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THE LIBRARY
OF
THE UNIVERSITY
OF CALIFORNIA
LOS ANGELES
YORKSHIRE POTTERIES,
POTS AND POTTERS.
By
OXLEy GRABHAM, M.A., M.B.O.U.,
Keeper of the York Museum,
Leeds Khvton ok Drinking Cup in the form of a Fox's Mask.
YORK :
COULTAS & VOLANS LTD., PRINTERS, LITTLL STONEGATE,
1916.
PREFACE
Strictly speaking, under the above heading, one ought to
include the vast amount of pottery whicli was made in the l)road-
acred county during tlie ancient British, the Roman, the Saxon,
and the Mediaeval periods. But to do this properly would, un-
fortunately, more than double or treble the space at my command.
Indeed, as it is, the difficulty has been to compress what I had to
say within the limits of this paper, which only deals with Yorkshire
Pottery as it is known to Collectors. For a gooil many )ears I
have been much mterested in the subject, and I think what first
started me was being the possessor of a small collection, which
came to me from my forbears.
I have taken infinite pains in getting together my informa-
tion. I have hunted up old men who have worked at the various
potteries, have visited the sites of most of the potteries dealt with,
and have taken photographs of some of them, and have been in
communication with many collectors and others who were inter-
ested in the subject ; but, even so, I am only too conscious of
many sins of omission and commission. Init I have done my best,
and I trust that my critics will let me down lightl}-. This I will
say, that it is no easy matter to hunt up the particular information
one wants about long forgotten people and places, and it has
taken me a very considerable time to do so, yet I have enjoyed
the work, and have obtained much instruction and amusement in
the process.
Thanks to the initiative many years ago, of Mr. Thomas
Boynton, of Bridlington, and the late Canon Raine, of York, the
6 PREFACE.
foundations of a tine Collection were got together in the York
Museum. This has regularly been added to, both by gift and
purchase, until at the present time we possess a series of Yorkshire
Pottery which will be very bad to beat, if mdeed it can be
equalled elsewhere.
Mr. Thomas Boynton himself is the owner of a magnificent
Collection, and I gratehilly acknowledge his unvarying kindness
and assistance to me when 1 was but a raw amateur. Mr. Arthur
Hurst, York, also possesses a very hue Collection of Yorkshire
Pottery ; he has been a most generous donor to ours, and I am
indebted to him for much help and advice in this particular branch
of m}- studies.
Mr. Richard \\' ilson, of Armley, Leeds, has the best Collection
of Leeds Ware in existence, and he has most kindly allowed me
to thoroughly examine his treasures.
I must also express my best thanks to Mr. Bowman Heald, of
the Kilnhurst Pottery, and to Mr Nicholas Taylor, late of the
Denholme Pottery, for much historical information concerning
the various potteries in their districts ; to Dr. Maud Sellers who
wrote the article on "Yorkshire Pottery" for the Victoi'ia County
History ; to Mr. J. R. Triftitt, York, who has kindly presented us
with several pieces from his own Collection ; to the late Mr.
Riley, Bramley, nr. Leeds ; to Mr. William Cooper, Aislaby Hall,
Pickering ; to iJr. Kirk, Hungate Hall, Pickering; to Archdeacon
H. Armstrong Hall ; to Mr. Baker Hudson, the Dorman Memorial
Museum, Middlesbrough; to Mr. R.Bond, Burmantofts Works ;
to Mr. T. ("oates, Burton-in-Lonsdale ; to Mr. Sidney Hawley,
Rotherham ; to Mr. P. Crossley, Commondale Works ; to Mr. P.
Graham, Clarence Potteries, Norton, Stockton-on-Tees ; to Mr.
H. Armstrong, Stockton ; and many others who have so kindly
assisted me in my labours, and last but by no means least, my best
thanks are due to Mr. William Watson, the Museum, York, for
the great care and trouble he has taken in preparing most of the
excellent photographs with which this paper is illustrated.
PREFACE. 7
To Mr. H. i\I. Loadiuan, Stonej^^ate, York, I ani j^freatU'
indebted for the loan of the two blocks represenlinf; respectively
the York " Willow" pattern and the ordinary " Willow" pattern.
The former, shown on the frontispiece, is a most ingenions i<lea of
Mr. Loadman's, and if a service of plates were made showing,' this
particular pattern, they would be of very considerable interest.
The best account of Yorkshire Pottery in p^eneral is to be
found in Llewell^'nn Jewitt's "Ceramic Art of Great Ikilain," and
I have drawn upon his pages for much otherwise unobtainable
information.
The classic work on Leeds Pottery is that by Messrs. Joseph R.
and Frank Kidson, and those who would know^ more of that most
famous pottery cannot do better than read what these authors
have to say upon the subject. I am indebted to them for much
information.
The article on " Yorkshire Pottery," with many illustrations,
by Dr. Maud Sellers, in the Victovia County llistoiy, \o\. II., is
well worthy of perusal by all who are interested iii this subject.
All the Potteries described are arranged in alphabetical order.
ERRATUM.
The Leech Jar belonging to Dr. J. L. Kirk, Pickering,
Fig. 54, p. 63. has been found on closer examination to be of
Wedgwood's make and not Leeds, but I have seen one very
similar, marked LEEDS POTTERY.
YORKSHIRE POTTERIES, POTS,
AND POTTERS.
BRADSHAW HEAD POTTERY.
Situated near Denholme, tliis pottery was started al)out tlie
year 1835, by two Catlieralls, grandsons of old Jonathan Catherall,
of the Soil Hill Pottery. It was closed down for good after work-
ing for two years.
BURMANTOFTS POTTERY.
Clay goods were first made at these works in the year 185S,
and previous to this coal and ironstone mining was carried on.
Burmantofts Pottery was ijuite unknown up to as recently as i<SS2.
The Burmantofts Works, near Leeds, now the property of the
Leeds Fire-clay Co. Ltd., were up to that time principally engaged
in the production of salt-glazed sanitary pipes, fire-bricks and
quarries, salt-glazed bricks, etc. Mr. R. Bond, the works manager,
who has very kindly given me all the information in his power
about these works, tells me that the year 18.S2 saw the first
attempted production of pottery, and art potter}' in its l)est sense.
From the beginning the greatest care was exercised in ortler to
ensure accuracy of work produced on the thrower's wheel, the out-
line of each article receiving most careful attention before it was
permitted to go to the hands of the operator. The effect of this
great care was soon evidenced by the demand from the important
firms in the trade for this ware.
