house, before he commenced potting himself 
in the United States. Messrs. Charles Cartlidge & Co. 
exhibited at the New York Crystal Palace bone porcelain 
tea sets, pitchers, bowls, and fancy ware, also door knobs, 
door plates, etc. A large curtain knob, of bone porcelain, 
decorated with gold, has been sent to me by Mr. W. J. 
Stickney, of Salem, Mass., who procured it from the stock 
of an old crockery shop in that town which forty years ago 
was a depository for American wares. It is reasonably 
certain that this example was made at one of these estab- 
lishments on Long Island, in all probability the Cartlidge 
works. The body is of excellent quality, the glazing 
good, and the gilding evidently the work of an experi- 
enced decorator. The disk measures four inches in 
diameter and the stem is three and a half inches in 
length. Mr. Cartlidge became a prominent man in the 
community in which he resided and founded a church 
there, in which, it is said, he sometimes preached. At 
his death his brother William, who had been associated 
with him, went to East Liverpool, Ohio, where he died 
some years ago. 

Mr. Cartlidge employed good artists to model and 
decorate his wares. Much of his porcelain was painted 
in colors and gold over the glaze. I have seen door 



1 64 POTTERY AND PORCELAIN. 



plates and table pieces of excellent paste with artistically 
grouped floral designs after nature. Among the best 
decorators connected with the establishment were Mr. 
Frank Lockett and Mr. Elijah Tatler. 

In addition to hardware porcelain and table pieces, Mr. 
Cartlidge produced some very excellent jewelry cameos 
and portrait busts in biscuit porcelain. Of the latter, heads 
of Chief-Justice Marshall, Archbishop Hughes, Daniel 
Webster, and Zachary Taylor were among the best, and a 
diminutive bust of Henry Clay, made for a cane handle, is 
a beautiful piece of modeling and a striking likeness. In 
the possession of Mrs. Annie C. Tyndale, a daughter of 
Mr. Cartlidge, are some finely executed brooch medallions, 
consisting of miniature family portraits, ideal heads and 
grotesque faces in relief, and a rhyton or drinking cup in 
the form of a wolfs head. Work of this high order 
of merit, however, was not in sufficient demand in the 
United States at that day to insure financial success and 
much money was lost in the enterprise. The factory was 
closed in 1856 and Mr. Cartlidge died in i860. 

Mr. J. L. Jensen, who was at one time connected with 
the Union Porcelain Works, took the Greene Street fac- 
tory, called the *' Empire Pottery," which had been built 
some time previously by the Bochs, and commenced the 
manufacture of porcelain hardware fittings, electrical 
supplies, jugs, cuspidors, etc., and is still successfully 
operating it. 

The East Morrisania China Works of D. Robitzek, 
on 150th Street, near Third Avenue, New York City, 
formerly made porcelain door knobs and hardware 



THE INDUSTRY FROM 1825 TO 1858. 165 



trimmings. The present products are white granite, 
cream-colored, and decorated wares. 

In 1843, 2tt the exhibition of the Franklin Institute, 
Philadelphia, two porcelain baskets, made by Messrs. 
Bagaly & Ford, were shown by General H. Tyndale. 
The judges pronounced them " a well finished article for 
American manufacture." 



THE UNITED STATES POTTERY, BENNINGTON, VT. 

Messrs. Christopher Weber Fenton, Henry D. Hall, 
and Julius Norton commenced making yellow, white, and 
Rockingham wares at Bennington, Vt., about the year 
1846, in the north wing of the old stoneware shop (which 
had been erected in 1 793 by the Norton family), operated 
by Messrs. Norton and Fenton. The new firm brought 
from England one John Harrison, who did their first 
modelling. Mr. Hall did not remain long in the company 
and after he and Mr. Norton withdrew, the style was 
changed to Lyman & Fenton, by the admission to the 
firm of Mr. Alanson Potter Lyman, a prominent practis- 
ing attorney of Bennington, and shortly after to Lyman, 
Fenton, & Park. Rockingham, yellow, and white wares 
continued to be made and some creditable work in parian 
was turned out. 

In 1849 ^^^ Anson Peeler, a master carpenter, was 
engaged to erect suitable buildings for the company. The 
new quarters were finished in this year and the factory 
became known as the United States Pottery. Mr. Fen- 
ton took out a patent about the same time for the color- 



i66 PO TTER Y AND PORCELAIN. 



ing of glazes for pottery. The manufacture of "Patent 
Flint Enameled Ware " (which was a fine quality of Rock- 
ingham, somewhat analogous to our modern so-called 
majolica) was added, white granite ware was made exten- 
sively, and soft-paste porcelain was produced in a small 
way. Artists were procured from abroad to decorate the 
ware, among whom was Mr. Theophile Fry, a skillful 
painter, who is believed to have come from Belgium or 
France. Mr. Daniel Greatbach, who belonged to a family 
of prominent English artists, went from the Jersey City 
Pottery and modelled some of their best pieces. The 
trade-mark adopted and used to a limited extent on parian 
pieces was a raised scroll or ribbon with the letters U. S. 
P. impressed, and a number indicating the pattern. This 
ware was decorated with raised figures in white, some- 
times on a blue ground. Pieces were also frequently 
made after English designs. An example of this style is 
a graceful parian pitcher belonging to the writer, which is 
embellished with raised foliage and human figures on a 
"pitted" dark-blue ground. This is an enlarged repro- 
duction of a syrup jug from the Dale Hall Works, Eng- 
land. Pieces with similar decoration are owned by Mr. 
G. B. Sibley, of Bennington. Mr. L. W. Clark, of the 
New England Pottery Co., who, when a young man, was 
connected with the United States Pottery, while his 
father, Mr. Decius W. Clark, was superintendent of the 
works, informs me that the ** pitting " on the grounds of 
such pieces is done in the model with a single pointed 
tool, only one indentation being made at a stroke. The 
pit marks are made close together, covering the parts to 



THE INDUSTRY FROM 1825 TO 1858. 167 

be colored, which presents the appearance of a thimble 
surface. A mould made from the pitted model, of course, 
carries the reverse impressions, or points. The rough or 
pointed surface of the interior of the mould is covered 
with a blue slip by means of a camel's-hair brush. Then 
the mould is set up and white slip poured in, as is usual 
in casting. The white slip attracts the blue and takes it 



71.— Bennington Parian. Blue Pitted Ground. 

from the slip-painted sides of the mould. A group of 
Bennington blue and white parian is here figured, con- 
sisting of pitchers, a vase, and cane handle (III. 71). 
The blue ground varies in different pieces from a light 
to a dark shade, the raised decorations being pure 
white. The uncolored parians were generally of a 
grayish white color and more refined and marble-like in 



i68 POTTERY AND PORCELAIN. 

tone than those with blue ground. A group is shown in 
Illustration 72. 

Parian pitchers were usually glazed inside, while many, 
particularly the blue and white, were finished outside with 
a " smear" glaze, produced by coating the interior of the 
seggar. in which they were burned, with glaze, which, 
under the fire, vaporizes and imparts to the ware a glossy 
surface. Small parian and porcelain statuettes, designed 



73. — Whit« Pabun, U. S. Potterv. 

for mantel ornaments, were also made to some extent. 
Toilet-sets, pitchers, door plates, escutcheons, and other 
pieces, in white granite and porcelain, were often decorated 
with gold and colored .designs, and with the names of 
customers or recipients. The group of white granite 
ware shown (IlL 73) consists of a cow-creamer with gold 
decoration, swan mantel ornament with base edged with 
blue under the glaze, and water-pitcher with dark blue 



THE INDUSTRY FROM 1825 TO 1858. 169 

under-glaze and heavy gold decorations. The latter bears 
the date February 28, 1858, and was one of the last 
pieces made at this factory. The large ornamental figure 
represents a girl at prayer. Mr. Charles R. Sanford of 
Bennington Centre was at one time connected with the 
U. S. Pottery, and he has preserved a number of interest- 
ing pieces made there, including two dogs of parian, 
several pitchers, and a Rockingham figure of a deer. 



—White GRANtTH Ware, U. S. Pottery. 



In 1851, or the year following, Mr. Fenton had a 
large monumental piece made, ten feet in height (see 
Illustration 74), in four sections, the lower, or base, being 
composed of several varieties of clay, mixed together to 
produce the appearance of unpolished, variegated marble. 
This represented the "lava ware" made at that time. 
The second section was made of pottery, covered with 



1 70 POTTER Y AND PORCELAIN. 



colored glaze, and represented the ** Flint Enameled 
Ware." Above this was a life-sized parian bust of Mr. 
Fenton, surrounded by eight Rockingham columns, and 
the whole was surmounted by a parian figure of a woman, 
represented in the act of presenting the Bible to an 
infant. This work is said to have been designed by Mr. 
Fenton, but modelled by Greatbach, and was placed on 
exhibition at the New York Crystal Palace in 1853. It 
now stands on the porch of Mr. Fenton's former residence 
in Bennington, a monument to his enterprise and genius. 
I am informed by Mr. L. W. Clark that several dupli- 
cates of this monument were made, as it was at first the 
intention of Mr. Fenton to utilize them as stoves, but the 
idea was afterwards abandoned. 

By quoting from Horace Greeley's Art and Industry 
at the Crystal Palace^ New York, we are enabled to gain 
an excellent idea of the various wares produced at the 
Bennington factory at that time. He says: **Around this 
monument are displayed table and scale standards, Cor- 
inthian capitals, figures, vases, urns, toilet-sets, and a 
great variety of other specimens in porcelain, plain and 
inlaid. The pitchers in porcelain are deserving of notice, 
as a branch of natural industry ; though not decorated 
beyond a gilt molding, and, therefore, not attractive as 
china, yet they possess the first elements of good ware — 
that is, an uniform body without any waving, and of well- 
mixed and fine materials. . . . The superiority of the 
Flint Enamel Ware over the English consists in the addi- 
tion of silica combined with kaolin, or clay from Vermont, 
which, when in properly adjusted proportions, produces 



74-~RocKiNaHAH Monument. Made at Bennington, Vt., 1S51, 



1 72 POTTER Y AND PORCELAIN. 



an article possessing great strength, and is perfectly 
fireproof. Telegraph insulators in white flint are on ex- 
hibition ; this material being one of the best electric non- 
conductors that can be found. Various forms of insula- 
tors are in the collection. This ware has been employed 
on the telegraphs in the vicinity of Boston. Among 
these specimens is a patented form, recommended by Mr. 
Batchelder, which has a shoulder with a re-entering angle 
of forty-five degrees ; this angle causes the wind and rain 
to pass downward, and prevents the inside of the insulator 
from being wet. This enamel ware comprises a variety 
of assorted articles, candlesticks, pitchers, spittoons, pic- 
ture-frames, tea-pots, etc. This ware has become a favorite 
article in New England, and possesses much merit as 
cottage furniture. The lava ware is a combination of 
clays from Vermont, New Jersey, Carolina, etc. ; com- 
posed of silica and feldspar, intermixed with the oxydes 
of iron, manganese and cobalt. It is the strongest ware 
made from pottery materials ; the glaze upon this lava 
ware and upon the flint ware is chiefly flint and feldspar, 
and has, therefore, to be subjected to such an intense 
heat to fuse it, as would destroy the glaze upon common 
crockery. The colors upon the flint ware are produced 
by different metallic oxydes applied on the glaze, which 
latter serves as a medium to float them about upon the 
surface, while in a state of fusion, thus producing the 
variegated tints. 

*' The Parian ware of this Company is remarkably 
fine, especially in the form of pitchers. They are light 
in material, of graceful outline, and of two tints — one 



THE INDUSTRY FROM 1825 TO 1858. 173 

fawn-colored, from the presence of a little oxyde of iron, 
and the other white, from its absence. To us the former 
appears the more pleasing to the eye. These are made 
of the flint from Vermont and Massachusetts, the feldspar 
from New Hampshire, and the china clays from Vermont 
and South Carolina. This Company has the credit of 
first producing Parian ware on this continent." 

Some of the specimens of the above described exhibit 
are figured in Silliman and Goodrich's New York Exhi- 
bition of i8§jy published by George P. Putnam. Here 
may be seen illustrations of examples of flint enamelled 
and parian pitchers and a water-cooler made by the 
United States Pottery Company. Another design peculiar 
to the Bennington factory was a large water-pitcher in- 
tended to represent a waterfall, with rocks in front and 
water overflowing the mouth and falling in volumes down 
the sides, in relief. 

In 1853 the works were enlarged and six kilns of im- 
proved construction were erected. The main building of 
the new plant was one hundred and sixty feet long ; water 
power was used for grinding and preparing the materials, 
and one hundred hands were employed in the various 
branches of the business. At this time the selling head- 
quarters of the establishment were in Boston. Mr. G. B. 
Sibley and Dr. S. R. Wilcox, of Bennington, both of 
whom learned the '* presser's " trade at the United States 
Pottery, have kindly placed at my disposal a choice series 
of pieces made there, a number of which are represented 
in these illustrations. Examples of flint enamelled ware, 
with mottled or variegated glaze, include a picture frame, 



1 74 PO TTER Y AND PORCELAIN. 

lion, hot-water bottle in form of a book, candlestick, and 
goblet vase. The stamp used occasionally on this ware 
was " Lyman, Fenton & Co., Fenton's Enamel, Patented 
1849, Bennington," arranged in a large ellipse. A curious 
old Toby jug, of flint enamelled ware, with handle in 
form of a human leg and foot, has been deposited in the 
collection of the Pennsylvania Museum of Art by Miss 
Hannah A. Zell. 



In the Trumbull- Prime collection, now on exhibition 
at Princeton College, may be seen a number of Benning- 
ton pieces, including two lions in flint enamelled glaze, a 
reclining cow, book flask, and pair of candlesticks in 
Rockingham, and a flattened parian vase, of old French 
or German form, with blue pitted ground, and white 
modelled bunches of grapes in high relief and handles 
formed of series of grape leaves. 

" Scrodled " ware was made to some extent at the 
United States Pottery, being what Mr. Greeley calls 



THE INDUSTRY FROM 1825 TO 1858. 175 

'* lava ware," as shown in the Fenton monument. This 
was produced by combining different colored bodies, 
mixed with layers of white clay by partial '* wedging." 
A bowl and pitcher of this ware, with impressed mark, 
'* United States Pottery Co., Bennington, Vt," in an 
ellipse, is owned by Rev. F. E. Snow, of Guilford, Conn. 

Captain Enoch Wood, of South Norwalk, Conn., 
who was connected with the Lyman and Fenton works in 
1850, states that John Lee and Enoch Barber at that time 
were mould-makers, and that Enoch and Thomas Moore, 
William and Charles Leek, John Coughclough, Stephen 
Pies, and Joseph Lawton worked there. Enoch Barber 
afterwards was a mould-maker at Kaolin, South Carolina. 
Most of these are now dead. 

The Bennington factory was closed in 1858, and in 
the following year Mr. Fenton moved to Peoria, 111., 
where, in connection with his former superintendent, Mr. 
Decius W. Clark, he established a pottery for the manu- 
facture of Rockingham, yellow, and white wares. Mr. 
Fenton was born in Dorset, Vermont, and learned his 
trade there at a common red-ware pottery. After a career 
of over thirty years as one of the foremost practical 
potters in the United States, he died at Joliet, III, on 
November 7, 1865, at the age of fifty-nine. The United 
States Pottery buildings were torn down in 1870. Mr. 
Lyman died on May 2, 1883, in his seventy-seventh 
year. 

I have recently seen two white parian pitchers bear- 
ing the mark **Fenton's Works; Bennington, Vermont." 
We have no knowledge that Mr. Fenton was at any time 



176 POTTERY AND PORCELAIN. 



sole proprietor of the works which afterward became the 
United States Pottery, though he may have been alone 
for a short time previous to his partnership with Mr. 
Lyman. It is possible that this stamp was used by him 
in some of his previous operations, and that inadvertently, 
or for some special purpose, it was placed on a few of the 
pieces made during his connection with the United States 
Pottery. One of the pitchers so stamped is owned by 
Mr. G. B. Sibley, and the other is now in the collection 
of the Pennsylvania Museum of Art. They are the first 
two shown in Illustration 72. 

beach's pottery, PHILADELPHIA. 

Previous to the middle of the present century, Mr. R. 
Bagnall Beach established a pottery in the upper part 
of Philadelphia, in the 
neighborhood of the 
forks of Germantown 
Road and Second 
Street. He came from 
the Wedgwood Works, 
Etruria. In 1846 he 
was awarded third pre- 
mium for earthenware 
at the Exhibition of the 
Franklin Institute, the 
judges pronouncing his 
ware "a good article, 
— well finished." He 
76.— o'coNSELL Pitcher. used a number of ex- 



THE INDUSTRY FROM 1825 TO 1858. 177 

cellent pitcher moulds, one of which was said to be a 
correct likeness of Daniel O'Connell, the Irish patriot, 
who died in 1847. According to Mr. Joseph Bailey, for- 
merly connected with the Beach Pottery, but now with 
the Rookwood Pottery, Cincinnati, this portrait piece 
came originally from the Doulton Works, London, about 
1848, and Mr. Beach made them in several sizes in yellow 
and Rockingham. After Beach retired from business, 
about 1 85 1, Thomas Haig, of Philadelphia, procured some 
of his moulds, among them that of the O'Connell pitcher, 
which is still in use (Illustration 76). 

A patent for the inlaying of pearls, gems, etc., on 
china and baked earthenware, was taken out by Ralph 
B. Beach, of Kensington, Pa., evidently the same person, 
in 185 1, but with what result we are unable to state. 

OTHER POTTERIES. 

Mr. William Wolfe carried on a pottery in Sullivan 
County, near Blountville C. H., Tenn., from 1848 to 
1856, where glazed earthenware was made. In 1875 he 
operated a pottery in Wise County, Va., at East Big 
Stone Gap, where he continued to manufacture a fine 
quality of hard brown pottery, or stoneware, until the 
year 1881. The ware produced was mostly plain, but in- 
cluded a few jugs, vases, etc., of ornamental form, with 
incised decoration, entirely devoid of coloring. Speci- 
mens of the latter are now rare, though I am informed 
that one or two pieces are preserved in the Exposition 
building at Big Stone Gap, and a few other examples are 
owned by persons in that vicinity. 



la 



178 POTTERY AND PORCELAIN. 



George Walker, who was associated with William 
Billingsley, his father-in-law, in some of the most im- 
portant ceramic enterprises at Worcester, Nantgarw, 
Swansea, and Coalport, came to America with his family 
about 1835, after the death of his partner, and about 
1850 established a pottery at West Troy, N. Y., which 
was named **The Temperance Hill Pottery." Although 
in Great Britain he had been identified with the higher 
art movements in the porcelain factories of the above- 
mentioned places, and is said to have first introduced the 
reverberating enamel kiln at the Worcester works, he 
seems to have been content to engage in the manufacture 
of Rockingham ware, in a small way, on this side of the 
Atlantic. His principal products were tea-pots, pitchers, 
and toys, which he continued to make for a number of 
years. He died in poverty some ten or twelve years ago^ 
at an advanced age. 

The stoneware pottery now operated by Messrs. 
Shepley & Smith, at West Troy, was established in 1831 
by Mr. Sanford S. Perry. After passing through several 
changes, the business has grown to considerable propor- 
tions, the staple products now being stone, ale, beer, and 
ink bottles, snuff jars, and the usual lines of Rockingham 
ware. 

Mr. Moro Phillips started a stoneware pottery on the 
James River, Virginia, about six miles below Wilson's 
Landing, in 1850, on a property which he had recently 
acquired, on which were large deposits of suitable clay. 
In 1853 the works were moved to Philadelphia, at the 
northwest corner of Chestnut and Thirty-first streets* 



THE INDUSTRY FROM 1825 TO 1858. 179 



Here the business was superintended by Mr. George L, 
Horn, who is still living in Philadelphia. Chemical stone- 
ware was manufactured for a number of years, Wolfs 
jars being a specialty. The demand for this class of 
goods was limited in those days, and Mr. Phillips intro- 
duced the manufacture of household stoneware. He had 
in his employ a German, named Hermann Eger, who 
decorated the ware in blue underglaze designs. He had 
been working previously in the Gloucester China Works, 
and died as recently as the summer of 1891. 

In or about 1862 the works were moved to Erie and 
Trenton avenues, where they continued, under the 
management of Mr. Horn, until about 1867, when they 
were taken to Camden, N. J., where they are still operated 
by the heirs, for furnishing apparatus used in the exten- 
sive business interests of the estate. 

Mr. James Carr, who came to the United States in 
1844, worked for the American Pottery Company of 
Jersey City until 1852, when he went to South Amboy 
and took the Swan Hill Pottery in partnership with Mr. 
Thomas Locker, which had been established in 1849 f^^ 
the manufacture of yellow and Rockingham wares. In 
October, 1853, he started a pottery in New York City 
under the firm name of Morrison & Carr, where table 
services in opaque china, white granite, and majolica were 
made. Mr. Carr directed his efforts toward the attain- 
ment of higher standards, and his experiments resulted in 
the production of some artistic pieces of bone china and 
parian, excellent both in design and execution. For a 
period of about two years he continued the manufacture 



i8o PO TTER Y AND PORCELAIN. 



of majolica, and made a large variety of ornamental 
designs in pitchers, vases, sardine and match-boxes, com- 
ports and centre pieces, in addition to the standard forms 
of useful ware. In parian he executed some good por- 
trait busts of eminent men, and a number of fancy figures 
and groups. In 1888, owing to the close competition 
of out-of-town manufacturers, the New York City Pottery 
was closed and the buildings torn down. He has recently 
built on the premises in West Thirteenth Street, several 
large stores, the rentals from which, he claims, yield him 
better returns than potting. 

The trade marks used by this factory are as follows : 
I. Arms of Great Britain, monogram J. C. in centre, and 
*' Stone China" beneath. 2. Heraldic shields of the 
United States and Great Britain joined. 3. Parallelo- 
gram with "Stone Porcelain, J. C." in centre. 4. Clasped 
hands, with "J. C." on either side, and '* N. Y. C. P." 
below. 

Mr. Carr is one of the fathers of the pottery industry 
in this country. He experimented extensively with clays, 
fuels, and materials, and had in his employ, at different 
times, the best modellers and decorators that could be 
procured. 

In 1853 Messrs. Young, Roche, Toland & Co., and 
also Messrs. Wintter & Co. of New Jersey, were ex- 
hibitors of terra-cotta wares at the Crystal Palace Ex- 
hibition, New York City. In 1858 Lorenze Staudacher 
was making terra-cotta chimney tops, garden and hanging 
vases, and brackets for churches and private dwellings, in 
Philadelphia. 



THE INDUSTRY FROM 1825 TO 1858. 181 

NORWALK, CONN. 

Dr. Isaac H. Hall, of the Metropolitan Museum of 
Art, New York, informs me that he can remember two 
potteries in Norwalk, Conn., where, forty years ago, 
pottery knobs, hardware trimmings, and variegated glazed 
coat buttons were made. 

At South Norwalk, Mr. L. D. Wheeler was making 
'* mineral knobs " for doors, furniture, and shutters in 
1853. These were composed of red, white, and black 
clays, mixed together, burned, and covered with ordinary 
Rockingham glaze. Several years previous to that date 
he had, in connection with Dr. Asa Hill, made pottery 
buttons, which were of a similar body and glaze. This 
was one of the establishments which Dr. Hall remembers. 
Captain Enoch Wood, who was a potter at the United 
States Pottery at Bennington, Vt., went to Norwalk in 
that year and commenced working for Mr. Wheeler, after- 
wards his father-in-law, and three years later, in connec- 
tion with Mr. Wheeler's son, purchAsed the business and 
carried it on until 1865, when the factory was destroyed 
by fire. Enoch Wood, the great potter of Burslem, Staf- 
fordshire, was a cousin of Captain Wood s grandfather, 
and Josiah Wedgwood was related to the family. 
Thomas Wood, of Wood & Challinor, Tunstall, John 
Wood, of Stoke-upon-Trent, a china painter at Cope- 
land's, and Hugh Wood, a noted engraver, were brothers 
of Captain Wood's father. 

The buttons referred to were made of plastic clay 
and not by the " dust " or powdered clay process which 
was patented by Mr. Richard Prosser in England, in 



1 82 POTTER Y AND PORCELAIN. 



1840. At first they were made in plastic moulds and 
afterwards were pressed in dies. Some had four perfora- 
tions for the thread and others were furnished with metal 
shanks, examples of the latter style having been sent to 
me by Captain Wood. They are of two qualities, a 
coarse red body covered with a light brown glaze, and a 
fine white body with an excellent mottled glaze. The 
manufacture of buttons was discontinued previous to 1853. 

DECORATING WORKS OF HAUGHWOUT AND DAILY. 

Messrs. Haughwout & Daily had a decorating estab- 
lishment in New York City forty years ago, at 561 and 
563 Broadway, and employed about fifty hands in paint- 
ing French china for the American market. They 
exhibited at the Crystal Palace Exhibition in that city, in 
1853, a fine collection of decorated ware, including pitch- 
ers with salmon-colored ground and lotus leaves ; a vase 
with painted portrait of William Woram, a former partner 
in the business, presented to him by the employes ; hand- 
some toilet sets, elaborately painted with designs differing 
in each piece ; dessert services ; a centre piece ; coffee 
cups, and plates richly decorated with landscapes, figures, 
flowers, etc.; a specimen plate of a dinner service manu- 
factured for the President of the United States, with the 
American eagle and blue band in Alhambra style, and a 
service with crimson ground and gilt decoration in varied 
designs. As the ware so decorated was imported, it is 
not now possible to identify pieces bearing the work of 
this firm, unless obtained through persons who procured 
them direct from the decorators at that time and can 



THE INDUSTRY FROM 1825 TO 1858. 183 



vouch for their authenticity. The decoration of European 
pieces was frequently copied, but they did also some 
creditable original work. 

This firm did an extensive business, in ante-bellum 
days, with Cuba and the Southern States. It was not un- 
common for a wealthy planter to order a large service of 
decorated ware, with massive gilding, often in duplicate 
to provide against breakages. 

The partnership was afterwards dissolved. Mr. Daily 
with a new partner opened a decorating shop on Broad- 
way, taking with them some of the painters of the original 
firm. The latter subsequently started decorating works 
on Greene Street, where Mr. Edward Lycett joined him. 
Mr. Haughwout's successor removed to Great Jones 
Street, where he continued the business for some time. 

WORKS AT GLOUCESTER, N. J. 

The American Porcelain Manufacturing Company of 
Gloucester, N. J., was incorporated in 1854, the cor- 
porators being John C. Drake, Abraham Bechtel, George 
B. Keller, Peter Weikel, and Martin H. Bechtel, of 
Philadelphia, Pa. ; William Reiss, Sr., Gloucester, N. J. ; 
Matthew Miller, Jr., George Setley, and George Bockins, 
of Camden, N. J. It is said that experiments were pre- 
viously carried on in Philadelphia and Wilmington, Del. 
The venture seems to have been a financial and commer- 
cial failure. Mr. Philip Hallworth, who worked at the 
Gloucester factory, informs me that the ware would often 
come from the kiln melted into a conglomerate mass, and 
much was destroyed in this manner and considerable 



POTTERY AND PORCELAIN. 



money lost. A single marked example of this ware is the 
only one I have seen. It is a cream pitcher, remarkably 
translucent and quite thin, roughly moulded with raised 
designs intended to re- 
present roses and other 
flowers. This bears the 
mark A. P. M. Co. im- 
pressed on the bottom 
(Illustration 77). 

T he Gl o ucester 
China Company, incor- 
porated in 1857, was a 
continuation of the 
former. Jacob Sheetz, 
Abel Lukens, and John 
77,_Por<;klain piL^HEK, Kalsei) uecoratlon. H. Shultz, of Philadel- 

Am. Por. Mfg. Co.. Glouckstek, N. J. p^j^^ . p^i^g g Savery, 

of Camden Co., N. J., and Abraham Browning, of 
Camden, were created a body politic and corporate for 
manufacturing and selling " porcelain, china, chemicals, 
drugs, and other articles of which clay, sand, and other 
earthy substances, form the basis or principal ingredients." 
A Mr. Mclntire was appointed manager of the works and 
Mr. Scharf superintended the manufacture of the products. 
Mr. Edwin T. Freedley, in \\\?, History of Philadelphia and 
Its Manufactures, published in 1858, states that the com- 
pany produced ware " possessing the qualities of being 
not only semi-transparent but very strong. The articles are 
such as are required in every household and the product 
compares favorably with the European." In reality the 



THE INDUSTRY FROM 1825 TO 1858. 185 



quality of the porcelain was good, but the workmanship and 
glazing were inferior. No attempt at decoration was made, 
all pieces being sold in the white, except such ornamenta- 
tion in relief as was derived from moulds. Although large 
quantities of china were made at the time, the company 
having practically a monopoly of the trade in Western 
New Jersey and Eastern Pennsylvania, few pieces can 
now be found that can be absolutely identified. A piece 
from the same mould as the one last figured, but unmarked, 
now in the Pennsylvania Museum, was procured from Mr. 
Hallworth, who has assured me that it was made at the 
Gloucester works about 1858. Much trouble was experi- 
enced in glazing and firing, the first ware placed upon 
the market being blistered and rough. Mr. Hallworth 
also informs me that experiments were made at one time 
to produce yellow and Rockingham wares, but after some 
three kilns had been drawn without success, the attempt 
was abandoned. In 1858 the company had an office at 
No. 17 North Sixth St., Philadelphia. It is said that 
large quantities of imperfect ware were dumped on the 
river bank at Gloucester, the broken crockery being de- 
posited in such quantities as to gain for the spot the name 
of the *' China Wharf." Some of the workmen employed 
were William Hand, Philip Hallworth, Messrs. Horseman, 
Lock, Lawton, and Gerard. No other marks seem to 
have been used excepting the private marks of the work- 
men, the letter C being on the bottom of the pitcher 
figured. The factory was closed about i860, after which, 
it is stated, some of the operatives started other factories 
in various parts of New Jersey. 



i86 POTTERY AND PORCELAIN. 



Messrs. Jones, White, & McCurdy were manufacturing 
artificial porcelain teeth, in 1858, at No. 528 Arch St., 
Philadelphia. They were then turning out one and a 
quarter millions a year, which were claimed to be of a 
better grade than those produced in Europe. The 
original seat of manufacture of porcelain teeth in the 
United States was in Philadelphia. 

A porcelain factory was in operation on Germantown 
Road, Philadelphia, in 1858. 

THE SOUTHERN PORCELAIN MANUFACTURING CO. 

For more than half a century deposits of fine porcelain 
clay have been known to exist in the hills about half way 
between the city of Augusta, Georgia, and the village of 
Aiken, S. C, in what is now Aiken County. In 1856 Mr. 
William H. Farrar, one of the stockholders in the United 
States Pottery Co., of Bennington, Vt., went to South 
Carolina and established works at a small settlement called 
Kaolin, close to the clay banks, after first having interested 
a number of wealthy citizens of Augusta, six miles distant, 
in a scheme for producing fine white ware and porcelain. 
A stock company was formed, of which the Lamars, then 
prominent planters, and afterwards distinguished in 
national affairs, and Alexander H. Stevens, Esq., who, a 
few years later, became Vice-President of the Southern 
Confederacy, were members. Attracted by the extensive 
beds of fine kaolin in that vicinity, Mr. Farrar thought he 
saw an opportunity of making a fortune by erecting works 
close to the sources of supply. For many years the in- 
habitants of the surrounding district had been using this 



THE INDUSTRY FROM 1825 TO 1858. 187 



clay for whitewashing their fences and buildings, but 
beyond such use it was not thought to be of any particular 
value. Mr. Farrar took with him from Vermont brick 
masons, who constructed the most approved kilns of that 
day, and Mr. Anson Peeler, a master carpenter, who had 
previously built the United States Pottery at Bennington. 
PolWrs were also procured from Vermont and other places. 
The works were operated the first year under the manage- 
ment of a newly imported English potter who, however, 
did not prove satisfactory. His experiments were unsuc- 
cessful and much ware was destroyed in firing. Under his 
administration considerable money was lost to the stock- 
holders. During the second year, Mr. Josiah Jones, a 
skillful designer and competent potter, who had previously 
modelled for Charles Cartlidge at Greenpoint, assumed 
the management, and succeeded in producing some very 
fair porcelain and good white granite and cream-colored 
wares. The business did not prove a commercial or finan- 
cial success, however, chiefly because Mr. Jones was limited 
to the use of the local clays, as Mr. Farrar, not a practical 
potter himself, could not divest himself of the erroneous 
idea that first-class ware could be made from the South 
Carolina clays exclusively. He allowed his manager, Mr. 
Jones, so little of other requisite clays that failure was in- 
evitable. In 1857, Mr. Farrar arranged with Mr. Decius 
W. Clark, of the Bennington works, to take the South 
Carolina potteries in hand, which change took effect late 
in that year. In February following, Mr. L. W. Clark, 
now of the New England Pottery Co., went south to 
relieve his father, who then returned to Vermont, and the 



POTTERY AND PORCELAIN. 



son at once assumed charge of the preparation of bodies 
and glazes, the other branches of the business continuing 
under the general supervision of Mr. Farrar. During 1858, 
the works were fairly successful in the production of white 
granite and cream-colored wares, but at the close of that 
year Mr. Clark sold his combinations to the company, the 
transfer being made in the office of Alexander H. Stevens, 
and shortly after returned north. 

The Kaolin factory continued, in a reasonably success- 
ful way, making table, toilet, and a general line of white 
ware, until after the war commenced, when, under the name 
of the Southern Porcelain Manufacturing Company, it is 
said to have gone into the extensive manufacture of porce- 
lain and pottery telegraph insulators for the Confederate 
Government. Earthenware water-pipes were also made, 
to some extent, for the general Southern trade, until the 
works were destroyed 
by fire in 1863 or '64. 
In i860 the manufac- 
ture of the finer grades 
of ware was discon- 
tinued. 

Examples of the 
products of these 
works are now ex- 
ceedingly scarce, but 
through the courtesy 
of Dr. G. E. Mani- 
gault of Charleston, 

78.— Porcelain fiTCHBK. Made by thk ° 

Southern Porcelain Company about S. C, I am enabled tO 

lUi. OwneobvMrs. EiiWARu Willis. 



THE INDUSTRY FROM 1825 TO 



give the illustration of a white porcelain pitcher made here, 
which is decorated with relief representations of stalks of 
Indian corn (111. 78). The piece is ten and a half inches in 
height with excellent glaze, free from crazing. It belongs 
to Mrs. Edward Willis of Charleston, to whom it was 
presented while visiting the factory in 1861. Mrs. John 
S. Porcher, of Eutawville, S. C. daughter of Bishop 
Davis and great-granddaughter of Richard Champion, 
the eminent potter, who came from England in the last 
century and settled at Cam- 
den, S. C, is the owner of 
a small parian syrup-jug, 
which was purchased at 
these works in 1859. One 
of the insulators, of brown 
stoneware, made here, has 
been sent to me by Col. 
Thos. J. Davies. It is a 
rather clumsy affair, marked 
with an impressed shield 
containing the inscription, 

" S, P. Company, Kaolin, 

_ _ , _,, , , , . , 79. — Parian JiiG. Southern Porcelain 

S. C 1 his mark is said Co., Kaoun, s. c, Mrs. j. stonbv 

POBCHER. 

to have also been used to 

some extent on porcelain pieces (see chapter on Marks). 

The enterprise was destined to failure from the begin- 
ning. Good potters could not be induced to remain in 
the woods at a distance from any large town or city. 
The best workmen became dissatisfied with their sur- 
roundings, and returned north. Transportation of wares 



1 90 PO TTER Y AND PORCELAIN. 

to the railroad, one and a half miles distant, was found to 
be expensive, and much difficulty was experienced in get- 
ting the product to market. In locating the works the 
projector lost sight of the fact that clay is a small item in 
the total freight expenses of a pottery. It is said that 
much money was lost in the venture, the amount being 
placed as high as $ 1 50,000. Some of the ware, however, 
was of excellent quality. Rockingham pitchers and spit- 
toons of ornate form were made in the earlier days, and 
cream-pots, pitchers, etc., in white ware and porcelain, 
with raised leaves and imitation of wicker or basket work, 
were made to some extent at a later date. The pitchers 
of this character were quite popular, and were produced 
in great numbers. 

The Kaolin factory was probably the only one in the 
South, during the Civil War, which produced white or 
porcelain ware. Some china was imported by the Con- 
federate Government from England, however, decorated 
to order, such as the table service used on board the war- 
ship Alabama, which was embellished with a central 
design consisting of two crossed cannon behind an 
anchor, above the initials C. S. N. (Confederate States 
Navy). Around this device is a circle of cable, outside 
of which is a wreath, formed on one side of a spray of 
leaves and flowers of the tobacco plant, and on the other 
of the cotton plant, with leaves, flowers, and cotton bolls. 
Below the design is the motto of the Alabamay '* Aide 
Toi et Dieu t'Aidera." Each piece is bordered with a 
blue band. This service was made by the firm of E. F. 
Bodley & Co., of Burslem, England. The body of the 



THE INDUSTRY FROM 1825 TO 1858. 191 



ware was " Ironstone China." Mrs, Annie Trumbull 
Slosson, in The China Hunters Club, states that there 
were three sets of this china, each of a different color, one 
of which was printed in a gray tint, for use at the officers' 
table. Examples of this service are owned by Mrs. King 
of Atlanta, Georgia, one of which is decorated in a blue- 
gray tint, and others in green, with the same finish of 
blue lines. 

At the close of the war, in 1865, a new porcelain com- 
pany was organized, with Mr. R. B. Bullock, afterwards 
Governor of Georgia, president. He prosecuted the 
business with great vigor, but this second attempt proved 
abortive, and after twelve years of varying success, the 
potter)' was sold to Messrs. McNamee & Co., of New 
York. The old kilns and buildings have long since dis- 
appeared, but the clay is still being mined and shipped in 
its crude state to the north and west, where it is used ex- 
tensively by the paper trade. There are at present four 
mines in active operation here, that of Messrs. McNamee 
& Co., and another, worked by Col. Thomas J. Davies, 
being the most important. The clay is of the finest 
quality, much too fine, it is claimed, for use alone in the 
manufacture of pottery, but admirably adapted to the 
manufacture of wall papers. In 1891 about 20,000 casks 
of clay were shipped from these mines. 



CHAPTER X. 

EAST LIVERPOOL. OHIO. 

THE history of East Liverpool is, in a great measure, 
the history of the pottery industry in the United 
States. Mr. James Bennett, the first to engage 
in the pottery business there, came from Newhall, near 
Woodville. a pottery district in Derbyshire. England, in 
the year 1834, and found employment at the Jersey City 
Pottery, which, at that time, was one of the foremost es- 
tablishments of the kind in the United States, where he 
remained until about 1837, when he went to Troy, Indi- 
ana, at which point some Louisville (Ky.). gentlemen had 
recently established works for the manufacture of white 
ware, under the name of the Indiana Pottery Co. After 
remaining there for about a year, Mr. Bennett was forced 
to leave, on account of ill-health, and proceeded up the 
Ohio River with the double purpose of improving his 
health and selecting a more suitable location for the es- 
tablishment of a pottery. At East Liverpool he found 
clay of the proper quality for yellow ware, and here, in 
1839. he built a small pottery, with the assistance of Mr. 
Anthony Kearns, who furnished the necessary means. 
This was the pioneer pottery in that section, which has 



1 94 PO TTER Y AND PORCELAIN. 



since become one of the greatest centres of the pottery 
industry in the United States. After paying Mr. Kearns 
a portion of the profits for the use of the plant for a 
short time, Mr. Bennett leased the works for a period of 
five years. In April of 1841 he sent to England for his 
brothers, Daniel, Edwin, and William, all practical potters^ 
who shortly after started for America, reaching East 
Liverpool in September of that year, when the four en- 
tered into a co-partnership under the style of Bennett & 
Brothers. In connection with yellow ware they immedi- 
ately commenced the manufacture of Rockingham ware, 
the first to be made in the United States, and some of 
their patterns which were originated at that time, notably 
the octagon-shaped spittoons, are still in demand, after 
fifty years of uninterrupted popularity. 

For the next three years the business increased stead- 
ily, the products of the factory being sold to the wholesale 
crockery merchants of Cincinnati, Louisville, St. Louis^ 
Cleveland, and other western cities. The lack of proper 
facilities for shipping goods, however, induced the firm to 
look around for a more favorable location, and accordingly 
in 1844 they decided to move their plant to Birmingham, 
now a part of Pittsburg, Pa., where, at that period, better 
coal and cheaper transportation to the eastern as well as 
the western trade centres could be procured. In this 
year they erected a larger plant at that point and the 
business was resumed with greatly increased facilities. 
Samples of their Rockingham and yellow wares were ex- 
hibited at the American Institute, New York, and the 
Franklin Institute, Philadelphia, from both of which they 



13 



EAST LIVERPOOL, OHIO. 195 



received medals for superiority of manufacture. At the 
exhibition of the latter, held in 1846, their display of 
earthenware took the first premium, a silver medal, and 
was pronounced by the judges to be superior to the Eng- 
lish. An eight-sided glazed ** tortoise-shell" pitcher, with 
Druid's head beneath the lip, one of the pieces then ex- 
hibited is still preserved in the cabinet of the Institute. 
In this year Mr. Edwin Bennett withdrew from the firm, 
after having selected Baltimore, Md., as the field for his 
future operations, and here he erected a small pottery, the 
first to be established south of what was known as the 
Mason and Dixon line, for making the finer grades of 
ware. About two years after, he admitted his brother 
William to partnership, and the firm became E. & W. 
Bennett, and so continued until the spring of 1856, at 
which time the latter retired from active business on 
account of failing health. During this period silver and 
gold medals were awarded the firm by the Maryland In- 
stitute for '* superiority of Queensware," the exhibits 
consisting of yellow and Rockingham, sage and blue-col- 
ored hard-body wares, such as coffee-pots, pitchers, water- 
urns, vases, etc. Since 1856 Mr. Edwin Bennett has 
carried on the business alone. In 1869 he enlarged the 
factory and more than doubled the output, and the manu- 
facture of white ware was commenced. Shortly after- 
wards a decorating department was added. Mr. Bennett 
originated and first made the ** Rebekah *' teapot in 1851, 
in Rockingham ware, and has continued its manufacture 
to this day, the demand for it being regular and constant. 
So popular has this pattern become that nearly all the 



196 POTTER Y AND PORCELAIN. 

other potteries in the United States have copied it. On 
opposite sides of the vessel is a figure of a maiden in 
relief, with water jar, 
resting or standing 
by a well, and be- 
neath are the words 
" Rebekah at the 
Well." The design 
is familiar to nearly 
every one, and may 
be seen in any crock- 
ery store. A few 
years ago Mr. Ben- 
nett devoted some 
attention to the pro- 
duction of parian and Belleek wares. A small quantity 
of the egg-shell china was made in 1886, of excellent 
quality, in tea sets, but as its manufacture would have in- 
terfered with the general business of the works, it was 
discontinued. 

In 1887 Mr. Bennett produced some parian plaques 
which were modelled by Mr. James Priestman, an artist 
of ability in that line. 