Burmantofts Pottery found its way into the best houses, and
was called for from all parts of the world. Probably the out-
standing feature from the artistic point of view was the purity of
the three principal colours produced, viz. : Persian blue, orange
yellow, and sang-de-Bceuf. In addition to these however, there
lO YORKSHIRE POTTERIES, ETC.
were many hlendings of colours on plain pottery, and a portion of
the plain pottery was also artistically treated in " slip " colours,
flowers being the chief decoration. Later on, after nnich experi-
ment, Anglo-Persian pottery was introduced, the distinguishing
characteristic being its artistic colouring and eftective design. In
later years a popular demand was met by the production of
modelled pottery treated in one or more colours of great richness
of tone. It was a great blow to the artistic side of the productions
of the city of Leeds that the manufacture had hnally to be given
up for want of financial success, but the pieces now in existence
are much treasured by their fortunate possessors. The making of
pottery was discontinued in August 1904. The pottery will all be
found to be marked as per illustration, meaning " Burmantofts
Faience."
The works are now employed in making terracotta Faience,
which is a highly glazed and finished terra -cotta, made in all
colours; ornamental tiles, and glazed bricks in all colours. A new
kind of terra-cotta called '-Marmo" was made in igo8, and in
that year a building was erected in Coppergate, York, under Mr.
Whincup, faced with this material.
Since the year i(S8o great strides have been made by the
successful adaptation of Faience to architectural work, and it is
now largely used for permanent adornment of public buildings,
principally of the Renaissance style.
The Burmantofts estate covers an area of about one hundred
acres, some fifteen of which are occupied by workshops and kilns.
Both the clay and the coal wherewith to bake it, are obtained on
the spot, the former lies two feet thick, one hundred yards from
the surface, under a fourteen inch seam of the Low Moor Better
Bed coal, and covers about one hundred acres. It is sent up in
rock-like blocks, requiring to be crushed and sifted by machinery,
but is extremely plastic and tenacious and contracts but little in
drying, will bear great heat, and when burnt preserves its hard-
ness and exactness of form, solidity under pressure, and clearness
of colour. A very large number of hantls are employed here in
the pits and various workshops, and in the studios a staff of
BURMANTOFTS POTTERY.
II
artists is constantly engaged. The whole of the designs as well as
the articles made from them, are produced on the premises.
Fig. I. BuRMANTOFTS POTTERY. (' SPLASHED WaRE."
York Museum Collection.
THE BURTON POTTERIES.
Burton-in-Lonsdale is a little village lying on the north bank
of the river Greta, in the north-west of Yorkshire. Its nearest
railway stations are Bentham, aliout three miles away, Ingleton
about three miles, and Kirby Lonsdale, about six miles away.
There are in all five potteries in Burton, and about the same
number are said to have been done away with in years gone by,
some of the old ones having been substituted by new ones. The
old manufacturers' names still remembered are Cornelius Gibson,
Wilson, Bradshaw, Burton, Baggaley, Kilburn, Batty, and Greenip.
The wares made are bread mugs, milk bowls cooking dishes and
pots, i^lant pots, various articles for domestic use, jam jars, bottles,
etc., in black, brown, and white glazes. It would be a great boon
to these flourishing little potteries if a branch line could be made
to the village to relieve the very great inconvenience of carting
the goods to and from the stations.
The following are the five Burton potteries : —
Town End Pottery, manufacturing black and brown ware, etc.,
was worked by a Thomas Bateson in the early part of the i8th
12
YORKSHIRE POTTERIES) ETC.
century, and some think there was a Gibson before him. Thomas
Bateson was succeeded by Jolin Bateson, and he in turn by
another Thomas Bateson. The last of the four generations was
Richard Bateson. This terminates the Batesons at the Town
End Pottery about 1853, when a WilHam Parker took up the
business, and it is now worked by his brother John Parker.
Baggaley Pottery was estabhshed about 1750, and was worked
for many years by Baggaley. He was a relation of the mother of
the present owner, Mr. Thomas Coates, who most kindly supplied
me with much information about these potteries and who still
works the pottery, manufacturing black, brown, and white glazes,
plant pots, tobacco jars, etc.
Greta Bank Pottery was established in 1850 and has been
worked by Mr. T. Burton, a Mr. Greenets, a Mr. Parker, and is
now worked by Mr. G. Kilshaw, manufacturing black and brown
wares, etc.
Fig. 2. BuRTuN Wake. Baggaley Pottery. York Museum Collection.
Bridsfe Fnd Pottery was the first stoneware pottery in Burton,
was worked by William Bateson in 1830, and after many years it
came into the possession of Mr. T. Coates, and was worked b}'
him as a stoneware pottery until the year igo6, when he sold
out to a Robert Bateson, a dissolving partner from the Waterside
Pottery.
CASTLEFORD POTTERY. I3
Waterside Pottery was built as a stoneware pottery by Jolin
Bateson about 1840, lie was a great uncle to the present Messrs.
Harry and Frank Bateson, who are still carrying on the business.
This is the largest pottery \u Burton.
The stoneware potteries manufacture bottles, cooking pots,
jam jars, etc.
CASTLEFORD POTTERY.
This pottery was established about 17S0 by David Dunderdale,
of whom the best description is given by Archdeacon H. A. Hall,
B.D.,'- as follows: David Dunderdale was born at the " Crosse,"
Briggate, Leeds, on January 9th, 1772, and was baptised at St.
John's on the 21st of February. He could not have been more
than tvvent}' years of age when he embarked upon the venture at
Castleford, for in 1796 a pattern book was issued — not necessarily
the first — of which a copy was exhibited by Mr. Richard Wilson,
of Armley, near Leeds, at the Old Leeds Exhibition, held at the
City Art Gallerv. from Jidy 24th to September 24th, igoS.
This pattern book is in I'Tench and Spanish, the title page
running : —
" Desseins des pieces de Fayence fabriquees a Castleford
Pottery pres de IvCeds par Dd. Dimderdale et Co.
Dibuxos de las piezas de Lozaque se fabrican a Castleford
Pottery cerca de Leeds par Dd. Dunderdale y Co.
1796."
Of this pattern book it is sufficient to sa}' that it is a colourable
imitation, so far as size and general idea are concerned, of the
Leeds books, but the drawing and production are ver)' inferior.
It contains fifty-seven pages of designs and seven pages of indices,
but unfortunately there is no descriptive letterpress. The factor}'
certainl}' prospered for a time. Dunderdale took into partnership
a Mr. Plowes, who however deserted to Ferrybridge, and subse-
quently Thos. Ed. Upton, Thos Russell -a Harrogate innkeeper —
and John Bramley, who was probably a relative of his wife, whose
maiden name was Ann bJramley. He lived at Dunford House,
*Vide " Handbook of the Old Leeds Exhibition, T908," p. 39, et seq., " The
greater part of the very fine collection of I)a\ id Dunderdale's Ware, got together
by Archdeacon Hall, has been accjuired by Mr. Arthur Hurst, East Eodge, St.
Peter's Grove, York, and through the kindness of that gentleman is now on view
in the York Museum."
14 " YORKSHIRE POTTERIES, ETC.
Methley, " a good mansion house " close to and on the east of the
road leading to Methley Bridge, which had been hnilt by Michael
Stocks of Methley, fifty years previously, in front of a very ancient
and historic tenement, bearing the same name.
Dunderdale was churcliwarden and overseer of the poor for
Methley at various periods between 1799 and 1S14, and he was a
First-Lieutenant of the Pontefract Volunteers of 1798-9 (of which
the Hon. Henry Savile was Major and the Hon. Chas. Savile and
John, Earl of Mexborough, were then Captains), from all of which
we may gather that at this period the works were doing well.
The Peninsular War came, however, as a death blow to enterprises
which depended to any extent upon the French and Spanish
markets. French privateers roamed the seas, and cargo after
cargo of the Castleford wares fell, as it is asserted, into the hands
of the enemy. At home there was neither money to purchase, nor
artistic enthusiasm to support, anything superior to the commonest
productions. David Dunderdale retired from the works — it is
hinted with sadly diminished resources — soon after the Peace, and
died at Trafalgar Street, Leeds, in May, 1824, aged 52 ; he is
buried with liis parents in St, John's churchyard, and is described
on the slab which covers tlieir remains as " late of Dunford House."
In 1820 the manufactory was closed, and in 1821 a part of the
works was taken by some of the workmen. They were succeeded
by Taylor, Harrison and Co., Harrison having been an apprentice
of Dunderdale's. These works were an offshoot of the old Pottery.
At the close of the year 1825, the old works were taken by Asquith,
Wood and Co. They were joined in partnership by Thomas
Nicholson from the Leeds Pottery, and carried on the business
as Asquith, Wood and Nicholson, and afterwards as Wood and
Nicholson alone. In 1854 another change took place by which
Mr. Nicholson, one of the old firm, retained the works, and took
into partnership Thomas Hartley, the style of the firm l)eing
Thomas Nicholson and ("o. When Mr. Nicholson retired it was
carried on by T. Hartley alone, and afterwards with partners
under the old name of Nicholson and Co. In December, 1871,
Mr. Hartley died, and the Castleford Pottery was then, and still
is, carried on by his co-partners, Messrs. Hugh McDowall Clokie
and John Masterman, under the style of " Clokie and Masterman."
The wares made in Dunderdale's time consisted : —
First — of useful table pottery, dinner services, etc., well moulded
and potted ; the glaze where it has accumulated in any quantity
CASTLEFORD POTTERY. ' I5
shows the greenish tinge, so often observed in the Leeds Pottery,
denoting arsenic. The very popular " Willow ' pattern differs in
some respects from the Leeds design. One pattern which I have
never seen on any other ware but Castleford has two figures on it,
one riding on an animal with horns, evidently meant for Buddha
and the sacred cow. W^e have several examples of this in the
York Museum.
The feather-edge pattern was also used here, as it was at Leeds,
etc.
Second — cream or Queen's ware. It was, as Archdeacon Hall
points out, in this line that the greatest imitation of the Leeds
manufacture took place. The Hartley family of Methley and
Kippax was not improbably connected with that which made the
Leeds Pottery famous, and it is easy to understand that workmen
would go from one factory to another, taking with them designs
and methods, according as wages and other inducements offered.
Though there were inferior pieces of cream ware placed upon the
market badly potted and badly designed, yet some of them are of
great beauty, and very little, if at all, inferior to those for which
Leeds was so famous. The " twig" baskets are good examples of
this. .\ " trembleuse "' or chocolate cup stand in our Collection
is of inferior make, whilst one in Mr. Hurst's possession leaves
little to be desired. One very rare piece in our Collection is a
barber's or shaving bowl. It may be mentioned here that while
in the case of the Leeds baskets and dishes the centre is almost
always plain, that, in the ware of Castleford (and Wedgwood) is
almost always filled in either by the pattern or b)- coloured crossed
lines.
The pattern book shows the large range of cream ware offered
by the factory.
Third— tiie black or basalt ware, consisting of tea sets made to
be used at funerals. A beautiful jug with panels containing figures
and decorated with leaves, and a sugar basin with figures on each
side, are in Mr. Hurst's Collection. They were of a deeper an<l
brighter black than those of Leeds.
Fourth--the vitreous semi-lucent ware so ably produced by
David Dunderdale. Fine examples of the tea pots, etc., are in
the Collections of Mr. Wilson, Mr. Hurst, and Mr. Boynton.
The white stoneware jugs and mugs made by Dunderdale in
connnon with Adams, Turner, Wedgwood, and other great potters,
have certain elements in common. The material is of similar
l6 YORKSHIRE POTTERIES, ETC.
composition, tlie neck and upper part of tlie handle are dark
brown, the lower portion of the body is cane pattern, the middle
portion bears figures, e.g., hunting and rural scenes in relief. The
Castleford products are of great merit, and are distinguished by
the "grass" border on the shoulder, and the somewhat large foot,
and the typical Castleford handle.
The Dr. Pratt or Barker ware jugs, made at Lane Delf, now
Middle Fenton, from 1775 to iSio, are said to have been imitated
here and at Leeds. These had zig-zag patterns or acanthus leaf
decoration top and bottom, with sporting scenes in relief in colours
round the body.
Archdeacon Hall further states that the genuine Castleford ware
has, apart from the factory mark, several distinctive features: the
"angles'" are invariably recessed — concave not convex— and the
ornament of the angles is what may be described as a line and dot
pattern with lotus leaves below, the medallions and other applied
ornaments are in low relief, and sometimes — as in the beautiful
teapot belonging to Mr. Wilson — the ornaments are decorated in
colour, the glaze shows green under the lid and at the bottom of
the inside, and the handle is always that peculiar to Castleford.
A large trade was done with Spain, the Baltic, and other foreign
parts. As has been pointed out many of the specimens turned out
by Dunderdale are of great merit and beauty, and marked pieces
are eagerly sought after b}' collectors.
The mark on tliese pieces is
D. D. & Co.
D. D. & Co. ^^ CASTLEFORD
CASTLEFORD POTTERY
impressed in the ware.
The mark of the later proprietors when trading as T. Nicholson
and Co. was a circular garter surmounted by a crown, and on the
ribbon the initials of the firm, T. N. & Co., in the centre the name
of the pattern. Personally I have never yet come across a piece
so marked. Tiie mark of the present firm is their initials within
a border.
Mr. T. Boynton, Bridlington, has three obelisk-shaped orna-
ments of Castleford Parian ware. These are decorated on the
bases wMth rustic landscapes and raised figures in classical style.
The tops have sporting, musical, and warlike tropliies on all the
faces. The height of the largest is ii^ins., the smaller ones
measure 9^ ins.
Castleford Pottery.
Fig. 3. Barber's or Shaving Bowl. York Museum Collection.
Fig. 4. Tkemklkuse. York Museum CuUection.
Castlkford Pottery.
I'ig. 5. Fruit Dish. York xMuseum Collection.
Fig. 6. Tk.-\pot. Mr. A. Hurst's Collection.