In i8go Mr. Bennett changed his business into a cor- 
poration, under the style of the Edwin Bennett Pottery 
Co. With Mr. Henry Brunt as manager they commenced 
the manufacture of high-grade dinner, tea, and toilet 
ware in American porcelain. Their shapes are character- 
ized by correct designs and refined decorations. Espe- 
cially worthy of mention are their underglaze decorations 



EAST LIVERPOOL, OHIO. 197 

in old blue and gold. Another specialty is the manu- 
facture oi jardinHres in colored glazes. These they make 
in a variety of forms, with ornamentation in relief. A 
deep ultramarine blue and an olive-green are particularly 
fine, while the modelling shows decided originality and 
merit. 

The trade-mark is a globe, showing 
the western hemisphere, with a sword 
driven through the United States. 
The guard of the sword carries the ini- 
tials of the company, while underneath 
is their motto. 

Mr. Edwin Bennett was born in the year 1818, and 
has been identified with the pottery industry from his 




8a.— Rkcbnt Productions of the Edwih Bennett Pottery Co. 

youth, and in this country for upwards of half a century. 
In 1890 and 1891 he was the honored president of the 
United States Potters' Association. 

Mr. Bennett's display of historical wares at the Chicago 
Fair was the only one of the kind in the American sectioa 



POTTERY AND PORCELAIN. 



This included pieces produced in the earlier years of the 
pottery's existence such as a large Rockingham vase with 
cover and dolphin handles and raised grapevine decora- 
tion, made by him in 1 853 ; a majolica bust of Washington, 
by E. & W. Bennett, 1850; a pair of mottled majolica 



vases, two feet in height, with raised grapevine designs 
and lizard handles, produced by him in 1856; enormous 
octagonal majolica pitcher, with blue, brown, and olive 
mottled glazes, 1853; coffee-pots, and other pieces in 
blue, green, and olive bodies. 

One of the most striking pieces of his more recent 



EAST LIVERPOOL, OHIO. 199 



work is a large majolica jardiniere, three feet in height, 
consisting of a trefoil basin supported by three griffins. 
This was designed and modelled by Mr. Herbert W. 
Beattie of Quincy, Mass., and is produced in robin's-egg 
blue, lemon, and other colors. 

After Bennett & Brothers left East Liverpool, in 1844, 
for Pittsburgh, the old Bennett Pottery was rented for 
several years by Samuel, Jesse, Thomas, and John 
Croxall, the latter being the only one now living, who is 
the senior member of the present firm of John W. Croxall 
& Sons, who are still making the same class of goods 
originally made by the Bennetts, — Rockingham and 
yellow wares. The old buildings were afterwards washed 
away by the encroachment of the river. 

Mr. Benjamin Harker, Sn, established a pottery in 
East Liverpool in 1840 for the production of similar 
wares. This was in operation for a number of years when 
the business came into possession of George S. Harker, 
son of Benjamin, and carried on under the name of 
George S. Harker & Co. until his death, many years ago, 
after which his widow and two sons, William W. and 
Henry N., continued it under the same style until 1890, 
in which year it was incorporated as The Harker Pottery 
Company. In 1879 ^^e manufacture of Rockingham and 
yellow wares was discontinued, and white granite ware is 
now made exclusively, the plant having been greatly en- 
larged in recent years. Many of the proprietors of other 
establishments in East Liverpool and elsewhere learned 
their trade at this factory. Mr. James Taylor, who died 
a few years ago at Trenton, N. J., was at one time a 



20O POTTERY AND PORCELAIN. 

partner in the concern, and was afterwards largely instru- 
mental in expanding the industry in the latter city. 

Mr. John Goodwin, who worked in the pottery of 
James Edwards, Dale Hall, Burslem, England, came to 
America in 1842, and immediately after his arrival went 
into the employ of James Bennett & Bros. In 1844, Mr. 
Goodwin embarked in the business on his own account, 
and with one small kiln began to make yellow and Rock- 
ingham goods, with eminent success. In 1853, owing to 
ill health, he sold the business to Messrs. Samuel and 
William Baggott, and lived in retirement until 1863, when 
he erected the Novelty Pottery Works, now operated by 
the McNicol Pottery Company, who have added the 
manufacture of C. C. ware. In 1870, Mr. Goodwin went 
to Trenton and purchased an interest in the Trenton 
Pottery Company, when the style was changed to Taylor, 
Goodwin, & Co., manufacturers of iron-stone china, C. C. 
and sanitary and plumbers' earthenware. Desiring to be 
again with his old friends in Ohio, however, Mr. Goodwin 
sold out his interest in 1872, and, returning to East 
Liverpool, purchased the Broadway Pottery from Messrs. 
T. Rigby & Co., and immediately began to improve 
the works with a view to adding white ware to the 
products. The realization of these plans was, how- 
ever, delayed by Mr. Goodwin's death in 1875, ^^^ ^^ ^^ 
following year the business was resumed by his three sons, 
and the new firm, under the name of Goodwin Brothers, 
has since enlarged the works, and continues to manufacture 
pearl-white, cream-colored, and decorated wares of an ex- 
cellent quality. 



EAST LIVERPOOL, OHIO. 201 



Messrs. Salt & Mear went to East Liverpool and 
commenced making yellow and Rockingham wares, in the 
building called the Mansion House, in 1841. 

Messrs. Woodward & Vodrey began business in the 
spring of 1848, and were burned out in March, 1849. 
They then associated with them John S. and James 
Blakely and Richard Booth, under the firm name of 
Woodward, Blakely, & Co., and rebuilt the works during 
the summer of 1 849. The experienced potter of the com- 
pany was Jabez Vodrey, who, in company with a Mr. 
Frost, came to this country in 1827 and built and operated 
a pottery at Pittsburgh, Pa. The firm of Woodward, 
Blakely, & Co. continued to enlarge their works until they 
had one of the largest potteries in East Liverpool, their 
products being yellow and Rockingham ware of the finest 
quality. Their plant occupied the ground upon which 
three potteries now stand, — those of Wm. Brunt, Son, & 
Co., George Morley & Son, and Vodrey & Brother. 
The year 1857, however, carried the firm of Woodward, 
Blakely, & Co. down in the financial panic which stranded 
so many mercantile houses. 

THE KNOWLES, TAYLOR, & KNOWLES CO. 

In 1854, the works now owned by The Knowles, 
Taylor, & Knowles Company were established. The busi- 
ness was started in a small way by Isaac W. Knowles and 
Isaac A. Harvey, who made yellow ware in a single kiln, 
which was used alternately for bisque and glost-ware. A 
few years later Rockingham ware was added to their 
products. 



POTTERY AND PORCELAIN. 



In 1870, Mr. Knowles, who had purchased the interest 
of his former partner, was joined by Messrs. John N. 
Taylor and Homer S. Knowles, and in 1873 they com- 
menced the manufacture of ironstone china or white 
granite ware. Since then they have rapidly enlarged 
their works to enable them to fill the orders which came 
to them from every State in the Union, At the present 
time their plant includes thirty-five kilns used in the manu- 
facture of white granite ware and china and for decorating, 
and covers ten acres of ground. Their vitreous-translu- 



84.— Thin China T£te-A- TEte Set. K., T.. & K. Co. 

cent hotel china is made in large quantities for the trade 
and is of a superior quality. About seven hundred hands 
arc employed. 

In 1888 Messrs. Joseph G. Lee and Willis A. Knowles 
were admitted to the firm, and in January of 1891 astock 
company was formed and incorporated under the title of 
The Knowles, Taylor, & Knowles Company, with a paid- 
up capital of one million dollars. Previous to the disas- 
trous fire of November 18, 1889, which burned their china 
works to the ground, a considerable quantity of Belleek 



FAST LIVERPOOL, OH/0. 203 



china was made, but since tlie rebuilding of the works 
that branch has been discontinued. Little was attempted 
in the production of art ware, however, until a recent 
date, because the marvellous growth of the business and 
ever-increasing demand for staple products taxed the pro- 
ducing capacity of the factory to the utmost. They are 
now turning out some good things in fine bone china of 
a more ornamental 
character, and indi- 
cations point to an 
early revival of a 
high order of deco- 
rative work. Among 
their recent achieve- 
ments are a number 
of excellent designs 
in extra thin china, 
which is beautifully 
translucent and of 
dazzling whiteness. 
This is sold both 
plain and decorated. 
At present they are 

producing quite a Sj.-Dbcuraieu TjiJN China CiiocoLAiE l'i>T. 

number of elaborate ^^ '^- * ^- ^''■ 

and expensive decorations, :md have twelve decorating 

kilns. 

The mark used on vitreous hotel china and thin art 
ware consists of the initials of the company above the 
word "china," thus: ■ '- , and that used on their 




204 POTTERY AND PORCELAIN. 

white granite ware is an eagle enclosed in a five-rayed 
badge, as here shown. 

The Knowles, Taylor, & Knowles Co. have produced 
some highly artistic pieces for exhibition at the Chicago 
Exposition. Especially worthy of notice *.^'^*'f C* 
are two vases. One of these is a nine- 
inch piece, made of the peculiarly trans- 
lucent bone china body with soft, velvety 
glaze, which is designated by the manu- 
facturers "Lotus" ware. The entire ex- 
terior surface is covered with an underglaze mazarine 
blue of a rich tone. 
On one side is a figure 
of Cupid chasing a bird 
and on the other Cupid 
driving a pair of but- 
terflies. While the sub- 
jects are not new, the 
treatment is original, 
the figures being exe- 
cuted in white Limoges 
enamel built up over 
the glaze instead of 
under it, as in the p&te- 
sur-pdie method. The 
effect is particularly 
pleasing. The neck of 
the vase is decorated 
in raised coin-gold after 
the Renaissance style, while the handles are solidly gilded 
and chased. 



EAST LIVERPOOL. OHIO. 205 



The second piece referred to is a large vase, which 
stands thirty and three quarters inches high, mounted on 
a pedestal twelve inches in height. Owing to the large 
size of the vase the body employed is that of the regular 
hotel china made by this firm. The ground color is a 



I, Gold Decoration. Chicaci 



rich mazarine blue applied under the glaze. Flowers in 
relief coin-gold of various tints are applied to the surface, 
representing petunias, and on the side of the piece is an 
excellently painted pair of golden partridges. The neck 
of the vase and the pedestal are embellished with solid, 
raised gold borders in the Renaissance style. 



2o6 POTTERY AND PORCELAIN. 

Particularly noteworthy in their Chicago exhibit were 
some exquisite pieces of "Lotus" ware, decorated in 
dainty colors, and several vases with jewelled decoration 
and open-work effects. 

Col. John N, Taylor, the president of the company, 
was born June 23, 1842, near Port Homer, Jefferson 
County, Ohio. 



In 1849 he came, with his parents, to East Liverpool, 
Ohio, where he has since resided. In 1861 he enlisted in 
the Union army as a member of Battery " B," known as 
" Cooper's Battery." First Pennsylvania Light Artillery, 
and afterward became Second Lieutenant of Company 



EAST LIVERPOOL, OHIO. 207 



**I," 143d Regiment, O. V. I. He was appointed post- 
master at East Liverpool in 1864. In 1868 he connected 
himself with the pottery business, and, as we have seen, 
in 1870 became a member of the firm of Knowles, Taylor, 
& Knowles. On the incorporation of The Knowles, Taylor, 
& Knowles Company, he became its first president, and 
has since continued to occupy that position. He is also 
vice-president of The Knowles, Taylor, & Anderson Co., 
a corporation with a paid-in capital of a half million dol- 
lars, organized for the manufacture of sewer pipe and 
other clay products at a large plant in the East End, a 
suburb of East Liverpool. Stilts, pins, saggers, and 
other potters' supplies are also made by this company at 
the works known as The Potters' Supply Co. 

Col. Taylors life has been a busy one, and to his 
personal efforts are due, to a large degree, the bringing 
of the establishments with which he has been identified to 
their present high place in the business world. He was ap- 
pointed chairman of the Committee on World's Columbian 
Exposition, appointed by the U. S. Potters' Association. 

Col. Taylor has long been a warm personal friend of 
Gov. William McKinley, dating back to the time and 
before the '* Little Major " entered the halls of Congress, 
and upon his elevation to the gubernatorial chair in Ohio 
the Governor appointed him a member of his staff, with 
the rank of colonel. 

OTHER EAST LIVERPOOL WORKS. 

Henry Speeler, a German, was one day wandering 
along the river bank near the Harker Pottery, when he 



2o8 PO TTER Y AND FOR CELAIN. 

became engaged in conversation with a laborer who was 
employed there. The former applied for and was given 
employment, and proved to be an excellent thrower. 
Later he sold ware through the country, and after accu- 
mulating some money, associated himself, about 1858, 
with William Bloor and James Taylor, the latter having 
been at one time a partner of George S. Harker, under 
the firm name of Harker & Taylor. This partnership, 
however, was after a time dissolved, and Mr. Speeler then 
built the original part of what is now known as the Inter- 
national Pottery in Trenton, N. J. 

The works of Messrs. C. C, Thompson & Co. were 
established in 1868 by C, C. Thompson and J. T. Herbert. 
Two years later the dry-goods firm of Josiah Thompson 
& Co. purchased the interest of the latter, and the firm 
became C. C. Thompson & Co., composed of Josiah 
Thompson, the father, C. C. Thompson, J. C. Thompson, 
and B. C. Simms. After the death of Mr. Josiah 
Thompson, in November, 1889, the firm was incorporated, 
and is known now as the C. C. Thompson Pottery Com- 
pany, and the establishment is among the largest pro- 
ducers of yellow and Rockingham wares in this country. 
In 1884 the plant was increased and the manufacture of 

C. C. ware commenced. In 1800 a decorat- 

r* C T" ^ 

"^"^w ^ ^Q ^"S department was added, which is now 

an important factor in the business. The 
trade-mark used on the semi-granite wares 

SEMI-GRANITE ^f ^his factory is here given. 

Among the first attempts to produce artistic commer- 
cial ware in East Liverpool were some underglaze stone- 




^^^BHb 



EAST LIVERPOOL, OHIO, 209 

ware cups and saucers made at the works of Mr. Homer 
Laughlin (formerly Laughlin Brothers), and decorated by 
Mr. Edward Lycett in 1879. Some toilet sets exhibited 
by Mr. Laughlin at the World's Columbian Exposition 
have been much admired. They are decorated with 
raised designs in dull gold and dark coloring on tinted 
grounds, and are of novel and graceful forms. 

The Dresden Pottery Works of the Potters' Co-opera- 
tive Company were established in 1876, of which Mr. H. 
A. McNicol is president. They produce ironstone china 
and decorated wares in table and toilet services. The 
decorations are particularly praiseworthy. 

Messrs. Cartwright Brothers manufacture, at their In- 
dustrial Pottery Works, C. C. goods, plain and decorated, 
and specialties in ivory decorated ware. 

The Standard Pottery Company are manufacturers of 
ironstone china and decorated wares in the usual lines. 

Messrs. Wallace & Chetwynd commenced business 
about 1882 and are now making a high grade of opaque 
china, American stone china and decorated goods. Mr. 
Joseph Chetwynd learned the business in his father's pot- 
tery in England, and was for several years employed as 
manager and modeller by Messrs. Cockson & Chetwynd 
of Staffordshire. 

Messrs, Rowe & Mountford have for a number of 
years been engaged in the manufacture of stilts, pins, and 
spurs, and in 1891 added a china department, and are now 
producing vitreous translucent hotel ware. 

The American Pottery Works of Messrs. Sebring 

Brothers & Co. were established in 1887. They make 
14 



2IO POTTERY AND PORCELAIN. 

white granite and decorated wares for the jobbing trade 
in dinner and tea services. 

Among the other important establishments in East 
Liverpool are the Riverside Knob Manufacturing Co. of 
Henry Brunt & Son ; Burford Brothers ; Burgess & Co- 
makers of bone china, staple, and fancy goods ; J. W. 
Croxall & Sons, successors to Croxall & Cartwright ; the 
Eagle Pottery Works of S. & W. Baggott ; Great West- 
em Pottery Works of John Wyllie & Son, established 
in 1868 ; Globe Pottery Co. ; Novelty Pottery Works of 
McNicol. Burton & Co. ; R. Thomas & Sons, hard vitreous 
porcelain electric goods ; the American Stilt Works, and 
E. M. O'Connor, maker of saggers and fire-brick. 

East Liverpool is distinctively a pottery city and nearly 
half of its inhabitants are interested in some manner in 
the pottery industry. At the present time it has twenty- 
nine potteries, nine decorating works, two stilt and trian- 
gle manufactories, one sagger factory, and three establish- 
ments for the manufacture of door-knobs. It enjoys the 
distinction of being the oldest important centre of the 
pottery industry in the United States and of producing 
the men who established many of the most successful 
potteries in every section of the country. 



CHAPTER XI. 
TRENTON, N. J. 

THE pottery industry, which has reached such a mar- 
vellous growth in Trenton as to gain for that city 
the title of the " Staffordshire of America," had its 
actual beginning there in 1852, when Messrs. Taylor and 
Speeler commenced the manufacture of yellow and Rock- 
ingham wares. At the present time the establishments 
engaged in Trenton in the production of all grades of ware, 
from common pottery to majolica, and from white granite 
to the finest porcelain, both plain and decorated, number 
thirty-seven, having the capacity of producing in value 
about five million dollars' worth of wares per annum. The 
central location, superior railway, canal, and river transpor- 
tation facilities, and close contiguity to the clay deposits 
of New Jersey, have all contributed to the concentration 
and enormous development of the manufacture at this 
point. Interesting as is the subject to the ceramic student, 
we must of necessity confine ourselves to a review of 
the history of the most important and representative of 
these establishments. 

We can but briefly allude to the difficulties encountered 
by the early potters in seeking the various clays necessary 



212 PO TTER Y AND PORCELAIN. 



for the production of white wares, as well as the feldspar 
and flint required in the manufacture of these goods. It 
must be remembered that no mines, except of the common 
New Jersey fire-clays, had been developed at that time. 
Many thousand miles were travelled by the first potters of 
Trenton in search of suitable kaolin. The first deposit 
was found near Hockessin, Delaware, and was known as 
the Graham mine. This afterwards changed hands and 
several other mines were developed in that section, the 
most notable being that operated by Israel Lacy. Another 
deposit was discovered a few years later at Brandywine 
Summit, Delaware County, Pa., and worked by the National 
Kaolin Company. This clay was probably the best used 
in the early years of the industry and is still largely in 
demand. The first flint used in Trenton for the produc- 
tion of white ware was picked up in Pennsylvania and in 
different places near Trenton, wherever a piece could be 
found on the surface. Later, the vast quarries of Harford 
County, Maryland, on the Susquehanna, were discovered, 
and the bulk of this material has come from that section. 
The first feldspar mines operated were in Connecticut, 
near Hartford. A number of mines have since been de- 
veloped in that State, in Maine, Pennsylvania, and Mary- 
land, and kaolin deposits of fine quality are at present in 
course of development in North and South Carolina, 
Florida, and various other sections of the country. When 
it is realized that the clay and mineral mines of England 
have been worked for perhaps three hundred years, while 
in this country the raw materials have not been developed 
in a systematic way until within the past forty years or so, 



TRENTON, N. J. 213 



we can more fully appreciate the obstacles which our 
potters have surmounted in bringing the industry to its 
present condition. Until a comparatively recent period 
each pottery manufactured the same class of wares, white 
granite and C. C. or cream color, and in a very limited 
way decorated toilet ware. Of late there has been a great 
diversification and specialization of the business, so that 
now a number of manufactories produce sanitary and 
plumbers' earthenware exclusively ; others make nothing 
but vitrified china, while some confine their productions to 
semi-porcelain and white granite, and a few have embarked 
in the manufacture of the finer grades of porcelain. To 
all of these establishments extensive decorating depart- 
ments have been added. 

The Glasgow Pottery was established in 1863 by Mr. 
John Moses, who has ever since been prominently identi- 
fied with the pottery business in Trenton. He was born 
in County Tyrone, Ireland, in 1832, and came to the United 
States at the age of twenty. He first served an apprentice- 
ship at the dry-goods business in Philadelphia, where he 
acquired a practical business training. In the year first 
mentioned above, he rented a pottery with two small kilns 
that had been used for making yellow and Rockingham 
wares, and immediately commenced the manufacture of 
cream-colored ware, shortly afterward extending the busi- 
ness to the production of white granite or ironstone china. 
At the time he introduced decorations on table and toilet 
sets there was only one man in Trenton who understood 
this branch of the art, who did all the decorating for the 
ten potteries then in operation. The first ornamentation 



POTTERY AND PORCELAIN. 



attempted was the application of plain color bands, then 
gold lines, and by a gradual development the more elab- 
orate decorations were finally introduced. The capacity 
of the factory was increased as the growth of the business 
required, and in a short time Mr. Moses was successfully 
making wares fully equal to any made by the practical 



89. — Mr. Jons Moses. 

English potters who were his competitors in Trenton. 
His present productions are dinner, tea, toilet, and deco- 
rated wares of every description. The name of the Glas- 
gow Pottery is widely known throughout this country in 
connection with the John Hancock cups and saucers used 
at the Centennial Tea Parties, which were made exten- 



TRENTON, N. y. 215 



sively just previous to the Exhibition of 1876. Mr. Moses 
is also a large producer of white granite and cream-colored 
wares, thin hotel and steamboat china of excellent grades, 
and has always taken an active part in upholding the pro- 
tective tariff on American crockery before the Ways and 
Means Committee of Congress. 

THE ETRURIA POTTERY. 

The Ott & Brewer Company, of Trenton, N. J., now 
operate the factory which was built by Messrs. Bloor, 
Ott, & Booth, in 1863. Mr. John Hart Brewer, president 
of the company, entered the firm in 1865, and, being an 
artist himself of considerable ability, soon made his in- 
fluence felt in the improvement of methods and elevation 
of standards. Until 1876 the chief products of this fac- 
tory consisted of white granite and cream-colored ware. 

The first attempts in the manufacture of **Belleek** 
egg-shell china were made by Mr. Brewer in 1882, in con- 
junction with Mr. William Bromley, Jr., but these early 
trials were not entirely satisfactory. Encouraged by 
partial success, however, Mr. Brewer induced Bromley 
to send for his father, William Bromley, and his brother, 
John Bromley, who, with two or three other hands, came 
over in the following year from the Belleek factory in 
Ireland. Mr. William H. Goss, of Stoke-on-Trent, in- 
vented this body some thirty years ago, at which time the 
elder Bromley was acting as his manager. Messrs. David 
McBirney and Robert Williams Armstrong were then 
attempting to make first-class ceramic goods at their 
recently established manufactory in the village of Belleek, 



2i6 POTTERY AND PORCELAIN. 

county of Fermanagh, Ireland. Mr. Armstrong induced 
Bromley to take a number of Mr. Goss' best workmen to 
Ireland and introduce the egg-shell porcelain there. The 
ware produced at that factory has since become world- 
famous, being characterized by extreme lightness of body 
and a beautiful, lustrous glaze. 



— BEtLEEK Vase. 

The ware now manufactured by the Ott & Brewer Com- 
pany at the Etruria Pottery is made entirely from American 
materials, and is a vast improvement over the body and 
glaze first introduced by the Bromleys ten years ago. 
The rich iridescence of the nacreous glaze is fully equal 
to that of the Irish Belleek which is produced from salts 
of bismuth colored with metallic oxides ; in delicacy of 
coloring and lightness of weight the Trenton ware is even 



TRENTON, N.y. 217 

superior. A dozen cups and saucers, making twenty-four 
distinct pieces of the ordinary size, almost as thin as paper, 
weigh just one pound avoirdupois, or an average of only 
two thirds of an ounce each. A large variety of forms of 
this porcelain are produced, in both ornamental and useful 
designs. The larger vases are usually simple in outline 
and of the same comparative lightness as those of smaller 
size. They often possess pierced necks, feet, and handles, 
and are elegantly decorated in enamels, gold relief, and 
chasing, 

A triumph of the potter's skill is a Belleek ostrich-egg 
bonbonniire, in two segments, which is exquisitely per- 
forated or honey-combed over its entire surface. 



ga,— White Granite jARniNcfeRE. Ott & Brewer Company. 

Illustration 91 represents a large vase of the " Bourne " 
pattern, decorated in raised gold and colors. The shape 
is graceful and the decoration is exceedingly artistic. 



2 18 POTTER Y AND PORCELAIN, 



In addition to art porcelains, this factory produces a 
great quantity of granite ware and opaque china, in dinner, 
tea, and toilet sets, which are both print-decorated and 
hand-painted. A jardiniire of white granite, which is 
here figured, is a refined example of artistic decoration in 
quiet tones (111. 92). 

In presenting a biographical sketch of Mr. Brewer, we 
cannot do better than quote from the Pottery and Glass- 
ware Reporter, of June. 18, 1891 : 

*' In 1873 Messrs. Ott & Brewer bought out the 
interest of Mr. Bloor, who removed to East Liverpool, 
where he subsequently died. The young member of the 
firm, then in his twenty-ninth year, filled with enthusiasm 
for his business and inspired with the patriotic sentiments 
pervading the preparation for the 1876 Centennial Expo- 
sition, at once began to show the possibilities of his craft, 
and the result was a showing at Philadelphia that was a 
revelation both to the American people and their foreign 
competitors. In the preparation and organization of the 
American pottery display. Mr. Brewer took an active and 
leading part, and subsequently took a prize at the Paris 
Exposition, where he also exhibited. About this time he 
first manufactured vitrified hotel china, and several speci- 
mens still in his possession testify to its excellent quality. 
It was, however, left to others to make its manufacture a 
commercial success. Mr. Brewer, like the early potters 
of the English and French schools, has been more inter- 
ested in achieving practical success than in making money, 
and, as a consequence, is not as wealthy as some of his 
more conservative contemporaries. He has spent many 



TRENTON. N. J. 



thousand dollars in arriving at the present stage, and the 
American industry generally has shared in its benefits. 

"The United States Potters' Association, which has 
done much to unify, strengthen, and advance the pottery 
interests of this country, was suggested and successfully 
organized by Mr. Brewer, who was for some years its 



93.— HoM. John Hari- Bkewek, 
secretary, and subsequently became its president. His 
familiar face is seen at every convention, and it is hard to 
tell when he is at his best, in the serious discussions of 
the convention, or when, as toastmaster at the banquet, 
the speakers are introduced with witty and appropriate 
remarks. 



220 POTTER Y AND PORCELAIN. 

"In 1875 he was elected to the New Jersey House of 
Assembly in a district that usually went Democratic, and 
subsequently became a Representative in both the 47th 
and 48th Congresses, where he speedily became recog- 
nized as one of the most intelligent exponents and 
advocates of the tariflf question, and gained a national 
reputation. 

** Mr. Brewer is a thoroughly practical potter, familiar 
with all the details of the industry, acquainted with all its 
ups and downs during the past twenty-six years, and 
always taking an active interest in anything relating to 
its advancement. In the recent efforts to cultivate the 
spirit of practical art by offering prizes to the various art 
schools he has been prominent. His genial manners and 
kindly disposition have endeared him to all he has come 
in contact with, and even in the heat of political strife 
he has commanded the respect and friendship of his op- 
ponents. No employer is more popular among his 
employees, and no manufacturer more respected among 
his colleagues. 

** Mr. Brewer was born in Hunterdon County, N. J., 
March 29, 1844, ^^^ 's a lineal descendant, on his mother's 
side, of John Hart, one of the signers of the Declaration 
of Independence." 

A short time previous to the Centennial Exhibition, 
Mr. Isaac Broome, an American sculptor, who had already 
gained considerable reputation as an artist of ability, was 
engaged by Messrs. Ott & Brewer to design and model a 
series of works in parian for that occasion. These at- 



—Base-Ball Vase. Modei 



POTTERY AND PORCELAIN. 



traded much attention, both on account of their original- 
ity of form and artistic treatment. A tea set, ornamented 
with raised designs and 
portrait busts of Gen- 
eral and Mrs. Washing- 
ton, was particularly 
noteworthy. His 
■'Fashion" vases, em- 
bellished with figures 
in low relief, illustrate 
the styles of the last 
and present centuries. 
They are imique in 
form and, like 'all of 
Prof, Broome's work, 
characterized by con- 
scientious attention to 
detail and careful finish. 
One of the most spirit- 
ed designs of the series 
is the base-ball vase 
(111. 94), which was sug- 
gested by Mr. Brewer 
and worked out by Mr. 
Broome, It is sugges- 
tive throughout, in all 
of its harmonious de- 
tails, of the American 

national game. From 

'■^" a pedestal rises a grad- 



TRENTON, N J. 223 



ually tapering vase, of which the lower portion is formed of 

a series of bats banded together by a strap, while the upper 

portion is embellished with figures of ball-players in low 

relief. The cover represents a base-ball, surmounted by 

the American eagle, and around the projecting ledge 

of the base are arranged three players in life-like 

attitudes. The modelling is faultless and the figures are 
full of action. 

A pastoral vase, by the same artist, is no less meri- 
torious, though of an entirely different character. The 
rustic decoration, in low relief, is well suited to the form, 
and the goat's head handles are in keeping with the other 
ornamental details. A faun's head bracket, of classic 
conception and excellently modelled, forms an appro- 
priate support for the vase (see 111. 95). 

Probably the most pretentious piece of work which 
Prof. Broome has done for the Etruria Pottery is the 
parian bust of Cleopatra (111. 96). This alone would be 
sufficient to place him in the front ranks of American 
sculptors, and is one of a large number of heads which 
have been modelled by him. Busts of public men have 
been made from life or the best portraits obtainable, and 
are faithful likenesses of the originals. The parian ware 
of the Etruria Pottery is soft and mellow in texture and a 
close imitation of the finest statuary marble. 

THE BURROUGHS AND MOUNTFORD COMPANY 

commenced business in Trenton, in 1879, in what was for- 
merly the Eagle Pottery. Their specialties are vitrified, 
thin, and hotel china, decorated table and toilet sets, 



i 



224 POTTERY AND PORCELAIN. 

and underglaze printing on pottery and porcelain. The 
mechanical application of decorations is the distinguish- 



ing characteristic of one line of their art potteries, which, 
while closely imitating the more expensive methods of 



TRENTON, N. J. 225 



hand-painting, enables them to produce highly artistic 
effects at a greatly reduced cost. The bold ornamenta- 
tion of their jardiniires, umbrella-jars, punch-bowls, and 



97. — Vases. Buhboughs &. Mountford Co. 

vases, after the Doulton, Royal Worcester, Limoges, and 
Adderley methods, bears a striking individuality of its 



226 POTTER Y AND PORCELAIN. 

own. Probably their most beautiful pieces are those on 
which raised gold designs are applied by hand to an ex- 
quisite mazarine blue. One of the finest examples of this 
class is a large vase thirty-six inches in height, with silver 
and gold raised paste work, on a solid blue ground, 
executed by a Japanese artist. The accompanying illus- 
tration shows this piece mounted on a four-inch pedestal, 
between two vases of ordinary size (111. 97). 

White tiles of a fine quality, with underglaze blue 
printed devices, as well as embossed and enamelled art 
tiles, are also made here to some extent. 

One of their latest styles of ornamentation, as applied 
to panels in jardinihres and vases, is the outline printing 
of human figures and scenes which are filled in by hand 
in colors, over the glaze. The eflTect is exceedingly rich 
and artistic, and by this process very creditable substitutes 
for the more expensive imported ceramic paintings are 
placed on the market at surprisingly low prices. 

THE GREENWOOD POTTERY COMPANY 

was incorporated in 1868, the present officers being Mr. 
James Tams, president, and Mr. James P. Stephens, secre- 
tary and treasurer. The business was established in 1861, 
under the style of Stephens, Tams, & Co. Mr. Tams came 
from Longton, Staffordshire, England, where, at an early 
age, he learned the pottery business in all of its branches. 
Until 1876 they made white granite or stone china ware, 
since which date they have been making a specialty of the 
manufacture of vitrified and translucent china for hotel, 
steamship, and railway uses. They are also producing at 



\ 



TRENTON, N. J. 227 

the present time thin china table ware of a superior quality, 
with overglaze and underglaze decorations, for domestic 
purposes, porcelain hardware trimmings, and electrical, 
telegraph, and telephone insulating supplies. Some years 
ago they added an art department to their extensive 
establishment, and their produc- 
tions, consisting of vases, plaques, 
and other ornamental designs, 
richly decorated in the Royal 
Worcester style, are character- 
ized by elegance of form, of which, 
it is said, no duplicates are made. 
The best pieces possess an ivory 
finish and white enamel, raised 
gold, silver, and bronze effects. 
Their mazarine blue is particularly 
noteworthy, being exceedingly rich 
in tone and remarkably fine and 
even in texture, and has been 
favorably compared with the Bleu 
de Roi of European factories. An- 
other style of decoration, which 
has been practised here to some 
extent, is p&te-sur-p&te or clay 
upon clay. 

The plant of the company consists of seventeen large 
kilns, with an annual producing capacity of over half a 
million dollars. The experience of this company, in intro- 
ducing their vitreous hotel china, reveals the extent of 
that deep-seated prejudice which existed in this country 



g8.— "Ivory" Vase, 
Royal Worcester. Stvle, 
Greenwood Pottery Co. 



228 POTTER Y AND PORCELAIN. 

some years ago against everything made in America, but 
the superior merits of the ware were finally recognized, 
and it has now largely taken the place of imported china. 
The mark used from 1865 to 1876 was the coat-of-arms 
of the State of New Jersey above the words " Ironstone 
China," and ** G. P. Co." This was printed in black 
under the glaze. The first table porcelain made at this 
pottery was stamped ** G. P. Co." 

MR. THOMAS MADDOCK 

first made plumbers' sanitary ware in 1870, and still con- 
tinues to manufacture it extensively. At the American 
Institute Fair, held in New York in 1879, ^^ exhibited an 
interesting large Grecian vase of stoneware, decorated on 
one side with a drawing of an ancient Egyptian potter at 
work. The names of half a dozen governors of as many 
States were written on the biscuit, who were present when 
the piece was being made. 

THE DELAWARE POTTERY. 

In 1880 one of Mr. Maddock's foremen went to 
the Enterprise Pottery and introduced these specialties 
there. Mr. Oliphant was then interested in the latter 
factory, but withdrew in 1884, and started the Delaware 
Pottery in partnership with three of his sons, in con- 
junction with Mr. Thomas Connelly, recently from the 
Belleek works, Ireland, and Mr. Charles Fay. Messrs. 
Oliphant & Co. manufacture plumbers* appliances and 
sanitary specialties, druggists* and jewellers' supplies. 
These wares have justly acquired a wide reputation for 



TRENTON, N. J. 229 



excellence of quality, design, and decoration. Their 
Wedgwood ware mortars and pestles are characterized by 
extreme hardness of body and smoothness of finish. 

About 1886 Mr. Connelly commenced experimenting 
in Belleek china. He succeeded in producing some ex- 
quisitely thin trial pieces of the finest grade, but the ware 
was never made in sufficient quantity to place upon the 
market. The few pieces which were produced, consisting 
of small ewers, cups, and saucers, were fired in the large 
kilns with the sanitary ware. This branch of the business 
was not developed beyond the experimental stage, al- 
though at the time of Mr. Connelly's death, in 1890, 
success was assured. 

THE INTERNATIONAL POTTERY. 

In 1878 Messrs. James Carr, of New York, and Ed- 
ward Clarke, of England, commenced the manufacture of 
cream-colored and white granite wares, as the Lincoln 
Pottery Company, in the old Speeler works, one of the 
first potteries built in Trenton for the manufacture of 
Rockingham and yellow wares. Mr. Carr retired within 
a few months, and Mr. Clarke, with others, founded the 
International Pottery Co. In 1879 ^^e business was pur- 
chased by the present proprietors, Mr. William Burgess, 
now United States Consul at Tunstall, England, in the 
pottery district, and Mr. John A. Campbell, who have 
retained the corporate title. Porcelain was made here, 
with varying success, for some years previous to 1888, 
when a new body, of exceptional standing qualities, was 
produced, and has been made to the present time. The 



230 



POTTERY AND PORCELAIN. 



specialties of these works are toilet and dinner sets of 
artistic and novel shapes, in semi-porcelain body, in royal 
blue, still blue, and 
gray underglaze colors. 
Their flown blue ser- 
vices, produced within 
the past two years, are 
of exceptional merit and 
have been pronounced 
equal in all respects to 
the best of the kind 
produced in England. 
While no special effort 
has been made in the 
direction of decorative 
designs, many of their 
pieces are characterized 
by elegance of form and a richness and depth of blue 
ground seldom surpassed in this country or abroad. Their 
royal blue " Wilton " dinner service is especially praise- 
worthy. The International Pottery Co. also produces 



PUGBK 



99.— SKMi-PiiRrEi.AiN Plate, Cobalt Blub 
Border anci Gold Printed Thacbrv. 
International Potterv Company. 





porcelain of a fine quality, white granite, and other grades 
of ware, with embossed gold, enamelled, and vellum- 
finished decorations. The mark used on certain patterns 



232 POTTERY AND PORCELAIN. 



of underglaze ware is the circular stamp enclosing the 
names of the members of the firm, which is impressed in 
the clay. This and their Rugby flint china mark, which 
is printed under the glaze in brown, are here given. 

They are now stamping all of their porcelain goods in 
blue color : Royal Blue 

B— C 
Porcelain. 

The mark used on their ironstone china is the same 
which was formerly employed by Messrs. Carr & Clarke, 
and afterwards used in a modified form by Mr. Carr at 
his New York factory. 



THE WILLETS MANUFACTURING CO. 

Among the most extensive establishments in the East- 
ern States is that of the Willets Manufacturing Company 
of Trenton, N. J. The present proprietors, Messrs. 
Joseph, Daniel, and Edmund R. Willets, three brothers, 
succeeded to the business in 1 879. The factory was erected 
in 1853 by William Young and Sons, who at first made 
Rockingham and common ware. At the Centennial Ex- 
hibition William Youngs Sons made a display of crockery 
and porcelain hardware trimmings, at which time the plant 
included only four kilns. The business has since grown 
to such an extent, under the present management, that 
there are now thirteen large ware kilns besides those used 
for decorating. The products from these works include 
sanitary earthenware, plumbers' specialties, white and 
decorated pottery, opaque china, white granite, and art 



L 



TRENTON, N. J. 233 

porcelain. A specialty in dinner and toilet services is 
underglazed decoration on white bodies. 

After the Ott & Brewer Company had perfected the 
body and glaze of their Belleek ware and got it well under 
way, William Bromley, Sr„ went with the Willets Manu- 
facturing Company and Instructed them in the process. 



Willets Manufacturino 

The manufacture of white egg-shell ware, to which they 
are constantly adding new designs, is another specialty of 
these works, and the company is now competing success- 
fully with the Dresden, Limoges, and other foreign facto- 
ries in supplying white art porcelain to decorators. In 



234 POTTERY AND PORCELAIN. 

form their pieces are graceful and artistic, one of which is 
represented in Illustration loi. Some small picture 
frames, in Belleek body, decorated with delicately modelled 
flowers, arc especially noteworthy. 



They also employ a number of competent artists to 
decorate their art goods, many of which are reproductions 
of the characteristic shell and coral forms of the Irish 
works. Illustration :o2 represents a large Belleek vase 



TRENTON, N J. 



with open-work handles and chrysanthemum decoration in 
delicate tints on an ivory, gold-stippled ground. 



103.— Belleek Tray, Dresden Decoration. Willets Mfo. Co. 



104, — Works op the Willets Manukal-iuring Company, Trenton, N, J. 
THE CERAMIC ART COMPANY, 

of which Mr. Jonathan Coxon, Sr., is president and Mr. 
Walter S. Lenox secretary and treasurer, was established 



236 POTTER Y AND PORCELAIN. 

in Trenton in 1889. The first named gentleman became 
superintendent at the Ott & Brewer Company's works 
after Bromley left, and the latter was formerly in charge 
of their decorating department. Here they learned the 
processes of manufacturing Belleek. They are rapidly 
making a name by their constantly increasing patterns, 
many of which are exquisitely conceived and show the 
touch of thorough artists. Their specialties are Belleek 
ware and " Indian china," many of their best pieces 
having been designed by Mr. William W, Gallimore. 
They have procured the best designers and painters that 
can be found and em- 
ploy both the over- 
glaze and underglaze 
processes in decorat- 
ing. Their egg-shell 
ware is also furnished 
in the white to deco- 
rators. Illustration 
105 shows one of 
these undecorated 
.os.-Ec<^SHELi. Porcelain- P'eces, a graceful lily- 

Thb "Engagement" Cup am> S.uier. shaped Cup and sau- 

Ceramic Art Company. 

cer. In addition to 
vases and table pieces, they make many fancy patterns, 
such as thimbles, inkstands, parasol handles, menu slabs, 
and candelabra. 

.\mong the most recent productions of the Ceramic 
Art Company are some beautiful pieces of carved ware, 
in Belleek body, which possess a high order of artistic 



TRENTON, N. J. 237 

merit. The decoration is entirely in relief, and is executed 
by carving the designs in the clay before burning, the only 
tool used being an ordinary jack-knife. This work is done 
by Miss Kate B. Sears, a young lady artist employed by 



106. — Carved Vase. Ceramic Art Company. 

the company. A spherical vase of this character, ex- 
hibited at the World's Columbian Exposition, is shown in 
Illustration 106. The interior is glazed, while the outside 
is porcelain bisque, entirely devoid of coloring in the dec- 
oration, which consists of elaborate designs of lilies and 



238 PO TTER Y AND PORCELAIN. 



child figures extending around a central zone. The soft, 
white surface of the ware is admirably suited to the sub- 
ject selected for decorative treatment. 

THE TRENTON CHINA COMPANY 

was incorporated in 1859, ''^^ manufacture and sell porce- 
lain, china, chemicals, drugs, and other articles of which 
clay, sand, and other earthy substances form the basis or 
principal ingredients." Of late years a specialty of this 
company has been vitrified china, white and decorated, for 
table uses. These works were closed in 1891. After 
undergoing a very troublesome experience before per- 
fecting the quality of their china, — ^which was at last 
accomplished under the management of Mr. Duggan, — 
the money and patience of its backers became exhausted, 
and the company went into the hands of a receiver. 

OTHER TRENTON POTTERIES. 

By an Act approved February 9, 1865, the Trenton 
Pottery Company was incorporated for the manufacture 
of earthenware and crockery of various descriptions, the 
incorporators being Appollinaire Husson, James Taylor, 
John F. Houdayer, and Edmund Husson. 

The Empire Pottery of Messrs. Alpaugh & Magowan 
was established in 1863, and was formerly owned by 
Messrs. Coxon & Thompson. In 1883 the business 
passed into the hands of the present proprietors. They 
manufacture thin porcelain, dinner, tea, and toilet, and 
decorated wares, principally in white granite body. They 
make a specialty of sanitary and plumbers' earthenware. 



TRENTON, N. J. 239 



The Mercer Pottery Company was organized in 1868, 
and at the present time Mr. James Moses is the sole pro- 
prietor. The products of this pottery consist of a fine 
line of semi-porcelain dinner and toilet ware, both white 
and decorated ; also white granite wares of the same kind. 
This firm was the first to produce what is now known as 
semi-porcelain earthenware in this country. Mr. Moses, 
we think, is fairly entitled to that credit. He has made a 
great success of it, and represents one of the leading firms 
in the United States to-day. 