COMMONDALE POTTERY. IQ
My brother has in his Collection a nmg with the figure of a
fighting cock upon it, and the words
POLLINGTON FOR EVER. made here.
Lord Pollington, the eldest son of the Earl of Mexborough, was
M.P. for Pontefract in the years 1H07, 1812, iSiS, and 1820. In
the election of August 15th, 1872, the then Lord Polhngton was
defeated by Mr. H. C. Childers, by 80 votes. This was the first
Parliamentary election under the Ballot Act.
COMMONDALE POTTERY.
Situated near Stokesley, these works were first started in the
year 1861, under the name of the "Cleveland Fire Brick and
Pottery Co. Ltd." The proprietor and first managing director
was Mr. John Slater Pratt, printer, of Stokesley, who owned the
land on which the works were erected, and who got the Company
formed. Some York gentlemen were interested, among whom was
Mr. Henry Hotham Newton, of the firm of Newton, Robinson and
Brown, solicitors, now Brown and Elmhirst.
This Company ceased operations in 1867, and the works re-
mained idle until 1872, when they were acquired b)' the late Mr,
John Crossley, founder and first chairman of this Company. The
manufacture of fine art and domestic pottery, properly speaking,
was commenced by him in 1880, and continued b}' him until he
turned over the works to a new Company, named "The Common-
dale Brick, Pipe and Pottery Co. Ltd." They continued the
manufacture for some time, when the works were again closed
down. They were next taken up by Mr. Thomas Ness, of
Darlington, in the year 1893, trading as the " Commondale Brick
and Pipe Co." After Mr. Ness's death, the works again passed
into the hands of Messrs. Crossley, by whom they are still being
carried on.
The manufacture of fine art and domestic potter^' was dis-
continued about 1884, since which time nothing of this kind has
been made, and the kilns for burning the same have been dis-
mantled. The goods now made comprise stoneware pipes and
sanitary ware of the highest class, architectural terra-cotta in
red and buff, and vitrified adamantine paving bricks for j^aving
purposes. The only things of ornamental character, apart from
the architectural terra-cotta, are now garden vases and pedestals,
made in both colours.
20
YORKSHIRE POTTERIES, ETC.
Marked pieces of this ware are now of great rarit}-. We have
a teapot and two goblets with a very dark brownish black glaze,
splashed and blotched with greyish green, also a terra-cotta
tobacco jar with white beading top and bottom, the lid with a
broad band of light blue near the white beading along the edge,
and a large patch ot l)lue on the knob. These are marked on the
bottom, CoMMONDALE PoTTERY, the letters being arranged in a
circle, impressed.
Fig.
Teapot and Two Goblets. York Museum Collection,
Fig. 8. Tobacco Jar. Y'ork Museum Collection.
Mr. Hurst has a water-bottle, stopper, and stand in rich buff
terra-cotta. The stand is marked
CKOSSLEY
COMMONDALE
Mr. P. Crossley, to whom I am indel:)ted for most of the above
account of the pottery, very kindly presented to us some years
ago an orange-brown jug, ornamented with a group of figures on
each side, and a vine — leaves and grapes — all in low relief. This
piece is unmarked.
21
DENARY POTTERY.
This was started as a pottery in 1864 l)y Wilkinson and Wardle,
the latter beinj^^ a thoroughly practical potter, previously with the
well knowh lirni of Alcocks and Co., Burslem, Staffordshire. A
very tine qualit)- of the usual tlomestic earthenware in white,
sponged, antl printed ware was produced, hut continual experi-
ments in the nianulacture did not conduce to commercial success,
antl the works were closed in 1870. Denaby was the most easterly
of the south Yorkshire potteries, and was atlvantageously situated,
being close to the Denaby Main Colliery, and having a siding into
the works from the South Yorkshire, now the Great Central Rail-
way Co. Distance from Mexboro' i^ miles, and from Doncaster,
5|- miles. Subsetjuently the pottery was converted into a bone
and glue works, but this in turn was closed, and for many years
no work of an)' kind has been carried on, and tliere is nothing left
to remind one that it ever was a pottery. A few years before the
business was discontinued, it was carried on under the style of
"Wardle anil Co." or "John Wardle and Co.," Mr. W. Wilkinson
withdrawing, antl a Mr. Blyth, a mining engineer, taking his place
as a partner of Wardle, who throughout was the practical potter
in the concern.
Fig. 10.
Mark on the I'late,
Fig. y. Plate. Mr. O. Grabham's Collection.
22 YORKSHIRE POTTERIES, ETC.
Marked pieces of Denaby Pottery are of extreme rarity. I have
only seen one, and that was kindly given to me some years ago by
Mr. Bowman Heald, of the Kilnhurst Pottery ; it is a fine plate,
witli l)irds of paradise, groups of flowers and foliage, printed in a
peculiar shade of blue on a white ground. The mark, printed on
the bottom, is the Staffordshire knot, with
above, and
JOHN WARDLE & CO.
NEAR ROTHERHAM
DENABY rOTTERY.
below. Another mark was the same knot, with the initials
\V. \V. DENABY POTTERY
and Jewilt gives the same knot with the words
WILKINSON & WARDLE. DENABY POTTERIES.
DENHOLME POTTERY.
This pottery was established between 1780 and 1790 by Samuel
Catherali, son of Jonathan Catherall of the Soil Hill Pottery, and
this was continued by the family until August, 1893, when Mr.
Nicholas Taylor purchased the same. He gave up the pottery in
1907, but tor a year or two after this date, worked with a small
kihi in the old Wesleyan chapel at Denholme. Mr. Taylor marked
some of his most particular pieces, " N. Taylor, Denholme," in
incised writing letters on the bottom of the ware. I have an
inkstand so marked, in the so-called " Snail Horn " ware, made at
all these South Yorkshire potteries, yellow and brown, giving a
sort of striped and banded appearance.
The usual slip decorated articles, puzzle jugs, etc., were made
here with a light and a very dark brown glaze, almost black, the
same as in the other South Yorkshire coarse ware potteries. We
have several pieces in our Collection.
23
DON POTTERY.
This pottery, closely adjoining the canal at Swinton on which
it had a wharf, was estal)lished in a very small way about 1790,
and considerably increased in 1800 by John Green, of Newhill.
He was one of the Greens, of Leeds, of the same famil)? as the
proprietors of the Leeds Pottery, and a proprietor m the Swinton
property and pottery. He is in fact stated to have been the
manager of the Leeds and Swinton Potteries, and to have sustained
considerable losses on the breaking out of the French war.
About 1800 or a little later, he purchased a plot of almost waste
and swampy ground at Swinton, and with the aid of partners set
about the erection of the hue Don Works. At this time a man of
the name of Newton had an enamel kiln at the back of his house
at Swinton, where he used to burn such wares as he decorated.