The New Jersey Pottery Company was organized in 
1869, the incorporators being Elias Cook, John Woolver- 
ton, Caleb S. Green, Barker Gummere, and Nathaniel E. 
Britton. 

The Fell & Thropp Company, known as the Trenton 
Pottery, was the old Taylor & Speeler pottery. It is now 
owned by Samuel E. Thropp and J. Hart Brewer. They 
manufacture a full line of white granite and C. C. wares. 
This pottery is the oldest white granite pottery in 
Trenton. 

Messrs. Dale & Davis built the Pospect Hill Pottery 
in 1880, the latter having formerly been manager for Mr. 
John Moses at the Glasgow Pottery. They produce a 
large line of decorated semi-porcelain and white granite 
dinner and toilet wares. 

The Crescent Pottery Company, composed of W. S. 
Hancock and Chas. H. Cook, was established in 1881. 
They manufacture sanitary earthenware and a full line of 
C. C. wares. At the present time they are one of the 
leading firms of Trenton. 



240 PO TTER Y AND PORCELAIN. 



The Crown Porcelain Works of Messrs. Barlow and 
Marsh were started in 1890. They produce a fine line of 
Atzox^X'tA faience specialties. Mr. Marsh was formerly con- 
nected with Messrs. Robertson & Company of England, 
and is a practical potter and an artist of no mean ability. 

The Trenton Terra-Cotta Company, of which Mr. 
Joseph McPherson is president, and Mr. O. O. Bowman 
is treasurer, manufacture an extensive line of fire-brick, 
vitrified salt-glazed sewer pipe, terra-cotta chimney tops 
and flues, and garden vases. The later are particularly 
elaborate and deservedly popular. 

The American China Company of Trenton produced 
to a limited extent stone china decorated by the chromo- 
lithographic process, which has been employed in Europe 
for perhaps forty years. This process consists in the ap- 
plication of vitrifiable decalcomanie designs to the sur- 
face of the ware, either under or over the glaze, usually 
the latter. On a plate in my possession, made by the 
above-named company, is a central design of a crab, with 
marginal fronds of sea-weed in colors, — green, brown, 
black, and red. The effect is that of the ordinary de- 
calcomanie transfer work, but, having been fired, the 
designs are permanently affixed, as in the other overglaze 
decorations. This process has been carried to great per- 
fection, especially by the Doulton factory of Lambeth, 
England, and by some of the French potters, intricate and 
artistic designs being produced in delicate coloring which 
resemble fine hand-painted work, but the transfer printing 
can be distinguished by the dots and lines of the engrav- 
ing, which can be readily detected on close inspection. 



TRENTON, N. % 241 



At the Arsenal Pottery of the Mayer Pottery Manu- 
facturing Company, of which Mr. Joseph S. Mayer is 
president, decorated porcelain, underglazed and majolica 
wares are made. This is, probably, at the present time, 
the only concern in the United States which manufactures 
the so-called majolica ware. Their exhibit at the Chicago 
Fair included some finely modelled Toby pitchers or 
jugs, which are excellent imitations in form and color of 
the old English design so familiar to collectors. 

The Union Pottery Company, which was closed in 
1889, made for the political campaign of the previous 
year a quantity of six-inch tiles, dinner plates, etc., deco- 
rated with printed portraits of the Presidential candidates. 
This company was incorporated in 1869, the incorporators 
being Baltes Pickel, William White, Henry Smitn, Joshua 
Jones, and Elias Cook. 

The American Art China Works were established 
December i, 1891, in what was formerly known as the 
Washington Pottery, by Messrs. Rittenhouse, Evans, & 
Co. The ware made here is distinctively an American 
production, and is placed upon the market as American 
china. The body is thin, translucent, and strong, and 
resembles the Belleek ware made at other Trenton 
factories. The shapes are new, and the decorations 
artistic. The proprietors of these works are actuated by 
the laudable determination to demonstrate to the Ameri- 
can public that it is possible to produce home goods fully 
equal in every respect to any that can be made abroad. 
White china, in all the shapes produced at these works, 

is sold for decorating. 
16 



242 PO TTER Y AND PORCELAIN. 



In the latter part of 1892, Messrs. W. T. Morris and 
F. R. Willmore commenced the erection of a pottery in 
Trenton for the manufacture of art wares. The former 
was at one time connected with the Belleek works, Ire- 
land, and the Royal Worcester Porcelain works, England, 
and recently with the Ott & Brewer Pottery of Trenton. 
Mr. Willmore was also for many years employed as deco- 
rator at the two last-named establishments. Their new 
works, which they have named the Columbian Art Pot- 
tery, were finished in the early part of 1893. Thin Belleek 
china and ivory ware, of a fine quality, are made here in 
original forms and decorations, and include articles of 
utility and ornamental pieces, such as candle-sticks, um- 
brella holders, jardinitrcs, tea-pots, and specialties. 

In addition to the Trenton establishments already 
mentioned are the East Trenton Pottery Co., which, 
during the Presidential campaign of 1888, produced plates 
with engraved portraits of the candidates ; the Anchor 
Pottery ; Enterprise Pottery Co. ; Egyptian Pottery Co. ; 
Equitable Pottery Co. ; Warren Kimble ; Imperial Porce- 
lain Works of F. A. Duggan ; C. W. Donaghue, potters' 
supplies ; and a number of decorating establishments — 
Pope & Lee, Jesse Dean Decorating Co., W. C. Hen- 
drickson, Tatler Decorating Co., and Poole & Stockton. 

Other parties have also been engaged in the pottery 
industry since i860 with varying success, some twenty 
establishments having discontinued business, with an 
aggregate loss of two million dollars. 

Recently the Trenton Potteries Company has been 
incorporated, to acquire and continue the business here- 



TRENTON, N. J. 243 



tofore conducted by the Empire, Enterprise, Delaware, 
Equitable, and Crescent potteries, with a capital stock of 
$3,000,000. Sanitary plumbing, toilet, and table wares 
will continue to be the staple productions. 

The constant changes which are taking place in the 
pottery business in Trenton, through the closing of 
factories and the establishment of new ones every year, 
render it impossible to present a complete history of the 
industry to date, for even as these lines are being written 
word comes to us that new enterprises are being started ; 
and the wonderfully rapid advances in the art furnish 
evidence that no chronicler can keep pace with the 
progress of the American potter. 




i 



CHAPTER XII. 

POTTERIES ESTABLISHED BETWEEN 1859 
AND 1876. 

A POTTERY was erected in Peoria, III, by Messrs. 
Fenton and Clark in 1859, who came from Ben- 
nington. Vt. They commenced the manufacture 
of white granite and cream-colored wares, but the venture 
did not prove a financial success and the factory was only 
operated about three years. Afterwards the works were 
continued by other parties, who made Rockingham and 
stoneware. We have seen some brown pottery tobacco 
jars which were made during this period, marked iLLmols. 
of good form and excellent glaze. 

In 1873 the Peoria Pottery Co. was organized and 
continued the manufacture of stoneware until 1889, when 
they took up the white-ware line and still continue to pro- 
duce white granite, cream-colored, and decorated wares. 
At the Chicago Exhibition this company displayed some 
fine tinted table services in pale green, salmon, and other 
delicate colors. 

THE NEW ENGLAND POTTERY CO. 

Mr. L. W. Clark, son of Mr. Decius W. Clark, who was 
at one time superintendent of the United States Pottery, 



POTTERIES FROM 1859 TO 1876. 245 



Bennington, Vt, accompanied his father to Peoria, 111., in 
1859, and remained with the new firm of Fenton and 
Clark at that place for about two years, when he left to 
enter the army. In 1875 he went to Boston, and, in 
partnership with Mr. Thomas Gray, assumed control of 
the New England Pottery. This establishment was 
founded in 1854 by Mr. Frederick Meagher, who made 
Rockingham and yellow ware. It was afterward taken by 
Mr. William H. Homer, from whom the plant was pur- 
chased by the present proprietors, who now produce the 
usual lines of useful services in cream-colored and white 
granite ware. For the past five years they have been 
making a decorated product in colored bodies, to which 
they have given the name *' Rieti " ware. This is a semi- 
porcelain, finished and decorated chiefly after the Doulfon^ 
Adderley, and Worcester methods. They also make 
porcelain of an admirable quality, and their goods are 
characterized by an artistic style of decoration and excel- 
lence of glaze, their mazarine blue and •' old ivory " finish 
being especially praiseworthy. The decorating branches 
are under the direct supervision of Mr. J. W. Phillips, 
who originates and engraves many of the best designs 
used in their printing processes. Mr. Thomas H. Cope- 
land designs and models most of their pieces which, from 
the line of trade they seek, are chiefly utilitarian rather 
than ornamental, but they possess a grace of outline and 
delicacy of coloring which render them objects of great 
beauty. The chocolate jugs, jardinieres, and cuspidors, 
of these works compare very favorably with the imported 
wares, after which they are to some extent patterned. Of 



246 POTTERY AND PORCELAIN. 

the few purely decorative forms which they have attempted, 

a semi-porcelain vase, twenty inches in height, made in 

1889, is particularly meritorious. This is artistically 

painted in natural colors on raised paste, the top and base 

being in solid dead 

gold. Mr. Bands, of 

the Royal Worcester 

works, England, was 

the artist (III. 108). 

A two -handled 
cracker jar, made at 
this factory, is worthy 
of illustration. The 
body ground is pol- 
ished ivory. The 
ornamentation con- 
sists of corn-flower 
grouping in embossed 
gold, with ferns and 
foliage in natural 
tints, outlined with 
gold. The fluted neck and base are tinted in robin's-eggblue 
with fleur-de-lis pendants, in relief gold. The form of the 
vessel is graceful and the handles are a convenient adjunct 
to the usually awkward form of cracker or rose jar (111. 107). 
Mr. Clark's previous career as a potter will be found 
in connection with the history of other establishments, 
with which he was, at various times, associated. Porous 
cups for electrical purposes and other specialties in 
earthenware are also made here. 



POTTERIES FROM 1859 TO 1876. 247 

Among the most recent productions of the New Eng- 
land Pottery, of an ornamental character, are z.jardinih'e 
and a chocolate jug. 
which deserve special 
description. The for- 
mer is made of stone 
porcelain body and fin- 
ished with bronze leaf- 
scrolls on a white 
ground with bufiT shad- 
ings. The base is in 
clouded bronze and 
Roman gold. The form 
of the piece is graceful 
and the waving outlines 
of the upper edge pro- 
duce an exceedingly or- 
nate efTect (111. log). 

The chocolate jug 
is also of stone porce- 108.— Semi-Pobcklaw Vase. 

lain. This is covered '^^■^ En<.land PoTTEkv Company. 1889. 

from shoulder to foot with a fine mazarine blue glaze, 
on which is laid a 'cameo decoration in raised white 
enamel. The subject of the decorative design, which is 
artistically conceived and admirably executed, is an "In- 
terview between Bird and Bug" on a hawthorn bush. 
The shoulder of the piece is white, finished in relief gold 
filigree work, with small sectional panels of maroon, bearing 
raised gold rosettes. The borders and handle are finished 
in Roman gold. The contrast of the white design and 



248 POTTER Y AND PORCELAIN. 



the rich gold ornamentation against the deep-blue ground 
is particularly effective (IlL i lo.) 



109.— jARDiNitRH. New England Puitiry Co. 
POTTERY AT HATH, S. C, 

In the spring of 1862, Col. Thomas J. Davies, a cot- 
ton planter in Edgefield Co. (now Aiken Co.), South 
Carolina, was induced by Anson Peeler, formerly of Ben- 
nington, Vt,, who had been a resident of the former State 
for some six years, to embark in the manufacture of fire- 
brick near Bath, on the South Carolina Railroad. Mr. 



POTTERIES FROM 1859 TO 1876. 249 



Peeler was a carpenter by trade and a skilled mechanic, 
and was placed in charge of the entire business. The 
necessary capital and the slaves for performing the labor 
were furnished by Col. Davies. Soon after the establish- 



no. — Chocolatb JiJii. New ENr.LANi> Potterv Company, 

ment of these works large quantities of bricks were pro- 
duced equal in quality to any that had previously been 
imported, which were marked " Bath, S. C, Fire-Bricks." 
The great furnaces for casting ordnance, and the powder 
mills of the South, procured their fire-bricks from these 



250 POTTERY AND PORCELAIN. 



works. From a small beginning an extensive business 
was soon established, and crucibles and tiles for gas works 
were also made extensively. In 1863 a great demand 
sprang up for earthen jars, pitchers, cups and saucers, and 
the fire-brick works were partially transformed into a 
manufactory of such wares, which were produced in large 
quantities by negro men and boys, who employed the old- 
fashioned " kick-wheel " in their manufacture. The Con- 
federate hospitals were supplied with thousands of these 
articles of rude and primitive shape, the body being com- 
posed of three fourths to five sixths of kaolin and alluvium 
earth from the swamp lands of the Savannah River, about 
six miles distant. This composition made a tough body 
which partially vitrified in burning. With sand and ashes 
mixed thoroughly as a glaze, excellent results were ob- 
tained. The ware was black or brown, clumsy, and 
entirely devoid of ornamentation, but strong and ad- 
mirably adapted to the purposes demanded by the exi- 
gencies of the time. In 1864 the products of the works 
were insufficient for supplying the demand, although the 
large horizontal kilns were devoted entirely to the burning 
of these wares. At the termination of the war, in 1865, 
operations at this pottery were suspended, and the enter- 
prise passed into history. 

Col. Davies was born in Georgia, and is a Southern 
gentleman of the old school. He was graduated from 
Princeton College, New Jersey, and has been a resident 
of South Carolina for fifty years. Since his retirement 
from the pottery business he has been engaged in the 
mining of china clays. 



POTTERIES FROM iSjg TO 1876. 251 



So far as can be ascertained, there was but one other 
pottery in the South during the Civil War, — that of the 
Stevens brothers, near Milledgeville, Georgia, where crude 
earthenware was made. These works have been extended, 
and are at present producing fire-bricks and liles. 

THE PHILADELPHIA CITY POTTERY. 

These works were established by Messrs. J. E. Jef- 
fords & Co., in 1868, as the Port Richmond Pottery Co. 



III.— Decorated Coffee-Pot, Dakk-Bluk Ground. J. E. Jeffords & Co. 

The pottery now includes two distinct factories, one of 
which turns out a high grade of Rockingham, yellow, and 
white-lined blue ware, mostly for culinary purposes, while 
the adjoining works produce an excellent variety of white 
and decorated pottery for table and toilet uses. In Rock- 



252 POTTERY AND PORCELAIN. 

Ingham, some of the old English designs are reproduced, 
such as the " Toby " ale-jug and the cow creamer. The 
decorated white ware, such as tea-pots and gypsy kettles, 
ornamented with floral designs in gold and colors, on 
dark-red, blue, brown, and cream-colored grounds, pos- 
sess considerable merit. A few years ago a more elabo- 
rate style of ornamentation was attempted in the painting 
of bird and 6ora! subjects above the glaze (see III. 1 1 1), 
but this was soon discontinued as being too costly for 
the general market Printing from copper plates is 
extensively practised here at the present time, and com- 
petent artists are employed in the decorative 
departments. Mr. Jeffords came from the 
New York City Pottery of Messrs. Mor- 
rison & Carr, where he learned the various 
branches of the business. He has fully 
equipped his factories with the most ap- 
proved modern appliances, and employs 
about one hundred and eighty hands. 
Among other specialties extensively pro- 
duced here are decorated jardini'hres and stoneware bot- 
tles for liquor baskets, which are sold largely for yachting 
and excursion purposes. 

The only mark which has ever been used at this estab- 
lishment is a diamond bearing the date of the establish- 
ment of the present firm, 1868. 

THE UNION PORCELAIN WORKS. 

Messrs. Thomas C. Smith and C. H. L. Smith are 
the proprietors of these works, which are situated at 



POTTERIES FROM 1859 TO 1876. 253 

Greenpoint, Long Island. They manufacture a true hard 
porcelain in table services, decorative pieces, electrical 
insulators, and hardware trimmings. The senior member 
of the firm, who is an American, was formerly an architect 
by profession, but owing to a peculiar combination of 
circumstances was forced to purchase these works about 
the time of the breaking out of the Civil War, without 
intending to engage in the busi- 
ness himself. During an absence 
abroad shortly afterwards, how- 
ever, he conceived the idea of 
embarking in the porcelain busi- 
ness, and on his return he set to 
work to utilize the knowledge 
which he had acquired among 
the large factories of Europe and 
at once commenced his experi- 
ments. The composition which 
had been used by the German 
potters from whom he bought 
the works was the English bone 
body, which was abandoned by 
Mr. Smith in 1864, when he 
introduced the hard kaolinic body, which has since been 
made exclusively to the present time. An example of 
translucent bone porcelain, made in the latter year, is a 
beer mug with embossed figures of Bacchus, surrounded by 
vine-leaves, shown in Illustration 112. The earlier experi- 
ments made by Mr. Smith were attended with only partial 
success, but in 1865 he perfected a plain white ware for 



iia.—BoNE-CfiiNA Mug, 
Raised Decorations. Union 

POKCetAlN WOKKS, 1864. 



254 POTTERY AND PORCELAIN. 



the market, and a year afterward he commenced to deco- 
rate his goods. But here he was met with the difficulty 
of finding underglaze colors which would stand the intense 
heat of the sharp fire necessary to vitrify the ware. So 
far as we have any knowledge, Mr. Smith was the first 
potter in America to apply the underglaze method of 
decoration to hard porcelain, for it has already been seen 
that Messrs. Tucker & Hemphill, in Philadelphia, used 
only overglaze colors from 1825 to 1838, during the exist- 
ence of their porcelain factory. The Greenpoint works, 
however, have of late years used the overglaze method 
also, in order to obtain a greater variety of coloring in 
the production of decorative art pieces. 

The late Karl Muller, a talented German sculptor 
and artist, who was educated in Paris, was employed for 
several years at the Greenpoint works as chief designer 
and modeller. Just previous to the Centennial Exhibi- 
tion, Mr. Muller designed a number of vases and other 
pieces which exhibit a marked originality in conception 
and a high degree of excellence in execution. Of these 
we may mention the Centurj' vase, in which appears a 
relief portrait of Washington against a mat blue ground, 
panels around the base representing, in white relief, an 
Indian, the Tea Scene in Boston Harbor, a Revolutionary 
Soldier, and other historical subjects. The handles of 
the vase represent the head of the American bison. A 
second vase is designed to illustrate Longfellow's poem, 
** K^ramos," with raised designs commemorating the his- 
tory of the ceramic art from the most remote ages. Two 
busts in a bufif body represent Edwin Forrest as William 



POTTERIES FROM 1859 TO 1876. 255 



7c// (III. 116), and Charlotte Cushman as Meg Merrilics, 
modelled by Mr. Miiller from photographs. A series of 
statuettes, pitchers, and busts of prominent Americans, 
in porcelain biscuit, reveal the highest art of the sculp- 
tor. A Poet's pitcher, in biscuit, designed by Mr. Muller, 
is among the most highly artistic works produced at 
this factory. It is of graceful form, embellished with 
relief portraits of prominent poets of ancient and 
modern times. The 
" Liberty cup " is beau- 
tifully modelled, with 
embossed figures of 
Mercury and Justice, 
surrounded by the corn 
plant of the North and 
the tobacco plant of the 
South, with handle rep- 
resenting the Goddess 
of Liberty standing on 
an eagle with outspread 
wings. It is finished in 
mat gold traced with 

, .,„ , 113.— The LiBEki-v Cvv, Modellbu bv 

color (III. 1 13). MOller. Union Porcelain Works. 

Among the artists engaged in decorating the Green- 
point porcelain, Mr. J. M. Falconer of Brooklyn has been 
one of the most prominent. Some of his paintings on 
plates and plaques exhibit a high degree of artistic merit, 
as in some views of Centennial buildings, and a number 
of ideal designs, in which the coloring is chaste and the 
execution admirable. 



256 POTTERY AND PORCELAIN. 

The manufacture of hard porcelain tiles has become 
an important branch of the business of this factory. 
These tiles are made both thick and thin, in underglaze 
decoration, and are claimed to be the only tiles made in 
this country which will endure the heat of a hearth fire. 



1 14.— Greek POINT Porcelain Vase, in Embossed Gulu j 
Gkoi£sque Lizards in Mat Gold. 



They are decorated with figures of griffins and other fancy 
designs. The overglaze method has also been applied to 
tiles for mantel facings and wainscoting, and on the walls 
of the private office of the establishment may be seen a 



POTTERIES FROM 1859 T^O 1876. 257 

series of large tile panels embellished with paintings 
representing the ancient ceramic processes of Egypt, as 
depicted on the pyramids. 

In table services the most noteworthy are those dec- 
orated in overglaze colors and white enamelled designs. 
A handsome dinner set in underglaze blue outlined with 
gold, is one of the latest achievements of this factory. 



115. — TfiTE-l-TfiTE Set. Union Porcelain Works. 

The composition of the paste varies according to the pur- 
pose for which it is to be used. For the manufacture of 
hardware trimmings, which form an important part of the 
products of these works, a larger proportion of kaolin is 
introduced. 



258 POTTERY AND PORCF.LA/N. 

The porcelain made here is composed in body of kao- 
lin, quartz, and feldspar. It is Bred in biscuit at a low 
temperature, in the second story of the porcelain kiln, 
using for its baking the surplus heat passing away after 
having done its greater work in the first story or glost kiln 
where the glazing is done. At this first burning the ware 



receives only sufficient fire to make it properly fasten 
together in form. It is quite fragile, easily broken with 
the fingers, and porous, not having yet had sufficient heat 
to commence vitrification. In this condition it is what is 



POTTERIES FROM 1859 TO 1876. 259 



termed porcelain biscuit, and is ready for the glaze-tub. 
The glaze of porcelain is composed of the same materials 
as the body, and so compounded that those elements 
which are soonest fluxed by the influence of the heat are 
in greater proportion than they are contained in the body. 
The porous, low-fired biscuit is dipped into a liquid pud- 
dle of glaze. Upon being withdrawn its porosity quickly 
absorbs the excess of water, leaving a dsy coating of the 
glaze compound, which has held the water in suspension, 
upon the surface of the piece. This piece of porous 
biscuit covered with glaze is now cleaned of glaze upon 
its foot, or that part upon which it rests, to prevent its 
sticking or burning fast to the clay sagger or firing case ; 
otherwise the glaze on the bearing parts would, at the 
time of flowing, form a cement, fastening the piece and 
the sagger together. The pieces are placed separately in 
the saggers. The heat in firing hard porcelain is carried 
to such a high degree that the ware touches the point of 
pliability, almost the melting-point. At this great heat 
the body is vitrified ; at the same time the glaze, from its 
slightly softer composition, is melted into the body of the 
ware, producing a hard, vitreous, and homogeneous mate- 
rial properly known as true, hard porcelain. This is the 
process used at Sevres, Meissen, Berlin, and elsewhere. 

THE MOORHEAD CLAY WORKS. 

These works were established at Spring Mills, Mont- 
gomery Co., Pa., in 1866, by Messrs A. S. Moorhead and 
Wm. L. Wilson, and three years later were entirely 



k 



26o PO TTER Y AND POR CELA IN. 



destroyed by fire. New works were at once built on the 
same site, of much greater capacity. The products of 
these works are terra-cotta sewer pipes, ornamental chim- 
ney tops, drain tile, pipe flues, fire-brick and tiles, garden 
edging and border tile, flower-pots, terra-cotta window 
boxes, hanging vases, jardinieres, garden vases, pedestals 
and statuary, rustic ornaments, fountains, aquarium orna- 
ments, and terra-cotta shapes for decorators. 

THE CHELSEA KERAMIC ART WORKS. 

Mr. Alexander William Robertson started a small pot- 
tery in Chelsea, Mass., in the year 1866, for the manufac- 
ture of brown ware such as was made in Great Britain, 
and of lava ware similar to that of Germany. Two years 
afterwards Mr. Hugh Cornwall Robertson, a younger 
brother, who had served an apprenticeship at the Jersey 
City Pottery in i860, was admitted to partnership in the 
business, the firm name becoming A. \V. & H. C. Robert- 
son, when the production of brown ware was discontinued 
and the manufacture of plain and fancy flower-pots was 
substituted. In the following year porous cones or filters 
were made for chemical purposes. In 1872 James Robert- 
son, a practical potter of wide and varied experience in 
Scotland, England, New Jersey, and New York, and 
recently from the East Boston pottery, joined his sons, 
the firm style being changed to James Robertson & Sons, 
when work of a more pretentious character was under- 
taken. A red bisque ware, in imitation of the antique 
Grecian terra-cottas and Pompeiian bronzes was first pro- 



POTTERIES FROM 1859 TO 1876. 261 



duced in 1875. The factory adopted the name of the 
Chelsea Keramic Art Works. The red ware was charac- 
terized by a remarkably fine texture and smooth finish, 
the clay being peculiarly adapted to the faithful reproduc- 
tion of the graceful classic forms, the fine polished grain 
offering an excellent surface for the most minute carving, 
showing the engraved lines as perfectly as on wood. 
Some of the vases were 
decorated with red figures 
on a black ground, in the 
ancient Greek style, 
modelled after pieces in the 
Englefield collection. Of 
these the amphora, lecythus, 
cenochce, stamnos, and 
krater were favorite forms. 
The ornamentation of this 
class of ware is the natural 
red clay, the black having 

been worked on with the ii7._Greek Reproduction, Chelsea 

brush around the designs. '^•^'"'"'*^ ^"^ ^^J"'^- . «°"«'' 

° Museum of Fine Arts. 

The process of polishing 

the surface completed the resemblance to the antique. 
One of the finest of these reproductions is a large vase, 
thirteen and a half inches high, in the Boston Museum 
of Fine Arts. It is the early work of Mr. John G. Low 
of Chelsea (111. 117). 

On thirteen vases of fine red body, Mr. Franz Xavier 
Dengler, the talented young sculptor, who afterwards died 
at the age of twenty-five, modelled from life, in high relief, 



262 PO TTER Y AND PORCELAIN. 

choosing child and bird forms. One of these, in the Bos- 
ton Museum of Fine Arts, is shown in Illustration 119. It 
is a vase fifteen inches in height, of compact, red clay. 
The firm also received the benefit of advice from a 
number of capable artists, including John G. Low, G. W. 
Fenety. and others. For lack of public support, however, 
this branch of the art was soon abandoned. The next 
venture was the Chelsea yiti^wctf, introduced jn 1877, which 



is characterized by a beautiful soft glaze. This ware soon 
attracted the attention of connoisseurs, and carried the firm 
to the front rank of American potters. The decoration 
consists of floral designs, either made separately by hand 
and sprigged on, or carved in relief from clay laid directly 
on the surface while moist 

A number of plaques about ten inches in diameter 
were modelled by Mr. H. C. Robertson, either engraved 
or carved in high relief, some of the latter being modelled 



POTTERIES FROM 1859 TO 1876. 263 

after Dore's illustrations of La Fontaine's Fables, such as 
"The Wolf Turned Shepherd," etc. They were made of 
a stone body, and generally covered with a quiet blue or 
gray glaze. 

Some novel effects were 
produced by hammering 
the exterior of vases before 
burning, and afterward 
carving sprays of flowers 
in relief and applying them 
to the indented surface. 
The modelling was ex- 
ecuted by Miss Josephine 
Day, a sister-in-law and 
pupil of Mr. H. C. Robert- 
son, and by Mr. Robertson 
himself. Being done by 
hand, from original de- 
signs, no duplicates were 
produced. On some of the 
hammered pieces, the de- 
signs were cut into the 
surface and filled In with 
white clay, forming a mo- 
saic, the bases of the ves- 

, , . , I 1 rv iiq.— A " Dengi-Er" Vase, Red Wars, 

sels bemg colored buff, M„t.r.u.F.., Drsk-.ns. Bost<.n Musf.um 
which formed a pleasing °^' '■""^^ '^"'^^■ 

contrast beneath a semi-transparent glaze. About the 
same time a variety of faUnce, known as the Bourg-la- 
Reine of Chelsea, was produced by the process of paint- 



264 POTTER V AND PORCELAIN. 



ing on the surface of the vessel with colored clays and 
covering with a transparent glaze, on the principle of the 
\J\rs\o^t% falctid-. 

Mr. James Robertson died in 1880, after a long and 
useful life, at the ripe age of seventy years. The firm 
continued under the same name, and in 1884 A. VV. 
Robertson retired from the business. In that year the 
remaining partner, Mr. Hugh C Robertson, commenced 



to make a stoneware somewhat resembling parian in 
appearance, possessing a hard, vitrified body, which he 
worked into a variety of artistic forms. 

From this time Mr. Robertson directed his eflforts 
toward solving the secret of the famous Chinese Sang de 
ba-iif, and after four years of sacrifice and patient inves- 
tigation his labors were in a measure successful. He 
believes he has discovered the exact treatment necessary 
to produce the true ox-blood red, which with the Chinese 



POTTERIES FROM 1859 TO 1876. 265 



was the result of accident rather than an established art. 
The body is the true stone, perfectly waterproof, and ca- 
pable of resisting as high a degree of heat as any ware. 
The forms of the vases are simple, with curving outlines, 
and entirely devoid of ornamentation which would tend to 
impair the beauty of color, which is that of fresh arterial 
blood, possessing a gold- 
en lustre, which in the 
light glistens with all the 
varying hues of a sunset 
sky. In experimenting 
to obtain the blood-red 
of the Stiftg tU bmtf, 
varieties were produced 
of a deep sea-green, 
" peach-blow," apple- 
green, mustard-yellow, 
greenish blue, maroon, 
and rich purple, the glaze 
being hard, brilliant, and 
deep. Examples of this 
ware now grace the cabi- 
nets of a number of col- 12'.— Crackle Vase. Bosion Museum 

OF Fine Arts. 
lectors in the United 

States, of which Mrs. F. S. Thomas, of New York, pur- 
chased four of the finest. Only three hundred pieces of 
the Sang de Chelsea were made, but the demand for 
works of this character being limited, some of the finest 
examples still rest on the dusty shelves in the Chelsea 
workshop. 



266 POTTHRY AND PORCELAIN. 

Imitations of the Japanese crackle ware were also pro- 
duced, and a specimen of this class, in the Boston Museum 
of Fine Arts, which is of a gray color, with blue under- 
glaze decoration, compares very favorably with Oriental 



examples. This was executed by Mr. Hutjh C. Robert- 
son (Illustration 121). 

In the collection of Dr. Marcus Benjamin of New 
York City is a pilgrim vase decorated after a drawing by 
Mr. James E. Kelly of New York, which originally ap- 



POTTERIES FROM 1859 TO 1876. 267 



peared in the old Scribners Monthly Magazine of May, 
1878, the subject being the old-time post boy, mounted 
on a horse and heralding his approach to the village by 
blowing his trumpet, which afterwards developed into 
Kelly's statuette of Sheridan (see Cyclopedia of American 
Biography, — Sheridan). The figures were modelled by 
Mr. Hugh C. Robertson in low relief, to which an effective 
glaze adds depth and distance. They were worked in 
white clay and laid on the yellow body of the vase and 
then covered with a single glaze, producing the effect of 
a grayish-blue design against a yellowish-olive or mouse- 
colored ground. Only five or six copies were produced. 

After more than twenty years of devotion to his art, 
Mr. Robertson was compelled to close his factory in 1888 
for lack of means to carry his work further. A company, 
however, was incorporated on July 17, 1891, under the 
title "Chelsea Pottery, U. S.," of which Mr. Hugh C. 
Robertson was appointed manager. Here, with increased 
facilities at his command, Mr. Robertson will devote him- 
self to the further development of American ceramic art. 



POTTERY AT PHCENIXVILLE, PA. 

The Phoenixville Pottery, Kaolin, and Fire-brick Com- 
pany was organized in 1867, and a few years later was 
succeeded by Messrs Schreiber & Co., who made yellow 
and Rockingham ware, and terra-cotta ornaments and 
wall-pieces. Heads of hounds and stags in several sizes, 
and large boar s heads, were made extensively here, and 
twenty years ago were in demand for decorating the in- 



268 PO TTER Y AND POR CELAIN. 



teriors of public-houses. Some of these may still be seen 
in country taverns. These were considered works of con- 
siderable artistic merit when first produced. The antlers 
and horns of stags and antelopes were made separately 
and afterwards inserted. Messrs. Beerbower & GrifTen 
took the pottery in 1877 and commenced the manufacture 
of white granite ware. In i879the firm namewaschanged 
to GrifTen, Smith, & Hill, and in the following year 
the manufacture of 
" Etruscan " majolica 
was added. Through 
their majolica ware 
the firm became widely 
known. The model- 
ling of some of the 
pieces, such as com- 
potiires with supports 
I. , composed of three in- 

tertwined dolphins, 
183.— TERBA-CnTTA BOAK's Head. Phcehix- 

viLLE I'oriKRV. Barber Collection, boudoir flower-shells 

Pennsylvania Museum. ■ 1 < 

or jewel cups, and 
other fancy shapes, was refined and artistic, the designer 
being an English artist of the name of Bourne. Some of 
these designs bear a striking resemblance to the Irish 
Belleek ware, not only in conception but in the extreme 
thinness of the body and the tinted nacreous glazes which 
cover them. Coral, sea-weed (Fucus), and marine shells 
were closely imitated and their commercial majolica for 
table purposes was largely made in leaf forms from moulds 
taken from the natural objects. The impressed mark 



POTTERIES FROM 1859 TO 1876. 369 

used on this ware was a monogram composed of the initials 
of the firm (G. S. H.), sometimes surrounded by a cir- 
cular band containing the words " Etruscan Majolica." 
These marks continued to be used after the retirement of 
Mr. Hill, when the style became GrifTen, Smith, & Co. 
From 1880 to 1890 the factory produced a good grade of 
white and decorated ware, mostly in table services and 
toilet sets. In 1890 a large portion of the works was de- 
stroyed by fire and the manufacture of majolica was dis- 



114.— Majolica, Phienixviij.e Potterv. 

continued. Mr. Smith withdrew from the firm in 1889 
and erected levigating mills at Toughkenamon, Pa., near 
which place are large beds of kaolin. The firm style was 
then changed to Griffen, Love, & Co. 

As early as 1882 experiments were commenced in the 
manufacture of hard porcelain, and a series of sample 
pieces were made for the New Orleans Exhibition. The 
quality and designs of these trial pieces were creditable, 
and the experiment proved that this factory was capable 



270 POTTERY AND PORCELAIN. 

of producing true porcelain of a high order. One of the 
New Orleans pieces, a pitcher of thin semi-transparent 
body, was also made of white earthenware, glazed and 
gilded, the latter of which is reproduced in 111. 125. It is 
in the shape of a canteen, the mouth representing the head 
of a Continental soldier. 
The raised designs are 
flesh-colored, on a solid gold 
ground. The three-cor- 
nered hat is black. Mr. 
Scott Callowhill. an English 
artist, was employed for a 
while in modelling and paint- 
ing, but left to accept a posi- 
135.— Whit^Ware Pitcher. tion with the Providential 

riiffiNixvioK. Pa, jjig Works of Trenton. 

At the beginning of the year i8gi a change was made 
in the proprietorship, and a new company incorporated, 
under the title of the Griffen China Company, for manu- 
facturing fine translucent French china in plain white 
table services. 

In 1892 these works were permanently closed. 

THE HAMPSHIRE I'OTTERV. 

Some original work of a high character is now being 
done at the Hampshire Pottery of Messrs, J. S. Taft & 
Co., Keene, N. H. This pottery was started in 1871 for 
the manufacture of red ware, and afterwards stoneware. 
At a later date majolica was made quite extensively. 



POTTERIES FROM 1859 TO 1876. 271 



Recently the firm has been paying particular attention to 
art specialties, in new and graceful shapes and novel deco- 
rations, such as fancy baskets, jugs, cracker jars, and cus- 
pidors, comb and brush trays, bon-bon boxes, rose bowls, 
tea sets, and umbrella stands. The ware is a white, opaque 
body, covered with a variety of effective glazes. I have 
seen at Niagara and other summer resorts pieces of Keene 
pottery with local views printed upon the surface for sale 
to tourists as souvenirs. 

One of the best designs produced by these works is 
the " Witch Jug." of a graceful form and ivory tint. On 
one side is painted, in ap- 
propriate colors, a witch, 
with broom in hand, in pur- 
suit of bats, against a 
ground of clouds. On the 
opposite side are three 
witch pins in black, and the 
lettering "Salem, 1692," in 
gold. The handle, foot, and 
border of lip are gilded. 

This souvenir iuff was made ^ .„ „, , „ 

' " \tb. — The Witck Juo. Hampshire 

especially for Mr. Daniel Po-nERi-. j. s. Tafi- & Co., 

Low, silversmith, of Salem, 

Mass., to commemorate the witchcraft delusion which 
obtained in that place two hundred years ago, the sale 
being entirely controlled by him. 

About forty hands are employed at the Hampshire 
Pottery, nearly half the number being engaged in deco- 
rating. 



272 POTTERY AND PORCELAIN. 

lERRA-CUTTA WORKS, PHILADELPHIA. 

Messrs. Galloway & Graff displayed at the Centennial 
terra-cotta statuary, tazzas, and vases in Greek shapes for 
decorators, pedestals, fountains, flower-pots, and garden 
edging. 

Messrs. Harvey, Moland, & Co., successors to Wm. 
K, Black, are large producers of garden vases, statuary, 
sewer pipe, and drain tile. 



CHAPTER XIII. 
CINCINNATI. 

AMONG the first potteries of Cincinnati was one which 
was in operation for some time previous to the 
middle of the present century, owned by a family 
of the name of Kendall, father and sons, who were 
remarkable for their great stature, being over six feet 
in height. This pottery is said to have been the first in 
that city to produce a fine grade of stoneware, yellow, and 
Rockingham. About the year 1850 the Kendalls gave up 
business and went farther west. 

William Bromley, originally from Stoke-upon-Trent, 
England, went to Cincinnati about 1842 and successfully 
operated a pottery there for several years. At one time 
the ware in one of his kilns met with a singular mishap in 
the process of firing, which caused it to assume such a 
novel appearance that it was sold at very high prices. 
There was considerable demand for more of the same 
character, which of course could not be furnished, because 
Mr. Bromley did not know how the freak occurred, and 
his excuse to those who desired it was that he could not 
■ supply it because it was too costly to make. He died about 
twenty years ago. 



274 POTTERY AND PORCELAIN. 



George Scott, of Staffordshire, England, came to this 
country about 1846, and shortly after settled in Cincinnati, 
where for some time he sold goods for William Bromley. 
It is said that, after saving some money, he imported a 
thousand dollars* worth of queensware from England, 
which he disposed of advantageously and with the pro- 
ceeds purchased an old tavern on Front Street, and 
changed it into a pottery. With the able assistance of 
his wife, who was as capable a potter as he, a business 
was established which soon yielded him a competency, and 
after his death some years ago the firm's name was changed 
to George Scott s Sons, under which style the business is 
now carried on. This consists of the manufacture of a 
high grade of white granite, cream-colored, decorated, and 
printed table and toilet wares. 

The Hamilton Road Pottery was founded by Messrs. 
M. and N. Tempest, and in 1865 was purchased by Mr. 
Frederick Dallas, who continued the business until his 
death a few years ago. Here were made stone china and 
the commoner wares. Some of the earliest experiments 
of the ladies of Cincinnati were conducted at these works, 
as we shall see hereafter, which marked the first step in 
the development of the industry in that city. 

Messrs. Tempest, Brockmann, & Co. commenced the 
manufacture of common ware in Cincinnati in 1862, and 
five years later first produced white ware. In 1881 a 
stock company was organized, under the title of The 
Tempest, Brockmann, & Sampson Pottery Co., and so 
continued until 1887, when Mr. C. E. Brockmann, the 
only surviving member of the original firm, bought the 



CINCINNATI. 275 



entire business, and has since conducted it under the name 
of The Brockmann Pottery Co. The works cover an acre 
of ground, and are about to be further enlarged. The 
products of this factory embrace cream-colored, white 
granite, and decorated wares. 



woman's work in CINCINNATI. 



The decorative pottery movement which has made 
Cincinnati celebrated as a ceramic art centre may be said 
to have had its inception in 1875. when Mr. Benn Pitman, 
of the Cincinnati School of Design, procured from the 
east some overglaze colors and invited a few of the ladies 
of that city, who were interested in the subject, to meet 
at his offices in the Carlisle Building to talk over the 
matter of forming a class to receive instructions in china 
painting. It was in these rooms that the first experiments 
in porcelain decoration were made, under the direction of 
a young German lady, Miss Eggers, who had previously 
acquired some knowledge of the art at Dresden. Follow- 
ing closely on these somewhat imperfectly successful 
efforts came a " Centennial Tea Party," held by the 
'* Women's Centennial Executive Committee, of Cincin- 
nati," for the benefit of the Mount Vernon fund. The 
pieces of china, which had been painted by the ladies 
especially for this occasion, were placed on exhibition and 
afterwards sold by auction. Good prices were realized, 
the highest being twenty-five dollars for a cup and saucer. 
This event marked the first step in the progress of the 
ceramic art in Cincinnati. In the same year, Miss M. 



276 POTTER V AND PORCELAIN. 



Louise McLaughlin painted some white porcelain plates 
in blue underglaze designs, which were sent to Messrs. 
Thomas C. Smith & Son, proprietors of the Union Porce- 
lain works at Greenpoint, Long Island, by whom they 
were fired, and one of these first attempts is presented in 
the Cincinnati Museum of Art. 

During the Centennial Exposition, in the following 
year, Miss McLaughlin was particularly impressed with 
the exhibit of the then novel Limoges faience, and on 
her return home she determined to discover, if possible, 
the method of its decoration. Her first experiments 
were attempted in the fall of 1877, after having procured 
colors from Paris, at the pottery of Messrs. P. L. Coultry 
& Co., where common yellow ware was made. These 
experiments were conducted under great disadvantages 
on account of the limited facilities at command. The 
first piece taken from the kiln, in September, 1877, 
demonstrated the practicability of the process. In May 
following some pieces were shown at a local loan exhibi- 
tion, and others were exhibited in New York in October. 
Pieces were also exhibited at the Exposition Universelle 
at Paris in 1879, ^^^ received honorable mention. 