To this man for the first twelve months Green, of the Don Potters-
brought his pattern pieces to be fired as he prepared them. In
1807, other members of the family united with John Green, who
also had partners named Clarke, the firm trading as Greens,
Clarke and Co. In 1831 Mr. Green was proprietor of the Don
Pottery. In 1834 the pottery passed by purchase to Mr, Samuel
Barker, of the Mexborough Pottery, whicli latter works he closed
in 1844, and confined his operations entirely to the Don manufac-
tor}'.
In 185 1 the firm became " Samuel Barker and Son," the pro-
prietors being Mr. Henry Barker and Mr. Edward Barker. This
business which had been worked by the Barker family for nearly
fifty years was transferred in November, 1882, by the proprietor,
Mr. lidward Barker, the youngest son of Samuel Barker, to
Messrs. Smith, Adamson, Wilkinson and Scorah, who carried it
on under the old style of " Samuel Barker and Son."
For some years after this a very large volume of trade was done,
l)rincipally for the London and export markets.
Messrs. Wilkinson and Scorah after about four years trading
withdrew from the partnership, and Smith and Adamson continuetl
alone, still trading as " Samui;l IJarker and Son." At the end of
the eighties however, the trade b(^gan to languish, and in 1893 the
works were finally set down. The goods, material, engravings,
and general stock-in-trade were sold off later in the year (under
li([uidation), and the pottery, the freehold of which was retained
by the Barker family, remained closed and tenantless until March,
24
i8g7, when the landlord's fixtures including engines, boilers, ilint
milling plant, machinery, etc., were disposed of by public auction,
and shortly afterwards the works and land were sold in separate
lots, and in due time two or three streets of shops and houses were
erected on the site of the pottery.
The outer cases of two of the kilns nearest the canal were still
standing in igo8, when I photographed them, having been con-
verted into warehouses, etc.
I'ly. II. KuiNb u¥ THE Don Iuttekv, i(joi>.
In its best daj's the Don Pottery probably turned out more
goods than an}- other pottery in the county, except Leeils. It
consisted of eight large kilns or ovens, namely, three " biscuits "
and five " glosts,"
Formerly in Samuel Barker's time an enormous export trade
was done with Constantinople.
At the sale all the old models, blocks, cases, etc., which had
made the works famous in its earlier years were sold in one lot,
and were purchased by Mr. Bowman Heald and removed to the
Kilnhurst Pottery.
One of the most remarkable of the early specimens of the ware
produced here is a jug, commonly known as the "Jumper Jug,"
DON POTTERY. 25
it \s of great rarity, one specimen being in the possession of Mr.
Thomas Boynton, BridHngton, where I have had tlie pleasure of
examining it, along with many other beautiful specimens of York-
shire Pottery which are in Mr. Boynton's Collection. This jug
was made in two sizes. On either side of the larger ones is the
figure of an uncouth and slovenly looking man in red coat, pink
waistcoat, striped green and white under-waistcoat, orange necker-
chief, orange breeches above which his shirt is seen, top boots and
spurs. In his hand he holds his hat, orange with red ribbons, on
which is a card bearing the words. " Milton for ever." Beneath
the spout on a scroll is the following curious verse : —
'' The I'igure there is no mistaking,
It is the famous Man for — byeakiiig,
Oh that instead of Horse and Mare
He had but broken Crockery-ware.
Each grateful Potter in a bumper
Might drink the health of
Orange Jumper."
Tlie history of this man is so interesting that I here quote
Jewitt's account of him verbatim.
" This man who was known all the country round as ' Orange
Jumper,' was a very eccentric character, and a great mover in the
political ' stirs' of his count}'. He was a horse breaker at Went-
worth, and many extraordinary stories are remembered in connec-
tion with him. One of these as connected with the stor}' of this
jug is worth repeating. In the great Yorkshire election of 1N07 —
the most costly and the most strongly contested election on record
— when the candidates who were so mercilessly pitted against
each other were Lord Milton, Wilberforce, and Lascelles, 'Orange
Jumper' was employed to carry dispatches regularly l)ackwards
and forwards from York to Wentworth House, the seat of Earl
Fitzwilliam, the father of Lord Milton, who eventually won the
election, and was returned as the colleague of Wilberforce. Orange
was the Fitzwilliam colour, and blue that of Lascelles (son of the
Earl of Harewood) his opponent ; and on one occasion ' Jumper'
was seen entering York decked out as usual in orange, but riduig
on an ass gaily decorated with bright blue ribands. On being
jeered at for this apparent inconsistency in wearing both colours,
he replied that he wore the right colour, orange, and that his ass
was only like other asses, for they were all donkeys that wore
blue ! "
Don Pottery,
Fig. 12. Fruit Dish. Mr. O. Grabham's Collection.
Fig. ij. Plate. York Museum Collection.
DON POTTERY.
27
The election was gained by the party he espoused, and in
commemoration these jugs, with his portrait and verse, were
made. They are marked
DON POTTERY
pencihed in red on the bottom.
On the quart jugs the figure appeared on one side, and the verse
on the other.
Fig. 14. The JuiAU'ek Jul. Mr. T. Boynton's CoUection.
An engraved pattern book was issued by tlie firm, in the same
style, and of the same size as that of Hartley, Greens and Co., of
the Leeds Pottery, many of the Don patterns are identical with
those of Leeds. A careful comparison of the two books reveals
the fact that whereas in the latest edition of that of Leeds 269
patterns are engraved, in that of the Don Pottery 292 are given.
1 have in my possession a very pretty dessert service of fine Don
earthenware, tlie comport dishes and plates being each of them
ornamented inside, with a tlillerent Hower, stem, and leaves, beau-
tifully ])ainted, and on the back the name of the same printed in
red.
Mr. Hurst has some fine pieces, and the same may be said of
our own Collection.
28
YORKSHIRE POTTERIES, ETC.
About iSio — 12, China of an excellent quality was, according to
Jewitt, made at the Don Pottery, to a very small extent. These
are so rare that I have neither seen a piece myself, nor have I
come across any one else who has been fortunate enough to do so.
f ""
.„
'"■■
^^t : i-
;W^z£z::^
1 1
^^^BV
i7S
Ie^ — ^
Fig. 15. Tea Service. Mr. A. Hurst's and Mr. O. Grabham's Collection.
The marks used at this pottery were
DON POTTERY pencilled in red on the bottom of the vessel.
DON POTTERY mipressed on the bottom of the pieces.
GREEN
DON POTTERY also mipressed
GREEN DON POTTERY printed and transferred in blue,
round the demi-lion rampant also in blue, on the bottom of the
vessels.
The demidion rampant holding in his paws a pennon with
DON upon it and POTTERY below, eitlier all impressed or all
printed and transferred in Ijlue. Fig. 16, a.
a Fig. 16. b
After Samuel Barker purchased the Don Pottery in 1834, ^'^^
demidion liolding the pennon, a little altered in shape and mane,
was still used. Above the pennon was sometimes BARKER,
sometimes 13. and sometimes nothing, whilst on the pennon was
DON, and POTTERY below, all printed and transferred in
blue. Fig. 16, b.