The success attained by Miss McLaughlin stimulated 
other ladies to renewed efforts in the same direction, and 
soon a little colony of workers had sprung up in the 
Queen City. In April of 1879, ^^ss McLaughlin gath- 
ered around her a number of ladies who were interested 
in decorative art, and the Pottery Club, which afterwards 
became an important factor in the development of the 
ceramic art industry in Cincinnati, was organized, with 



CINCINNATI 277 

Miss McLaughlin, president, Miss Clara Chipman New- 
ton, secretary, and Miss Alice Belle Holabird, treasurer. 
This was probably the first club of women, or^nized for 
such a purpose, in the United States. In addition to 
those already named, the following ladies constituted the 



. Makia L, Nichols, iSSo. 



original membership : Mrs. C. A. Plimpton, Mrs. E. G. 
Leonard, Miss Marj' Spencer, Miss Agnes Pitman, Mrs. 
Frank R. Ellis, Mrs. Wm. Dodd, Miss Clara Fletcher, 
Mrs. George Dominick, and Miss Laura A. Fry. Later 



2 78 



POTTERY AND PORCELAIN. 



the number was increased to fifteen, and finally to twenty. 
A room was rented in the pottery owned by Mr. Fred- 
erick Dallas, on Hamil- 
ton Road, where white 
and cream-colored 
wares were produced. 
Two kilns for firing 
underglaze and over- 
glaze ware were erected 
here, the cost being 
defrayed by Miss Mc- 
Laughlin and Mrs. 
Maria Longworth 
Nichols. Experiments 
were prosecuted with 
greater vigor, and rapid 
improvement in 
methods was made, 
through the intelligent 
co-operation of Mr. 
Dallas and his fore- 
man, Mr. Joseph Bailey, 
now superintendent of 
the Rookwood Potterj'. 
Mrs. Nichols and other 
ladies, not members of 
the Pottery Club, 
worked in another part of the building which had 
been erected by the mother of Anthony Trollope for 
her country-house diiring her residence in Cincinnati. 



—Porcelain Vase, Underglaze Decora- 
ion. Bv Mrs. M. L. Nlch-.ls, 1B78. 
Cincinnati Museum of Art. 



CINCINNATI. 279 

Various styles of work were attempted here during 1879 
and 1880. 



Among Mrs. Nichols' best pieces of this period are 
three vases, shown in Illustration 127, the largest being 



a8o POTTERY AND PORCELAIN. 

thirty-two inches in height, in bold rdief and underglaze 
color. Possessed of rare and versatile talent, she has 
since produced a great variety of pieces, original in con- 
ception, artistic in treatment, and bold in execution. 



Under the leadership of Miss McLaughlin the Limo- 
ges, or p&te-sur-p&te, method of painting the surfaces of 
unbaked pieces with colored slips wras employed with. 



CINCINNA TI. 



gratifying results. One of the finest of her pieces 
finished during this period is the " AH Baba " vase, 
thirty-eight inches in height, which is made of red clay, 
decorated under the transparent glaze with colors mixed 
with white clay (ill. 129). The design is the Chinese 
Hibiscus, in dull red 
and yellow on a 
delicate sage-green 
ground, daintily 
blending to a green- 
ish white. Three of 
these vases were 
made from the mould, 
one of which is now 
in the Cincinnati 
Museum. 

Other members 
of the club, of whom 
Miss Clara Chipman 
Newton was one of 
the foremost, direct- 
ed their attention 

more particularly to 131.— Moorish Vase, Inlmd Dbcoration. Mrs. 
. ^. u i_ ■ C. A. Plimpton. Cincinnati Art Musbuu. 

paintmg on the bis- 
cuit in cobalt blue and other colors, and achieved a marked 
success. An example of this style, the work of Miss 
Newton, is here figured (111. 130). It is a vase of white 
clay body, twenty-one inches high, with arabesque design 
painted under the glaze, and finished with intersecting 
gilt lines and gold bands at top and bottom, above the 



POTTERY AND PORCELAIN. 



glaze. This was produced in 1880, at the Hamilton 
Road Pottery, the coloring being a dark, rich blue, clean 
cut and sharp, without any trace of flowing. 

Some of the most 
original work was 
produced by Mrs. C. 
A. Plimpton, whose 
individuality of style 
was marked not only 
in the fine effects 
obtained in slip-dec- 
oration by the use of 
natural colored clays, 
ranging from white 
through yellow and 
red to dark brown, 
but in the forms of 
vessels which she de- 
signed. Her incised 
ornamentation, i n 
which the designs 
were carved in the 
green clay, and her 

inlaid work of con- 
13a,— Stone Ji'(], Isciskd Dechration. Miss , 

■ MusKiM. trastmg clays, are lull 



of interest. A little 
vase in the Cincinnati Art Museum is a good illustration 
of the latter style, and the first piece of its kind. It is 
decorated with storks, in native clays,--white and black 
inlaid upon red. Much of her work was in the Moorish 



CINC/NNATI. 283 



style, of which Illustration 131 shows an exceedingly artistic 
example, with pierced handles. This vase was designed 
by Mr. L. F. Plimpton and decorated by Mrs. Plimpton, 
and is now owned by the Cincinnati Art Museum. The 
ground is yellow, with inlaying of red and other Ohio 
clays and a black clay from Indiana. In the Cincinnati 



133. — Miss M, Louise Ml-Lal'chun. 

room of the Woman's Building at the World's Columbian 
Exposition, this piece attracted considerable attention. 

Miss Laura A. Fry also produced some excellent work 
in etched designs after the Doulton method. A stone 
jug, with incised decoration, outlined in blue, and made in 
1881, is also the property of the same museum (111. 132). 



284 PO TTER Y AND PORCELAIN. 



Another style, consisting of relief work in parian paste, 
received attention from several members of the club, 
notably Mrs. E. G. Leonard and Miss Agnes Pitman. 
It is not possible to review at length the individual work 
of each interested worker in this field. All followed out 
ideas more or less original and each accomplished work of 
genuine merit. We must refer those who desire to pursue 
this subject further to the excellent article in the May 
number of Ha?'pcrs Magazine for 1881, by Mrs. Aaron 
F. Perry. The Pottery Club continued a successful and 
harmonious existence until 1890, when, on account of a lack 
of financial support, it was disbanded by mutual consent. 
Miss McLaughlin and Miss Newton have continued their 
work in overglaze decoration, and the former has embodied 
the results of her investigations in a series of valuable 
treatises on Pottery Decoration and China Painting. 

After the Pottery Club had disbanded, a few of the 
former members organized a club which they called The 
Associated Artists of Cincinnati^ of which Miss Mc- 
Laughlin became president and Miss Newton secretary. 
Many beautiful examples of overglaze decoration, as well 
as metal work, executed by the members of this association, 
were exhibited at the Chicago Fair, among which some 
large porcelain vases, artistically painted in dainty colors 
and gold tracery, will rank with the best professional 
work. 

ROOKWOOD. 

It is safe to assert that no ceramic establishment 
which has existed in the United States has come nearer 



CINCINNA TI. 285 



fulfilling the requirements of a distinctively American in- 
stitution than the Rookwood Pottery of Cincinnati, Ohio. 
For this reason, and because of the additional fact that 
the founding of this factory was due to the intelligent and 
well directed efforts of a woman, the history of Rook- 
wood, from its inception, cannot fail to have a peculiar 
interest for American collectors and patrons of art. 

The ceramic display of Japan, at the Philadelphia 
Exhibition of 1876, inspired the venture which resulted 
in theestabiishment of these works, in 1880, by Mrs. Maria 
Longworth Nichols (now Mrs. Bellamy Storer), whom 
we have already seen as an 
enthusiastic investigator and 
student in some of the Cin- 
cinnati potteries. She began 
her work at the Dallas white- 
ware pottery, where she and 
several other amateurs con- 
tinued for two years. The '"-^'■'' >^''°''"'«°°- 
heat being found to be too intense for firing underglaze 
colors, at the granite ware factory, first suggested to Mrs. 
Nichols the idea of building a place of her own. Her ex- 
periments were continued at the new establishment, which 
she had erected at 207 Eastern Avenue, and which, 
through the wise liberality of her father, Mr. Joseph Long- 
worth, was afterwards furnished with the necessary means 
for its maintenance while its products were finding a 
market and until financially it could stand alone. The 
name selected for the works was that of the country place 
of Mr. Longworth, at East Walnut Hills, in the suburbs 



POTTERY AND PORCELAIN. 



of the city, so called on account of the great number of 
crows which frequented the adjacent woods. In the more 
congenial quarters of the new pottery Mrs. Nichols sur- 
rounded herself with skilled workmen and able artists, 
and the first kiln of ware was fired in November of 1880. 
A specialty was first made of commercial ware for table 



and household purposes, the principal body used being 
intermediary between cream-colored and white granite 
wares. In 1881 considerable quantities of this ware were 
produced in breakfast and dinner services, pitchers, 
plaques, vases, wine-coolers, ice-tubs, water-buckets, um- 
brella jars, and a variety of other patterns, which were 



CINCINNATI. 287 

sold either in ivory finish or decorated with underglaze 
blue and brown prints of birds, fishes, and other animal 
subjects. These, being artistic in form and now difficult 
to procure, are much sought for by collectors (see 111. 
136). All of the forms made in white during this period 
were also furnished in blue, sage-green, and red bodies, 
which were often ornamented with devices carved in the 
paste. The border work on white tea-sets was painted 



136.— Rook WOOD Plate, Feinted Decoratiow. 

over the glaze by an Englishman named Broomfield. 
Yellow ware of a superior quality was also made about 
the same time. 

During the last-named year, Mr. Ferdinand Mersman, 
at present modeller for the Cambridge Art Tile Works at 
Covington, Ky., just across the river, designed some fine 
pieces for the Rookwood works, including a Garfield 



288 POTTERY AND PORCELAIN. 



Memorial pitcher and several vases with figures in high 
relief, the latter being modelled entirely by hand and never 
duplicated. The pitchers, with relief portrait of President 
Garfield, were made of sage-green clay with " smear " or 
dull glaze, in two sizes, of which less than a hundred were 
issued. 

While the manufacture of commercial ware was being 
prosecuted, Mrs. Nichols was engaged in producing works 



of a high artistic order, after the Japanese styles (see III. 
137). During these earlier years. Miss Clara Chipman 
Newton was associated with Mrs. Nichols in this work 
and her refined taste and intense interest contributed in 
no small degree to the progress which was made at that 
time. In 1883 Mr. W. W. Taylor bcame Mrs. Storer's 
partner in the enterprise and has continued from that time 
the active manager. 

The printing processes were soon entirely abandoned 



CINCINNA TI. 289 

and table wares were gradually superseded by the more 
elegant decorative forms which have since attracted so 
much attention. Methods were adopted which tended to 
the development of original work and the copying of other 
wares was entirely discontinued. 

The ware produced at Rookwood is a true faience 
and may be classed under three heads : Cameo, or shell- 
tinted ware, generally of a beautiful pink color, gradually 



shading into white, and highly glazed. Dull Finished 
ware, similar in color to the former, possessing a surface 
soft in texture and having the appearance of being un- 
glazed, but susceptible of being easily cleaned ; and lastly, 
the most characteristic of all, the richly glazed Rookwood 
faience. The distinguishing feature of all of these varieties 
is the tinting and harmonious blending of the grounds 
beneath the heavy, transparent, colored glazes, producing 



290 POTTERY AND PORCELAIN. 

the effect of rich tones of black, yellow, red, olive, green, 
brown, and amber of great brilliancy, mellowness, depth, 
and strength. 

The highest achievements in glazing are the so-called 
tiger's-eye and gold-stone, which glisten in the light with a 
beautiful auriferous sheen. In several pieces which we 
have seen, the decorator has ingeniously utilized certain 
iridescent points, where the shining particles of the glaze 
have concentrated, for the eyes of fishes which have been 
painted around them. The accompanying engraving 
(111. 138) will give a fair idea of some of the graceful 
forms of vases produced here, but no adequate conception 
of the great beauty of the glazing can be conveyed in 
black and white. 

Several distinct bodies are employed, one of which 
may be described as a true earthenware. It has been dis- 
covered by costly experiment that the point of complete 
or nearly perfect vitrification injures, more or less, the 
underglaze colors, but in the finer bodies that point is 
approached as closely as possible to obtain the best results. 
The chief body now in use partakes of some of the quali- 
ties of stoneware and some of the properties of semi« 
porcelain. A piece of well fired Rookwood biscuit will 
practically hold water but will absorb more or less of it, 
and far surpasses regular earthenware in vitreous ring. 
The clays used are found mainly in the Ohio valley, in- 
cluding a red variety from Buena Vista. Ohio, yellow from 
Hanging Rock, Ohio, and a white or cream-colored clay 
from Chattanooga, Tenn., — artificially tinted bodies being 
also employed to some extent. 



No, 139. — Di'LL-FiNisHED Vase. Decokatbd 

BY Mr. a. K. Valentien. Pennsvlvania 

Museum, Philadelphia. 



292 PO TTER Y AND PORCELAIN. 



The workmen of this factory have all been especially 
trained in their respective branches. Excepting in the 
preparation of the clays, no machinery is used save the 
primitive potter's wheel, which gives more freedom and 
greater variety to the outlines of vessels than the more 
mechanical processes of moulding, the shapes produced 
being mainly variations of classic forms, possessing marked 
individuality of treatment. Only one thrower is employed 
at the pottery, and his graceful creations have obtained a 
world-wide celebrity. Each piece is afterwards passed to 
a turner, who carefully trims off the surfaces on a lathe 
which is attached to an old-fashioned throwing wheel 
turned by a boy. 

For the more rapid production of certain standard 
forms, such as tea-pots, jars, and pitchers, which are still 
made to some extent, the casting method is practised, 
being the same as that discovered at Tournay, France, in 
1 784. This consists in pouring the prepared liquid clay 
or '' slip," into a hollow mould and allowing it to stand for 
a few moments until the plaster has absorbed the super- 
abundant moisture from the parts in contact, forming a 
thin shell of uniform thickness which adheres to the mould 
after the slip has been emptied out, and is allowed to 
stand a while longer before being removed. 

Mr. Joseph Bailey, now superintendent at the Rook- 
wood Pottery, came to the United States in 1848 from 
Tunstall, Staffordshire, England. He belongs to a family 
of potters, one of his uncles being Taylor Booth, son of 
Ward Booth, both of whom were prominent members of 
the craft in England during the early part of the present 



1 

1 



CINCINNA TL 293 

century. Mr. Bailey entered the pottery of Mr. R. Bag- 
nail Beach in Philadelphia, where he remained for about 
six months, and afterwards worked for Messrs. Harker 
and Taylor, of East Liverpool, Ohio. In 1850 he went 
to Cincinnati, where he has remained almost continuously 
until the present time. At the death of Mr. Dallas, he 
assumed supervision of the Rookwood Pottery. His long 
experience and thor- 
ough knowledge of all 
branches of the art and 
his extensive experi- 
ments with different 
clays and glazes have 
contributed in no small 
degree to the beautiful 
effects which have made 
the productions of this 
factory so well known. 

The Rookwood 
decorations are now en- 
tirely under the glaze. 

The artists employed 

140,— Muc. Decorateu bv E. P, Cranch. 

in this work have, with 

few exceptions, been educated in the art schools of Cin- 
cinnati. Among the most prominent of these are Mr. 
Albert R. Valentien and Mr. Matt A. Daly, while others 
are rapidly taking rank among the best American under- 
glaze painters. Mr. Kataro Shirayamadani, one of the 
exceptions referred to, is a Japanese artist of the best 
school, and is doing some of the finest work in Oriental 



294 PO TTER Y AND PORCELAIN. 



methods. The late Mr. E. P. Cranch, a well-known 
lawyer of Cincinnati and an exceedingly clever artist, was 
connected with the pottery from the first day of its exist- 
ence, and helped it by his fine taste and criticism, as well 
as by his excellent work. His old-time humorous sketches 
in black and brown possess uncommon merit. The quaint 
style which characterizes his work is perhaps seen at its 
best in a set of mantel tiles painted by him to illustrate 
the old American ballad of Isaac Abboil, which is a 
sample of the traditionary 
lore of New England 
country life during the 
eighteenth century, having 
been handed down from 
father to son, unrecorded 
until Mr. Cranch tran- 
scribed the air and words, 
as heard by him, more 
than fifty years ago, from 
.-. T,,...-.^,.,! A.~,^«=, the lips of a nephew of 

141. — Tile krom Isaac Abbott Sn. <^ ' 

Painted by e. P. chanch. Dr. Noah Webster, of New 

RooKwooD Pottery. , , _ ,^, . , 

Haven, Conn. These, with 

the original descriptive designs used on the tiles, were 

published in booklet form by Robert Clarke & Co., of 

Cincinnati, in 18S6, and dedicated to the Cincinnati 

Literary- Club. 

No less meritorious is a similar series of tiles painted 

by Mr. Cranch, to illustrate the ancient ballad of Gtles 

Scroggijts Ghost. He also decorated a variety of other 

pieces, such as beer-mugs, pitchers, etc.. which find a 



CINCINNA Tf. 



ready sale. These are generally finished with a " smear " 
glaze, and present a pleasing contrast to the other pro- 
ductions of this factory. Mr. Cranch died in November, 
1892, in his eighty-third year. 

While no serious attempt has as yet been made to 
manufacture art tiles in a business way, experiments have 
been essayed in this direction from time to time, which 
have amply shown that the Rookwood methods are pe- 
culiarly adapted to the production of artistic tiling for 
cabinet inserts and mantel facings. We figtire a six- by 



143. — Hand-Paikted Tile. Rookwood. 

twelve-inch hand-painted tile that was made here recently 
to show the possibilities in this direction (111. 142). The 
decoration in pure white is applied to a cameo-tinted body, 
— a pink ground gradually shading into white. The 
dainty and delicate coloring, the brilliancy of the glazing, 
and the superior quality of the body, together with the 
originality of the decorative treatment, point to the early 
establishment of this branch of the art. 

The Rookwood Pottery was the first in this country 
to demonstrate the fact that a purely American art-pro- 



296 POTTERY AND PORCELAIN. 

duct, in which original and conscientious work is made 
paramount to commercial considerations, can command 
the appreciation of the American public. Owing to the 
many experiments undertaken, it was operated at an 
annual loss until the year 1S89, when it paid off all its in- 
debtedness and became a financial success. At that time, 
no longer needing pecuniary aid, it was turned over by 
Mrs, Storer to Mr. W. W. Taylor, who soon afterwards 
organized a stock company under the name of the Rook- 
wood Pottery Co. Under the efficient management of 
Mr. Taylor, the enthusiastic president, rapid strides are 



143. — KAH'S IlUlt» KLUWEK bASKEI'. KooKvvoou. 

constantly being made in the improvement of methods, 
shapes, bodies, and glazes. 

A new structure, with all modern equipments, has re- 
cently been erected on the summit of Mount Adams, 
overlooking the city, where, with vastly improved facilities, 
the capacity of the factory has been greatly increased. 
Here the kilns are fired with crude petroleum, which in- 
sures better and more certain results. A room has been 
set apart for the especial use of Mrs. Storer, where she 
can continue her work when so inclined. 



CINCINNATI. 297 



Ten years ago Rookwood was scarcely known outside 
of Cincinnati. To-day its exquisite ceramic creations may 
be found in almost every home of culture and refinement 
and in every prominent art museum in the land. The 
evolution of Rookwood faience was the result of a com- 
bination of conditions peculiarly favorable to the develop- 
ment of a new art product It was the conception of a 
talented woman, representing the third generation of a 
family widely known in 
cultured social circles 
as patrons of the arts, 
who devoted her rare 
abilities and her abun- 
dant means to the 
realization of an idea. 
Fostered by the senti- 
ment of a community 
long noted as an art 
centre and rich in 
private collections of 
ceramic treasures, aided " ' " ' " 

V ^1 J ■ r 144. — Vase. Decorated by Mr. Shiravamadani 

by the advice of com- pennsvlvanl. m..eum. 

petent critics, assisted 

by the intelligent co-operation of artisans and artists who 
came almost at the beginning and have ever since been 
identified with the gradual development, the venture was 
peculiarly favored and the result has been particularly 
gratifying, both to the founder herself and the community 
to which she belongs. Such were the conditions which 
operated in combination to perfect the Rookwood pottery 



2g8 POTTER Y AND PORCELAIN. 

as it comes to us to^Jay, and without which such results 
could not have been attained. But we may expect still 
greater achievements in the future, under the efficient 
direction of Mr. Taylor, who is devoting his energies to 
the still higher perfection of underglaze decoration. 

The Installation of the Rookwood pottery at the 
World's Columbian Exposition was the conception of 
Mr. Taylor. The space occupied by the Rookwood dis- 
play was bounded on the two sides by heavy walls four 



feet high, and three feet in width, faced with large panels 
of fire-clay body decorated with symbolical and appropri- 
ate designs, such as the whirling globe, typifying the pot- 
ter's wheel, the dragons of tire, and the vase emerging 
from the glow of the kiln. The walls were of a warm 
yellow color. On each side rose three slender columns of 
the same material twelve feet in height, and of a rich 
malachite green, terminating in flame points of red and 



CINCINNA TL 299 



orange. At the back of the enclosure stood a handsome 
cabinet containing the treasures of Rookwood, such as 
exquisite pieces of " tiger-eye " and ** gold-stone," while 
on the walls and placed around the enclosed platform were 
many larger pieces showing the best work of this kind 
which has thus far been produced. One of the most 
effective pieces, which was prepared especially for the 
Exposition, was a large pottery boat of Columbian form, 
three and one half feet in length, supported on a pedestal 
artistically modelled to represent the idea of water and 
waves. The pieces which attracted most attention, how- 
ever, were some vases and plaques decorated with ideal 
and grotesque heads, figures of monks, and other designs 
after engravings and photographs, painted under the glaze. 
This style of work evinces such a degree of artistic feeling 
and intelligent treatment of colors as to occasion consid- 
erable surprise to all who had the fortune to examine it. 
Among the foremost of those who have attempted this 
new style of decoration are Messrs. M. A. Daly, A. Van 
Briggle, and W. P. McDonald. It is understood that not 
only fancy heads, but actual portraits, have been attempted 
with most gratifying results, and the day is not far distant 
when it will be possible to procure from the Rookwood 
Pottery painted portraits equal in all respects, and more 
satisfactory in some, to the oil painting. 



THE CINCINNATI ART POTTERY COMPANY. 

Mr. Thomas J. Wheatley commenced experimenting 
in clays and glazes at the pottery of Messrs. P. L. Coultry 



300 POTTER Y AND PORCELAIN, 

& Co., in 1879, and in 1880 established a workshop on 
Hunt Street, where, under the firm name of T. J. 
Wheatley & Co., underglaze work was produced to some 
extent after the style of the \J\V[\q^<^s faUncc. 

In 1879 a joint-stock company was organized under 
the title of the Cincinnati Art Pottery Company, of which 
Mr. Frank Huntington was made president, and Mr. 
Wheatley continued his connection with the works until 
1882, when he withdrew to engage in other business. For 
several years the company confined its operations to 



Faience." Cincinnati Art PorrERV Company. 

underglaze work, and some of the pieces produced were 
remarkable for beauty and originality of form and excel- 
lence of workmanship. Later, barbotine ware, in applied 
work, was manufactured for a time, but this was soon 
dropped for a more artistic style of overglaze decoration 
on white bodies. The " Hungarian faience" made here 
soon became popular with the purchasing public. The 
" Portland \Am^ faUncc" was so called on account of the 
rich dark-blue glaze, of the color of the famous Portland 
vase, which formed a peculiarly striking ground for gold 



CINCINNATI. 301 

decorative effects. The highest achievement of this 
manufactory, however, and the most distinctive in style, 



147. — Canteen-Shaped Vessel, "KezciNta" Ware. Clni 



is the ivory-colored faience in the forms of vases and 
bowls decorated with gold scroll-work and chrysantho 



302 POTTERY AND PORCELAIN. 

mums in natural colors. Of the latter several artistic 
examples may be seen in the Cincinnati Art Museum, 
including a daintily painted vase of canteen shape (111, 
147) and a fan-shaped flower-holder or wall piece deco- 
rated by Rose (111. 148). The name Kezonta has been 
selected to designate these wares. The origin of the 



148.— Fan-Shapeu Vessel, " Kezosta" Warb. 

word is interesting. The trade-mark adopted was the 
figure of a turtle, and when it was ascertained that the 
Indian name for turtle was kezonla, this was afterwards 
added to the device and printed on decorated pieces. 
Pottery in the biscuit, in deep blue and white glazes, has 
been largely sold to decorators, the forms being generally 
modifications of the ancient Roman and Greek. Many 



CINCINNA TI. 303 



ladies found profitable employment in painting these 
pieces for the market, and it is with regret we learn that 
the Cincinnati Art Pottery has recently been closed. In 
design and treatment much of the ware produced here is 
characterized by originality and a high degree of artistic 
merit. 

Within the past few years other potteries have at- 
tempted in Cincinnati to make decorated ware, with vary- 
ing success. One founded by Mr. Matt Morgan produced 
2l faience modelled in low relief in Moorish designs, and 
a variety of ware with incised designs, touched with color. 
As a designer he displayed unmistakable talent, and his 
work was original and strongly characteristic. 

The Avon Pottery commenced the manufacture of a 
ware somewhat resembling the earlier efforts of Rookwood. 
Dr. Marcus Benjamin, of New York City, possesses a 
gracefully modelled cup or mug of Avon ware with ram's 
horn handle, undecorated save in the tinting of the ground, 
which shades from white to dark pink. Other examples 
in the collection . of the Pennsylvania Museum, Philadel- 
phia, exhibit the same characteristic, a gradual shading of 
color — pink, olive, light blue, or brown, and some small 
covered vases are furnished with handles modelled in the 
form of elephants' heads. Both of the above mentioned 
potteries were closed after a brief existence. 




CHAPTER XIV. 

pEVELOPMENT OF THE CERAMIC ART 
SINCE THE CENTENNIAL. 

THE revelations of the Centennial Exhibition set our 
potters to thinking and stimulated them to greater 
competition. Never before was such an impetus 
given to any industry. The best productions of all 
nations were sent here and exhibited beside our own 
modest manufactures, and it was only too apparent that 
America had been left behind in the race. Up to that time 
there had been a few sporadic instances of attempts at 
originality, but comparatively little had been accomplished 
of a really artistic nature. The existence of a true ce- 
ramic art in this country may be said to have commenced 
with the Fair of 1876, because greater progress has been 
made since that important industrial event than during the 
two centuries which preceded it. We have already re- 
viewed the wonderful recent advancement of the principal 
potteries established before the Centennial. We shall 
now briefly outline the history of those started since, not 
already mentioned. 

Among other prominent American exhibitors at Phila- 
delphia in 1876 were the Empire China Works, Green- 



DEVELOPMENT OF THE CERAMIC ART. 305 

point, N. Y., manufacturers of porcelain hardware and 
cabinet trimmings ; Isaac Davis, Trenton, N. J., white 
granite and decorated crockery; Messrs. Astbury & 
Maddock, Trenton, sanitary earthenware and china ; 
Messrs. Yates, Bennett, & Allen, Trenton, table and toilet 
wares ; Brunt, Bloor, Martin, & Co., East Liverpool, Ohio, 
white granite and decorated table and toilet services ; and 
the American Crockery Co., Trenton, N. J., makers of 
stone china, bisque, and white granite goods. 

BENNETT FAIENCE. 

Mr. John Bennett, formerly director of the practical 
work in the yi23f^«r^ department of the Lambeth Pottery of 
Messrs. Doulton & Co., of London, England, came to the 
United States in the Centennial year and settled for a 
time in New York City, where he introduced his method 
of decorating yJzl^wr^ under the glaze. He built his first 
kiln in Lexington Avenue, and afterwards erected others 
in East Twenty-fourth Street near the East River. At 
first he imported English biscuit, but after a time he em- 
ployed potters to make the common cream-colored body, 
as the tint imparted a warmth to his colors. He also 
used, to some extent, a white body, made in Trenton, N. 
J. His work was soon in great demand and brought high 
prices. The shapes were simple and generally devoid of 
handles or moulded ornaments. The decorations con- 
sisted chiefly of flowers and foliage, drawn from nature in 
a vigorous and ornate style, and painted with very few 
touches. A background was worked in after the painting, 



20 



CHAPTER XIV. 

DEVELOPMENT OF THE CERAMIC ART 
SINCE THE CENTENNIAL. 

THE revelations of the Centennial Exhibition set our 
potters to thinking and stimulated them to greater 
competition. Never before was such an impetus 
given to any industry. The best productions of all 
nations were sent here and exhibited beside our own 
modest manufactures, and it was only too apparent that 
America had been left behind in the race. Up to that time 
there had been a few sporadic instances of attempts at 
originality, but comparatively little had been accomplished 
of a really artistic nature. The existence of a true ce- 
ramic art in this country may be said to have commenced 
with the Fair of 1876, because greater progress has been 
made since that important industrial event than during the 
two centuries which preceded it. We have already re- 
viewed the wonderful recent advancement of the principal 
potteries established before the Centennial. We shall 
now briefly outline the history of those started since, not 
already mentioned. 

Among other prominent American exhibitors at Phila- 
delphia in 1876 were the Empire China Works, Green- 



DEVELOPMENT OF THE CERAMIC ART. 305 

point, N. Y., manufacturers of porcelain hardware and 
cabinet trimmings ; Isaac Davis, Trenton, N. J., white 
granite and decorated crockery; Messrs. Astbury & 
Maddock, Trenton, sanitary earthenware and china ; 
Messrs. Yates, Bennett, & Allen, Trenton, table and toilet 
wares ; Brunt, Bloor, Martin, & Co., East Liverpool, Ohio, 
white granite and decorated table and toilet services ; and 
the American Crockery Co., Trenton, N. J., makers of 
stone china, bisque, and white granite goods. 

BENNETT FAIENCE. 

Mr. John Bennett, formerly director of the practical 
work in the y"^2^;/r^ department of the Lambeth Pottery of 
Messrs. Doulton & Co., of London, England, came to the 
United States in the Centennial year and settled for a 
time in New York City, where he introduced his method 
of decorating /alence under the glaze. He built his first 
kiln in Lexington Avenue, and afterwards erected others 
in East Twenty-fourth Street near the East River. At 
first he imported English biscuit, but after a time he em- 
ployed potters to make the common cream-colored body, 
as the tint imparted a warmth to his colors. He also 
used, to some extent, a white body, made in Trenton, N. 
J. His work was soon in great demand and brought high 
prices. The shapes were simple and generally devoid of 
handles or moulded ornaments. The decorations con- 
sisted chiefly of flowers and foliage, drawn from nature in 
a vigorous and ornate style, and painted with very few 
touches. A background was worked in after the painting, 



90 



CHAPTER XIV. 

DEVELOPMENT OF THE CERAMIC ART 
SINCE THE CENTENNIAL. 

THE revelations of the Centennial Exhibition set our 
potters to thinking and stimulated them to greater 
competition. Never before was such an impetus 
given to any industry. The best productions of all 
nations were sent here and exhibited beside our own 
modest manufactures, and it was only too apparent that 
America had been left behind in the race. Up to that time 
there had been a few sporadic instances of attempts at 
originality, but comparatively little had been accomplished 
of a really artistic nature. The existence of a true ce- 
ramic art in this country may be said to have commenced 
with the Fair of 1876, because greater progress has been 
made since that important industrial event than during the 
two centuries which preceded It. We have already re- 
viewed the wonderful recent advancement of the principal 
potteries established before the Centennial. We shall 
now briefly outline the history of those started since, not 
already mentioned. 

Among other prominent American exhibitors at Phila- 
delphia in 1876 were the Empire China Works, Green- 



DEVELOPMENT OF THE CERAMIC ART 305 

point, N. Y., manufacturers of porcelain hardware and 
cabinet trimmings ; Isaac Davis, Trenton, N. J., white 
granite and decorated crockery; Messrs. Astbury & 
Maddock, Trenton, sanitary earthenware and china ; 
Messrs. Yates, Bennett, & Allen, Trenton, table and toilet 
wares ; Brunt, Bloor, Martin, & Co., East Liverpool, Ohio, 
white granite and decorated table and toilet services ; and 
the American Crockery Co., Trenton. N. J., makers of 
stone china, bisque, and white granite goods. 

BENNETT FAIENCE. 

Mr. John Bennett, formerly director of the practical 
work in the yia;l^;/rr department of the Lambeth Pottery of 
Messrs. Doulton & Co., of London, England, came to the 
United States in the Centennial year and settled for a 
time in New York City, where he introduced his method 
of A^zoxzXWi^ faience under the glaze. He built his first 
kiln in Lexington Avenue, and afterwards erected others 
in East Twenty-fourth Street near the East River. At 
first he imported English biscuit, but after a time he em- 
ployed potters to make the common cream-colored body, 
as the tint imparted a warmth to his colors. He also 
used, to some extent, a white body, made in Trenton, N. 
J. His work was soon in great demand and brought high 
prices. The shapes were simple and generally devoid of 
handles or moulded ornaments. The decorations con- 
sisted chiefly of flowers and foliage, drawn from nature in 
a vigorous and ornate style, and painted with very few 
touches. A background was worked in after the painting, 



90 



CHAPTER XIV. 

DEVELOPMENT OF THE CERAMIC ART 
SINCE THE CENTENNIAL. 

THE revelations of the Centennial Exhibition set our 
potters to thinking and stimulated them to greater 
competition. Never before was such an impetus 
given to any industry. The best productions of all 
nations were sent here and exhibited beside our own 
modest manufactures, and it was only too apparent that 
America had been left behind in the race. Up to that time 
there had been a few sporadic instances of attempts at 
originality, but comparatively little had been accomplished 
of a really artistic nature. The existence of a true ce- 
ramic art in this country may be said to have commenced 
with the Fair of 1876, because greater progress has been 
made since that important industrial event than during the 
two centuries which preceded it. We have already re- 
viewed the wonderful recent advancement of the principal 
potteries established before the Centennial. We shall 
now briefly outline the history of those started since, not 
already mentioned. 

Among other prominent American exhibitors at Phila- 
delphia in 1876 were the Empire China Works, Green- 



DEVELOPMENT OF THE CERAMIC ART 305 

point, N. Y., manufacturers of porcelain hardware and 
cabinet trimmings ; Isaac Davis, Trenton, N. J., white 
granite and decorated crockery; Messrs. Astbury & 
Maddock, Trenton, sanitary earthenware and china ; 
Messrs. Yates, Bennett, & Allen, Trenton, table and toilet 
wares ; Brunt, Bloor, Martin, & Co., East Liverpool, Ohio, 
white granite and decorated table and toilet services ; and 
the American Crockery Co., Trenton, N. J., makers of 
stone china, bisque, and white granite goods. 

BENNETT FAIENCE. 

Mr. John Bennett, formerly director of the practical 
work in the yi2l^«f^ department of the Lambeth Pottery of 
Messrs. Doulton & Co., of London, England, came to the 
United States in the Centennial year and settled for a 
time in New York City, where he introduced his method 
of decoraiting /alence under the glaze. He built his first 
kiln in Lexington Avenue, and afterwards erected others 
in East Twenty-fourth Street near the East River. At 
first he imported English biscuit, but after a time he em- 
ployed potters to make the common cream-colored body, 
as the tint imparted a warmth to his colors. He also 
used, to some extent, a white body, made in Trenton, N. 
J. His work was soon in great demand and brought high 
prices. The shapes were simple and generally devoid of 
handles or moulded ornaments. The decorations con- 
sisted chiefly of flowers and foliage, drawn from nature in 
a vigorous and ornate style, and painted with very few 
touches. A background was worked in after the painting, 



30 



CHAPTER XIV. 

DEVELOPMENT OF THE CERAMIC ART 
SINCE THE CENTENNIAL. 

THE revelations of the Centennial Exhibition set our 
potters to thinking and stimulated them to greater 
competition. Never before was such an impetus 
given to any industry. The best productions of all 
nations were sent here and exhibited beside our own 
modest manufactures, and it was only too apparent that 
America had been left behind in the race. Up to that time 
there had been a few sporadic instances of attempts at 
originality, but comparatively little had been accomplished 
of a really artistic nature. The existence of a true ce- 
ramic art in this country may be said to have commenced 
with the Fair of 1876, because greater progress has been 
made since that important industrial event than during the 
ttt'o centuries which preceded it We have already re- 
viewed the wonderful recent advancement of the principal 
potteries established before the Centennial. We shall 
now briefly outline the history of those started since, not 
already mentioned. 

Among other prominent American exhibitors at Phila- 
delphia in 1876 were the Empire China Works, Green- 



DEVELOPMENT OF THE CERAMIC ART 305 

point, N. Y., manufacturers of porcelain hardware and 
cabinet trimmings ; Isaac Davis, Trenton, N. J., white 
granite and decorated crockery; Messrs. Astbury & 
Maddock, Trenton, sanitary earthenware and china ; 
Messrs. Yates, Bennett, & Allen, Trenton, table and toilet 
wares ; Brunt, Bloor, Martin, & Co., East Liverpool, Ohio, 
white granite and decorated table and toilet services ; and 
the American Crockery Co., Trenton. N. J., makers of 
stone china, bisque, and white granite goods, 

BENNETT FAIENCE. 

Mr. John Bennett, formerly director of the practical 
work in the y"^S5^«r^ department of the Lambeth Pottery of 
Messrs. Doulton & Co., of London, England, came to the 
United States in the Centennial year and settled for a 
time in New York City, where he introduced his method 
of decoraiting /alencc under the glaze. He built his first 
kiln in Lexington Avenue, and afterwards erected others 
in East Twenty-fourth Street near the East River. At 
first he imported English biscuit, but after a time he em- 
ployed potters to make the common cream-colored body, 
as the tint imparted a warmth to his colors. He also 
used, to some extent, a white body, made in Trenton, N. 
J. His work was soon in great demand and brought high 
prices. The shapes were simple and generally devoid of 
handles or moulded ornaments. The decorations con- 
sisted chiefly of flowers and foliage, drawn from nature in 
a vigorous and ornate style, and painted with very few 
touches. A background was worked in after the painting, 



90 



3o6 POTTERY AND PORCELAIN. 

in loose touches and delicate tints, and finally the whole 
design was boldly outlined in black or very dark color. 
The glaze was brilliant, even, and firm, and the coloring 
exceedingly rich, the mustard yellows, deep blues, and 
browns tinged with red giving the ware a bright and 
attractive appearance. A cylindrical vase decorated with 
fed and white trumpet flowers impasted on a blue mottled 
ground (111. 149), and a small spherical vase with apple 
blossoms on a glossy black ground 
. 150), in the possession of Mr. 
lliam Lycett, of Atlanta, Georgia, 
excellent examples of Mr. Ben- 
t's most characteristic work. He 
3 produced some pieces in the 
le of the so-called \J\x(\o%^% faience. 
applying colored slips to the 
"ired clay. 

During the half dozen years 
that Mr. Bennett devoted to this 
work in New York many at- 
tempts were made to imitate his 
style. 

It seems proper at this point 
to quote what Mrs. Aaron F. Perry has written in her 
paper on " Decorative Pottery of Cincinnati " in Harper's 
concerning Mr. Bennett's relations to the Lambeth Potter>" 
before coming to this country : 

" Mr. Bennett's attitude toward Mr. Doulton is so re- 
spectful and deferential, and in regard to what he has 
himself done is so modest, that his own statement in 



DEVELOPMENT OF THE CERAMIC ART. 307 

answer to an inquiry on this point is not without interest. 
It is as follows : ' Your impression respecting Doulton 
Lambeth faience is right. I introduced it, and taught all 
the pupils, glazed and burned ; but in justice to Mr. H. 
Doulton, the principal, 1 must say it is very doubtful 
whether I would have brought it to the success it attained 
had I not been engaged by him. His natural good taste 
and desire to improve in art pottery always had a stimu- 
lating effect upon me. You will 
gather from the above that I 
think the Lambeth faience ought 
to be called Doulton ; at the same 
time, I have felt slighted by no 
mention being made of my name 
in Mr. Sparkes's paper on Lam- 
beth pottery.' " In his last state- 
ment, however, Mr. Bennett is 
clearly in error, as Mr. Sparkes, 
in his article, dated June, 1876, 
distinctly states that about fifty 
young ladies were employed "at 
the pottery of the Messrs. Doul- 
ton, painting and otherwise dec- 
orating the ware, under the 

immediate superintendence of Mr. John Bennett, the 
able Director of all the practical work in the Faience 
Department." 

About 1882 Mr. Bennett sought retirement on his farm 
in the Orange Mountains of New Jersey, and although he 
built a kiln there, he has since done but little in the way 



3o8 POTTERY AND PORCELAIN. 



of faience decoration. The mark used on the earlier 
pieces was " J. Bennett, N. Y.," and later, " West Orange, 
N. J." 

At Tarrytown, N. Y., a pottery was started about 1878, 
under the style of Odell & Booth Brothers. They made 
majolica and faience, decorated under the glaze. A few 
years ago they closed the works, which, after remaining idle 
some time, were opened and operated by the Owen Tile 
Co., manufacturers of decorative tiles. 

» 

WHEELING, WEST VIRGINIA. 

In November of 1879 ^^ Wheeling Pottery Company 
was organized, the officers being George K. Wheat, presi- 
dent, William A. Isett, secretary, and Edward Meakin 
Pearson, general manager. To Mr. Pearson's untiring 
energy and practical knowledge of the business the success 
of the company is largely due. In 1887 the same gentle- 
men organized a new company known as the La Belle 
Pottery Co., and the same officers were chosen to manage 
the latter, and in January, 1889, the two companies were 
merged into one. Mr. Pearson was elected president of 
the concern a year later, and has held the position con- 
tinuously until the present time. The products of the 
original works are plain and decorated white granite ware, 
while at the La Belle works adamantine china, plain and 
decorated, is made. The entire plant consists of fifteen 
large kilns and thirteen decorating kilns, and forms one 
of the most extensive potteries in the United States. 
The large decorating department is under the efficient 



DE VELOPMF.NT OF THE CERAMIC AR T. 309 

management of Mr. Charles Craddock, who has been 
connected with the company since 1882. He is a native 
of Burslem, England, and was for years in the employ of 
Messrs. Minton & Co., of Stoke-on-Trent. 



151. — Mr. Edward Mrakcn I'eaksun. 

Mr. Edward M. Pearson, the president of the com- 
pany, was born in Burslem, Staffordshire, England, on 
May 6, 1848, at which time his father owned the Abbey 
Pottery at Cobridge, old established works, which, it is 
said, were built in 1703, where young Pearson afterwards 
learned the trade. He was admitted to partnership with 
his father in 1869 under the firm name of Edward Pearson 
& Son. In 1867 and 1868 the son had visited the United 



310 POTTER Y AND PORCELAIN. 



States in the interest of their English house, which was 
engaged exclusively in the American trade. The partner- 
ship was continued until 1873, when Mr. Edward M. 
Pearson came to this country to remain permanently, and 
in July of the same year he went to East Liverpool to 
ascertain if white ware could be successfully made there. 
Nothing was then being attempted in that direction save 
some trials which Messrs. Knowles, Taylor, & Knowles 
were then making. These gentlemen permitted Mr. 
Pearson to carry on some experiments in their factory, 
which proved highly suc- 
cessful. The citizens of 
the town offered to donate 
the land and $10,000 
toward the establishment 
of a white ware factory 
if Mr. Pearson would 
accept the management. 
Accordingly, in conjunc- 
.Si.-MA7ARiNE BLUE AND WHiTB Pitcher, tionwith Messrs. Homer 
Raised Gold Decoration. Wheeling 

Pottery Co. and Shakespeare Laugh- 

lin, Mr. Pearson accepted 
the offer, and in 1874 erected the plant which is now 
operated by Mr. Homer Laughlin, Several other pot- 
teries were afterwards planned and built by Mr. Pearson 
in East Liverpool, and of the eight which made white 
ware in that town while Mr. Pearson resided there, to the 
year 1879, he has been connected with five. In the last- 
named year he moved to Wheeling, W. Va., as we have 
already seen, where he has been prominently identified 
with the pottery industry ever since. 



DEVEL OPMEN T OF THE CERAMIC ART. 311 

Mr. Pearson is connected on his mother's side with the 
prominent Meakin family of potters of Staffordshire, Eng- 
land, from which source he receives his middle name. 

Although a native Englishman, Mr. Pearson has be- 
come thoroughly Americanized and has been prominent 
in the advocacy of tariff matters before both houses of 
Congress. He is an active member of the U. S. Potters' 
Association, has held a number of prominent offices in 
that organization, and is now a member of several im- 
portant committees. 

THE OHIO VALLEY CHINA COMPANY, 

of Wheeling, W. Va., manufacture porcelain in striking 
shapes and decorations. The exhibit of this company at 
the World's Columbian Exposition was a surprise to the 
public. The modelling shows jagged or coarsely serrated 
edges with points projecting from handles, feet, and 
prominent parts, somewhat after the style of certain 
French and German wares. The decorations are of 
great variety and generally over the glaze, and in many 
instances handles and zones are perforated in an artistic 
manner. Fine effects are obtained by moulding Cupids 
in high relief in irregular alcoves or panels on the sides 
of vases. 

THE STEUBENVILLE POTTERY CO. 

In November, 1879, a meeting was called by repre- 
sentative business men of Steubenville, Ohio, to meet Mr. 
A. B. Beck, an English potter, to consider the matter of 

forming a joint-stock company for the purpose of manu- 



312 POTTERY AND PORCELAIN. 

facturing white granite and other wares. The existence 
of beds of excellent coal within the city limits, and the 
natural advantages of the location on the Ohio River 
and the great Pan Handle 
Railroad system, convenient 
to the markets of the north 
and east, decided the pro- 
jectors of the enterprise in 
organizing a company under 
the name of the Steuben- 
ville Pottery Company. The 
necessarj' buildings were 
accordingly erected and the 
first kiln was drawn on Feb- 
ruary i8, 1881. The present 
officers are Mr. W. B. Don- 
aldson, president, Mr. R. 
Sherrard. Jr., vice-president, 
and Mr. Alfred Day, secre- 
tary and treasurer, who has also been for several years the 
popularsecretary of the United States Potters' Association. 
About five years ago, coal was superseded by natural 
gas as a fuel, which insures a superior 
finish of the ware and better results in 
the baking. The products of this factory 
are white granite and decorated ware, 
in table and toilet services. The works 
now furnish employment to about two hundred hands, 
and annually produce $175,000 of finished goods. 

A new departure has recently been made at this pottery 




DEVELOPMENT OF THE CERAMIC ART. 313 

in the adoption of a semi-vitreous, opaque body of a rich 
cream color and exceedingly light weight, which is called 
"Canton china." It is made in yzs^'i, jardiniires, z.t\.A 
toilet sets, with overglaze dec- 
orations on tinted and gold- 
stippled grounds. A graceful 
ewer vase, with openwork 
handle formed of forget-me- 
nots, is particularly effective. 
This is sold in a number of 
pleasing decorations, or fur- 
nished plain for decorators, 
and is already becoming popu- 
lar on account of being par- 
ticularly well adapted for this 

purpose (111. 153). The stamp used on the " Beula " 
pattern, in white granite dinner ware, is an outline map 
of the State of Ohio. 

The Louisiana Porcelain Works of Messrs. Hernandez 
& Saloy were started in New Orleans about 1880, or pos- 
sibly earlier, for the manufacture of French china. The 
ware was made by French workmen, from French ma- 
terials, and was similar in quality to the Limoges porcelain. 
It was sold white, but at the time of the closing of the 
establishment, about 1890, a decorating department was 
about to be added. 

THE faeInce manufacturing company 

of New York began in 1880 to make, at Greenpoint, Long 
Island, pottery decorated with hand-modelled flowers ap- 



3(4 POTTERY AND PORCELAIN. 

plied to the surface and painted under the glaze, to which 
the name barbotine was incorrectly given, this term being 
in France used synon- 
ymously with "slip" 
or liquid clay. When 
the temporary demand 
for this class of ware 
had subsided, the com- 
pany made for a time 
so-called majolica 
ware. Plain shapes, 
without the moulded 
flowers, were dipped 
in colored glazes, some 
pleasing results being 
obtained by blending 
the various tints in 
streaked and marbled 
effects. 

Mr. Edward Ly- 
cett, formerly of Staf- 
fordshire, England, 
who had since 1861 
carried on an exten- 
sive decorating busi- 
ness in New York 
155,— Kaienck Vase. Faience ManufactorisciCo. City, where he em- 
ployed from thirty to 
forty people in painting and gilding imported wares, 
joined the Fafence Manufacturing Company in 1884, 



3 1 6 PO TTER Y AND PORCELAIN. 



and assumed the direction of the factory. Being a 
practical potter, as well as an artist of ripe experience, he 
at once set to work to compound better bodies and glazes 
and to design new shapes and decorations, and soon 
began the manufacture of richly embellished pieces, such 
as vases and other articles of ornamental character. One 
of the finest examples made at this factory, which is 
shown in Illustration 155, is a large granite vase, in the 
Persian style, designed and painted by Mr. Lycett While 
entirely covered with rich ornamentation, the effect is 
subdued and pleasing. The ground is a dark bronze, 
over which conventionally treated flowers, the poppy on 
one side and the clematis on the other, are executed in 
dull tones of color and outlined with raised gold, while 
the embossed and perforated work, handles, and foot, are 
covered with gold of different tints. The height of this 
vase is forty-two inches, and it is claimed that it was sold 
for probably the highest price yet paid for any single 
piece of American pottery. 

A fine grade of porcelain was introduced by Mr. 
Lycett, its peculiarity being that, although a true porce- 
lain, entirely devoid of bone, it is fired in the reverse of the 
usual method, being burned hard in the biscuit and softer 
in the glaze, in which no lead or borax is present, thus pos- 
sessing all the advantages, in placing and firing, of 2i faience 
or earthen body and the superior glaze of hard porcelain. 
Vases up to twenty-six inches in height were made of this 
body, which is very white and of a pleasing softness to the 
eye. The example here figured is modelled and painted 
in the Moorish style, with openwork handles, collar, and 



DEVELOPMENT OF THE CERAMIC ART. 317 

cover, decorated in raised gold and bronzes of brown, 
olive, and other tints, on a pale ochre ground (111. 156). 
A dolphin-handled vase, twenty-eight inches high, is a 
fine example of artistic treatment. The ground is of a 
pale ivorjf tint, on 
which aquatic plants 
are painted in subdued 
tones, enriched and re- 
heightened with vein- 
ings and outlines of 
raised work in gold 
and bronzes (111. 157). 
This is the work of 
Mr. Joseph Lycett, a 
son of the former 
director of the works. 
The handles are cov- 
ered with mat gold 
and a peculiar dark 
gold bronze which pro- 
duces a singularly mas- 
sive effect. The body 

is a 9inG. faience, which 157.— Faience Vase. FaIence Manufac 
, , .11 TitkiNC Co, By Joseph Lycett. 

may be described as 

a superior quality of white granite ware. Illustration 
No. 158 represents a fine faience vase with painting of 
"A Flight of Storks" in gold and bronze on an ivory 
ground. The handles and cover are pierced. The height 
of the vase is about. eighteen inches. The decoration is 
the work of Mr. Edward Lycett. 



3i8 



POTTERY AND PORCELAIN. 



In testing various materials for improving the glazes, 
Mr. Edward Lycett was fortunate in observing effects of 
iridescence on some of his experiments, which, being con- 
tinued on new lines, resulted finally in the discovery of a 
method of making the 
reflecting glaze, or Re- 
flet mitailique of the 
ancient Persian tiling, 
which has been so much 
admired for its brilliant 
reflections of prismatic 
and opalescent colors. 
Specimens of Mr. Ly- 
cett's ReflHs nacres and 
miialliques, now before 
me, fully merit the de- 
scription of the Oriental 
Refldis ^i\cx\ by our late 
Minister to Persia, the 
Hon. S. G. W. Benja- 
min, in his book, Persia 
and the Persians, and is 
a remarkable result of 
^ patient research. An 
' example submitted to 
the South Kensington 
Museum, in London, 
was pronounced a " marvellous piece of lustre," and at 
the late Piedmont Exposition in Atlanta, Ga., a special 
medal was awarded for tiles treated with this glazing. 



158.— Fine FaIence Vase, " 
OF Storks." Decorated in 
Bronze on an Ivoky Crou 
BNCE Manufacturing Co. 



DEVELOPMENT OF THE CERAMIC ART 319 

Mr. Lycett has also recently sent a few of these tiles to 
the Technical Museum of Hanley, Staffordshire, England, 
and in acknowledging their receipt, Mr. William Burton, 
the able chemist of the Wedgwood works, and lecturer 
on pottery, writes : *' I have just unpacked them and am 
surprised and delighted with the beauty and perfection of 
their iridescence. You have rightly named them Persian 
lustres, for they have exactly the qualities of the old 
Persian lustred ware, some of which happen to be dis- 
played in an adjoining case." 

Mr. Lycett severed his connection with the Fai'ence 
Manufacturing Company in 1890, when it became the 
agent in this country for a French manufactory. Mr. 
Lycett has now retired from active business, but his three 
sons, Mr. William Lycett of Atlanta, Georgia, Mr. F. 
Lycett of Bridgeport, Connecticut, and Mr. Joseph Lycett 
of Brooklyn, N. Y., who have for many years enjoyed the 
benefit of their father s instruction, are still actively en- 
gaged in teaching and decorating. 

A pottery was erected at EvansviUe, Ind., in 1882 by 
Mr. A. M. Beck, who came from England. He built 
three kilns and commenced the manufacture of majolica 
ware. At Mr. Beck's death, two years later, the works 
were sold to Messrs. Bennighof, Uhl, & Co., who com- 
menced making white ware. In 1891 the Crown Pottery 
Co. was organized and the plant was increased to six 
kilns and four enamel kilns. The present products are 
white granite specialties in table and toilet goods, plain, 
white, and decorated. The trade-mark used by the com- 
pany is a crown. 



320 POTTERY AND PORCELAIN. 



THE CHESAPEAKE POTTERY, 

of Baltimore, Md., although among the youngest of the 
American potteries, has achieved a high reputation for the 
variety of excellent and novel bodies and glazes it has 
produced, and has won still greater distinction by the 
beauty and originality of its designs, both in form and 
decoration. The works were started in 1881 by Messrs. 
D. F. Haynes & Co., and were continued without change 
until 1887, when the style was altered to The Chesapeake 
Pottery Company, and in 1890 Messrs. Haynes, Bennett, 
& Co. assumed control and are still operating th^ pottery 
with marked success. 

Mr. David Francis Haynes, the senior partner, has 
stood at the head of the business since its inception. He 
was born in 1835, in the town of Brookfield, Mass., and 
sprang from a sturdy Puritan race, his emigrant ancestor, 
Walter Haynes, having landed in Boston, from the ship 
Confidence, in 1638. Mr. Haynes spent his early life on 
a New England farm, attending the public schools of the 
vicinity until the age of sixteen, when he entered a 
crockery store in Lowell, Mass. Here he rose rapidly, 
and before attaining his majority was sent to England by 
his employer in charge of an important trust. Possessing 
a natural taste for decorative work, he displayed at an 
early age marked talent for construction and ornamenta- 
tion, and his visits abroad, among the art treasures of 
England and the Continent, proved a revelation and an 
education to him. Returning to his native land in the 
autumn of 1856, Mr. Haynes soon moved to Baltimore 



DEVELOPMENT OF THE CERAMIC ART. 321 

and entered the employ of the Abbott RoIHng Mills, a 
large concern engaged in the manufacture of plate iron. 
In 1861 he was placed in charge of these extensive mills, 
in which armor plates for the ironclads were made. At 
the close of the war he was sent to Virginia to manage a 
large iron property, where he became interested in the 
mining of iron ores and clays. In 1871, the offer of an 



159. — Mr. David Francis Havnes. 

interest in a crockery jobbing house brought him back to 
Baltimore and to the handling again of the wares for 
which he had always retained a fondness. 

On purchasing the Chesapeake Pottery property, Mr. 
Haynes entered at once into the congenial work of pro- 
ducing a variety of wares, being greatly aided by the 
knowledge gained in the jobbing trade of the productions 



322 POTTERY AND PORCELAIN. 



of the Old World and the wants and tastes of the Ameri- 
can people. Finding that but little attention had been 
paid in this country to original designing for pottery pur- 
poses, and that practical, trained modellers, who possessed 
artistic sense, were difficult to procure, he commenced to 
design wares for the Chesapeake Pottery himself. The 
result of his patient study and constant practice are re- 
vealed in his wealth of beautiful creations which have 
been copied extensively both in this country and abroad. 
No one of our potters has done more to refine the wares 
for daily household use than Mr. Haynes. He has always 
held it to be of much greater importance to elevate the 
quality, as far as possible, of the entire pottery product of 
the country, than to produce a few fine pieces that should 
be within the reach of only the wealthy. To make the 
cup and jug of the plainest home a thing of beauty has 
been his ruling motive. With this in view, he has been 
constant in his endeavor to have the United States 
Potters' Association take up the work of establishing a 
pottery training school, the benefits of which would be 
shared by the entire craft. 

Mr. Edwin Houston Bennett, the junior member of 
the firm, is a son of Mr. Edwin Bennett, one of the 
pioneer potters of this country. The former was born in 
Baltimore and his business life has been spent in pottery 
work. His painstaking experiments in the firing of kilns 
and the making of wares have placed him prominently 
among the rising practical potters in this country, and 
made his share in the progressive work which is being 
done at the Chesapeake Pottery an important one. 



DEVELOPMENT OF THE CERAMIC ART. 323 

When this factory was started, majolica ware was in 
great demand. Its first product was called "Clifton" 
ware, and belonged to the majolica family, but was supe- 
rior in body and glaze, and was pronounced by judges 
equal to the famous Wedgwood ware of that grade. 
Following this came the " Avalon " ware, which was of a 
fine body, of ivory tint and soft rich glaze, ornamented 



160. — " Severn " Ware. Chesapeake Pottery. 

with sprays of flowers in relief, which were touched with 
color and gold, making a pleasing decoration. The 
" Calverttne " ware, made about the same time, was simi- 
lar in its composition to the " Avalon," but quite different 
in decorative treatment, being turned upon the lathe, with 
spaces for bands, upon which were overlaid conventional 



324 POTTERY AND PORCELAIN. 

relief ornaments, which produced a refined effect when 
treated with dehcate colors and outlined with darker tints 
of gold. 

In 1885 parian wares were produced, with modelled 
flowers, panels with heads in relief, medallions of Thor- 



161.— C.\ariLUN AND AcsATiAN Semi-I'urcklain Toilet Ware. Chi 
Pottery. 

waldsen';; " Seasons," and similar works, which received 
the commendations of experts for the mellow tone, sharp- 
ness, and rich translucency of the body. Some cattle-head 
plaques in high relief, modelled by Mr. James Priestman, 



DEVELOPMENT OF THE CERAMIC ART. 325 

from studies of typical animals in the noted herd of Mr. 
Harvey Adams, were especially praiseworthy. 

The most original and perhaps, all things considered, 
the most refined and beautiful of the various Chesapeake 
bodies was the so-called " Severn " ware, first brought out 
in 1885. This was a fine, thoroughly vitreous body of a 
subtle grayish-olive tint, which was secured, without any 
artificial coloring, by a combination of American clays and 



i6a. — Useful and Decorativb Semi- Porcelain Wakes. Chesapeake Pottery. 

Other materials. Dr. William C. Prime, author of Pottery 
and Porcelain of All Times and Nations, said of it : " No 
one who is interested in the art of pottery can fail to note 
this ware as marking an era in the history of American 
ceramics." 

All of these bodies, excepting the parian, were made 
into a great variety of useful and ornamental articles, such 



328 POTTERY AND PORCELAIN. 



style which prevailed about the beginning of the present 
century. This set was not exhibited until late in January, 
1892, but was copied by a celebrated English firm and 
displayed in their London warerooms in May following, — 
a decided compliment to American work. 

The latest achievements of the Chesapeake Pottery 
are a line of parlor and banquet lamps, clocks, and large 
decorative vases, all characterized by originality of design, 
grace of form, and delicacy of execution. 



165. — Lamps and Vases, Chesapeake Pottihv. 

Mr. Haynes has also recently designed a porcelain 
" Pompadour " clock case, with Rococo relief ornamenta- 
tion and finished in rich gold (111. 166). It measures 
fourteen and one-half inches in height. 

At the exhibition of American pottery held in Me- 
morial Hall, Philadelphia, in the autumn of 1889, Miss 
Fannie Haynes, daughter of Mr. D. F. Haynes, entered 
in competition a large vase which attracted considerable 



DEVELOPMENT OF THE CERAMIC ART, 329 

attention and took one of the prizes, and was afterwards 
purchased by the trustees of the Museum for the perma- 
nent collection. The chief merit of the work lies in the 
genuine Moorish feeling in the relief ornament and its 
color treatment, but the Arabic character of the English 
inscription, " In the History 
of Pottery Read the Story 
of the Race," which forms 
part of the decoration, is 
particularly marked, and 
strongly resembles, at a 
short distance, a real bit of 
Oriental lettering. Miss 
Haynes has inherited a fond- 
ness for decorative work. 
She studied in design at 
the Maryland Institute Art 
Schools, and afterwards in 
the Metropolitan Museum 
Schools in New York, then 
gave instruction in model- 
ling in the Pratt Institute 

Schools of Brooklyn, New 

IT \ \ I ■ i^- — PoKCELAiN Clock. Chesapeake 

York. At present she is pottery. 

engaged in making designs 

for leading manufacturers of silks and silkoline fabrics 
in New York. 

The most important, and perhaps the most artistic, 
piece of ware thus far produced by Messrs. Haynes, Ben- 
nett, & Co. is the " Calvert " vase, shown at the Columbian 



330 POTTER Y AND PORCELAIN. 

Exposition for the first time. It measures twenty-eight 
inches in height and twenty-six in width, including the 
handles, which are in the resemblance of winged female 
figures terminating at the base in a richly foliated orna- 
ment. The lid or cover of the vase is surmounted by a 
well executed flame-point, which emphasizes the Renais- 
sance treatment of the 
entire piece. Bands 
of rich relief orna- 
mentation around the 
neck, on the shoulder, 
and about the foot 
and lower portion, en- 
hance the beauty of 
the fine lines in the 
form. This vase was 
designed by Mr. 
Haynes, and the 
handles were modelled 
after ideas of his and 
under his direction by 
^•ss Mr. Fred E. Mayer, 
iLA- a young man of con- 
"^'■*'"'*' siderable talent, who 

studied under Prof. L. W. Miller in the Pennsylvania 
Museum and School of Industrial Art, Philadelphia. 

Several copies of the " Calvert" vase have been made, 
and decorated in widely divergent styles. One of these 
shows a delicate tinting of the handles and all the relief 
work in a pale marine or turquoise green of mat or satin 



DEVELOPMENT OF THE CERAMIC ART 331 

finish, enriched with dead gold, the contrast of this combi- 
nation with those parts of the body and cover that are left 
white producing a refined and beautiful effect. The entire 
treatment of the vase is characteristic of Chesapeake 
Pottery work. 

Another example is entirely covered with a rich dark 
Pompadour red, the raised horizontal 'lines of the orna- 



168. — ■'Calvbet" Vase. Chesapeake Potterv, 

mentation being overlaid with gold, combining richness 
and strong color effect with simplicity. A third style of 
decorative finish is after Worcester methods, the treat- 
ment having been left to Mr. Scott Callowhill of Trenton, 
an artist formerly employed at the Worcester works, who 
found in this vase a subject worthy of his best effort 



332 POTTERY AND PORCELAIN. 



Mr. Haynes has also recently worked out a strong 
design for a water filter of large proportions, one of the 
decorations for it being an effective all-over pattern made 
up of the fleur-de-lis and a quartered rosette, employed 
alternately, applied in deep underglaze blu3. 

THE PAULINE POTTERY COMPANY. 

In 1883 Mrs. Pauline Jacobus started a small work- 
shop in Chicago under the name of the Pauline Pottery, 
which consisted of one small kiln and employed a single 
presser and a couple of decorators. In the spring of 
1888 the works were moved to Edgerton, Wisconsin, and 
considerably enlarged. At present the products of the 
factory are porous cells for electric batteries and under- 
glaze art ware. Thirteen ladies find employment here, 
under the direction of Mrs. Jacobus, in painting on the 
biscuit. On the removal of the works to Edgerton the 
Pauline Pottery Company was incorporated under the 
laws of Wisconsin and the business has steadily increased, 
until at present thirty-five hands are engaged in producing 
the wares for the market. The decoration of the art 
wares is entirely underglaze, and the forms of the pieces 
are ornate and graceful. Ewers, vases, flower jars, bon- 
bon boxes, candlesticks, lamp stands, and fancy designs 
are produced to a considerable extent The painting is 
done entirely with the brush, frequently in the Japanese 
style. The body of the ware is light and porous, resem- 
bling the ordinary Japanese Kioto ware. The resem- 
blance is particularly apparent in examples in which the 



DEVELOPMENT OF THE CERAMIC ART. 333 

entire surface of the glaze is covered with fine crackling. 
Modern Italian majolica ware is also imitated here to 
some extent 

The Onondaga Pottery Company, of Syracuse, N. Y.. 
produce white granite and cream-colored wares, in plain 
and decorated dinner and toilet services. 

The Mayer Pottery Company, of Beaver Falls, Pa., 



169. — Paulins Art Pottery, Edgerton, Wis, 

manufacture stone china, lustre band, sprig ware, and 
decorated goods. 

Messrs. Goodwin Brothers operate an establishment 
at Elmwood, near Hartford, Conn., where they own ex- 
tensive clay beds. They produce cream-colored, Rock- 
ingham, yellow, and terra-cotta goods. The latter 
include an extensive variety of fancy flower-pots, hanging 



334 POTTER Y AND PORCELAIN. 



baskets, vases, both ornamental and plain for decorators, 
cuspidors, jardinHres, umbrella jars, and fancy lamp- 
stands, hand decorated in colored and rustic designs, 
bronzed, silvered, and lustred. They also have salesrooms 
in New York City. 

The Nashville Art Pottery was making in 1886 a fine 
red ware with good brown glaze, in artistic shapes. Ex- 
amples may be seen in the TrumbuU-Prime collection, 
now on exhibition at Princeton College. 

The Charles Graham Chemical Pottery Works, Brook- 
lyn, N. Y., one of the most extensive in this country, 
produce chemical stoneware of every description, porce- 
lain-lined earthenware wash-trays, fire-bricks, and acid 
receivers up to 500 gallons capacity. 

The Akron Stoneware Agency, of Akron, Ohio, of 
which the Boston Pottery Co. is a branch, manufactures 
extensive lines of stoneware, Rockingham, and yellow 
wares, in the usual utilitarian forms, such as jugs, jars, 
pitchers, flower-pots, bottles, spittoons, and household 
utensils. In Akron there are fifteen establishments where 
clay and pottery products are made. 

The Warwick China Company was organized in 
Wheeling in 1887, of which Mr. J. R. McCourtney was 
the first president and Mr. George Bradshaw, formerly 
foreman for Mr. Homer Laughlin, of East Liverpool, 
manager. Mr. O. C. Dewey succeeded to the presidency 
in the following year, and in 1889, on the resignation of 
Mr. Dewey, Mr. Charles W. Franzheim, then vice-president 
of the Wheeling Pottery Company, became president of 
the Warwick China Company, and still holds that posi- 



DEVELOPMENT OF THE CERAMIC ART 335 



tion. The products of this factory are semi-porcelain 
dinner, tea, and toilet ware. 

In 1887 or 1888 the West Virginia China Company 
was established, with Mr. Wm. L. Hearne president and 
Mr. James Clarke, formerly of the Trenton China Company, 
manager. This company was re-organized about two 
years ago under the name of the Ohio Valley China Com- 
pany (which see). 

Summer visitors to Martha's Vineyard are familiar 
with the peculiar earthenware which is made at the Gay 
Head Pottery of Mr. W. F. Willard, Cottage City, Mass., 
which is fashioned in plain vase forms from variegated 
clays found at the west end of the island. These deposits 
are bright red, light blue, and drab, and the peculiarity of 
the ware is that it is not burned, but stcn-dried, and con- 
sequently not intended for use, but merely for ornament. 
The different colored clays are ground separately, placed 
together in a ball, and turned into shape, and when par- 
tially dry the vessel is shaved and then allowed to harden 
in the sun. The surface presents the appearance of 
striped stoneware, without glazing, the bands of red, blue, 
and slate-colored clays being distinct and remarkably 
brilliant. Articles are also made from the red clay and 
burned, but the coloring disappears in the kiln, and con- 
sequently much of the ware is sold in an unbaked state 
to curiosity hunters, in order to preserve the natural hues 
of the clays. This pottery gives employment to several 
hands and has been in operation for about fourteen 
years. 



336 POTTERY AND PORCELAIN. 

THE LOXHUUA POTTERY CO. 

An art pottery has been recently established in Steub- 
enville, Ohio, for the manufacture of underglaze faience. 
The firm, which is known as the Lonhuda Pottery Com- 
pany, is composed of Mr. W. A. Long, chemist, Mr. W. 
H. Hunter, editor of the SteubenviUe Daily Gazette, and 
Mr. Alfred Day, secretary of the United States Potters' 



170. — LONHUD* POTTBRY. 

Association. Mr. Long has for some years been engaged 
in experimenting with clays and colors suitable for under- 
glaze decoration, with a view to producing a high class 
potterj' which should be characteristically American. 

The forms of vessels have, in a great measure, been 
suggested by examples of Chiriqui and other Indian wares 



DEVELOPMENT OF THE CERAMIC ART. 337 

in the collection of the Smithsonian Institution at Wash- 
ington. In addition to the monogram of the company, 
which has been used as a factory mark, the impressed 
figure of an Indian's head has been adopted for use on such 
pieces as are distinctively American in shape. 

The colors used are mixed with clays to heighten or 
soften the lights, and applied in colored slips to the green 
body, over the tinted and blended grounds of refined 
tones of reds, warm browns, yellows, and neutral grays. 
After the first firing the ware is covered with a brilliant 
tinted glaze. Foreign clays are used almost exclusively 
in the body, which is more or less vitreous and of a yel- 
lowish color. The product is ornamental rather than 
utilitarian, consisting mainly of vases, jardini'ires, and 
small articles for household use. The shapes are simple 
and graceful in outline, and the decorations are the work 
of competent artists, among whom is Miss Laura A. Fry, 
formerly of Cincinnati. 



CHAPTER XV. 

TOBACCO PIPES. 

AS early as 1690 tobacco pipes were made in Phila- 
delphia, as stated in Scharf and Westcott's History 
of Philadelphia. An advertisement appeared in 
Andrew Bradford's American Weekly Mercury, printed 
in Philadelphia May 12. 1720, worded as follows: "Good 
long Tavern Tobacco Pipes Sold at 4s, per Gross by a 
single Gross, and 3s. for a larger Quantity by Richard 
Warder Tobacco Pipe Maker living under the same 
Roof with Phillip Syng Gold Smith, near the Market 
Place, where also any that have occasion may have their 
foul Pipes burnt for 8d. per Gross." These were doubt- 
less similar to the long-stemmed white clay pipes which 
had been made at Gouda, Holland, and Broseley, Eng- 
land, for upwards of a century. The first tobacco pipes 
made were fashioned of clay or stone by the aborigines of 
North America, and Indian pipes were carried to Europe 
in 1586 to serve as models for the first civilized smoking 
utensils for the propagation of a savage custom. 

The Moravians of Bethlehem, Pa., made clay smoking 
pipes in the last century, but as to exact form and date 
of manufacture I have not been able to procure definite 
338 



TOBACCO PIPES. 339 



information. Mr. Robert Rau, of that place, is my 
authority for the statement that plain pipe-bowls, some 
white and some green, made without stems, were pro- 
duced by these people probably within the first decade of 
this century. Long-stemmed pipes seem to have been 
superseded by bowls about that time, and during the 
ensuing thirty years or so numerous local potteries 
throughout Pennsylvania and other sections took up this 
branch of manufacture. . 

About the year 1810 Adam Maize, of New Berlin, 
Union County (then Northumberland), Pa., was making 
pipe-bowls in the form of a man's head, and prior to 1825, 
when he quit the business to enter politics, Philip See- 
bold, who had learned his trade with Maize, made the 
same style of bowl. The manufacture, however, was con- 
tinued at both potteries until about 1845, when outside 
competition caused it to cease. 

Previous to 1830 Christian Evil and Charles Zorn had 
potteries in Berlin, Somerset County, Pa., where they 
made pipe-bowls in the form of a man's head. Jacob 
Swope owned a pottery one mile north of Bird-in-Hand, 
Lancaster County, Pa., about 1820. His son, Zuriel 
Swope, happened one day when a lad, as he was passing 
along a street in Lancaster, to see one of the black-glazed 
pipe-bowls from Berlin in the window of a jeweller's shop, 
and, attracted by its novelty, went in and purchased it for 
three cents. He then commenced making similar bowls 
at his father's pottery. His first mould was constructed 
of lead, which, proving too soft, was replaced by one 
made of block tin. He manufactured, without assistance, 



340 PO TTER Y AND PORCELAIN. 



as many as three hundred pipe-bowls in a day, which he 
took to Lancaster and sold for a cent each. 

About 1840 Samuel Sturgis was making quite exten- 
sively, at Lititz, in the same county, similar pipe-heads, 
which he sold largely to tobacconists in Philadelphia and 
other places. These were made in half a dozen different 
designs, and, being well burned and covered with green, 
brown, oryellow glaze, 
were very popular with 
the smokers of that 
day. At an earlier 
date earthen and 
stoneware had been 
made there by Mr. 
Sturgis and by Joseph 
Sturgis, his father. 
The business was dis- 
continued in 1843, on 
the death of the 
former. Mr. C. W. 
Sturgis, his son, resid- 
ing in Lancaster, in- 
formed me that several 
of the old pipe-moulds are still in possession of the 
family. 

Some years after the discontinuance of the Lititz pot- 
tery, about 1856, John Gibble, of Manheim, commenced 
to make pipes of red clay, covered with a brown glaze, in 
the shape of an Indian's head. Mr. Gibble, son of the 
original owner, is still in the business, and has sent me 



TOBA ceo PIPES. 34 1 

several samples of this form, together with one of the 
hand-made clay racks, furnished with numerous hooked 
arms, on which the pipe bowls were hung to dry after 
being glazed, as shown in the accompanying cut (111. 171). 

In 1858, Mr. J. Richards manufactured white clay 
smoking-pipes of different lengths and of good quality, in 
Oxford Street, above Frankford Road, Kensington, Phila- 
delphia. He sent to England for potters who had learned 
this branch of the art. 

Ten years ago, Mr. A. Peyrau, a Frenchman, was 
making in New York City, light red, unglazed terra-cotta 



17a.— Tehra-Cotta Pipe Hea 

pipe heads. These were caricatures of prominent Ameri- 
cans and character sculptures. The modelling was done 
with boldness and remarkable fidelity to nature. The 
production of these portrait heads was discontinued several 
years ago on account of the expense of manufacture and 
the limited demand for a high-priced article of this 
nature. 

At present there are numerous tobacco-pipe manufac- 
tories scattered throughout the United States, of which 



342 PO TTER Y AND PORCELAIN. 



one in St. Louis, Mo., another at Fulton, 111., and several 
in Virginia, are probably among the most important. 

Short-stemmed white clay pipes were made for the 
Presidential campaigns of 1888 and 1892, with portrait 
bowls representing Harrison and Cleveland, by Charles 
Kurth, of Brooklyn, N. Y. 

Excellent pipe clays are found at Hockessin, Delaware, 
and at other points in Indiana and Missouri, suitable for 
white pipes, while in the latter State a red clay occurs 
which is used extensively in the manufacture of red 
bowls. 

Many pipes of early English and Dutch origin have 
been found in old Indian graves in the United States, in- 
cluding some of the ** Fairy Pipes " with diminutive bowls, 
which were brought to this country by white settlers and 
traded to the Indians perhaps two hundred years or more 
ago. Dr. Charles C. Abbott has recently made an inter- 
esting discovery of a large number of old Dutch and 
English clay pipes in the ruins of an old building on an 
island in the Delaware River. 




iwT 



CHAPTER XVI. 
ORNAMENTAL TILES. 

THE first wall and paving tiles produced in the 
United States were probably made at the factory 
of Abraham Miller in Philadelphia. About 1845 
one of his workmen, Mr. Thomas F. Darragh, who, tn 
1838, when a lad of fourteen, went to Mr. Miller to learn 
the potting trade and remained with him for twenty years 
as apprentice and journeyman, now with the firm of 
Hyzer & Lewellen, of Philadelphia, made for Mr. Miller 
some Rockingham tiles of large size, probably measuring 
nine by eighteen inches, which were used for facing the 
outside of the warehouse. Mr. Darragh also produced 
some mottled tiles of various colors for paving in front 
of Mr. Miller's residence, on the north side of Spruce 
Street east of Broad. Miller was making at that time an 
octagonal spittoon for the market. By cutting these hori- 
iontaily in half he procured an ornamental pattern of 
novel effect which he utilized as wall tiles, by forming a 
border of them around the ceiling of his office. The idea 
was original and characteristic of the man. 

At the United States Pottery, Bennington, Vt., ex- 
periments were made with inlaid tiles in 1853, and a 



344 



POTTERY AND PORCELAIN. 



sufficient number were produced to cover a floor space of 
seven feet square, underlying the exhibit of this factory 
at the Crystal Palace Exhibition which was held in New 
York in that year. These tiles were about ten inches 
square and made by the wet-clay process. The body was 
white, inlaid with variegated colors, the designs consisting 
of ornamental centre-piece 
and border with the Ameri- 
can flag in each corner. It 
I is not known what disposition 
was made of this tile floor 
after the exhibition, and it 
seems that the difficulties 
encountered in making these 
examples deterred the com- 
pany from continuing ex- 
periments further in this 
direction. 

Previous to 1872, Messrs. 
Hyzer & Lewellen, of Phila- 
delphia, were experimenting 
in floor tiles, and I have 
before me some interesting 
examples of these early at- 
tempts. Their flrst efibrts 
were directed to the manufacture of encaustic tiles of 
geometrical shapes, — square, diamond, and triangular, — 
with natural and artificially-colored American clays, mainly 
buff, red, and black, the designs being inlaid to the depth of 
about a quarter of an inch. While these attempts proved 



—Some op the First Fancy 

American Tiles. 
HVZEK & Lkwellen. 



ORNAMENTAL TILES. 345 



partially successful, the wet-clay method employed at that 
time was unsatisfactory, because the shrinkage was found 
to be irregular and the pieces came from the kiln of differ- 
ent thickness. The next experiments were made by the 
damp-dust process, which has been employed ever since. 
The accompanying illustration will show two forms of 
geometrical wall tiles which were made previous to 1876. 
They are plain tiles of yellow clay, of great hardness, the 
glaze being also hard and entirely free from ** crazing," and 
fully equal in all respects to anything of the kind which 
has since been produced in this country. The hexagonal 
specimen figured is decorated with painted designs above 
the glaze, consisting of a green vine on a buff ground, 
with a red centre outlined in black. The lozenge-shaped 
example is painted with a black device on a lemon-colored 
ground. Later, several patterns of six-inch unglazed 
mantel tiles, with conventional floral decoration in low 
relief, were produced, but the manufacture of ornamental 
tiles was only carried on a short time. At present this 
firm makes a specialty of plain geometrical floor tiles of 
different colored bodies and of exceeding hardness. The 
clay used is fine and homogeneous, and when burned 
almost approaches stoneware. They also manufacture 
fire-brick, furnaces, cylinders, dental muffles, and stove- 
linings. Furnace tests of the standing-up power of the 
best known fire-bricks, instituted by the Second Geologi- 
cal Survey of Pennsylvania, in 1876, at Harrisburg, 
showed that the productions of Messrs. Hyzer & Lewellen 
were superior in heat-resisting qualities to all others 
that were submitted for examination. 



346 POTTERY AND PORCELAIN. 



THE LOW ART TILE COMPANY. 

Mr. John G. 
Low, the founder of 
the Low Art Tile 
Works, was born in 
Chelsea, Mass., in 
1835, where five 
generations of the 
same name had pre- 
ceded him. From 
the age of sixteen 
until the year 1877 
he devoted himself 

174. — A "Low" Tn.R. . ,. , 

to various hnes of 
painting, commencing with fresco and decorative work. 
In 1858 he went to Paris, where he studied with Thomas 
Couture and with M. Troyon, the celebrated cattle 
painter, for three years. In 1877 he became deeply 
interested in ceramic manufactures, and, in the follow- 
ing year, formed a copartnership with his father, Hon. 
John Low, and at once commenced the erection of a 
tile manufactory in his native place. Having never 
seen a tile made in any factory, he began experimenting 
on purely original lines and soon overcame the mechani- 
cal difficulties which presented themselves. A novel 
method was resorted to in the ornamentation of his 
earlier productions, which he patented and called the 
" natural " process. To secure accurate impressions of deli- 
cate objects, such as grasses, leaves, laces, etc., the article 



ORNAMENTAL TILES. 



to be reproduced was placed on the surface of the lightly 
shaped and unburned tile and forced into the clay by 
means of a screw press. On this impression was spread 
a piece of tissue paper, and over this was piled a quantity 
of the prepared dust, which was subjected to a second 



175.— View of the Low Art Tile Works. Chelsea. Mass, 
pressure. The tile, or pair of tiles, of double thickness, 
was then separated and the paper removed, when the im- 
pressions of the objects appeared in relief and intaglio, 
showing every minute detail of marking. These Mr. Low 
called "natural tiles." 



348 POTTERY AND PORCELAIN. 



The method employed in making embossed or relief 
tiles is that now used by all tile works in this countrj', 
which was patented by Mr. Richard Prosser, in England, 
in 1840. for making buttons, and shortly after applied by 
Mr. J. M. Blashfield to the manufacture of tiles, called 
the " dust " process, which consists in slightly moistening 
the dry, powdered clay and subjecting it to great pres- 
sure in dies containing the designs to be impressed upon 
them. They are then burned 
and after%vards glazed or 
enamelled indelicate colors. 
In a little more than 
a year after the works were 
started, we find this firm 
competing with English tile- 
makers at the Exhibition 
at Crewe, Stoke-on-Trent, 
which was conducted under 
176.-AN F. s. A. the auspices of the Royal 

Manchester, Liverpool, and 
North Lancashire Agricultural Society, one of the oldest 
in England. There they won the gold medal over all the 
manufacturers of the United Kingdom for the best series 
of art tiles exhibited. This record, probably unsurpassed 
in ceramic history, serves to illustrate the remarkably 
rapid development of an industry new in America but old 
in the East, and shows the vast resources at command of 
the American potter. 

In 1883 Hon. John Low retired from the firm and Mr. 
John F. Low became associated with his father under the 
style of J. G. & J. F. Low. 



350 POTTERY AND PORCELAIN. 

Mr. Arthur Osborne, who has designed the majority 
of the tiles produced here, joined the Lows a few months 
after they commenced experimenting, and is still con- 
nected with the factory. He is a talented and versatile 



No. 178.— Tile Stove. 
young artist, whose conceptions are chaste and classic and 
possess marked originality. Among his numerous designs 
are ideal heads, mythological subjects, portraits, Japanese 
sketches, and an almost endless variety of animal, bird. 



ORNAMENTAL TILES. 351 

and floral studies. His "plastic sketches," on a larger 
scale, are particularly meritorious, some of the most 
pleasing being a group of sheep in a pasture, a drove of 
swine entitled " Late for Dinner," a herd of cattle wending 
their way homeward (111. 177), and " The Old Windmill." 
These are made of plastic clay, called the " wet-clay " pro- 
cess, and vary in size to upwards of eighteen inches in 
length. A beautiful conceit is the " Fleeting Moments," 



No. 179. — Panel for Soda Fountain. 

in which three cupids hover around an hour-glass, one 
being depicted in the act of winging his way upwards. 
In the high-relief tiles the undercutting is done by hand 
after the designs have been stamped in the press. 

The Low Art Tile Co. also manufacture mantel- 
facings, panels, stove-tiles, calendar tiles, clothes hooks, 
paper-weights, inkstands, clock cases, candlesticks, bon- 
bon boxes, and at one time made to some extent ewers 



352 



POTTERY AND PORCELAIN. 



and vases with relief ornamentation, or in plain colors, 
enamelled and glazed. They at one time also made tile 
stoves. Lately they have been making a specialty of the 
manufacture of art-tile soda fountains, in which work Mr. 
Osborne has found a broader field for the exercise of his 
talents. 



A superb fountain made by this firm, and exhibited at 
the Chicago Exhibition, is probably the most elaborate 
piece of work produced by them. As an example of tile- 
modelling it has not been surpassed. The centre panel, 
measuring about six feet in width by five in height, is 
arched at the top, and on each side is a smaller panel of 



ORNAMENTAL TILES. 353 



the same form. The design of the central piece consists 
of a group of human figures in high relief surrounding a 
fountain, and Cupids form the subject-design of the lateral 
panels. The delicate olive glaze which covers the tile- 
work produces a rich and harmonious effect. 

The Lows have never imitated other work, either do- 
mestic or foreign. They have never made hand-painted, 
mosaic, printed, encaustic, or floor tiles, and they have 
never employed men who were trained in other tile 
works. Consequently their products are characterized 
by a marked originality, both in style and design, which 
has caused them to be extensively imitated, both at home 
and abroad. 



THE AMERICAN ENCAUSTIC TILING CO. 

was projected in 1875 at Zanesville, Ohio, by a former 
resident of that place, who, while engaged in business in 
New York, had succeeded in interesting some capitalists 
of that city in the manufacture of flooring tiles from 
Ohio clays. The first experiments not proving satisfac- 
tory, Mr. George A. Stanbery, a mechanical engineer, 
who had been a commissioner to the Vienna Exposition, 
was engaged to take charge of the works, and through 
his energy and ability, with the financial aid of Mr. B. 
Fischer of New York, the president of the company, and 
his associates, the enterprise was finally placed upon a 
paying basis. 

In 1880 glazed or enamelled tile were first made here. 

Encaustic or inlaid floor tiles are made by both the plastic 

23 



354 POTTERY AND PORCELAIN. 

and the damp-dust processes, and the geometrical designs 
for these are prepared by competent designers, who are 
employed by the company for this purpose. 