DON POTTERY,
29
The next two marks were adopted by the firm after it had become
Sairuel Barker and Son in 185 1, namely, an Eagle displayed
rising out of a ducal coronet, and the demi-lion rampant holding
in his paws tlie pennon enclosed within a garter, beneath which are
the initials of the firm S. B. & S. both in blue transfer. Fig. 17.
Fig. 17.
ECCLESHILL POTTERY.
Situated near Bradford, the Manor House Potteries at l^ccles-
hill were established about the year 1835, and were carried on as a
manufactory of stoneware until the year 1867 under the proprietor-
ship of a Mr. Woodhead, whose object was to utilize the bed of
fireclay found in the locality. The venture had not, unfortunately,
the success which it deserved. Much of the pottery made is of
exceptionally good design and quality, and compares quite favour-
ably with the celebrated Nottingham and Brampton stonewares,
with which it is frequently confused, as no distinguishing mark was
used at Eccleshill.
Articles of great variety were made, consisting of household
utensils, ornaments, garden vases, etc., as well as busts and
statuettes of celebrated people of the early 19th century, viz. :
Nelson, Wellington, Burns, B)ron, Scott and others, these ranging
in size from a few inches to several feet ; jugs, cradles, knife-
boxes, saltdvits, etc., were also made here, and puzzle jugs with
raised figures round the belly.
Mr. Herbert Maltby, curator of the Boiling Hall Museum,
Bradford, to whom I am indebted for most of the above informa-
tion, tells me that all the objects were salt-glazed, and of brown
stoneware. In common with all the other neighbouring potteries
at Howcans, Denholme, Thornton, EUand, etc., the trade was
eventually killed by the markets being supplied by a better and
cheaper ware from Stafibrdshire.
There are several fine pieces of Eccleshill ware in the Boiling
Hall Museum.
30
PALSGRAVE POTTERY.
A suburb of Scarborougli. It is stated iu " Memorials of Scar-
borough," by C. Meadley, published in iSgo, that " during the
close of the i8th and the first part of the 19th centur}', Palsgrave
boasted of a pottery which was situated in a field close to the then
Horse Pond, and near the first milestone from Scarborough in
' Gallows Close ' where the North Eastern Railway now has its
goods depot. The parties who carried on the establishment lived
in a thatched cottage, and it formed the last house in the first row
of houses as you entered Palsgrave from Scarborough. Either
from the badness of the material, or from want of artistic skill, the
productions of the potter}' were so humble that it became a
proverbial saying, when anything of a low character presented
itself, 'that it was like Palsgrave China, rough and ugly, — as
coarse as Palsgrave pottery,' "
However this may be, there is in the vScarborough Museum a
very fair light brown bowl banded with blue, made at the Pals-
grave Pottery. Mr. W. J. Clarke, of Scarborough, tells me that
this bowl was presented to the Scarborough Museum bj' Mrs.
Skeet (nee Lacy, an old Scarborough family), and that according
to the late James Chapman, of Scarborough, who died at an
advanced age, the potter}^ was manufactured on the site where
the North Eastern Railway goods station now stands, in the latter
part of the iSth century. The clay for the same was brought
from what is now Malton's Brick Yard on the Scalby road.
In connection with Scarborough — although in tliis paper I am
not dealing with mediaeval potteries — I shouki just like to mention
a large one which was there iu mediaeval times, situated outside
the boundary of the town. Mr. J. H. Hargreaves, of Scarborough,
tells me that it was either on the site near the Roman Catholic
church, on the ground now occupied by Wilson's Free Dwellings,
or on that where Chapman's Boarding House is situated. Prom
the Museum reports at Scarborough it seems that there must have
been a very extensive manufactory. Green glazed pottery is
occasionally found a few inches below the surface of the ground.
In 1854, excavations brought to light a long series of arches
forming what had evidently been the kilns of the pottery. The
structure of the bricks of which they were composed being assigned
by competent judges to belong to the 14th century. Two of these
arches were carefully dug out and transported to the Museum, at
PALSGRAVE POTTERY,
31
Mr. Nesfield's expense. The works seem to have extended from
New Queen Street to Mulgrave Terrace. They must often liave
been seriously interrupted, and probabl}' owe tlieir ultimate ex-
tinction to this inconvenient proximity to such scenes of strife as
those enacted rotmd the castle.
In the Scarborough Museum is an Aquamanile, a curious very
early vessel, which was doubtless made tliere. It is in the form
of an animal, most probably a ram, with a twisted liorn, but
unfortunately its handle and oilier parts are imperfect. It is
covered witli a rich green glaze. Fragments of similar vessels
have been found in York, and are in our Collection.
.jm
.. -r^
^
t
1
i
h^ ^
^i^^^^BB^^^SSS^^^^^SS^^^m^^L r
^
\
Fig. 18. Bowl. Scarborough Museum Collection.
FERRYBRIDGE & KNOTTINGLEY POTTERY.
Thoresb}' records that Francis IMace, of the Manor House at
York, spent nuich money upon liis manufacture of " fine muggs,"
and that he attempted it solely I'rom a turn for experiments ; but
one Clifton, of Pontefract, took the hint from him, and made a
fortune by it.
The works of Clifton would probably bo the forerunners of those
at Ferrybridge, near the town oi liquorice, so famous for its
. " Pomfret cakes."
The pot works at Ferrybridge are amongst the largest in York-
shire. They \^ere established in 1792 by Mr. William Tomlinson,
whose partners were Mr. Seaton, banker, of Pontefract ; Mr.
Foster, ship-owner, of Selby ; Mr. Timothy Smith, a coal pro-
prietor ; and Mr. Thompson, of independent means, of Selby.
32 YORKSHIRE POTTERIES, ETC.
The firm was styled " William Tomlinson and Co." until about
the year 1796, when the proprietors took into partnership Ralph
Wedgwood, of Burslem, when the style was changed to that of
" Tomlinson, Foster, Wedgwood, and Co." Ralph Wedgwood
was a nephew of the great Josiah. He was a man of considerable
inventive genius, but too eccentric and visionary for the affairs of
every-day life, and in consequence of the great expense involved
in following out his experiments, the partnership was dissolved in
1800 or 1801, and the style "Tomlinson and Co." was resumed,
and so continr.ed until 1834, when it was changed to "Tomlinson,
Plowes, and Co.," Mr. Plowes of the Castleford Pottery having
joined the proprietary.
In 1804 the name of the manufactory, which up to that period
had been called the Knottmgley Pottery, was changed to that of
the Ferrybridge Pottery. This cliange was made for the con-
venience of foreign correspondence, a large foreign trade being
carried on, Ferrybridge being at that time a post town of some
note, and tlie works being situated nearer to it than Knottingley.
Mr. Tomlinson was succeeded by his son Edward Tomlinson,
who continued the works under the firm of " Edward Tomlinson
and Co." until the year 1826, when he finally retired. A part
of the premises was then worked for a short time by Messrs.
Wigglesworth and Ingham, when the whole place was taken by
Messrs. Reed, Taylor, and Kelsall, who continued the manufactory
until the retirement of Mr. Kelsall, after which the works were
continued by the surviving partners, Messrs. James Reed and
Benjamin Taylor. Mr. Reed, who was fatlier of John Reed, of
the Mexborough Pottery, was a man of great practical skill, and
in his time many improvements in the ware were made and the
manufacture of China introduced, Ijut only for a short period. He,
in conjunction with his partners, took the Mexborough Pottery,
and for some time carried on the two establishments conjointl)\
Ultimately Mr. Reed gave up the Ferrybridge works, and confined
himself to tliose of Mexborough, whilst Mr. Taylor carried on tlie
Ferrybridge works alone.
After Mr. Taylor gave up the works, Mr. Lewis Woolf entered
upon them as tenant for a few years, and in 1856 became the
purchaser and commenced manufacturing in his own name. In
the following year, 1857, a large additional pottery was built
closely adjoining and connected with the Ferrybridge Pottery,
by the sons of Mr. Lewis Woolf. This new manufactory was
FERRYBRIDGE AND KNOTTINGLEV POTTERY. 33
called the " Australian Pottery." The proprietors of tlie joint
works, tlie "Ferrybridge and Australian Potteries," were Lewis,
Sidney, and Henry Woolf, who traded under the style of " Lewis
Woolf and Sons." Sidney Woolf, the head of the firm was I\I.P.
for Pontefract from 1880 to 18S5. In 1873, the Rock Pottery,
Mexborough, was purchased by Messrs. Sidney Woolf and Co..
but in 1883 they came to grief and severed their connection both
with the Ferrybridge and the Mexborough Pottery.
Ferrybridge still continues to make a good deal of pottery. A
group of three potteries lie all together on the west side of the road
to Knottingley. The first of the group is the West Riding Pottery,
founded about thirty years ago by Poulson Brothers, who employ
300 hands, of whom more than 100 are women. They make no
brown ware, only printed ware. The same firm once carried on
the original Ferrybridge Pottery, which is now in tlie hands of
Messrs. Sefton and Brown, but the pottery as it was worked by
Lewis Woolf is now divided into two parts, the Australian
Pottery — the one built about 1857 ^Y ^^^- ^Voolf for his sons —
being now carried on by Mr. Joseph Horn.
These works besides a very large local and coastmg trade, had
extensive transactions with several foreign ports, and from their
first establishment to the time of the issuing of the famous Berlin
decree by Napoleon, did a large and lucrative trade with Russia.
The decree cut short the trade with the continent, a blow which
was severely felt by the Yorkshire potters, but shortly afterwards,
when the River Plate was opened up, one of the partners proceeded
there and opened an establishment, and afterwards went on to
Rio de Janeiro.
The wares principally produced were cream and cane-coloured,
green-glazed ware, black basalt or Egyptian ware, printed ware,
etc.
Marked examples are by no means common, though a fair
number are to be found in public and private collections. We
have a fine series, and so has Mr. Hurst.
Three interesting pieces in our Collection are a teapot and sugar
basin in cane coloured ware, both having a blue medallion on
each side containing the profile of a head in black, made in Ralph
Wedgwood's time, and marked impressed on the bottom,
WEDGWOOD & Co.
and a white plate with the " grass edge " pattern in dark blue all
34 YORKSHIRE POTTERIES, ETC.
rouiul it, aiul in tlie centre a loaded pack-horse in dark blue with
a \V on the blinker, the W standing for Wedgwood, when Ralph
Wedgwood was a member of the firm. This was kindly presented
to us by ^Ir. J. K. Triftitt.
I possess a fine large jug, white, with green lines, a face or mask
for a spout, on one side a very clear cut bust of Lord Byron ! and
on the other a nude lady mounted bareback upon a horse, about
to drive a spear into a lion wliich has its claws fastened in the
horse's neck ; also some tine rich blue plates with the " willow
pattern " upon them, formerly belonging to old Mark Lightowler,
who kept the toll bar between Pontefract and Carleton, when I
was a boy.
The marks used at Ferrybridge were
TOMLINSON & CO. impressed on the bottom of the ware.
WEDGWOOD & CO. during the time of Ralph Wedgwood's
connection with the works, also impressed.
FERRYBRIDGE, impressed, and one variety of which mark
is peculiar from having the letter D reversed thus Q
FERRYBRIQGE,
a sliield with the words opaque granite China in three lines
supported by a lion and unicorn, and surmounted by a crown,
impressed in the ware.
Later — the lion and unicorn with the shield and crown, and the
words, " Ferrybridge and Australian I^otteries," sometimes im-
pressed and at others printed on the goods, with the names of the
bodies, as " granite," " stone-china," etc., added.
As before mentioned up to the year 1804, the manufactory was
known as the Knottingley Pottery, and a special brown ware was
made there.
The punch bowls, made for the cock-pits, with fighting cocks
and foliage upon them, done in " sgraffito," scratched ware,
specimens of which are in our Collection and in the Pontefract
Museum, were made at the Knottingley Pottery.
A man named Masterman used to have a small kiln in " The
Holes," Knottingley, where lie made small pot figures as mantel-
piece ornaments, toys, etc., and sold them on a stall in Pontefract
market every Saturday, when I was a boy.
We have a very crude but very interesting figure of Little Red
Riding Hood with the wolf m our Collection, made here, by
Masterman.
Ferrvf.ridge Pottery,
i'ii'. lo. Teavot. Viirk AIut>euin Collection.
Fig. 20. Jug. Mr. O. Grabham's Collection.
Ferrybridge Pottery.
Fig. 21. Plate. York Museum Collection.
Fig. 22. PoNTEFRACT Castle Watch Stand. York Museum Collection.
Knottingley Pottery. Masterman's.
Fig. 23. Wolf and Red Riding Hood. Civca. 1S70. Yoi"l< Museum Collection.
Old Knottingley Pottery,
Fig. 24. Punch Bowl. York Museum Collection.
38
HOWCANS or POT HOWCANS POTTERY.
Near Oveiulen, Halifax, a pottery was started here somewhere
about the middle of the 17th centur}', and slip ware and black
glazed articles of varions kmds were made by a family of the name
of Halliday. Mr. Nicholas Taylor, late of the Denholme Pottery,
to whom I am indebted for much information about these South
Yorkshire Potteries, says that the Hallidays hrst started as potteis
at Puel Nick, about i^ miles from Halifax, and there is still the
name of Potters Yard at Puel. From here they established them-
selves at Bateain, about 2^ miles from Halifax, and half-a-mile
beyond Howcans. Bateain farm was in the tenancy of Hallidays
from about 1655 to 1872, Tom Halliday giving up the farm in
1872, but the pottery at Puel was closed many years before this.