Relief tiles are also made here to a large extent, de- 
signed by Mr. Herman Mueller, modeller for the company, 
who studied in the Industrial Academy and Preparatory 
Art School of Nuremburg, and in the Art Academy of 
Munich. Special designs have been produced in single 



i8i.— Encai'stic Tilk Dbsign. 

panels twelve by eighteen inches in dimensions, of which 
we have seen some female water carriers of Grecian type. 
Plastic sketches of large size have also been executed for 
special orders. Among other styles produced at this 
factory are imitation mosaic tiles, damask, and embossed 
damask-finished tiles. By a peculiar treatment, pictures 
and portraits are also reproduced on a plain surface. This 
consists in modelling on a smooth surface of clay in in- 



ORNAMENTAL TILES. 355 

taglio and filling the carved portions with a colored glaze, 
the shadows being regulated by the depth of the carving, 
the high lights being raised to near the level of the tile. 
The relative thickness of the glaze produces the corre- 
sponding depth of tint, and the effect is that of a photo- 
graph or flat picture instead of a design in relief. In this 
manner ideal heads and faithful portraits have been suc- 
cessfully executed. The method is clearly shown in the 
accompanying illustration, which represents a six-inch tile 
in the biscuit state, and the same filled in with glaze, the 
latter being an excellent like- 
ness of Mr. John Hoge, a 
director of the company (111. 

■83)- 

Mr. Karl Langenbeck, 
the efficient chemist of the 
works, has had considerable 
experience in analyzing clays, 
and has charge of the labora- 
tory of the company, in which 
experimental tests are made. iBa-'OLu age." 

In the manufacture of tiles many chemical and mechani- 
cal problems are involved, such as the proper selection and 
combination of clays to insure sufficient cohesiveness to 
dry without warping or cracking ; the selection of a tem- 
perature in burning that will be suitable to all the different 
clays ; the preparation of a glaze for enamelled tile which 
will possess the same co-efficient of expansion and shrink- 
age as the clay bodies upon which it is placed. 

In the " dust " process the prepared materials are made 



356 PO TTER Y AND PORCELAIN. 

coherent by the application of enormous pressure, which, 
in this factory, is obtained by mechanical presses, auto- 
matic in action, which are controlled by the company, and 
constructed in the machine shops connected with the works. 
Some of the most artistic productions of this factory 



MouKLLEU Tils. 



184.— Six- by Eightrkn-Ihch Panel — "Swallows," 

are the eight, ten, and fifteen tile facings, with raised 
designs of classic female and child figures. 

Before the new works were finished, eleven large kilns 
were in operation. Recently the producing capacity has 
been very largely increased by the addition of twenty-eight 



ORNAMENTAL TILES. 357 



kilns, which have been built on a tract of thirty-five acres 
in the city of Zanesville, making in all thirty-nine kilns. 

The new works are located on the western bank of the 
Muskingum River, in the northern part of the city, and 



185.— Twelve- uv Eighteen -Inch Panel—" Summer. " Uesioned bv Mr. 



consist of twenty-four separate buildings. They were 
formally dedicated on the 19th day of April, 1892. when 
the schools of the city were closed, and the business of 



ORNAMENTAL TILES. 359 



the place entirely suspended, the citizens giving themselves 
up to the celebration of the event. A handsome souvenir 
tile was designed for this occasion by the company, of 
which fifteen thousand were distributed. 

This company has recently produced a new style of 
unglazed floor tiling, in elegant designs and attractive 
coloring, which is designated by the name and trade- 
mark of *' Alhambra." Beautiful soft effects in carpet 
patterns have been obtained on a vitreous body of great 
hardness. The tinted arabesque designs are inlaid to the 
depth of about one eighth of an inch, simulating mosaic 
work. 

THE STAR ENCAUSTIC TILE COMPANY. 

The experimental period of the present Star Encaustic 
Tile Company, Limited, of Pittsburgh, Pa., dates back at 
least twenty years. In 1876 a factory was built by the 
Pittsburgh Encaustic Tile Company, Limited, which was 
merged into the present concern in 1882. The products 
of this factory are gas-burned, unglazed encaustic tile for 
geometric and tesselated pavements, floors and hearths. 
The great variety of shapes and colors admits of almost 
unlimited combinations, resulting in rich and pleasing 
effects. Mr. John C. Alrich is chairman of the company 
and Mr. Samuel Keys manager. 

THE UNITED STATES ENCAUSTIC TILE COMPANY 

of Indianapolis, Ind., was organized soon after the Cen- 
tennial Exposition with Mr. J. G. Douglass, president, Mr. 



ORNAMENTAL TILES. 361 



W. W. Lyon, secrelary and treasurer, and Mr. F. H. 
Hall, superintendent. The building soon afterwards 
burned down and larger and more suitable ones were 
erected in 1879. In 1886 the present management pur- 
chased the business and changed the name to the United 
States Encaustic Tile Works. The plant now includes 
six biscuit and twelve muffle kilns, the products being 
plain, encaustic, enamelled, and relief tiles for flooring, 
mantel facings, wainscoting, hearths, and other interior 
decoration. The clays used 
for white bodies come from 
South Carolina and Ken- 
tucky, and those for dark 
bodies are obtained from In- 
diana. The burning is done 
by means of natural 
gas. Miss Ruth M. Winter- 
botham, who models for this 
manufactory, has produced 

many beautiful designs. ^Xt^^^^^.. 
notably some three- and six- 
section panels. A series of three mantel panels, represent- 
ing Dawn, Midday, and Twilight, are particularly deserving 
of mention. Recently this factory has produced some 
effective tiles in raised blue designs on a white ground. 
Mr. Robert Minton Taylor, of England, was connected 
with these works from i88[ to 1883. The present officers 
are Mr. John J. Cooper, president, Mr. Jackson Landers, 
vice-president, and Mr. John Picken, secretary and 
treasurer. 



362 POTTERY AND PORCELAIN. 



In the Woman's Building, at the Chicago Fair. Miss 
Winterbotham exhibited a series of tiles and panels which 
she had designed and modelled for this company. A 
panel measuring perhaps fifteen by eighteen inches, deco- 
rated with three well executed female figures in relief, 
apparently representing the March zephyrs, attracted con- 
siderable attention, as did also a circular tile plaque, 
fifteen inches in diameter, with relief design showing a 
frontier scene with wood-chopper, bison, mountains, and 
setting sun. 

THE TRENT TILE COMPANY. 

In 1882, the Harris Manufacturing Company was or- 
ganized for the production of tiles, and shortly afterwards 
the name was changed to the Trent Tile Company. In 
1883 Mr. Isaac Broome, who had formerly been connected 
with the Etruria Pottery, of Trenton, returned to that 
city from the West to accept the position of designer and 
modeller for the new company. He continued in this 
capacity for about two years, during which period he 
stocked the works with many excellent designs, some of 
which are still being produced there. 

The Trent Tile Company is now making a specialty 
of dull-finished or *' Trent finished " tiles in alto-relievo, 
which are treated by the sand-blast process after being 
glazed. The effect is a soft, satin-like finish, exceedingly 
pleasing to the eye. The process is protected by patents. 
This style of finish forms a striking contrast to the glazed 
and enamelled varieties also made here, of which effective 
panels, six by eighteen inches, in one piece, are manufac- 



ORNAMENTAL TILES. 363 



tured extensively. Larger tiles have also been produced 
here for special work, some of them being twelve by 
twenty-four inches. The company has also recently been 
making soda-water fountains with modelled panels. 

Over twenty kilns are at present operated by the Trent 
l"ile Company, including six round biscuit kilns, and up- 
wards of a dozen enamelling kilns. The English muffle 
kilns are used for enamelling, but the firing is done at a 
pretty high temperature. The present officers of the 



company are Mr. Benjamin F. Lee, president. Mr. Alfred 
Lawshe, treasurer, and Mr. DeWitt C. McVay, manager. 
In 1886, Mr. William Wood Gallimore became de- 
signer and modeller for these works, having previously 
acquired an enviable reputation as a modeller of portrait 
busts and vases. Mr. Gallimore is an Englishman with 
thirty years' experience as a potter and designer. His 
father, Mr. William Gallimore, was an artist, engraver, 
and color maker, and under his instruction the son ob- 



364 POTTERY AND PORCELAIN. 



tained a complete knowledge of the manufacture of 
potters' colors. The younger Gallimore began his career 
in the office of Mr. John Ward, solicitor, Burslem, Staf- 
fordshire, and his evenings and leisure hours were devoted 
to the study of art in the Art School of Stoke-upon-TrenL 
While in the law office he executed his first model, a 
group of figures, representing a Neapolitan fisherman 
and family, after an engraving which appeared in the 
Illustrated London News. This work attracted consider- 



Desionbd bv W. W. 

able attention among the artists of the district, and Mr. 
George Reade, a modeller of reputation, at once tendered 
the young artist a position in his studio at Burslem, 
which was accepted. Here, under Mr. Reade's instruc- 
tion, young Gallimore became proficient in modelling 
pieces of useful ware, and was entrusted with much of the 
outline drawing for the establishment. On Mr. Reade's 
retirement from business, his pupil continued his studies 



ORNAMENTAL TILES. 365 



in figure modelling under M. Louis Kremer, a French 
artist of ability. Subsequently Mr. GalHmore became 
connected with a number of the prominent potteries in 
England. For six years he was at the Belleek potteries 
in Ireland, where he lost his right arm by the bursting of 
a gun. He afterwards was commissioned by Mr. William 
Henry Goss, proprietor of the London Road, Stoke-upon- 
Trent, potteries, an eminent author, to execute some 
busts of prominent Englishmen, which were afterwards 
produced by Mr. Goss in fine parian. These portrait 
busts were pronounced admirable likenesses of the origi- 
nals, including a head of the late Mr. Llewellynn Jewitt, 
which serves as the frontispiece to the latter's Ceramic 
Art of Great Britain^ a bust of Mr. S. C. Hall, editor of 
The Art Journal, another of the present Earl of Derby, 
and one of the Earl of Beaconsfield. 

Since the loss of his arm, Mr. Gallimore has done his 
modelling with his left hand, and he has accomplished 
better work with one arm than he did when in possession 
of both. All of the designs produced by the Trent factory 
during the past six years are his work, the dies being made 
in his workshop by his son, under his supervision. Mr. 
Gallimore is a versatile and prolific sculptor, and an artist 
of fine ability. His style is vigorous and characteristic; 
his portrayals of boys and Cupids are especially pleasing. 
Among the more pretentious of his recent productions are 
a finely modelled coat-of-arms of the State of New Jersey, 
designed for architectural embellishment, and a six-foot 
panel with figures in relief. In addition to his work for 
the Trent Company, he has designed some of the 



366 POTTERY AND PORCELAIN. 



best vases and other pieces for the Ceramic Art Com- 
pany of Trenton, makers of Belleek china, and other 
establishments. The tile portrait which forms the frontis- 
piece to this volume was modelled and kindly volun- 
teered by Mr. Gallimore, and is pronounced an excellent 
likeness. 

Mr. William Gallimore, the father, was a designer and 
engraver of the old school, and did considerable work for 
the Wedgwoods, Enoch Wood, John Alcock, and other 
English potters. He died at his son's house in Trenton, 
N. J., in 189 1, aged eighty-four, the last piece of work 
which he did, a short time previous to his death, being 
a chrysanthemum design for transfer printing, for the 
house of J. E. Jeffords & Co., Philadelphia. Among 
his papers he left a large and interesting collection of 
proofs from the original copper plates which he and 
others had engraved for the above named firms during 
the first half of the present century, together with many 
of the original drawings from which the engravings 
were made, and some proofs of curious old engravings 
for "bat-printing." 

Mr. W. W. Gallimore's sons, William and Jesse, have 
recently commenced business on their own account, under 
the supervision of their father, as designers and modellers 
of useful, ornamental, and figure subjects, — the sons hav- 
ing inherited the artistic talents of their father and grand- 
father. Miss Flora and Miss Marian Gallimore, the 
daughters, are also clever modellers of floral designs for 
applied ornamentation, and have done considerable work 
of this character. 



ORNAMENTAL TILES, 367 



THE PARK PORCELAIN WORKS. 

In 1884, Mr. H. R. Mitchell, of the Park Porcelain 
Works, West Philadelphia, experimented in glazed relief 
tiles, examples of which are on exhibition in the Pennsyl- 
vania Museum of Art. He modelled a number of designs 
from natural objects, such as leaves and turtle-shells, the 
latter being exact reproductions, both in form and color- 
ing, of the original models. The manufacture does not 
seem to have advanced beyond the experimental stage, 
although the workmanship was creditable and some of the 
glazes excellent. 

THE PROVIDENTIAL TILE WORKS. 

of Trenton, N. J., were projected about 1885 and the first 
goods were turned out in the spring of 1886. Mr. Isaac 
Broome, who had previously been with the Trent Tile 
Company of the same place, was the first designer and 
modeller of the new establishment, and some of his designs 
are still being produced. 

The products of this factory are glazed tiles, plain and 
in relief. At one time embossed tiles were made in two 
colors, the raised ornamentation being of a different color 
or tint from the ground, and some good results were ob- 
tained by this treatment. Underglaze decoration was 
also employed for a time, but both styles were abandoned 
as being unsuited to the American market. The present 
output consists principally of embossed tiles for mantels, 
hearths, and wall decorations. Some of the newest 



368 



POTTER Y AND PORCELAIN. 



designs are relief tiles, measuring six by twelve and six 
by eighteen inches, and among the most popular pieces 
are hunting panels for mantel facings, with representa- 
tions of fighting bucks, stag's heads, sportsmen, and dogs. 
The present designer and modeller Is Mr. Scott 
Callowhill, recently, for a short time, connected with the 
Phcenixville (Pa.) pottery. He came to this country in 
1885, from the Royal Worcester 
works, England, where with his 
brother, Mr. James Callowhill, 
now of Roslindale, Mass., he had 
charge of two of the principal 
decorating-rooms in which the 
finer class of decoration, in raised 
paste and gold bronze, was done. 
He also while in England worked 
for the Doultons at Lambeth. 
Mr. Callowhill has recently ex- 
ecuted some artistic panel de- 
signs, one of which is a six- "by 
twelve-inch tile, *' Mignon," after 
>N." Jules Lefebvre, and another, a 
six- by eighteen-inch piece, after 
Mr. Benjamin W. Leader's pic- 
ture, entitled " February fill Dyke," in intaglio. This 
panel is glazed in a single color and is one of a set of 
three intended for a mantel facing. 

Amongthe latest productions of this factory are gilded 
and decorated tiles in the style of the Royal Worcester 
cloisonnS, exceedingly rich and pleasing in effect. One 



193. — Relief Panel- 
By Scott Callhwi 
Lefebvki 



ORNAMENTAL TILES. 369 

variety consists of raised designs, glazed and outlined in 
gold, the relief portions being finished in shades lighter 
or darker than the ground, while another style possesses 
arabesque reliefs painted in delicate overglaze colors and 



193. — Intaglio — ■' Feuriiarv fill Uvkk." Bv Callowkill, after Leader, 

gold against glazed grounds of white, Ivor)', pale pink, 
and French gray shades. The general effect is that of 
metal cloisonnL The works are under the management 
of Messrs. James H. Robinson and C. Louis Whitehead. 

THE BEAVER FALLS ART TILE COMPANY, LIMITED, 

of Beaver Falls, Pa., was organized in 1886 by Mr. F. 
W. Walker, who is secretary, treasurer, and manager. 



1Q4.— Braver Falls Stove Tiles. 

The works started with the manufacture of plain enamels, 
and a few months later added embossed and intaglio tiles, 



370 POTTERY AND PORCELAIN, 



as well as tiles for stove decorations, of which this com- 
pany has since made a specialty. The discovery of 
natural gas and the advantages to be obtained by its use 
as a fuel for the burning of all pottery wares was the 
inducement for Mr. Walker, who had been very much 
interested In the investigation of tiles and their manufac- 
ture, to organize the company, and his ability as a che- 
mist soon enabled him to place the works in a position to 
manufacture a line of glazes of soft, rich tones, and their 
remarkable freedom from crazing soon won for the fac- 
tory a high reputation in the 
trade. Their delicate tints of 
pale blue and greenish and 
purplish grays are particularly 
beautiful examples of transparent 
colored glazing. 

These works have always em- 
ployed the best designers that 
could be obtained. Prof. Isaac 
Broome, a sculptor of rare artis- 
tic ability, became connected with the factory in 1890. 
Among his most highly admired pieces is a six-inch tile 
with a classic female figure (Sappho) in relief, leaning on 
a harp. 

The factory is now making a specialty of artistic tile 
designs suitable for solid wall decorations, in all the lead- 
ing styles, for libraries, dining-rooms, and bath-rooms. 
One of the most chaste patterns recently produced is a 
dado in Romanesque style, of which a section is here 
represented (111. 198). The examples figured are char- 



ORNAMENTAL TILES. 



acteristic illustrations of the geometric, floral, and figure 
embellishment of the Beaver Falls productions. 

A circular four-and-a-half-inch likeness of Mrs. Grover 
Cleveland was executed here a few years ago, which is an 
excellent example of tile portraiture. Among the most 
recent productions of the works are a series of six- by 
eighteen-inch panels, representing Poetry, Music, and 
Painting (111. 197), and some twelve- by 
twelve-inch heads, including one of Wash- 
ington. 

Prof. Isaac Broome is one of America's 
most versatile artists. He was born at 
Valcartier, Quebec, on May 16, 1835. He 
first became interested in the subject of 
ceramics when, as a young man, he visited 
the museums of Europe to study the col- 
lections of Grecian and Etruscan vases for 
archaeological material for use in his 
chosen professions of sculpture and paint- 
ing. After some years he turned his 
attention to the potter's art, and about the 196.— Passion-flower 
close of the Civil War he established a gy broome 
terra-cotta manufactory at Pittsbui^h, 
where he made vases, fountains, and architectural de- 
signs. His productions, however, were in advance of 
the public taste, and the venture had to be abandoned. 
After a period of portrait-painting, frescoing, sculpturing, 
and modelling, he started architectural terra-cotta works 
in Brooklyn, N. Y., about 1871, and produced some large 
pieces of artistic work, but he was finally compelled to 



372 POTTERY AND PORCELAIN. 



relinquish this second enterprise by the arbitrary ruling of 
the city Board of Health which, under the pretext that the 
firing of his kilns endangered the safety of the adjacent 
buildings, ordered him to close the works. 

Just previous to the Centennial, as we have already 
seen, Mr. Broome was engaged by the Etruria Pottery of 
Trenton. N. J., to prepare some special designs for the 
approaching exhibition. In 1878 he was 
appointed a special commissioner on ce- 
ramics to the Paris Exposition, and, in 
conjunction with General McClellan, 
made a thorough study of the ceramic 
art as it exists abroad. While connected 
with the Ott & Brewer Company at 
Trenton, he made some original drawings 
on stone for some special and general 
work which were printed in black, in 
colors, and in gold, said to be the first 
lithographic printing on pottery ever done 
197.-RF.uEF Panel— in America. 

-Music." FROM j^ (.j^g ^ 1880, on his return to 

Painting, Poetrv, ' 

*ND Music Facing. Trenton from abroad, he utilized the time 

in recovering from an attack of illness in 

putting into practical application some ideas which he 

had previously thought out in the production of a variety 

of ware never before attempted in this country. The 

body was a well vitrified porcelain with underglaze color 

effects, the paste, colors, and glaze being thoroughly 

incorporated together by a single firing. The result was 

a ware difficult to describe, but most pleasing in its modest 



198.— Dado in Rouahesqve Style. Beaver Falls Art Tile Co. 



3 74 PO TTER Y AND FOR CELAIN. 



tones and the softness and depth of translucent effect. 
Only about one hundred of these vases were made, for 
the most part of small size, ranging from three to ten 
inches in height, the forms being simple but full and rich 
in outline, and particularly adapted to the peculiar style 
of coloration in analogous or contrasting harmonies. 
These pieces were made entirely by Prof. Broome, assisted 
by his young son, the clays being prepared in the basement 
of his residence, dried in plaster moulds in the sun, thrown, 
turned, glazed, and colored on the green clay in a second- 
story room, and finally taken to Davis' pottery in Trenton 
and fired in a regular ware kiln. All of these interesting 
pieces were sent to a dealer in New York and scattered 
in collections throughout the country (see chapter on 
Marks). 

In 1883 Mr. Broome became connected with the 
Harris Manufacturing Company, now the Trent Tile 
Company, as designer and modeller, and afterward, in 
1886, was instrumental in establishing the Providential 
Tile works, of Trenton, and designed many of their best 
works. He is an indefatigable worker and a prolific 
artist, his sculptures being characterized by exquisite con- 
ception and the most painstaking execution of details. 

Among the more important works of Prof. Broome 
are a marble bust of Dr. Ducachet, in a niche in St. 
Stephen's Church, Philadelphia, executed in 1858 ; a 
semi-colossal marble bust of Washington in the Phila- 
delphia Club-house, Thirteenth and Walnut streets, made 
from the most authentic portraits in the same year ; and 
a ceramic bust of Hon. Joseph D. Bedle, New Jersey's 
Centennial Governor, now in the State Library at Trenton. 



ORNAMENTAL TILES. 



THE CAMBRIDGE ART TILE WORKS 

were established at Covington, Kentucky, in March of 
1887, by Messrs. A. W. Koch, F. W. Braunstein, and 
Heinrich Binz, all of Cincinnati, for the manufacture of 
enamelled and embossed tile, since which date the plant 
has been enlarged from year to year to accommodate the 
constantly increasing business. These works are produ- 
cing to-day an extensive line of high-grade art goods of vari- 
ous shapes for interior decoration — friezes, moulding, and 



mantel facings — ranging in size from one half inch square 
to six by eighteen inches. In addition to relief work for 
mantel and wall decoration, the intaglio treatment has also 
been employed to some extent, whereby photographs may 
be reproduced with good effect by tilling in the depressions 
with colored glazes. Imitation mosaic work is also a spe- 
cialty of this factorj'. The glazes used on the various 
productions are remarkably free from crazing. 

From a large number of excellent designs we have 



376 POTTERY AND PORCELAIN. 

selected for illustration a six-inch head, representing King 
Lear, which was modelled by Mr. Clem. Barnhorn, who 
recently received the European scholarship offered by the 
Cincinnati Art School. 



The principal designer and modeller for the works is 
Mr. Ferdinand Mersman, formerly connected with the 
Rookwood Pottery of Cincinnati, who studied at the 



ORNAMENTAL TILES, 377 



Academy of Fine Arts in Munich. One of his designs, 
a six- by eighteen-inch panel, representing Winter, is 
here figured, and of his more pretentious works we give 
an illustration of a ten-piece design entitled " Daughters 
of the Sea." 



201.— " Daughters of the Sea" Facing. Modellkd bv Mersman. 
THE MENLO PARK CERAMIC COMPANY 

was Started at Menio Park, N.J.. in October, 1888, by Mr. 
J. T. Smith and Mr. Charles Volkmar, for the manufacture 
of art tiles and other interior ceramic decorations. 

Mr. Volkmar, who came from Baltimore. Md., springs 
from a family of artists. His father's reputation as a por- 
trait painter and restorer of pictures is well known, and his 
grandfather was an engraver of considerable prominence. 
The younger Volkmar began his art studies in his native 
city, and as early as 1859 attracted attention as an etcher 
of merit. Before reaching his majority he went to Paris 
and studied under Harpignies and others. Here he re- 
mained for a number of years, acquiring an enviable repu- 
tation as an animal and landscape painter in oils and water 



3 78 PO TTER Y AND POR CELAIN. 



colors, and his works were exhibited in several of the 
salons. During this period he became greatly interested 
in the Limoges method of underglaze painting in clay, 
and, entering a pottery in one of the suburbs of Paris, de- 
voted himself to the study of the various processes of 
manufacture, the composition of glazes, and the mysteries 
of the kiln. Later he became connected with other pot- 
teries, in the capacity of an ordinary workman, and in this 
manner acquired a knowledge of the art of underglaze 
decoration which could not have been obtained in any 
other way. Returning to America about 1878, he built a 
kiln at Greenpoint, Long Island, and subsequently another 
at Tremont, near New York City, where he began to make 
decorated tiles and art pottery. The '* Volkmar faience " 
of that period was of the same character as the Haviland 
slip-decorated ware. In 1883 he produced a limited num- 
ber of so-called "barbotine" vases, decorated on plain 
surfaces or modelled in relief. His process differs from 
that in vogue elsewhere, in that the colors are applied 
to the thoroughly dried surface of the unbaked ware in- 
stead of to the moist or green clay, by which method he 
claims that he can obtain better results in the avoidance of 
unequal shrinkage of the body and the securing of greater 
brilliancy of effect. 

Recently Mr. Volkmar has been devoting himself to 
architectural work. One of the most important pieces 
of special work executed by him in the last two years is 
the interior decoration of the William Rockafeller man- 
sion at Tarrytown, N. Y., consisting of enamelled terra- 
cotta, or faience, in a vestibule with groined arches and 



ORNAMENTAL TILES. 379 

loggia, the latter embellished with a five-foot frieze, heavy 
cornice, and panelled ceiling. This work was modelled 
after special designs of the architects, Messrs. Carrere and 
Hastings. The style of decoration is Italian Renaissance 



in high relief, the color of the enamel being in such per- 
fect harmony with the wainscoting of Tennessee marble 
that at a short distance no difference in shading is per- 



38o PO TTER Y AND FOR CELAIN. 



ceptible. This terra-cotta body is white in color and of a 
somewhat sandy nature, fired hard, and covered with a 
glaze or enamel. 

Mr. Volkmars method of decorating tile consists in 
the use of enamels instead of transparent glazes, which 
he is able to shade to the most delicate and subdued 
tints, to match any variety of marble, onyx, or other 
material. His "old gold" and "old ivory" are just now 
particularly popular for decorative purposes, to harmonize 
with the light furnishings which have recently been 
revived. 

Another peculiarity of his tiles is the employment of 
slightly relieved lines, to indicate the design, in place of 
high-relief effects, which are often decorated in two 
shades of the same color, or in two harmonious colors of 
low, broken shades. 

Some of Mr. Volkmars tile work may be seen in the 
ceiling of the Boston Public Library, in light gray-blue 
coloring. In the Market and Fulton National Bank 
building, New York City, over eight thousand six-inch 
Volkmar tiles were used for wall decorations, in Roman- 
esque style, the color scheme being old ivory, pale blue, 
and light maroon. Mantel facings and hearths, with 
raised designs, of artistic conception, finished in old ivory 
and gold, have also been made by Mr. Volkmar for many 
of the residences of prominent people. 

Mr. Volkmar has taken steps to organize a new com- 
pany, which will be established in Menlo Park, to be 
known as the Volkmar Ceramic Company. The manu- 
facture of artistic tiling will be a specialty of the new 



ORNAMENTAL TILES. 381 

establishment, as well as high-grade architectural clay 
work of every description. 

The Menlo Park Ceramic Works are still being 
operated by Mr. J. T. Smith. 

THE ROBERTSON ART TILE COMPANY 

was formed at Morrisville. Pa., opposite Trenton. N. J., 
in 1890, by Mr. G. W. Robertson, who had been assistant 
manager at the East Boston Pottery from 1865 to 1871, 
and for several years afterwards associated with his father 
and brothers, James Robertson & Sons, at the Chelsea 



203 — Panel after thk Frknch. Robertson Art Tilb Co. 

Keramic Art Works, Chelsea, Mass., and from 1878 to 1890 
connected with the Low Art Tile Works, of the same 
place. Morrisville was selected for the new venture by 
reason of its many natural advantages. The new factory 
was called the Chelsea Keramic Art Tile Works, and Mr. 
Robertson became general manager for the company. 

The business started with the manufacture of a fine 
grade of glazed brick, and for some time plain enamelled 



382 POTTERY AND PORCELAIN. 



wall tiles have been produced. The glazes and enamels 
are of most excellent quality and remarkably free from a 
tendency to craze, and the color 
scale possesses a wide range. A 
specialty is the manufacture of 
rough tiles with stucco finish for 
interior decoration. Recently some 
excellent etched and relief art tiles 
have been made, of which two six- 
by twelve-inch panels are here 
illustrated, one of which, in high 
relief, is a reproduction, probably, 
of a French design. The other, 
in low relief, was modelled by 
Mr. H. C. Robertson of Chelsea 
after one of Dora's illustrations of 
904-Panel modelled bv La Fontaine's fables. 

H. C. Robertson APTEk 

DORft. 



THE COLUMBIA ENCAUSTIC TILE COMPANY, 

of Anderson, Indiana, manufacture natural-gas burned 
tiles, their specialty being plain enamelled tiles. Inlaid 
floor tiles and, to some extent, embossed tiles for mantels 
and ornamental purposes are also made here. Of the 
latter some twelve-by thirty-inch panels are now under 
experiment. The officers of the company are Mr. B. O. 
Haugh, president, Mr. George Lilly, vice-president and 
treasurer, and Mr. Samuel Hughes, secretary. 



ORNAMENTAL TILES. 383 

Some of their best stx-inch designs are those with boy 
figures representing the seasons, and some children's 
heads. A mantel facing representing " The Return of 
the Swallows " is worthy of notice. 

THE C. PARDEE WORKS, 

of Perth Amboy, N. J., produce front, fire, and paving 
brick, salt-glazed sewer pipe, and, to a more limited ex- 
tent, fioor and glazed 
tiling. Recently art 
tiles for wall decora- 
tion have been made 
here, the latter includ- 
ing some intaglio 
modelled heads of 
Emperor William, Ex- 
President Benjamin 
Harrison, President 
Grover Cleveland, and 
other celebrities. 
Seven tile kilns are 
now in operation and 
greater attention will 
hereafter be given to 
this branch of the 

business. Some supe- 
• v „ J ■ . J 305.— The Wilkes Screw Tile Press. 

nor hand-painted 

underglaze tiles of pleasing designs have been produced 

by way of experiment and it is the intention of the man- 



384 PO TTER Y AND PORCELAIN, 

agement to commence the manufacture of printed under- 
glaze and overglaze goods in the near future. Recently 
these works commissioned Mr. W. W. Gallimore to exe- 
cute some new designs which are now being produced. 

In the manufacture of printed, inlaid, and relief tiles, 
America has advanced rapidly, but in the production of 
hand-painted art tiles she is sadly deficient. This is a 
branch of the art that must be developed through the in- 
fluence of our mechanical art schools, which are paving the 
way for an early revolution in the ceramic industry in the 
United States. 

Various tile machines have been designed for the man- 
ufacture of tiles from dust or semi-dry clay, but we are 
unable here to reproduce more than one. Illustration 205 
shows a screw press, made by Mr. Peter Wilkes, of 
Trenton, for the Trent Tile Company, and will give an 
excellent idea of the principle on which the majority of 
such machines are operated. This forms tiles six inches 
to twelve inches square, the die being placed between the 
"push-up " and ** plunger." It can also be used for mak- 
ing plates, oval dishes, and other wares. 













CHAPTER XVII. 
ARCHITECTURAL TERRA-COTTA. 

IT is interesting to note what the fifth edition of the 
Encyclopedia Britannica, published in 1815, contains 

relative to this subject : " Worlidge, and others after 
him, have endeavored to excite brick-makers to try their 
skill in making a new kind of brick, or a composition of 
clay and sand, whereof to form window-frames, chimney- 
pieces, door-cases, and the like. It is to be made in 
pieces, fashioned in molds, which, when burnt, may be set 
together with a fine red cement, and seem as one entire 
piece. The thing should seem feasible." And so we 
shall find that it was. 

Terra-cotta, the most enduring of all building mate- 
rials, has been used to a greater or lesser extent from a 
high antiquity in continental Europe, and in England 
terra-cotta trimmings were used in building as early as the 
fifteenth century. In the United States this material does 
not seem to have been introduced until after 1850. Ex- 
periments were made in this direction in 1853 by Mr. 
James Renwick, a prominent New York architect, but the 
innovation was not received with favor by builders. In 
1870 the Chicago Terra-Cotta Company brought over 

«s 385 



386 PO TTER Y AND POR CELAIN. 

from England Mr. James Taylor, superintendent of the 
well known works which were established by Mr. J. M. 
Blashfield in 1858. By the introduction of the English 
methods, the Chicago establishment soon turned out better 
work than had been produced before in the United 
States. 

The Southern Terra-Cotta Works of Messrs. P. Pelle- 
grini and Z. Castleberry were established in Atlanta, 
Georgia, in 1871, for the manufacture of architectural and 
horticultural terra-cotta. Their red and buff garden vases 
and statuary are justly noted for excellence of design, 
and their architectural work, for exterior and interior 
decoration, is of a superior character. Some of their 
terra-cotta mantels, supported by female figures, and their 
fire-place and chimney panels are especially meritorious. 

The Perth Amboy Terra-Cotta Company, of Perth 
Amboy, N. J., was incorporated in 1879, and at once em- 
barked in the manufacture of large designs for architec- 
tural purposes, from clay obtained in the neighborhood. 
The plant of this company has expanded so rapidly that 
at present it includes twenty-two kilns, some of them 
measuring forty-eight and one third feet in height by 
twenty-four and one sixth in diameter, which are among 
the largest of the kind on this continent, if not in the 
world. 

This company has in its employ a number of eminent 
artists in this particular line, and has furnished terra-cotta 
details for many prominent buildings throughout the 
country. Of these may be mentioned the Ponce de Leon 
Hotel, St. Augustine, Florida ; Biological Laboratory^ 



388 POTTERY AND PORCELAIN. 



Princeton College ; the Produce Exchange, Cotton Ex- 
change, Washington Market, Post Building, World Build- 
ing, Century Club, Racquet Club, Freundschaft Club, 
Tiffany House, and Mills Building, New York City ; 
Long Island Historical Building, Brooklyn, N. Y. ; Penn- 
sylvania Railroad Station, Philadelphia, Pa. ; Iroquois 
Hotel, Buffalo, N. Y. ; Dearborn Station and Rial to 
Building, Chicago, 111. ; Hastings Hall, Boston, Mass. ; 
De Soto Hotel, Charleston, S. C. ; the Montgomery 
County Court House, Birmingham, Alabama ; Adams 
Express Company, Cincinnati and St. Louis ; and Masonic 
Hall, Trenton, N. J. 

In addition to the red and buff terra-cotta employed 
in brick structures, this company also manufactures a 
white terra-cotta which has been used in the Madison 
Square Garden, Imperial Hotel, Judge Building, Edison 
Building, New York City, and many other large edifices. 

The officers of this company are Mr. E. J. Hall, 
president, Mr. W. C. Hall, vice-president and Mr. G. P. 
Putnam, secretary and treasurer. 

The Winkle Terra-Cotta Company, of Cheltenham, 
St. Louis, Mo., commenced business in 1883. They 
manufacture a high grade of architectural terra-cotta in a 
variety of shades to match the different colors of building 
bricks. The officers are Mr. Joseph Winkle, president, 
Mr. Andrew Winkle, vice-president and Mr. John G. 
Hewitt, secretary and treasurer. 

The New York Architectural Terra-Cotta Company, 
of which Mr. Walter Geer is president, was organized in 
the latter part of 1885, and the services of Mr. James 



i07-— Three Kilns, Perth Amboy Terracotta Coufamy. 



390 POTTER Y AND PORCELAIN. 



Taylor were secured to superintend the works. On the 
loth of May following, the first kiln of terra-cotta was 
burned, in the newly completed works at Long Island 
City, opposite 58th Street, New York. The main build- 
ing is 1 70 by 115 feet in extent, and six stories in height, 
and is built of brick and terra-cotta. In 1891 an addition, 
95 by 80 feet, was erected in the rear, to accommodate 
tbe rapidly increasing business of the company. The 
twelve kilns are situated on the second floor and the walls 
ascend through the third, fourth, and fifth floors, thus 
helping to warm the 
apartments and fur- 
nishing surplus heat 
for drying the plastic 
work in the pressing 
and finishing depart- 
ments, which are lo- 
cated there. 

Designs for archi- 
aoa.— Bas-relief in thk St. ANTHyNv Club- tectural purposes are 
House, Philadelphia, Pa. Perth 1 1 ■ 

AMBOY Tkrea-Coita Companv. made usually in 

moulds, except in 
special work, then turned out on the floor of the drying- 
room, and, if requiring extra finish, or undercutting, are 
afterwards carved or modelled by hand. The larger 
designs are made in sections, of a size that can be con- 
veniently handled by two men. After being sufficiently 
dried, the pieces are placed in the kilns, where they remain 
about seven days in the burning and cooling processes. 
The Long Island City Works have furnished details 



ARCHITECTURAL TERRA-COTTA. 39 r 

for more than two thousand buildings, scattered through- 
out the principal cities of the Union. Among these may 
be mentioned the Mclntyre Building, Manhattan Athletic 
Club, Music Hall. Plaza Hotel, and Colonial Club, of 
New York City, and the Montauk Club of Brooklyn: 
The latter, designed by Mr. Francis H. Kimball, archi- 
tect, is an elaborate Venetian Gothic structure, in a com- 
bination of three colors. The terra-cotta is of a pure 
yellow, in surface ornamentation, upon a soft, brown 
ground, with columns of Indian red, the whole framed in 
a setting of bright buff brickwork. 



A medallion portrait of Jahn is an example of vigorous 
treatment in terra-cotta sculpture and is one of a set of 
three made for the Turn Hall, Trenton, N. J. The others 
are portraits of Goethe and Schiller. These heads, made 
of white terra-cotta, form a harmonious and pleasing con- 
trast with the light Pompeiian color of the brickwork, 
and the semi-glazed old-gold color of the adjacent terra- 
cotta. 

The New York Architectural Terra-Cotta Company 
have lately produced a white terra-cotta which is said to 



392 POTTERY AND PORCELAIN. 



be fully equal to the red in durability and hardness, which 
has been used recently In the rebuilding of Harrigan's 
Theatre and in the 
Fifth Avenue The- 
atre, New York, 
The effect is novel 
and pleasing. The 
latter is one of the 
best examples of 
the new develop- 
ment of white terra- 
cotta in New York. 
The color of the 
brickwork, which 
forms the ground, 
is lemon or pale 
yellow. The lower 
story is constructed 
of white marble 
from Vermont, and 
the effect is pecu- 
liarly appropriate in 
tone and richness of 
detail for a struc- 
ture devoted to the 
higher order of his- 
trionic amusement. 
In Illustration 210 
may be seen one of a pair of panels in this theatre em- 
blematic of dancing and pinging which are used in the 



ARCHITECTURAL TERRA-COTTA. 



393 



upper foyer windows. The experiments already made by 
this company and others in the production of a white 
terra-cotta have proved highly satisfactory, and it now 
seems only a question of time when the more perishable 
marble, as a building material, will be superseded by this 
more enduring substitute. 
The color of terra- 
cotta is governed by the 
character of the local clays 
used in its manufacture. 
Until recently the red 
brick used almost exclu- 
sively in the Eastern 
States necessitated the 
employment of blood-red 
terra-cotta. but since the 
low rates of freight have 
of late years enabled our 
architects to use exten- 
sively different colored 
bricks from various locali- 
ties, the demand for other 
tints of terra-cotta has 
increased. It has been 
ascertained that the color 
of the material has little relation to its strength or 
durability. The weather-resisting quality of burned clay 
is due to the presence of metallic oxides, which act as 
fluxes in the process of burning, thus cementing the parti- 
cles of silica and alumina together, the color being im- 



— I'ANiix IN KesiDBNCK OF Mr, Ueukue 
Alfred Townsend, Gapland, Mi>, 
New York Abchiteciubal 
Tebba-Cotta Company. 



394 POTTERY AND PORCELAIN. 

parted by the predominating oxide. Iron produces red, 
manganese black or gray, and white calcium creates a buff 
or light tint. The entire absence of oxides results in a 
white body which is difficult to vitrify on account of the 
want of fluxes, hence it is not suited for a building 
material, but by the use of a good weather clay for the 
body and the application of a skin of fine white clay, the 



113.— WosKS OF Tilt New Yokk Akchitectuhal Tekba-Cotta Co.. 

I.ONli ISLANII CiTV, N. V. 

terra-cotta is made equally hard and durable, as the skin 
takes up enough of the flux from the main body to render 
it of an equal weather value without seriously affecting its 
purity of color. That the New York Architectural Terra- 
Cotta Company has succeeded in producing a material 
answering to these requirements is amply demonstrated 
in a specimen which is now before me, which is of a 



ARCHITECTURAL TERRA-COTTA. 395 



beautiful creamy whiteness, fine texture, and of the neces- 
sary hardness. 

The Boston Terra-Cotta Company, of Boston, Mass., 
manufacture architectural and decorative terra-cotta, also 
faience or glazed terra-cotta for interior and exterior em- 
bellishment. Probably the most notable work of the latter 
class thus far produced is the interior decoration of the cor- 



a 1 3.— Medallion op General Winfcei.d S. Scott. 

ridors of the Charlesgate and the Adams House of Boston, 
Of the many prominent buildings throughout the country 
forwhich architectural terra-cotta has been furnished by this 
company, the Barnum Institute of Science and History, of 
Bridgeport, Conn., may be mentioned as a fair example. 
This structure contains a frieze divided into panels repre- 



396 POTTERY AND PORCELAIN. 

senting the different epochs in the history of Bridgeport, 
with figTjres about half the size of life. Medallion busts 
of eminent men. of heroic size, are inserted between the 
panels, which are remarkable for their fidelity to nature. 



314. — Floral Panel. Stephens, Armstrong, & Conkling. 

Those of the late Mr. P. T. Barnum. the donor of the 
building, and General Winfield S. Scott, are especially 
praiseworthy as examples of lifelike portrait-modelling. 
Messrs. Fiske, Coleman, & Co. are the managers of the 



ARCHITECTURAL TERRA-COTTA. 397 



Boston Terra-Cotta Company, as well as managers and 
agents of the Boston Fire-Brick Works, and associated 
with them are Messrs. Atwood & Grueby, in the produc- 
tion of architectural yiifeWiT^. 

In 1886 Messrs. Stephens & Leach started a factory 
for architectural terra-cotta in West Philadelphia, and 
later the firm name was changed to Stephens, Armstrong, 
& Conkling. During the six years of the works' existence 
they have furnished material for hundreds of important 
structures in Philadelphia and other cities, of which par- 
ticular mention may be made 
of panels and gable work in 
the library of the University 
of Pennsylvania, and the 
Drexel Institute, West Phila- j 
delphia. A series of animal- 1 
head medallions, in high re- ' 
lief, are particularly excellent, 
and some bas-relief portraits 
of eminent men, modelled 

by such sculptors as H. I. 

' ^ -^ ai5. — Medallion ok Columbus, 

Ellicott, John Boyle, and 

E. N. Conkling, are among their best productions. A 
medallion of Columbus by Mr. Conkling, and a Cupid 
and floral panel by Thomas Robertson, are here repre- 
sented. Admirable work is also being produced by other 
establishments in Boston, Chicago, and most of our 
larger cities. 

The Indianapolis Terra-Cotta Company, located at 
Brightwood, Indiana, commenced business, under its 



398 POTTER V AND PORCELAIN. 

present management, in 1886. Mr. Benjamin D. Wal- 
cott is president and treasurer, Mr. William F. Stilz, 
vice-president, and Mr. Joseph Joiner, secretary and 
superintendent. The latter is a gentleman of large expe- 
rience in this field, and a highly qualified architect 



ai6.— Fisui-s. Indianapolis Terra-Cotta Company. 

The products of these works are architectural and 
horticultural terra-cotta, of excellent quality and work- 
manship. 

Since about 1880 the demand for architectural terra- 
cotta has rapidly increased, and to-day many manufactories 
are in operation in various parts of the country. 



CHAPTER XVIII. 

AMERICAN MARKS AND MONOGRAMS. 

]y A ANY important facts pertaining to American pot- 
■^ * * tery and porcelain have been allowed to pass into 
oblivion for the want of a chronicler, and more than 
one erstwhile prominent potterj' has been forgotten, and the 
unmarked wares, once celebrated, have seemingly disap- 
peared, without leaving a trace to show that they ever 
existed. We must be content with the bare information 
that certain products were manufactured by our ances- 
tors, who, when they passed away, carried the knowledge 
of their works with them. Who is there to-day that can 
identify a single piece of the white ware or " chiney " pro- 
duced at Burlington, N. J., in 1688? What collector can 
positively assert that he possesses a veritable example of 
the " tortoise-shell," or " green colour" ware made in 1 769 
at the Boston factory ? Where can be found an authenti- 
cated specimen from the China Manufactory which was 
turning out queensware in Philadelphia in the year 1800? 
In the older countries of the East, it has been the 
custom for centuries to place upon ceramic wares, which 
were considered worthy of preservation, distinguishing 
marks, monograms, or symbols, by which their origin 



400 PO TTER Y AND POR CELAIN. 



should be known for all time. Had such precaution been 
adopted by our earlier American potters, many a priceless 
gem would now grace our collections, for many a sus- 
pected rarity can be found in our private cabinets and 
public museums believed to be American, but, alas, un- 
authenticated. Before me stands a quaint old porcelain 
coffee-pot, embellished with bunches of hand-painted 
roses, which tradition assigns to the city of Penn pre- 
vious to the Revolution, yet we have no knowledge that 
polychrome decoration was practised in this country at 
that period. Here is a graceful teapot of somewhat simi- 
lar body, decorated with clusters of minute flowers in 
natural colors and bronze bands, bought of a dealer on 
the assurance that it, also, had been made in Philadelphia 
more than a century ago. 

On the other hand, unmarked pieces of undoubted 
genuineness have been handed down to us carefully from 
the time of our grandparents, and by means of these the 
ceramic student may hope to be enabled to penetrate the 
vail of uncertainty which surrounds others. Fortunately, 
we find now and then a specimen bearing a mark among 
the productions of discontinued factories of the present 
century. We can at least commence now to gather to- 
gether what is still to be procured from the past and to 
collect material for the history of the potter's art as it 
exists in America in our own time. Further d^^lay would 
seem inexcusable, because it would result in the loss of 
information, which, while now obtainable, could not be 
procured a few years hence. 

No attempt has ever been made, so far as we know, 
to compile a list of marks and makers* designs on Ameri- 



MARKS AND MONOGRAMS. 401 



can wares. That which follows is, therefore, necessarily 
imperfect, but it will serve as a nucleus for the prepara- 
tion of a more complete one hereafter. It has not been 
deemed necessary to include all of the trade marks which 
occur on the ordinary utilitarian or commercial grades of 
recent wares, many of which appear in the body of this 
work. 

THE AMERICAN CHINA MANUFACTORY, 
PHILADELPHIA, PA. 

Mark used in 1828, painted in 
red, beneath the glaze. A porcelain 
lucJc.c> tk BxkUisA. vase-shaped pitcher thus marked 
?W%^«jdAl/^''i«u was presented to the Pennsylvania 
\%X% Museum in Fairmount Park, Phila- 

delphia, by Mr. Charles Henry 
Hart. 

':KcekGr ^ ^xJine Another mark used in 

rA • |L ^ o ¥ the same year. Three 

\ ^ decorated porcelam pitch- 

-^X%lc^<l<l^^v.€^ ^rs are known which bear 

^ this inscription, in red. 

In 1833 and 1834, after the 
\M r * . factor\' had passed into the hands 

hf 4 Jf ^ \% <>f Judge Joseph Hemphill, this 
-^ mark was used to a limited extent 

on decorated pieces. It also was 
painted in red under the glaze. 



?)»%\«i<i^ 



s6 



POTTERY AND PORCELAIN. 



yr 



H 

V 



Workmen's Jfarks. 

These were scratched in the paste be- 
neath the glaze. They are numerous on 
Tucker and Hemphill porcelain, but at this 
late day very few of them can be identified. 
Only those which have been recognized are 
given. 

This letter occurs frequently on fine 
pitchers and other pieces, and was used by 
Andrew Craig Walker, who worked at this 
factory as a moulder. 

The private mark of Joseph Morgan, a 
moulder. 

Mark of Charles Frederick, a moulder. 

William Hand, an Englishman and a 
well-known potter in the old Philadelphia 
potteries. 

The mark of one Vivian, a Frenchman. 



Mark impressed or stamped in 
the red body of Sgraffiato ware 
made by Jacob Sholl, near Tyler's 
Port, Montgomery Co., Pa., in 
1831. Two ornate earthenware 
jars from this pottery have re- 
cently been found bearing this 



MARKS AND MONOGRAMS. 



403 



mark, which was evidently made with an engraved stamp. 
Decorated dishes from the same pottery bear the above 
date. 




ahpotti 



POTTERVCo] 



THE JERSEY CITY POTTERY. 

Mark used by D. & J. Hender- 
son of the Jersey City Pottery, 
about 1830. It occurs on a stone- 
ware ** Toby Jug," impressed in 
the body. 

Mark used about 1840 by the 
American Pottery Co. of Jersey 
City, N. J. This occurs on a 
cream-colored water-pitcher, with 
black printed portrait of General 
William Henry Harrison, and 
picture of log-cabin. The mark 
is printed in black beneath the 
glaze. 



Mark used at Jersey City Pot- 
tery from 1840 to about 1845, 
impressed in the ware. 



Impressed mark used at Jer- 
sey City Pottery about 1840 and 
later. This is found on a many- 
sided pitcher with Toby head. 



404 



POTTERY AND PORCELAIN. 



THE UNITED STATES POTTERY, 
BENNINGTON, VT. 



BenninttDHil 

V0nn.flDDLlj 



Mark found on a few pieces of parian 
ware supposed to antedate the estab- 
lishment of the U. S. Pottery, Benning- 
ton, Vt. Letters impressed in a raised 
panel. 




Mark used at the United 
States Pottery of Lyman and 
Fenton, Bennington, Vt, on 
parian and porcelain about 1853. 
The letters and figures are im- 
pressed in a raised ribbon. The 
figure to the right varies on dif- 
ferent pieces and was probably 
the pattern number. 




Mark used on 
Lyman & Fen- 
ton's Patent 
Flint Enamelled 
ware, in 1 849. 
I mpressed. 



MARKS AND MONOGRAMS. 



405 




A.P.M.ce 




Mark used on *' scrodled " and 
other ware made at U. S. 
Pottery. Impressed. 



Mark of the American Porcelain Manu- 
facturing Co. of Gloucester, N. J., from 
1854 to 1857. Impressed in the body of 
the ware. 

Impressed mark used on telegraph in- 
sulators, and probably porcelain, by the 
Southern Porcelain Company, of Kaolin, 
South Carolina, previous to, and at the 
commencement of, the Civil War. 



g 



THE CHELSEA KERAMIC ART WORKS. 



CHELSEA KEMMV 
lt0BER.T5aH %S 301N?. 



Chelsea (Mass.) Pottery of James 

Robertson and Sons. This mark was 

employed to some extent between 

1875 and 1880 and was impressed in 

the clay. 

^ Stamped or impressed in art pottery made at 

KjA the Chelsea Keramic Art Works of Robertson 

^ and Sons from 1875 ^^ 1889. 



Impressed mark used by the Chelsea Pot- 
teryy U. S., at Chelsea, Mass., on art wares, 
from 1 89 1. Hugh C. Robertson, manager. 




4o6 



^ 



0§ 



POTTERY AND PORCELAIN. 



THE UNION PORCELAIN WORKS. 

First mark used by the Union Porcelain Works 
of Messrs. Thomas C. Smith & Sons, Greenpoint, 
Long Island, adoped 1876 and impressed in their 
commercial hard porcelain. In 1877 the same 
mark was printed in green under the glaze. 

Mark used by same factory since 1877, printed 
in green under the glaze, on commercial porcelain. 
In a few instances, this mark has been used in 
raised ornamental form on large exhibition pieces, 
as a tablet applied to the bottom of the ware. 

Decorating-shop mark used at the Union 
Porcelain Works since 1879 ; printed on decor- 
ated porcelain, usually in red, over the glaze. 

Decorating-shop mark adopted in August, 



GREENWOOD POTTERY COMPANY. 



Mark first used on the Greenwood Pottery 
art wares, at Trenton, N. J., about 1883 to 
1 886, printed in purple. The Nc Plus Ultra 
art pottery was copied from the Royal 
Worcester, having an ivory finish and raised 
gold decoration. The figures in the centre 
indicate the date of the establishment of this 
factory (1861), the design having been sug- 
gested by the Worcester mark. 



MARKS AND MONOGRAMS. 



407 





Stamp used on hard porcelain body art 
ware, printed in purple beneath the glaze, 
from 1886 to the present time. 

A modification of the above, also used on 
art ware. 



THE NEW ENGLAND POTTERY CO., EAST BOSTON, MASS. 



^^ST ON £ c*., 



*^ 




N.E.RCi^' 



Mark used on ironstone china by 
Messrs. Thomas Gray and L. W. Clark, 
from 1878 to 1883. 




Bird stamp. New England Pot- 
tery Co., used on a special order of 
goods made by this company for a 
purchaser. Stamped or printed on 
plates, etc., in black, under the glaze. 




Used on stone china from 1883 
to 1886: 



4o8 



POTTERY AND PORCELAIN. 




Printed in black on " C. C." or cream- 
colored ware, under the glaze. 



Printed in black, under the glaze, on 
stone china and white granite wares, since 
1886. 




Printed in black, under the glaze, on " Rieti " 
ware, from r886 to 1888. 



Printed in black, under the glaze, on 
colored bodies, denominated " Rieti " ware, 
from 1888 to 1889. 

Printed in red, above the glaze,on 
" Rieti " and the finer decorated wares, since 



KOOKWOOD. 



Mark used at the Rookwood Pot- 
tery, Cincinnati, Ohio, from i88o to 
1882, to a limited extent This was 
designed by Mr. H. F. Farny, and 
printed on the ware in black, beneath 



MARKS AND MONOGRAMS. 



409 




t^ 



the glaze. In 1883 a small kiln mark was impressed in 
the ware made during that year. 



Mark used on a few pieces in 1882, impressed 
in the clay. 



Special mark used 
only on a trade piece 
(large beer tankard 
with raised figures) 
made expressly for the 
Cincinnati Cooperage 
Company, in 1882. The 
letters are impressed on 
a raised ribbon. 




KOORVrOOB 

1882: 



Employed on art pieces made from 
1882 to 1886, the date being changed 
each year. Impressed in the clay. 




Mark adopted in June, 1886, and used during 
the remainder of that year, impressed. 



i 




In 1887 21 flame point was placed above the 
monogram to indicate that year, and one point 
has been added each year since, so that the date 
mark used on pieces made in 1893 possesses 
seven points. 



POTTERY AND PORCELAIN. 



c 


Cream-colored clay. 


R 


Red clay. 


W 


White clay. 


s 


Sage-green clay. 


Y 


Yellow clay. 


G 


Ginger-colored clay. 



vJ Olive clay. 



Body marks impressed 
in the clay. 



PH<ENIXV1LLE POTTERY. 



^ 



Mark used by Messrs. Griffen & 
Smith, at the Phcenixville (Pa.), Pot- 
tery, between 1880 and 1890, on 
majolica ware. Impressed. 

The central monogram was also used on 
majolica or C. C. ware, alone. It is com- 
posed of the letters G., S., & H., Griffen, 
Smith, & Hill. The words Etruscan 
Majolica were sometimes impressed in a 
straight line. 

Mark used on a peculiar vitrified porcelain 
body with underglaze color effects, the color, 
glaze, and body being thoroughly incorporated 
together ; made by Prof. Isaac Broome at Tren- 



MARKS AND MONOGRAMS. 



4u 



ton, in 1880, on a throwing wheel. Only about one hun- 
dred small vases of this character were produced. These 
pieces, different from any other ware made in America, 
are scattered among collectors, and are highly prized for 
their beauty and rarity. This mark is an arbitrary one, 
being a modification of the sign of the planet Jupiter, 
and should not be confused with that used on old 
Plymouth (England) porcelain, which is somewhat similar. 



THE CHESAPEAKE POTTERY, BALTIMORE, MD. 




Mark used to some extent by Messrs. 
D. F. Haynes & Co., on their ''Clifton" 
ware, belonging to the majolica family. 
Adopted before 1883. 




Used occasionally on *' Avalon " ware, 
about same period. 




Used on " Ivory Body " ware, same time. 



Used on semi-porcelain ware. These 
marks, however, were employed only to 
a limited extent, the greater portion of 
the ware being unmarked. 



412 



POTTERY AND PORCELAIN. 




^f«uNOli. 

Marks adopted in 1889 to designate the 
style of decoration and shape. They were 
printed over the glaze in the same colors as 
the decoration. The letters C. P. stand for 
Chesapeake Pottery ; H. B. for Haynes and 
Bennett. Other marks, with slight variations, 

•ttNROSC. were also used, 
occ. 



ARUN OCL. 



Qv/. 




Mark used at the Hampshire Pottery 
of J. S. Taft & Co., of Keene, N. H., 
printed in red above the glaze, on art 
ware of an opaque white body. 



THE CINCINNATI ART POTTERY. 




The earliest mark of the Cincinnati Art 
Pottery Co. was a little turtle. Later it 
was discovered that an Indian name for 
turtle was " Kezonta," which name was 
added to the device about 1886. The mark 
opposite was printed on the finer grades of 
ware, in red. 



^S^OKT^ 



Mark impressed on the plainer 
wares, such as the blue and white 
pottery for decorators. 



MARKS AND MONOGRAMS. 



\n 



OTT & BREWER CO., TRENTON, N. J. 



14 






Mark used on opaque china table ware. 




BELLEEK 




Mark used on fine egg-shell Bel- 
leek ware, printed in red above the 
glaze. 



O&B 



BELLEEK 




Another mark in red or brown overglaze. 



tu.f^. Willets Manufacturing Co., Trenton, N. 

^3^ J. — Mark printed in red above the glaze, on 
^"^"^ decorated Belleek ware. 



CERAMIC ART CO. 




acuLCCn 



Overglaze stamp, printed on " Belleek ' 
ware, made by the Ceramic Art Co., of 
Trenton, N. J., in red, since 1889. 



0(^2^ 



Used on art ware of the Pauline 
Pottery Co. of Edgerton, Wis., since 
1888. On the earlier productions 
this mark was impressed. On the later 
it is printed. 



414 



POTTERY AND PORCELAIN. 



LONHUDA 




Impressed mark used on underglaze art 
ware made by the Lonhuda Pottery Co., 
Steubenville, Ohio, 1892. The lower mark 
is the monogram L. P. Co. On some of the 
later pieces, after native American designs, 
the figure of an Indian's head is impressed. 




FMG 



Mark used on decorated faience and 
porcelain made by the Faience Manufactur- 
ing Co. of New York, 1886 to 1892. 

Incised mark used on majolica and 
P so-called barbotine ware by the Faience 
Manufacturing Co. of New York. 







Printed mark used on thin art porcelain of 
the American Art China Works, of Messrs. 
Rittenhouse, Evans, & Co., Trenton, N. J. 




Mark of Messrs. Morris & Willmore, 
Trenton, N. J., manufacturers of art wares, 
adopted in 1893. 




CHAPTER XIX. 
TILES FOR DECORATIVE EFFECT. 

NEXT to paintings, etchings, and engravings, nothing 
can be more effective for wall decoration than artis- 
tically modelled tiles, in which color and shading 
are replaced by contour. The tile designer combines the 
arts of the painter and the sculptor, and his ceramic 
creations, partaking both of the nature of pictures and of 
delicate carvings, are well deserving of a place among the 
objects of art which adorn the dwellings of the cultured. 
It is a remarkable fact that, while the art of tile 
making in this country is practically not more than fifteen 
years old, the United States to-day excels the world in the 
manufacture of relief figure tiles and tile panels. True it 
is that we have had the benefit of the skill and knowledge 
of some of the foremost modellers of Europe, who have 
come to our shores, but we have also developed a number 
of American sculptors, whose work, in this direction, has 
fully equalled the best that has yet been accomplished. 
Within the past year or so we have progressed with such 
marvellous rapidity in the mechanical, as well as the artis- 
tic, treatment of clays and glazes, that we are now able to 
produce tile panels of eighteen to thirty inches in length. 



4i6 POTTERY AND PORCELAIN. 



in a single piece, with almost the same facility with which 
it was possible formerly to make six-inch tiles. Many of 
these tile sculptures are genuine works of art, and should 
be displayed in a tasteful and appropriate manner. 

What we call taste is merely the ability to recognize 
that which is beautiful. We are endowed with what is 
commonly termed good or poor taste according to the de- 
gree of perfection to which this faculty has been developed. 
He who is said to possess poor taste is that one who is 
deficient in this perceptive faculty, and is therefore unable 
to appreciate the harmonious relation of conditions which 
constitute the beautiful. Fashion is often the perverter 
of taste, and fashions frequently change, but beauty is 
ever governed by fixed laws of nature. And so, when we 
see a beautiful picture in clay, modelled with the skill of a 
true artist, it is not a mere '* matter of taste," or, in other 
words, a question of individual opinion as to the manner 
in which it shall be mounted to bring out its beauties the 
most effectively. We are too prone to accept the dictates 
of fashion in such matters, without regard to the suita- 
bility of contrasting materials, but experiment will often 
point out to us the path which leads to good taste. Thus 
custom has almost succeeded in convincing us that a glazed 
art tile, when used for decorative effect, should always be 
placed in a perishable, plush-covered frame, instead of in 
a light, graceful setting. Fashion might seek to persuade 
us that a fine oil painting would appear to the best advan- 
tage in a framework of incongruous velvet, but good taste 
could never be thus deceived. The coloring of the canvas 
requires the plain, rich contrast of the gilded frame. On 



TILES FOR DECORATIVE EFFECT. 417 

the other hand such a setting would prove unsuitable for 
tiles, except in rare instances, as where white or cream- 
colored designs are mounted in light openwork frames of 
gold. 

We see in the window of one of the foremost art 
stores a modelled tile surrounded with a broad plush 
frame, decorated with brass mountings. The whole ap- 
pears stiff, dull, and unattractive. We place a similar 
panel in a light wooden frame of soft ivory white, deli- 



cately carved and pierced, and the surface at once lights 
up with life, and its beauties are fully revealed. 

The coloring of the glaze or enamel which covers the 
tile sculptures must largely govern the character of their 
setting. In general, dark-colored tiles should be framed 
in ivory white. Light-blue may be. with good effect, 
placed in wooden frames of oxidized silver, but in all 
cases the moulding should be chased or carved to produce 
the appearance of lightness. In some instances a border 
of delicately tinted silk plush may be inserted between the 



4i8 POTTERY AND PORCELAIN. 



frame and picture, as, when the former is of old ivory and 
the latter of a cool gray color, a narrow line of pink or 
light terra-cotta may be added with excellent results. An 
ochre or burnt umber glaze will often harmonize with a 
terra-cotta moulding, but the ivory-colored frame will 
produce a dainty effect in combination with almost any 
tint of glazing. 

Beautiful as are the highly glazed and enamelled 
products of the tile kiln, 
they sometimes acquire 
an additional charm when 
subjected to the sand- 
blast process, which im- 
parts a softness and deli- 
cacy of effect to the 
sculptures not otherwise 
obtainable. The achieve- 
ment of a dull finished 
surface on decorative tiles 

aiB.— "Sappho." Pdrplish-Grav Glaze, is a distinct Step forward 

IN IvoRV Fkamb and Pink Plush Bor. . , ,, . , . . 

D«. Beaver Falls Art Tile Co. ^ the direction of artistic 

Designed bv Prop. Isaac Broome. treatment, just as the dull 

gold ornamentation of a 
porcelain vase is generally a vast improvement over the 
harsh burnished gilding which is so often suggestive of 
commercial cheapness. To this latter style of tile finish 
the judicious application of plush mountings would be 
more harmonious than to a glazed surface, and. in certain 
instances, as where a tile of a delicately tinted, velvety 
surface is framed in plush of a darker shade of the same 
color, a rich effect may be secured. 



TILES FOR DECORATIVE EFFECT. 419 

A six- by eighteen-inch pastoral panel, made by the 
Trent Tile Company, of Trenton, N. J., in their " Trent 
finish," is here figured. The glaze is of a dainty shade of 
claret, the frame of old ivory (111. 220). 

The framing of art tiles should be governed, in a large 
degree, by the subject of the design, and the same may 
be said of the tinting of the glazes employed. Panels 
symbolical of the four seasons 
should be colored, as a general 
rule, in keeping with the idea 
intended to be conveyed. 
Thus " Spring " should be 
finished in a delicate apple- 
green or apple-blossom pink ; 
'* Summer " in azure blue ; 
" Autumn " in light red-brown 
or umber, and " Winter" in a 
dainty shade of French gray. 
Suitable frames for these tones 
of glazing are white or blue, 
oxidized silver with pink orna- 
mentation, dark terra-cotta, 
and pink, respectively. A set 
of twelve- by eighteen-inch 
"Season" panels, so finished, 
by the American Encaustic Tiling Company, of Zanes- 
ville, Ohio, and mounted in accordance with these sug- 
gestions, are among the most beautiful works of art in 
our collection. 

In hanging framed tiles, it would be well to choose 
subjects which are in keeping with the positions selected. 



«ig. — Duve-Gheen Glaze in Old 

Ivory SEiriNr.. Low Art 

TiLB. Designed by 

Osborne. 



POTTERY AND PORCELAIN. 



" Spuing " Pankl. Pale Applr-Green Glazk. huAMEo in Pinkish 
White. American Encaustic Tilinu Co. Designed by 
Hkkhan MtiEUxm. 



TILES FOR DECORATIVE EFFECT. 421 

Ideal heads, modellings of child and female forms, and 

designs after paintings may with propriety be placed in the 

parlor ; portrait tiles and plastic sketches, in the library ; 

game and sporting tiles, in the 

dining-room or hall ; while 

designs of a more general 

character, such as pastoral and 

season panels, may, with good 

taste, be hung in any part of 

the house. 

Art tiles may also be util- 
ized in other ways for interior 
decoration. A good effect 
may be obtained by attaching 
a set of three framed panels 
»to the woodwork of the man- 
tel facing, a vertical design 
being hung or nailed on each 
side and a horizontal one 
across the top. When so 
utilized, the tile frames should 
harmonize, in materia! and 
carving, with the background. 

By thus applying aesthetic 
principles to the preparation 
of art tiles for interior decora- 
tion, incongruous combina- 
tions of colors and materials, which detract from the 
beauty of the objects themselves, are avoided and we 
have genuine works of art which are creditable alike to 



fJ2.— Thkek-Tile Panel—" Twi- 
UCHT." BLI.-E Glaze, Ckeau 
White Frame. United States 
Encaustic Ttle Works. De- 
sioNED BY Miss Ruth Winter- 



422 POTTERY AND PORCELAIN. 

the modeller, the manufacturer, and the purchaser. Al- 
ready our tile-makers have produced many of these 
" pictures in clay," which, as examples of the fine arts, are 
worthy of a place in any home, and the rapid development 
of this branch of the ceramic art promises to furnish us, 
at an early day, with works of a still higher art value, 
which are destined in a great measure to replace the more 
expensive paintings and water-colors on the walls of our 
dwellings. 



CHAPTER XX. 
CONCLUDING REMARKS. 

THE history of pottery and porcelain in America, as 
presented in the foregoing pages, may be summed 
up briefly as follows : 

Building bricks were made in Virginia as early as 1612. 

White ware was first manufactured in this country 
about 1684. 

Clay tobacco-pipes of European design were probably 
first made In America in 1690. 

Terra-cotta roo6ng tiles were made in Pennsylvania 
previous to the year 1740. 

Slip-decorated earthenware was fabricated in Pennsyl- 
vania as early as 1760. 

The earliest attempt to manufacture white ware (and 
possibly porcelain) with underglaze decorations was made 
in Philadelphia in 1770. 

William Ellis Tucker, of Philadelphia, was the first 
to successfully produce hard porcelain, in the year 1825. 

The first Rockingham ware was made in the United 
States at East Liverpool, Ohio, by James Bennett in 1839. 

Transfer printing from engraved plates was first ap- 



424 PO TTER Y AND PORCELAIN. 



plied to pottery in this country at the Jersey City Pottery 
previous to 1840. 

Parian ware was first produced at Bennington, Ver- 
mont, about the year 1846. 

Inlaid floor-tiles were made at the United States Pot- 
tery in Bennington in 1853. 

Pottery coat-buttons were manufactured at Norwalk, 
Connecticut, about the same time. 

Architectural terra-cotta was not made in the United 
States until about 1870. 

Ornamental relief tiles were not produced until after 
the Centennial Exposition. 

Belleek or egg-shell porcelain was first made in this 
country, at Trenton, in 1884. 

The Great Exhibition of 1876 marked the ceramic 
art movement which has since resulted in the wonderful 
development of the pottery industry in this country. 

For more than a century intelligent and public- 
spirited men and women in Europe have been interested 
in gathering together, from the four corners of the globe, 
examples of ceramic manufactures, which, above all other 
objects of human industry, have been instrumental in 
recording the history of nations, the customs and manners 
of peoples, and the artistic progress of races. Sovereigns 
and subjects have vied with each other in forming collec- 
tions of the quaint, the curious, the beautiful in art, as 
exemplified in the handiwork of the potter. 

In our own country no serious attempts were made in 
this direction by collectors until a comparatively recent 
period, and previous to 1876 but few private or public 



J 



CONCLUDING REMARKS, 425 



collections of potteries or porcelains could be found in 
the United States. Since the Philadelphia Exhibition, 
however, widespread interest has been awakened among 
students and collectors in the ceramic art, and to-day 
many valuable cabinets are to be found in the land filled 
with rare and costly examples of Old World skill. We 
have our specialists who confine themselves to the study 
of Oriental art ; our collectors of Grecian and Roman 
potteries ; our ceramists who are particularly interested in 
the wares of mediaeval Europe, of Sevres, of Wedgwood, 
and a few general collectors who cover the fictile arts of 
the world. The one fertile field, however, from which 
we may expect to reap the most abundant harvest, has 
thus far been neglected, although a step has been made 
in the right direction by one of our prominent public 
institutions, the Pennsylvania Museum, of Philadelphia, 
which has recently commenced the formation of a collec- 
tion of American wares to illustrate the history and 
development of the potter's art in the United States from 
the first settlement of the country to the present time, 
which shall serve as a permanent reference collection for 
the student and the artisan. 

The unreasonable prejudice which has heretofore 
existed against American ceramic production is rapidly 
disappearing as the discriminating public becomes more 
familiar with them. One of the foremost pottery concerns 
in this country, which was a few years ago forced to re- 
move its trade-mark from its goods, in order to insure 
their sale in the home market, has recently resumed the 
marking of its wares, because the people have discovered 



426 POTTERY AND PORCELAIN. 



that they are fully equal, in every respect, to imported 
china of the same class. It has not been more than three 
or four years since a leading jewelry establishment in one 
of our large cities refused to handle the thin Belleek 
china made in Trenton, unless stamped with a foreign or 
misleading mark. To-day these wares are meeting with 
an extensive sale on their own merits and through the 
domestic marks which are placed upon them. 

Our potters are themselves largely responsible for the 
ignorance of the American public in respect to the progress 
which has been made in this country in ceramic manufac- 
ture. The inquirer is met at the outset by an almost in- 
surmountable difficulty in ascertaining where many of the 
best wares are to be procured. Some of the most meri- 
torious productions of prominent potteries are rarely seen 
on sale outside of their respective warerooms, and a search 
through the crockery shops of any of our cities will bear 
but scanty fruit in the discovery of American wares. Even 
in Trenton, the manufacturing centre for the finest Ameri- 
can goods, it is impossible to see the various manufactures 
of different establishments without visiting some thirty 
separate works. Not until a permanent bourse or ex- 
change shall be established, by a combination of the 
potters of this country, can the general public be fully 
educated to the knowledge that the best pottery and 
porcelain can be purchased at home. The petty jealousies 
which actuate many of our manufacturers must be over- 
come, and they must consent to enter into friendly rivalry 
before they can hope to successfully present their claims 
for popular favor. Every important city should have its 



CONCLUDING REMARKS. 427 



exchange where the best wares from all sections can be 
congregated together for examination and comparison. 
Such a movement would benefit all of our potters and 
eventually result in the decreased consumption of im- 
ported goods and the large increase of exports. 

Another means of fostering, to some extent, our home 
manufactures would be the refusal to admit foreign-made 
wares to any of our exhibitions of decorative execution. 
Awards of merit should be confined to work done by our 
professionals and amateurs on American bodies. There is 
no reason for the selection of imported china by decorators 
when our own manufactories are producing wares for orna- 
mentation in sufficient variety and of equal, if not superior, 
excellence to any that are imported for this purpose. 

The possibilities of American art should appeal strongly 
to our art patrons, and our potters should receive the en- 
couragement which wealthy connoisseurs have heretofore 
confined to foreign factories. Where could their patronage 
be more worthily and profitably bestowed than upon the 
artistic conceptions of our manufacturers, which only need 
proper recognition to insure greater originality and a still 
higher order of merit ? 

We cannot but believe that it should be the duty of 
those high in authority in the National Government to 
give their support to this branch of our national industry. 
The un-American sentiment which actuates the ordering 
of a service of china from abroad for use in State cere- 
monies should be discountenanced by our patriotic citizens. 
We are fully capable of producing table services equal to 
the best that can be obtained from foreign factories, and 



428 POTTER Y AND PORCELAIN. 

our manufacturers are certainly entitled to official recogni- 
tion. It is gratifying to know that already some of our 
Chief Executives have patronized home manufactures by 
commissioning Americans to make special services for the 
White House, and the recent example of a cabinet officer 
selecting a dinner set for his own table from a Trenton 
factory, after considering many which were submitted in 
competition, is one which, we trust, may be extensively 
emulated in the future. 

Thus far our potters have been, in a great measure, 
imitative rather than inventive, and the result is that we 
have largely reproduced, though in a most creditable man- 
ner, patterns and designs, bodies, glazes, and decorations, 
of foreign factories. With some few exceptions, our 
commercial manufacturers have been content to copy and 
imitate the products of foreign establishments and have, 
in consequence, unconsciously assisted in perpetuating 
certain offences against good taste, as, for instance, in the 
continued production of the ancient style of table plates 
with depressed centres and horizontal borders, the modem 
use of individual salts, butters, and bread and butter plates 
rendering the plate rim no longer necessary. It should, 
therefore, be discarded as being obsolete and inelegant. 
The most convenient, useful, and graceful form of plate is 
that with the simple, sweeping, curved line, not made, how- 
ever, except by a few progressive English potters. 

Our producers have also yet to learn that modern 
table etiquette demands a reduction in the size of many 
pieces intended for family use. It is no longer necessary 
to make butter dishes and gravy boats large enough to 



CONCLUDING REMARKS. 429 



serve the purpose of vegetable dishes, nor the latter of a 
capacity sufficient for an ordinary soup tureen. The in- 
creasing refinement of our modern civilization rebels 
against the continued use of the capacious and clumsy 
utensils of pre-Centennial times. While the quality of 
our domestic table wares is not inferior to that of the 
foreign, the commercial element in design and workman- 
ship must be made secondary to the artistic before our 
manufacturers can expect the more cultured classes to 
abandon, to any great extent, the imported for domestic 
manufactures. We are progressing rapidly in the right 
direction, however, and some of the designs of a few of 
our more progressive potteries have been copied exten- 
sively by English and German factories. The modelling 
of pieces for services is receiving more careful attention, 
and underglaze decorations are gradually superseding the 
inappropriate and unsubstantial overglaze work in table 
ware. 

One of our acquaintances, who is greatly interested in 
American china, recently conceived the idea of giving a 
series of mid-day entertainments to her lady friends, 
which she christened '* American Luncheons," for the 
reason that not only was the bill-of-fare distinctively Ameri- 
can, but the china ware used on the table was entirely of 
American manufacture. As this suggestion may be fol- 
lowed by others with profit, we subjoin a sample 

MENU. 



BLUE POINTS ON HALF-SHELL. 



(Oyster Plates of Mazarine Blue, made by the New England Pottery 

Co., East Boston, Mass.) i 



430 PO TTER Y AND PORCELAIN. 



BOUILLON. 

(Two-handled, covered cups, Belleek ware, made by the Willets Manu- 
facturing Co., Trenton.) 

CREAMED SALMON. SARATOGA CHIPS. 

(Semi- Porcelain Plates, Clifton shape, underglaze blue " peony " deco- 
ration, made by the Chesapeake Pottery, Baltimore, Md.) 

BROILED QUAIL, CURRANT JELLY. 

(Semi-Porcelain Plates, underglaze Royal Blue decoration, made by 

International Pottery Co., Trenton.) 

SWEETBREAD PAT^S. 

(Fluted China Shells, made by International Pottery Co., Trenton.) 

BREADED LAMB CHOPS WITH MUSHROOMS. 

(Thin vitreous China Plates, made by the Greenwood Pottery Co.^ 

Trenton.) 

TOMATO SALAD. 
CHEESE AND WAFERS. 

(Thin China Plates, made by Knowles, Taylor, & Knowles, East 

Liverpool, O.) 

NESSELRODE PUDDING. 

(Ice-cream cups on platters of thin Belleek China, made by Ceramic 

Art Co., Trenton.) 

COFFEE. 

(After-Dinner Coffees of Egg-Shell China, made by the Ott & Brewer 

Co., Trenton.) 

At the four corners of the centre-piece were Cupid 
candelabra, made by the Ceramic Art Co., and in the 
centre an artistic jardiniire from the Burroughs and 
Mountford factory, of Trenton, containing ferns. On 
the table were faience almond-shells in underglaze decora- 
tion, from the Rookwood Pottery, Cincinnati, with salted 



CONCLUDING REMARKS. 431 



peanuts ; bonbonntires in underglaze, triangular and heart- 
shaped, after the Japanese Kioto ware, made at the Pau- 
line Art Pottery, Edgerton, Wis. ; individual salts of pink 
Belleek, in the form of snail-shells, from the Etruria Pot- 
tery of Ott & Brewer ; bread and butter plates, from the 
Willets Manufacturing Co., and butter spreaders, with 
decorated china handles, made by the Ceramic Art Com- 
pany. Beside each guest was a delicate souvenir consist- 
ing of a china shell flower, holding sweet violets, from 
the American Art China Works of Trenton. No foreign 
productions could be more dainty and artistic than this 
combination of domestic wares, though selections from 
other American potteries could have been made with 
equally satisfactory results. 

Some of the most prominent ceramic artists and 
artisans of England, France, and Germany are now con- 
nected with our American manufactories, contributing 
their experience and skill in the elevation and improvement 
of the standards of our productions. The United States 
have also produced potters, designers, decorators, and 
modellers who stand in the front rank of progressive 
workers in this branch of industry, and the art schools 
and industrial institutions which have been established 
in many parts of the land are educating our youth in the 
practical arts, and preparing them for this new field of 
labor. It is to be hoped that, at no very distant day, a 
National School of Pottery and Porcelain may be insti- 
tuted, under the auspices of the Federal Government. 

The day is not far distant when the legends, ** Made in 
England," ** Made in France," or ** Made in Germany " 



432 POTTERY AND PORCELAIN. 

will not be necessary to insure the sale of ceramic pro- 
ductions in this country. On the contrary, we are rapidly 
approaching that time when the purchasing public will 
discriminate in favor of such wares as shall bear the 
marks of domestic manufactories, or the words " Made in. 
the United States,^' 



Abbalt, Robert, iiS 
Abbott, Dr. C. C, 48, 34a 

Aborigiiml pottery, 24 

Academy of Natural Science!>, Philftdel- 

phiB, 4a 
Adams, Harvey, 335 
Agiiew, Wilton, 139 
Akron, Ohio, 334 
AkroD Stoneware Agency, 334 
Alabama wai ship, 190 
Albany, N. Y.. 112 
Albert ware, 17, 90 
Albert! ne ware, 90 
Allen. Vales, & Bennett, 30; 
Alpaugh & Magowaii, zjS 
Alrich, John C, 3S9 
American Art China Works, 341, 414, 

431 
American China Co., ^40 
American China Manufactory, iz6. 154. 

American Crockery Co., 305 

American Encaustic Tiling Co., 353, 338, 

360, 419, 420 
American Institute, N. V., 133, 194, 2lB 
American Museum Natural History, iS 
American Porcelain Manufacturing Co., 

183, 405 
American Pottery Co., fjg, 403 
American Potleiy Manufacturing Co., 

iig. III, IZ5 
American Pottery Works, aog 
American Stilt Works, 210 
Anchor Pottery, 343 
Anderson, Ind., 3B1 
Anderson, James, Jr., 159 



Anderson, Knowles, Taylor, & Co., 307 
Architectural lerra-cotta, 17, 385 etxff. 
Armstrong. Robert Williams. 315 
Armstrong, Stephens, & Conkling. 396, 

397 
Arsenal Pottery, 241 
ArtiRcia] porcelain, 31 
Associated Artists of Cindnnali, 384 
Astbury & Maddock, 30s 
Atlanta, Ga., 306, 386 
Atwood & (Srueby. 397 
Avon Pottery, 303 

Bagaly & Ford, i6j 

Baggott. Samuel and William, 300, aio 

Bailey, Joseph, 177, 378, 39a, 393 

Bainbridge, Edmund T., 157, 159 

Baker, Jacob, 153 

Baltimore, Md., 194, 330 

Bands, Mr., 346 

Barber, Enoch, 175 

Barlow & Marsh, 340 

Barnhom, Clem., 376 

Harnum, P. T., 396 

Hasten, John, Igr 

Batchelder, Mr., 172 

Bates, Reuben, 159 

Bath, S. C, 348, 349 

Beach Pottery, 176, 177 

Beach, R. B.. 176, 177, 393 

Beattie, Herbert W., 199 

Beauchamp, Rev. W. M., 39 

Beaver Falls, Pa., 333, 369 

Beaver Falls Art Tile Works, 53. 369, 

373. 418 
Bechtel, Abraham, 183 



434 



INDEX. 



Bechtel, Martin H., 183 

Beck, A. B., 311 

Beck, A. M., 319 

Bedle, Hon. Joseph D., 374 

Beerbower & Griffen, 268 

Beerbower, L. B., & Co., 118 

Bell, William, 159 

Belleek ware, 20, 202, 215, 229, 233, 236 

241, 242 
Benjamin, Dr. Marcus, iv., 266, 303 
Benjamin, Hon. S. G. W., 318 
Bennett & Bros., 194, 199, 200 
Bennett, Daniel, 194 
Bennett, Edwin, 194, 197, 198, 322 
Bennett, Edwin, Pottery Co., 196, 197 
Bennett, Edwin H., 322 
Bennett, £. & W., 195, 196, 198 
Bennett faYence, 305 
Bennett, Haynes &, 320, 329, 412 
Bennett, James, 192, 194. 423 
Bennett, John, 305-308 
Bennett Pottery. 193 
Bennett, William, 194 
Bennett, Yates, & Allen, 305 
Bennighof, Uhl, & Co., 319 
Bennington, Vt., 104. 105, 156, 157, 165 

etseq., 173-175. 181, 186, 187, 244, 

245. 248 
Berge, Benjamin, 85, 86 
Bethlehem, Pa., 51 
Big Stone Gap, Va., 177 
Billingsley, William, 178 
Binney & Ronaldson, 11 1 
Binz, Heinrich, 375 
Birch, William. 137 
Bird-in-Hand, Pa., 51 
Birmingham, Pa., 194 
Bishop, Dr. J. Leander, 46 
Black, William K., 272 
Blakely, John S. and James, 2ox 
Blakely, Woodward, & Co., 201 
Bland, John B., 159 
Blashfield, J. M.. 348, 386 
Bloor, Martin, & Co., 305 
Bloor, Mr., 218 
Bloor, Ott, & Booth. 215 
Bloor. William, 208 
Blountville C. H., Tenn., 177 



Boch, Noah, 163 

Boch, William, & Bro., 162, 164 

Bockins, George, 183 

Bodleian Library, 55 

Bodley, E. F., & Co., 190 

Bonnin, Gousse, 93, 97, 99 

Booth Bros. & Odell, 308 

Booth, Ott, & Bloor, 215 

Booth, Richard, 201 

Booth, Taylor, 292 

Booth, Ward, 292 

Boston Athenaeum, loi 

Boston Fire-Brick Works, 397 

Boston Museum of Fine Arts, 260-266 

Boston Pottery Co., 334 

Boston Terra-Cotta Co., 395, 397 

Boulter, E. A. & A. L., 110 

Boulter, C. J., 108, no, 152 

Bourg-la-Reine of Chelsea, 263 

Bourne, Mr. 268 

Bowman, O. O., 240 

Bow Works. 61, 97 

Boyce, A. J., 3 

Boyce clay press, 2, 3 

Boyle, John, 397 

Bradshaw, George, 334 

Brandy wine Summit, Pa., 212 

Braunstein, F. W., 375 

Brewer, Hon. John Hart, iv., 215, 218- 

220, 239 
Brewer, Ott, & Co., 215-218, 233, 236, 

243. 372. 413. 430, 431 
Brick- and tile-making, 46 
Brightwood, Ind., 397 
British Museum, 65 
Britton, Nathaniel E., 239 
Brockmann, C. E. 274 
Brockmann Pottery Co., 275 
Brockmann, Tempest. & Co., 274 
Bromley, John, 215 
Bromley, William, 215, 216, 233, 236, 

273. 274 
Bromley, William, Jr., 215 

Brooklyn, N. Y., 334 

Broome, Prof. Isaac, iv., 53, 127, 220- 

224, 362, 367. 370-372. 374. 410, 418 
Broomfield, Mr., 287 
Brownfield, William, & Sons, 160 



INDEX. 



435 



Browning. Abraham, 184 

Brunt, Bloor, Martin, & Co., 305 

Brunt, Henry, 196 

Brunt, Henry, & Son, 210 

Brunt, William, Son, & Co., 201 

Bryan, William, 137 

Buck, J. H., 108, 134 

Buck, William J., 70 

Bucknall & Stevenson, 158 

Budd, James, 57 

Budd, Mary, 58 

Bullock, R. B., 191 

Burd, Charles, 141 

Bureau of Ethnology, 30, 45 

Burford Bros., 210 

Burgess & Co., 210 

Burgess, William, 229 

Burlington, N. J., 54, 53 

Burroughs & Mountford Co., 223, 225, 

430 
Burton, McNicol, & Co., 210 
Burton, William, 319 

Callowhill, James, 368 

Callowhill, Scott, 270, 331, 368, 369 

Cambridge Art Tile Works, 287, 375 

Cambridge, Mass., 88 

Camden, N. J., 179 

Campbell, J. A., 229 

Carpenter, George W., 119 

Carr & Clarke, 232 

Carrere and Hastings, 379 

Carr, James, 179, 180, 229 

Carr, Morrison &, 179, 252 

Cartlidge, Charles, 163, 164, 187 

Cartlidge, Wm., 163 

Cartwright Bros., 209 

Cartwright, Croxall &, 210 

Casseday, Samuel, 159, 161 

Cassedy, John, 120 

Casting, 10 

Castleberry, Z., 386 

Central New York Pottery, 113 

Ceramic Art Co., 235, 237. 366, 413. 430, 

431 
Challinor, Wood &, 181 

Chamberlain, William, 152 

Chamberlin, Perly, 199 



Champion, Richard, 63, 189 

Chelsea Bourg-la-Reine, 263 

Chelsea faience, 262 

Chelsea Keramic Art Tile Works, 381 

Chelsea Keramic Art Works, 260, 261, 

264, 381, 405 
Chelsea, Mass., 16, 260, 265, 347, 405 
Chelsea Pottery, U. S., 267, 405 
Chemical stoneware, 179 
Cherokee Indians, 29, 62 
Chesapeake Pottery, 320-328, 331, 411, 

412, 430 
Chetwynd, Cockson &, 209 
Chetwynd, Joseph, 209 
Chetwynd, Wallace &, 209 
Chicago Terra-Cotta Co., 385 
China, 19 

China clays, 59 ei seq,, 191, 212 
China for Confederate government, 190 
China works, first in Phila., 91 ei seq, 
Cibola, 41 

Cincinnati, Ohio, 16, 273 et seq. 
Cincinnati Art Pottery Co., 299-303, 412 
Cincinnati Art School, 376 
Cincinnati Museum of Art, 276, 279, 281- 

283, 288, 301, 302 
Cincinnati Pottery Club, 276, 278, 284 
Cincinnati, woman's work in, 275 
Clark, Decius W., 166, 175, 187, 244 
Clark, Fenton &, 244, 245 
Clark, L. W., iv., 166, 170, 187, 244, 246, 

407 
Clarke, Edward, 229 
Clarke, James, 335 
Clarke, Robert, & Co., 293 
Clay, Henry, 133, 134, 164 
Clay, purifying potter's, i 
Cleveland, Mrs. Grover, 371 
Cleveland, President Grover, 383 
Clews, Henry, 161 * 

Clews, James, 156-160 
Cockson & Chetwynd, 209 
Coleman, Fiske & Co., 396 
Columbia Encaustic Tile Co. , 382 
Columbian Art Pottery, 242 
Columbian Pottery, Philadelphia, 11 1 
Columbus, 397 
Confederate Government, 190, 250 



\ 



i 



436 



INDEX. 



Conkling, Armstrong, & Stephens, 396, 

397 
Conkling, E. N., 397 

Connelly, Thomas, 22S, 229 

Cook, Chas. H., 239 

Cook, Edward, 120 

Cook, Elias, 239, 241 

Cookworthy, Wm., 60, 61 

Cooper, Charles, 60 

Cooper, John J., 361 

Cope, Gilbert, 54 

Cope Pottery, 73 

Cope, Thomas P., 137 

Copeland, Thomas H., 245 

Corlies, Brinton, 135 

Cottage City, Mass., 335 

Coughclough, John, 175 

Coultry, P. I^., & Co., 276, 999 

Couture, Thomas, 346 

Covington, Ky.. 287, 375 

Coxe, Dr. Daniel, 54-58 

Coxon & Thompson, 238 

Coxon, Jonathan, Sr., 235 

Crackle ware, 19 

Craddock, Charles, 309 

Cranch, E. P., 90, 293-295 

Cranch, Richard, 90 

Cream-colored ware, 18 

Crescent Pottery Co. , 239 

Crolius Pottery, 63 

Crown Porcelain Works, 240 

Crown Pottery Co., 319 

Croxall & Cartwright, 210 

Croxall, Jesse, 199 

Croxall, John, 199 

Croxall, John W., & Sons, 199, 210 

Croxall, Samuel, 199 

Croxall, Thomas, 199 

Crystal Palace Exhibition, 162, 163. 170, 

180, r82 

Cuddy, James McG., 157 

Curtis, John, 104 

Cushman, Charlotte, 255 

Cushman, Paul, 112, 113 

Cyclopedia of American Biography, 267 

Daily, Haughwout &, 182, 183 
Dale & Davis, 239 



Dallas, Frederick, 274, 278, 293 

Dallas Pottery, 285 

Daly, Matt A., 293, 299 

Danner, George H., 72, 91 

Darragh, Thomas F., 343 

Da vies, Col. Thos. J., 189, 19 1, 248-250 

Davis, Bishop, 189 

Davis, Dale &, 239 

Davis, Isaac, 305 

Day, Alfred, 312, 336 

Day, Miss Josephine, 263 

Decoration, 13 

Deetz, Thomas B., 74 

Delaware Pottery, 228 

Dengler, F. X., 261, 263 

Dewey, O. C, 334 

Dewey, Timothy, 118 

Dillwyn, Lewis Weston, 156 

Dixon, Alexander, 128, 139. 140 

Dodd, Mrs. Wm., 277 

Dominick. Mrs. George, 277 

Donaghue, C. W., 242 

Donaldson, W\ B., 312 

Dore, 263 

Douglass, J. G., 359 

Doulton & Co., 305-307 

Doulton, H., 307 

Doulton Works, 177 

Drake, John C, 183 

Drecr, Ferdinand J., 95, 137 

Dresden Pottery Works, 209 

Ducachet, Dr., 374 

I^gganf F. A., 242 

Duggan, Mr., 238 

Du Halde, 61 

Dummer, George, 118 

Durell, Jonathan, 102 

Dutch potters, 53 

Dwight, John, 60 

Eagle Pottery Works, 210 

Early potting in America, 53 

East Big Stone Gap, 177 

East Boston Pottery, 381 

East Liverpool, Ohio, 156, 161, 163, 192 

etseq,, 334 
East Morrisania China Works, 164 
East Trenton Pottery Co., 242 



INDEX. 



437 



Edwards, James, 200 

Eger, Hennann, 179 

Eggers, Miss, 275 

Egyptian Pottery Co. , 242 

EUicott, H. J., 397 

Ellis, Mrs. F. R., 277 

Empire China Works, 162, 164, 304 

Empire Pottery, 238 

Enterprise Pottery Co., 228, 242 

Equitable Pottery Co., 242 

Etruria Pottery, 215, 223, 362. 372, 431 

Edgerton, Wis., 332 

Etting, Col. Frank M., 93 

Evans, Lewis, 47 

Evans, Rittenhouse &, 241, 414 

Evansville, Ind., 319 

Evil, Christian, 339 

Eyre, Isaac, 69 

FaVence, 16 

FaXence Manufacturing Co., 3x3-319, 414 

Falconer, J. M., 255 

Farny, H. F., 408 

Farrar. Wm. H., 186, 188 

Fay, Charles, 228 

Fell & Thropp Co., 239 

Fenety, G. W., 262 

Fenton & Clark, 244, 245 

Fen ton, Christopher Weber, 165-170 

Fenton, Lyman &, 165, 174, 175, 404 

Fenton, Norton &, 157, 165 

Fenton's Works, 175, 404 

Fillman, Michael, 84 

Firing, II 

Fischer, B., 353 

Fiske, Coleman, & Co., 396, 

Flemish stoneware, 114 

Fletcher, Miss Clara, 277 

** Flint Enamelled " ware. 166, 404 

Flood, John, 139 

Flushing, N. Y., 162 

Ford, Bagaly &, 165 

Forrest, Edwin, 254, 258 

Franklin Institute, Philadelphia, 98, 99, 

107-109, 116, 118, 119, 121, 130, 131, 

138, 148, 154, 165, 176. 194 
Franzheim, Charles W., 334 
Frederick, Charles, 152, 402 



Freedley, Edwin T., 184 

Frey, S. L., 112 

Freytag, Daniel, 115 

Frost, Mr., 201 

Frost, Vodrey &, 157 

Fry, Miss Laura A., 277, 282, 283, 337 

Fry, Theophile, 1 66 

Frye, Thomas, 59 

Fulton, Robert, 132 

Gallimore, Miss Flora, 366 

Gallimore, Jesse, 366 

Gallimore, Miss Marian, 366 

Gallimore, Wm., 363, 366 

Gallimore, Wm. W., 236, 363-366, 384, 

420 
Galloway & Graff, 272 
Garvin, Wm., 159 
Gast, Henry, ii8 
Gay Head Pottery, 335 
Geer, Walter, 388 
Gerard, Mr., 185 
Germantown, Mass., 90 
Gibble, John, 340 
Gilchrist, John, 120 
Glasgow Pottery, 213, 239 
Globe Pottery Co., 210 
Gloucester China works, 179, 183-185 
Gloucester, N. J., 405 
Goodwin Bros., 200, 333 
Goodwin, John, 200 
Goodwin, Taylor, & Co., 200 
Goss, William Henry, 60, 215, 216, 365 
Graff, Galloway &, 272 
Graham, Charles, Chemical Pottery 

Works, 334 
Gray, Jerome B., 341 
Gray, Thomas, 245, 407 
Greatbach, Daniel, 121, 124, 166, 170 
Great Western Pottery Works, 210 
Greeley, Horace, 170, 174 
Green, Caleb S., 239 
Greenpoint, N. Y., 253, 254, 276, 305, 

313. 406 
Greenwood Pottery Co., 163, 226, 227, 

406, 407, 430 
Griffen & Smith, 410 
Griffen, Beerbower &, 268 



438 



INDEX. 



Griffen China Co., 270 
Gri£Fen, Love, & Co., 269 
Griffen, Smith, & Co., 369 
Griffen, Smith, & Hill, 268, 410 
Grimly, Solomon, 50, 51 
Grueby, Atwood &, 397 
Gummere, Barker, 239 

Haig, James, 116 

Haig, Thomas, 116, 117 

Hall, E. J., 388 

Hall, F. H., 361 

Hall, Henry D., 165 

Hall, Dr. Isaac H., 181 

Hall, S. C, 365 

Hall, W. C, 388 

Hallworth, Philip, 183, 185 

Hamilton Road Pottery, 274, 282 

Hampshire Pottery, 270, 271, 412 

Hancock, Frederick, 156 

Hancock, John, 156 

Hancock, W. S., 239 

Hand, William, 152, 185, 402 

Hard paste, 20 

Harker & Taylor, 208, 293 

Harker, Benjamin, Sr., 199 

Harker, George S., 199, 208 

Harker Pottery Co., 199, 207 

Hamed, Thomas B., 152 

Harper* s Magazine^ 284, 306 

Harpignies, M., 377 

Harris Manufacturing Co. , 362, 374 

Hflrrison, Ex-President Benjamin, 383 

Harrison, Charles, 156 

Harrison, John, 165 

Harrison, Mrs. Joseph, 137 

Harrison, Gen'l. Wm. Henry, 403 

Harrison, W. H., 120 

Hart, Charles Henry, 91, 128, 141, 401 

Harvey, Isaac A., 201 

Harvey, Moland, & Co., 272 

Haugh, B. O., 382 

Haughwout & Daily, 182, 183 

Haynes & Bennett, 412 

Haynes, Bennett, & Co., 320, 329 

Haynes, David Francis, iv, 16, 320-322, 

326-330, 332 
Haynes, D. F. & Co., 411 



Haynes, Miss Fannie, 328, 329 

Haynes, Walter, 320 

Headman, Andrew, 86 

Headman, Charles, 86, 87 

Headman, Michael, 86 

Heame, Wm. L., 335 

Hemphill, Judge Joseph, I33-I35i I37, 

138, 140-142, 144, 401 
Hemphill, Robert Coleman, 135, 138 
Hemphill, Mrs. R. C, 141, 142 
Hemphill, Tucker &, 2, 109, no, 133, 

134, 139, 140, 142, 147, 153, 155, 254 
Henderson, David, 120, 125 
Henderson, D. & J., 119, 120, 403 
Hendrickson, W. C, 242 
Herbert, J. T., 208 
Herbcrtsville, N. J., 106 
Hernandez & Saloy, 313 
Hewitt, John G., 388 
Hews, Abraham, 88, 89 
Hews, A. H., 88 
Hews, Horatio, 89 
Heylyn, Edward, 59 
Hildenbrand, Frederick, 82, 83 
HiU. Dr. Asa. 181 
Hill, Griffen, & Smith, 268, 410 
Hinchco, Benjamin, 160, 161 
Historical Society of Pennsylvania, 128 
Hockessin, Del., 212 
Hodgkin, Edith, 66 
Hodgkin, John Eliot, F. S. A., 66 
Hoge, John, 355, 356 
Holabird, Miss Alice Belle, 277 
Holmes, Prof. Wm. H., iv., 30, 32 
Homer, William H., 245 
Hoopes, Israel, 139 
Horn, George L., 179 
Homer & Shirley, 154 
Horseman, Mr., 185 
Houdayer, John F., 238 
Houston, Bernard, 156 
Hughes, Archbishop, 164 
Hughes, Samuel, 382 
Hulme, Thomas, 131 
Hulme, Tucker &, 131, 140, 141, 401, 

402 
Hunter, W. H., 336 
Huntington, Frank, 300 



INDEX. 



439 



Husson, AppoUinaire, 238 
Husson, Edmund, 238 
Hydrostatic press, 3 
Hyzer & Lcwellcn, 343-345 

Imperial Porcelain Works, 242 

Indian pottery, 25 

Indiana Pottery Co. , 159, 192 

Indianapolis, Ind., 359 

Indianapolis Terra-Cotta Co., 397, 398 

Industrial Pottery Works, 209 

International Pottery, 208, 229, 231, 430 

Ipsen, Widow, 89 

Ironstone, 19 

Isett, William A., 308 

Jackson, Andrew, 131, 132 

Jackson, W. H., 37 

Jacob, John J., 157 

Jacobus, Mrs. Pauline, 332 

Jagou, Peter, 48 

Jeffords, J. E., & Co., 251, 252, 366 

Jennings, John S., 117 

Jensen, J. L., 164 

Jersey City Pottery, 118, 122, 166, 192, 

260, 403, 424 
Jersey Porcelain and Earthenware Co., 

118 
Jesse Dean Decorating Co. , 242 
Jewitt, Llewellynn, 56, 59-61, 365 
"Jigger," 5, 6 
Johnson, Mrs. Moses, 139 
Joiner, Joseph, 398 

*'Jolly,"5. 7 

Jones, Joshua, 241 

Jones, Josiah, 187 

Jones, White, & McCurdy, r86 

Kaolin, S. C, 175, 186, 189, 405 
Keam, T. V., 38 
Kearns, Anthony, 192, 194 
Keene, N. H., 270, 271 
Keller, George B., 183 
Kelly, James E. , 266, 267 
Kendall family, 273 
Keys, Samuel, 359 
Kick-wheel, 5 
Kilns, 10, II 



Kimball, Francis H., 391 

Kimble, Warren, 242 

King, Mrs. 191 

Kline, Peter, 73 

Klinker, Christian, 70 

Knowles, Homer S., 202 

Knowles, Isaac W., 201 

Knowles, Taylor, & Anderson Co., 207 

Knowles, Taylor, & Knowles Co., 201 et 

seq., 310, 430 
Knowles, Willis A., 202 
Koch, A. W., 375 
Kremer, Louis, 365 
Kurth, Charles, 342 

La Belle Pottery Co., 308 

Lacey, Thomas, 69 

Lacy, Israel, 212 

La Fontaine, 263 

Lambeth Pottery, 305-307 

Landers, Jackson, 361 

Langenbeck, Karl, 355 

Lathe, potter's, 7 

Laughlin Bros., 209 

Laughlin, Homer, 209, 310, 334 

Laughlin, Shakespeare, 310 

Lawshe, Alfred, 363 

Lawton, John, 175 

Lawton, Mr., 185 

Leach, Stephens &, 397 

Leader, Benjamin V/., 368 

Lee, Benjamin F., 363 

Lee, Francis B., 57 

Lee, John, 175 

Lee, Joseph G., 202 

Lee, Pope &. 242 

Leek, Wm. and Charles, 175 

I^febvre,- Jules, 368 

Leidy, John, 74-76 

Leman, Johanes, 84 

Lenox, Walter S., 235 

Leonard, Mrs. E. G., 277, 284 

Levigating mills, 269 

Lewellen, Hyzer &, 343-345 

Lewis, Jacob,. 157, 159 

Lewis Pottery Co., 157, 159 

Lilly, George, 382 

Lincoln Pottery Co., 229 



440 



INDEX. 



Lippin€ott*5 Magazine, 127 

Lock, Mr., 185 

Locker, Thomas, 179 

Lockett, Frank, 164 

Long, W. A., 336 

Longworth, Joseph, 285 

Lonhuda, 16 

Lonhuda Pottery Co., 336, 414 

Louisiana Porcelain Works, 313 

Louisville, Ky., 156, 157 

Love, Griffen, & Co., 269 

Low art tiles, 417, 419 

Low Art Tile Co., 346, 351 

Low Art Tile Works, 347, 381 

Low, Daniel, 271 

Low, Hon. John, 346, 348 

Low, John F., 348 

Low, John G., 261, 262, 346, 352 

Low, J. G. & J. F.. 348 

Lukens, Abel, 184 

Lycett, Edward, iv., 122, 123, 183, 209, 

314-319 
Lycett, F., 319 

Lycett, James, 105 

Lycett, Joseph, 317, 319 

Lycett, W., 123, 306, 319 

Lyman, Alanson Potter, 165, 175, 176 

Lyman & Fen ton, 165, 174, 175, 404 

Lyman, Fenton, & Park, 165 

Lyon, W. W., 361 

Machines, potter's, 3, 383, 384 

Mackey, C. C, 139 

Maddock, Astbury &, 305 

Maddock, Thomas, 228 

Magowan, Alpaugh &, 238 

Maize, Adam, 339 

Majolica, 14, 18, 241, 268, 270, 308, 314, 

319. 323, 410, 411 
Manigault, Dr. G. E., x88 
Marks and monograms, 399 et seq. 
Marquis of Rockingham, 18 
Marsh, Barlow &, 240 
Marshall, Chief-Justice, 164 
Marshall, Mrs. Thomas W., 145 
Martha's Vineyard, 335 
Martin. Brunt, Bloor, & Co.. 305 
Maryland Institute, 194 



Mayer Pottery Co., 333 

Mayer Pottery Manufacturing Co., 241 

Mayer, Fred E., 330 

Mayer, Joseph S., 241 

McBirney, David, 215 

McClellan, General, 372 

McCormick, John D., 54, 104 

McCourtney, J. R., 334 

McCurdy, Jones, & White, 186 

McDonald, W. P., 299 

Mcllvaine, Mrs. William, 141 

Mclntire, Mr., 184 

McKinley, Gov. Wm., 207 

McLaughlin, Miss M. Louise, 276-280, 

283. 2S4 
McLoyd, Charles, 35, 37 
McNamee & Co., 191 
McNicol, Burton & Co., 210 
McNicol, H. A., 209 
McNicol Pottery Co., 200 
McPherson, Joseph, 240 
McVay, DeWitt C, 363 
Mead, Dr., 115 
Meagher, Frederick, 245 
Mear, Frederick, 156 
Mear, Salt &, 201 
Mease, Dr. James, 99, 100 
Menlo Park Ceramic Co., 377-381 
Mercer Pottery Co., 239 
Meredith, Sir William, 61 
Mersman, Ferdinand, 287, 376, 377 
Meteyard, Miss Eliza, 61 
Metropolitan Museum, N. Y., 125, 181 
Miles, Thomas, 57 
Milledgeville, Ga., 251 
Miller, Abraham, 107-110, 343 
Miller, Andrew, 107 
Miller, J. Dickinson, 120 
Miller, Prof. L. W., 330 
Miller, Matthew, Jr., 183 
Mitchell, H. R., 367 
Mitchell, Hon. James T., 142, 143 
Moland, Harvey, & Co., 272 
Moore, Enoch and Thomas, 175 
Moorhead, A. S., 259 
Moorhead Clay works, 259 
Moravians, 51, 338 
Morgan, George, 151 



INDEX. 



441 



Morgan, Joseph, 152, 402 

Morgan, Matt, 303 

Morley, George, & Son, 201 

Morrison & Carr, 179, 252 

Morris, George Anthony, 93, 97 

Morris & Willmore, 414 

Morris, W. T., 242 

Morrisville, Pa., 381 

Morse, Prof. Edward S., iv., 48 

Moses, James, 239 

Moses, John, 213-215, 239 

Mound-builders' pottery, 31 

Mould-making, 7 

Mountford, Burroughs &, 223, 225, 430 

Mountford, Rowe &, 209 

Mueller, Herman, 354, 357, 358, 420 

MUller, Karl, 254, 255 

Mullowny, Capt. John, iii, 112 

Museum of Practical Geology, 65, 117 

Muzzey, William M., 138 

Nase, John, 79-81 

Nash, Mr., 113 

Nashville Art Pottery, 334 

National Kaolin Co., 212 

National Museum, 36 

Natural porcelain, 21 

Neesz, Johannes, 79 

Negus, William S., 144 

Nelson, William, 57 

New England Pottery Co., 187, 244-249, 

407, 408, 429 
New Jersey Historical Society, 57 
New Jersey Pottery Co. , 239 
New Orleans, 313 
Newton, Miss Clara Chipman, 277, 280, 

281, 284, 288 
New York City Pottery, 180, 252 
New York Architectural Terra-CottaCo., 

388, 391-394 
Nichols, Mrs. M. L., 277-279, 285, 286, 

288 
North Cambridge, Mass., 88 
Northern Liberties, Philadelphia, 116 
Norton & Fenton, 157, 165 
Norton, E. L., 104 
Norton, John and William, 104 
Norton, Julius, 165 



Norwalk, Ct., 105, 106, 181 

Norwich, Ct., 103 

Novelty Pottery Works, 200, 210 

Oberholtzer, Mrs. S. L., 103 

O'Connell, Daniel, 124, 177 

O'Connor, E. M., 210 

Odell & Booth Bros., 308 

Ohio Valley China Co., 311, 335 

Old Bridge, N. J., 106 

Oliphant & Co., 228 

Onondaga Pottery Co. , 333 

Ormsby, Robert, 157 

Osborne, Arthur. 350-352, 417, 419 

Ott & Brewer Co., 215-218, 233, 236, 

242, 372, 413, 430, 431 
Ott, Booth, & Bloor, 215 
Owen, Hugh, 63 
Owen Tile Co., 308 

Palmer, Joseph C, 90 

Pardee Works, The C, 383 

Parian, 20, 166, 172, 173, 189, 220, 324 

Paris granite, 19 

Park Porcelain Works, 367 

Park, Lyman, & Fenton, 165 

PaU durty 21 

Pate tendre^ 21 

Pauline Pottery Co., 332, 413, 431 

Paxson, Chief-Justice, 69 

Paxson, Thomas, 69 

Peale, Charles Wilson, 136 

Pearson, Edward M., 308-311 

Pearson, Edward & Son, 309 

Peeler, Anson, 165, 187, 248, 249 

Pegg, Daniel, 46 

Pellegrini, P., 386 

Pennington, John, 140 

Pennsylvania Hist. Soc, 128 

Pennsylvania Museum, 67, 71, 82, 88, 
115, 125, 141. 147, 148, 174, 176, 185, 
268, 291, 297, 303, 330, 367, 401, 425 

Peoria, 111., 175, 244, 245 

Perine, M., 154 

Perine, T. P., 154 

Perry, Mrs. Aaron F., 284, 306 

Perry, Sanford S., 178 

Perth Amboy, N. J., 383 



442 



INDEX. 



Perth Amboy Terra-Cotta Co., 386-390 
Pcyrau, A., 341 
Philadelphia City Pottery. 251 
Philadelphia Water Works, 129 
Phillips, J. W. 245 
Phillips, Moro, 178 
Phoenix ville. Pa., 267 
Phoenixville Pottery, 267-269, 410 
Phoenixville Pottery, Kaolin, and Fire- 

Brick Co., 267 
Pickel, Baltes, 241 
Picken, John, 361 
Pies, Stephen, 175 
Pipes, smoking, 28, 338 
Pitman, Miss Agnes, 277, 284 
Pitman, Benn, 275 
Pittsburgh Encaustic Tile Co., 359 
Pittsburgh, Pa., 194, 201 
Plimpton, Mrs. C. A., 277, 281, 282 
Plimpton. L. F., 283 
Plot. Dr.. 46 
"Plungers," 3 
Poole & Stockton, 242 
Pope & I^ee, 242 
Porcelain, 19 
Porcelain, artificial, 21 
Porcelain, hard, 20, 126, 253 
Porcelain, natural, 21 
Porcelain, processes of firing hard, 258 
Porcelain, soft, 20, 21 
Porcher, Mrs. J. S., 189 
Port Richmond Pottery Co., 251 
Post, Henry, Jr., 118 
Potter's clay, purifying, i 
Potters' Co-operative Co., 209 
Potters* Supply Co., 207 
Potter's wheel, 4 
Preparation of clays, i 
Press, clay, 2 
Pressing, 9 

Priestman, James, 196, 324 
Prime, Dr. William C, 325 
Princeton College, 174, 334 
Printing, transfer, 13, 120 
Processes of manufacture, 1,8 
Prospect Hill Pottery, 239 
Prosser, Richard, 181, 348 
Providential Tile Works, 270, 367, 374 



Pruden, Mr., 117 
Pueblo pottery, 35 
Putnam, G. P., 173, 388 

Quarll, Joseph S., 139, 140 
Queen Charlotte, 16 
Queensware, 16, 105 
Quincy, Mass., 90 

Randall, Edward, 57, 58 

Ranney, Willis, 159 

Rau, Robert, 51, 339 

Rawlinson manuscripts, 55 

Read, Alexander, 137 

Reade, George, 364 

'* Rebekah " tea-pot, 195, 196 

Reflits m/lalUquts, 318 

Reflits nacr/s^ 318 

Reiss, Wm. Sr., 183 

Remmey, Henry, 64 

Remmey, John, 63, 64 

Remmey, John F., 64 

Remmey, Joseph Henry, 63, 64 

Remmey, Richard C, 64 

Renwick, James, 385 

Rice, Taplin, & Co., 5 

Richards, J., 341 

Rich Hill, Pa., 86 

Richmond, A. G., 119, I20 

Ridgway, 121, 163 

Ridgway, J. & W., 161 

Ridgway, William, 161, 162 

Rigby, T., & Co., 200 

Rittenhouse, Evans, & Co., 241, 414 

Riverside Knob Manufacturing Co., 210 

Robertson Art Tile Co., 381 

Robertson, A. W., 260, 264 

Robertson, A. W. & H. C, 260 

Robertson & Co., 240 

Robertson, G. W., 381 

Robertson, Hugh C, 260. 262-264, 266, 

267, 382. 405 
Robertson, James, 260, 264 
Robertson, James, & Sons, 260, 381, 405 
Robertson, Thomas, 397 
Robinson, James H., 369 
Robitzek, D., 164 
Roche, Young, Toland, &Co., 180 



INDEX. 



443 



Rockafeller, William, 378, 379 

Rockingham, Marquis of, 18 

Rockingham ware, 18, 194, 195 

Ronaldson, Binney &, iii 

Roofing tiles, 48-52 

Rookwood Pottery, 16, 177, 278, 284- 

299. 303. 376. 408-410, 430 
Rose, Mr., 302 
Roundabout, N. J., 106 
Rouse, John Owen. 122, 124, 125 
Rowe & Mountford, 209 
Rynex, John, 138 



rers, II 
Saloy, Hernandez &, 313 
Salt & Hear, 201 
Salt, James, 156 
Sampson Pottery Co., Tempest, Brock- 

mann &, 274 
Sanders, John, 161 
Sanford, Charles R., 169 
Sang-de-Boeuf of Chelsea, 264, 265 
Sang>de-Chelsea, 265 
Savery, Peleg B., 184 
Sayreville, N. J., 106 
Scharf, Mr., 184 
Schreiber & Co., 267 
Schreiber, W. A. H., 59 
Scott, George, 274 
Scott*s Sons, George, 274 
Scott, Gen. Winfield S., 395, 396 
Scribmr's Magazine^ 267 
Sears, Miss Kate B., 237 
Sebring Bros. & Co., 209 
Seebold, Philip, 339 
Seixas, David G., 115 
Semi-porcelain, 19 
Setley, George, 183 
Seymour, Israel, 112, 156 
Sgraffiato ware, 65 et seq,, 402 
Shaddinger, H. F., 73 
Sheetz, Jacob, 184 
Shepley & Smith, 178 
Sherrard, R., jr., 312 
Shirayamadani, Kataro, 293, 297 
Shirley, Horner &, 154 
Shirley, William W., 118 
ShoU, Jacob, 83, 84, 402 



Shultz, John H., 184 

Sibley, G. B., 166, 173, 176 

Silliman & Goodrich, 173 

Simms, B. C, 208 

Slip-decorated ware, 65 et seq. 

Slip kilns, 2 

Slosson, Mrs. Annie Trumbull, 191 

Smith, A. £., 106 

Smith, C. H. L., 252 

Smith, Esther, 69 

Smith, Griffen, & Hill, 268, 410 

Smith, Grififen &, 269, 410 

Smith, Henry, 241 

Smith, Horace J., 140 

Smith, Joseph, 69, 70 

Smith, J. T., 377, 381 

Smith, Dr. Lettie A., 70 

Smith, Shepley &, 178 

Smith, Thomas, 70 

Smith, Thomas C, 252-254, 276 

Smith, Thomas C, & Sons, 406 

Snow; Rev. F. E., 125, 175 

Snyder, Gov., iii 

Soft paste, 20, 21 

Souderton, Pa., 75 

South Amboy, N. J., 54, 57, 63, 106, 

156, 179 
Southern Porcelain Co., 186, 188, 189, 

405 
Southern Terra-Cotta Works, 386 
South Kensington Museum, 65 
South Norwalk, Ct., 175, 181 
Southwark, Phila., 96, 97 
Sparkes, Mr., 307 
Speeler, Henry, 207, 208 
Speeler, Taylor &, 211, 239 
Speeler Works, 229 
Spencer, Graham, 139 
Spencer, Miss Mary, 277 
Spiegel, Mrs. Amanda, 143 
Spiegel, Isaac, 144, 152, 155 
Spiegel, John, 155 
Spring Mills, Pa., 259 
Stanbery, George A., 353 
Standard Pottery Co., 209 
Star Encaustic Tile Co., 359 
Staudacher, Lorenze, 180 
Steele, John, 120 



444 



INDEX. 



Stephens, Armstrong, & Conkling,396,397 

Stephens & Leach, 397 

Stephens, James P., 226 

Stephens, Tarns & Co., 226 

Steuben ville, Ohio, 16, 336 

Steubenville Pottery Co., 311-313 

Stevens, Alexander H., 186 

Stevenson, A., 158 

Stevenson, Bucknall &, 158 

Stickney, W. J., 163 

Stiegel, Baron William Henry, 91 

Stih, William F., 398 

Stockton, Poole &, 242 

Stofflet, Henry, 73 

Stoneware, 17, 63, 64, 105, 112-114, 116, 

154. 156, 177. 178, 334 
Storer, Mrs. Bellamy, 285, 286, 288, 296 
Stout, Abraham or Isaac, 70 
Sturgis, C. W., 340 
Sturgis, Joseph, 340 
Sturgis, Samuel, 340 
Swan Hill Pottery, 179 
Swartzlander, Miss Laura, 70 
Swope, Jacob, 51, 339 
Swope, Zuriel, 339 
Syng, PhUlip, 338 
Syracuse, N. Y., 333 

Taft, J. S. & Co.. 270, 412 

Tarns, James, 226 

Tams, Stephens, & Co., 226 

Taplin, Rice, & Co., 5 

Tarry town, N. Y., 308 

Tatham, John, 54, 56 

Tatler Decorating Co., 242 

Tatler, Elijah, 164 

Taylor & Speeler, 211, 239 

Taylor, Goodwin, & Co., 200 

Taylor, Harker &. 208, 293 

Taylor, James, 199, 208, 238. 386, 390 

Taylor, Col. John N., 202, 206 

Taylor, Knowles, & Anderson Co. , 207 

Taylor, Knowles, & Knowles, 201 et seq,^ 

310, 430 
Taylor, Robert Minton, 361 
Taylor, W. W., iv., 288, 296, 298 
Taylor, Zachary, 164 
Temperance Hill Pottery, 178 



I 



Tempest, Brockmann, & Co., 274 
Tempest, Brockmann, & Sampson Pottery 

Co.. 274 
Tempest, M. & N., 274 
Terra-cotta, 17, 88, 27a 
TernMX>tta, architectural, 17, 385 etseq, 
Terry, James, 28, 29, 36, 68, 69, 73, 103. 

104 
Tests, porcelain, 20, 21 
Thatcher, C. W. 104 
Thomas, Mrs. F. S., 265 
Thomas, Gabriel, 54 
Thomas, R., & Sons, 210 
Thompson, C. C, & Co., 208 
Thompson, Coxon &, 238 
Thompson, J. C, 208 
Thompson, Josiah, 208 
Thompson, Rockland, 138 
Thropp, Fell & Co., 239 
Thropp, Samuel E., 239 
Throwing, 8 
Throwing wheel, 4 
Tile press, 383, 384 
Tiles, hard porcelain, 256 
Tiles, ornamental, 343 et seq. 
Tiles, roofing, 48-52 
Tingle, George, 120 
Tittery, Joshua, 54 
Tobacco pipes, 28, 338 
Toft, Thomas and Ralph, 65 
Toland, Young, Roche, & Co., 180 
Tools, potter's, 3 
Townsend, George Alfred, 393 
Transfer printing, 13, 120 
Trenton, N. J., 21 x etseq. ^ 362 
Trenton China Co., 238, 335 
Trenton Potteries Co. , 242 
Trenton Pottery Co., 200, 238 
Trenton Terra-Cot ta Co., 240 
Trent Tile Co., 362-365, 367. 374, 384. 

419, 420 
Trotter, Alexander, iii 
Troxel, Samuel, 78 
Troy, Ind., 157, 158 
Troy, N. Y., 112, 156 
Troy on, M., 346 
TrumbuU-Prime Collection, 118, 143, 

174. 334 



INDEX. 



445 



Tucker & Hemphill, 2, 109, no, 133, 

134. 139. 140. 142. 147. 153. 155, 254 
Tucker & Hulme, 131, 140, 74 1, 401, 402 
Tucker, Benjamin, 127 
Tucker, Thomas, 128, 130, 135, 137, 138, 

145 
Tucker, Mrs. Thomas, 146, 147, 149 

Tucker, W. E., 133 

Tucker, William Ellis, 126, 127, 130, 

132. 133, 139. 140, 423 
Turner, Nathaniel, 122, 125 

Turning, 9 

Tyler's Port, Pa., 79 

Tyndale, Mrs. Annie C, 140, 164 

Tyndale, Gen. Hector, 145, 165 

Uhl, Pennighof, & Co., 319 

Union Porcelain Works, 162, 164, 252-258, 

276, 406 
Union Pottery Co., 241 
United States Encaustic Tile Co., 359, 

361. 421 
United States Pottery, Bennington, Vt., 

165, 173-176, 181, 186, 187, 244, 343, 

404, 405, 424 
Utica, N. Y., 113 

Valentien, A. R., 291, 293 

Van Briggle, A., 299 

Van Wickle's Pottery. 106 

Varick, John V. B., 120 

Vaughan, .Samuel, 123 

Vickers, Thomas, John, and Paxson, 103 

Vivian, M., 152, 402- 

Vodrcy & Brother, 201 

Vodrey & Frost, 157 

Vodrey, Jabez, 161, 201 

Vodrey, Woodward &, 201 

Volkmar Ceramic Co. , 380 

Volkmar, Charles, 377, 378, 380 

Walcott, Benjamin D., 398 
Walker, Andrew Craig, 152, 402 
Walker, F. W., 369, 370 
Walker, George, 178 
Wallace & Chctwynd, 209 
Ward, John, 364 
Warder, Richard, 338 



Warwick China Co., 334 

Washington, General, 123, 136, 137, 222, 

254, 37i» 374 
Washington, Mrs., 222 

Washington Pottery, Philadelphia, in, 

112, 241 
Way, Jacob, 140 

Wayne, Maj.-Genl. Anthony, 136 
Wayne, Col. Isaac, 136 
Wayne, Hon. William, 136 
Weber, Adam, i 
Webster, Daniel, 164 
Wedgwood, John, 117 
Wedgwood, Josiah, 16, 61, 62, 97, 156, 

181 
Weikel, Peter, 183 
West Chester, Pa., 51, 144 
West, Esther H., 140 
West Philadelphia, Pa., 397 
West Troy, N. Y., 178 
West Virginia China Co. , 335 
Weston, Mass., 88 
Wetherill, John Price, 141 
Wetherill. Mrs. Francis D., 141 
Wetherill, Samuel P., 141 
Wheat, George K., 308 
Wheatley, Thomas J., 299, 300 
Wheel, potter's, 4 
Wheeler, L. D.. 181 
Wheeling Pottery Co., 308, 310, 334 
Wheeling, W. Va.. 308, 311, 334 
White, Charles N., 113 
White granite ware, 19 
White, McCurdy, & Jones, 186 
White. N. A.. 113 
White, Nicholas and William. 113 
White, Noah, 113 
White, William, 241 
Whitehead, C. Louis, 369 
Wilcox. Dr. S. R.. I73 
Wilkes, Peter, 5. 384 
Willard. W. F.. 335 
Willets. Daniel, 232 
Willets, Edmund R.. 232 
Willets, Joseph, 232 
Willets Manufacturing Co., 232-235, 413, 

430, 431 
William, Emperor, 383 



446 



INDEX. 



WilliamE, J. S., 70 

Willis, Mn. Edward, 188. rBg 

Willmore, K. K., 343 

Willraore, Morris &, 414 

Wilson, Samuel, l6t 

Wilson, William U, 359 

Wilson's Landing, V«., 17S 

Winkle, Andrew, 388 

Winkle, JoKph. 388 

Winkle Terra-Cotla Co., 388 

Winn, Williim, 58 

WinterbothaiQ, Miss Kutli M.. 361, 363, 

431 
Wintter&Cn.. 180 
Wolfe, William. 177 
Womaii's work in Cincinnati, 375 
Wood & Challinor, l8l 
Wood, Enocb, 17s, 181, 183 
Wood, John. iSi 



Wood. Thomas. iSl 
Woodbridge. N. J.. 65 
Woodward. BUk«ly, & Co., sot 
Woodward & Vodrey, 301 
Woolverton, John, 339 
Woram, WilUam, 183 



Wor 



157 



Wylie, John, & Son, aio 

Wyoming Historical and Geoli^cal So- 

Vates, Bennett, & Allen, 305 
Yellow ware, iS 

Young, Roche. Toland, & Co., 180 
Young, Willism, £ Sons. 33a 

Zanesville. Ohio, 353 
Zell, Miss Hannah A.. 174 
Zom, Charles, 339 



THE KN0WLES, TAYL0R & 



^ 



KN0WLES ee. 



Qast biiverpool, &\)\o 



WHITE granite; and 



MANUFACTURES, 
BESIDES ITS PRODUCTIONS OF 



VITRE0US HeTEL CHINA 



{SOLD EITHER PLAIN OR DECORATED) 



A VERY SUPERIOR 
GRADE OF - 




ART km CHINA 



UNDER THE NAME OF 



LOTUS V^ARE 



This ware is adapted to the requirements of amateur or pro- 
fessional decorators, and may be obtained usually through first-class 
Crockery Dealers. It is of a variety peculiar to itself ; very pure 
and translucent in character, having a beautiful, soft, transparent 
glaze. It is made in artistic shapes, designed for practical utility. 

Ask your dealer for, and insist upon getting 

UeTUS WARE 



\ 



TRENTON, N.J. 



nternatlonal 
lP>otteri2 do. 



fDanufacturerg ofr 

Burgese anb CampbeU'e 
tRoi^al £lue porcelain » 



Our Royal Blue Porcelain decorated in under- 
glazed colors has been fitly describ ed as the 
finest production of the American Potter's Art. 
Unsuccessful efforts have been made in this 
country to imitate it, and our patterns have 
been copied by foreign manufacturers, but all 
lack the ric hness of c olor and attractiveness of 
the original. The StafTordshire {E.ng^ Sentinel 
refers to "this exceptional richness of color 
as rivalling that of the Queen's Sevres Vases." 



We call attention to our rich effects in Dkcorated Toilet 
Wake, More especially our raised gold work upon a background 
of vellum rolor, to match the most delicate tints in wall decoration 
or hangings, samples of which will enable us to decorate Chamber 
Sets to any special order. We invite the most critical inspection. 

Tkaiie Mark 
royal blue 

PORCELAIN 



ESTABLISHED 1846 



DWIN BENNETT : 



Edwin Bennett 

PRE8. A TREAS. 

Henry Brunt 

MANAOER 



POTTERY CO. ^- -*■-;» 

BALTIMORE "^■^""^"""""■"""""^^^"^ 
MD. 

MANUFACTURERS OF 

Fine Opaque China, Decorated 
Toilet, Dinner, and Teaware, 
Colored Glazed Jardinieres : : 

and other specialties 



Japan In Hrt anb IFnbustr? 



.1 



WITH A GLANCE AT JAPANESE MANNERS 

AND CUSTOMS. TRANSLATED FROM THE 

FRENCH OF FELIX REGAMEY, BY M. FRENCH- 

•|* SHELDON AND ELI LEMON-SHELDON. 12MO, 

WITH 100 DESIGNS BY THE AUTHOR $1.75 

This work will be found to include, among other subjects, chapters 
on Woodwork, Metal-work, Ceramics, Textile Fabrics, Lacquer, and 
the Graphic Arts. 

'* It abounds in instruction, brief, precise, and decisive, on the crafts, industries, 
conditions of labor, and processes of manufacture. . . . His pen is vivid, alert, 
and picturesque. On the other hand his drawings have so much verve and so much 
character that they might almost suffice of themselves and might be said to be speak- 
ing. Text and drawings thus form an ensemble of a very unique value, as agreeable 
as truly practical." — Extract from the Report of the Socitft^de Geographic Commerciale 
de Paris. 



G. P. PUTNAM'S SONS 

NEW YORK LONDON 

27 West Twenty-third Street 24 Bedford Street. Strand 



7 ^000 OOOOO OO^OOOOOOOOOOOOOOO O O O O O 00000000 



The Rookwood Pottery 



of Cincinnati has its history told in some pages 
of this volume. Its future will interest all those 
who recognize its present unique position. 

It will continue to work out the ideas upon 
which its success has been established, and these 
ideas are to give the freest play to individual 
artistic expression through methods which stamp 
a consistent character upon the entire production. 
The results will be seen in increasing technical 
excellence, and in the gradual introduction of 
new styles, but above all, the aim will be a high 
artistic quality. The possibilities of Rookwood 
have been indicated, but in every department 
work is going on which should show in time an 
attainment far beyond the present 



OOOOCOOO COOOOOCOC O O O O 6 O O O O O O OOO O OOOOOO OOOOOOOOOO