The estate belonged to the family of Deardings. The business
was removed to Howcans and was carried on there for over a
hundred years, the works being finally closed in iS8(j, still under
the Hallidays.
Mr. Taylor worked at the Howcans Pottery for some time, and
he has in his possession a most interesting nidenture, dated 1789,
which he obtained from one of the Hallidays. The indenture was
in regard to this man's grandfather being apprenticed to pot
making.
Potting at Howcans and at Bateain must have been carried on
very largely, for in scarcely any part of the estate can excavations
be made without potsherds in plent}' lieiiig turned up.
As at all these South Yorkshire Potteries, black ware and red
ware, ornamented with a bright dark brown glaze and a yellow
slip were made, the ornamentation in slip being done by inlaying,
relief, or (piill stringing. Many prints in relief were done at
Howcans. Tea caddies, knife boxes, cradles, teapots, tobacco-
boxes, ornamental flower pots, puzzle jugs, salt kits, money boxes,
etc., were made here. A fine series is contained in the Bankfield
Museum, Halifax, collected by Mr. Ling-^oth. We have several
specimens, also some fragments of a very beautiful marbled and
combed ware, made here.
HowcANs Pottery.
Fig. 25. Knike Box. York Museum Collection.
Fig. 26. Cradle, date 1S02. York Museum Collection.
Fig. 27. Hen and Chickens Money Bo.\
IN " Snail Horn " Wauk. York Museum Coll.
Fig. 28. Salt Kit.
York Museum Collection.
40
HUDDERSFIELD.
LINDLEY MOOR POTTERIES, Salendine Nook,
More than three hundred years ago, about the time of the
accession of Queen Ehzabeth to the throne of England, a numerous
Scotch family of the name of Morton fled from Scotland to escape
the persecution then raging against the Protestant religion in that
country. They were potters b}^ trade, and settled at Salendine
Nook, in the parish of Huddersfield. They brought some work-
men with them, and fetched others out of Staffordshire, and
started a pottery business at Nook, which has been carried on m
the district to this day.
Two district firms of the name of Morton are still carrying on
business.
Some of the Mortons started a pottery at Hexley about 1868.
Shortly afterwards they went to Siddall, near Halifax, but soon
gave up. Soiue of the Hallidays from the Howcans Pottery then
took it, but after a couple of years they failed, and it was finally
closed down about 1870. Chiefly black ware was made there.
The Mortons, fire brick manufacturers at Siddall, are descend-
ants of the original Mortons of Salendine Nook.
The potteries at Salendine Nook are carrie<l on as Enos Morton
and Sons, and Joseph Morton and Sons. Brown and red ware
are made.
HULL POTTERY.
Pot works are said to liave existed at Mull \n the middle of the
17th century. Land at Sculcoates, formerly an outskirt of Hull,
has always been known by the name of " l^ot House Yard." Clay
pipe making was also carried on here.
In 1802, a plot of land on the Humber bank, in a part of what
was then the outskirts of the town and known as " Myton," was
sold by Thomas luiglish, of Hull, to James Smith and Jeremiah
Smitji, both of Hull, potters ; Job I^idgway, of Shelton, Stafford-
shire, potter; and Josiah Hipwood, of Hull, blockmaker. That
part of the town for many years was known as the " Pottery " a
name doubtless derived from these works. In 1806 the pro-
prietors assigned all their interest in the works to Messrs. Job
and George Ridgway, who carried them on for some years.
HULL POTTERY.
41
In 1826 Mr. William Bell became the proprietor of the works,
and by him they were much extended, and operations were carried
on on a large scale, chietiy for export, the principle part of the
trade being with Hamburg, where his brother, Mr. Edward Bell
was in business, and a large German and Dutch trade was done
through his means. The works were closed in 1841.
Fig. 2y. Plate. Hull Museum Collection.
A large variety of different kinds of ware were produced at Hull,
and it is somewhat strange that marked pieces are so difiicult to
obtain. One notable dinner service was made to commemorate
an exploit in connection with the noted pirate, Paul Jones, and
was matle for the owner or family of the owner of the merchant
shi}), the " Crow Isle." Only oiie plate of this service is now
known to exist, and this is preserved in the Hull Museum, to
which it was presented by the late Mr. Charles Hassell, grandson
to the late Mr. Francis Hall, of Hull, who was the owner of the
" Crow Isle," Baltic trader.
In the centre is represented the " Crow Isle" successfully beat-
ing off Paul Jones on its homewartl voyage when off the York-
shire coast in 1779.
42 YORKSHIRE POTTERIES, ETC.
Mr. Boynton has a very fine teapot ornamented in black transfer.
The bell-shaped lid is said to be peculiar to these works.
In our Collection are two plates, one ornamented with the
popular "willow" pattern in a rather peculiar but pretty shade
of blue, whilst the other is of an unusual shade of yellow.
Fig. 30. Teapot. Mr. T. Boynton's Collection.
Tlie marks are two bells, one generally overlapping the other,
surrounded by the words, BELLE VUE POTTERY, HULL,
in a circle, bells and letters all impressed in the ware, but some-
times the bells appear alone without the lettering, and in others
the words Belle Vue Pottery, Hull, are in writing letters in blue,
with scrolls and flourishes, surrounding the two bells also in blue.
Our willow pattern plate has both the impressed and the writing
mark.
Hull Pottrry.
Fig. 31. 1'late. York Museum Collection.
Fig. 32. Plate showing impressed and printed marks.
York Museum Collection.
44
KILNHURST POTTERY.
A place which one would naturally say took its name from pot-
works, Kilnhurst is situated midwa}' between Doncaster and
Sheflield, nine miles from each town. It is in the parish of Raw-
marsh on tlie extreme boundary line, and adjoins the colliery
village from which it takes its name. The works were first
instituted in the )ear 1746, and the manufacture of earthenware
has continued uninterruptedly to the present time. It can be
claimed therefore, that it is the oldest established pottery business
in Yorkshire. The works were started soon after the Act for the
navigation of the river Don was obtained. They were erected on
the estate of the Shore famil}', and held at the beginning of the
19th century by a potter named Hawley, who had a pottery at
Rawmarsh.
From him it passed into the hands of George Green (one of the
family of the Greens at Leeds) by whom on the 25th of April, 1832,
it was purchased by Messrs. Brameld and Co. (subject to Mr.
Shore, the owner, accepting them as tenants) at a valuation, Mr.
Green to retain all the manufactured goods, copper plates, moulds,
etc., and to reduce as much as convenient the stock of raw
materials.
In 1839 it passed into the hands of " Twigg Brothers," who
worked it conjointly with tlie Newhill Pottery after the death of
their father, Joseph Twigg, who started the Newhill works in 1822.
This Joseph Twigg was formerly employed as a working potter at
the Rockingham Pottery, Swinton, before commencing for himself.
His three sons, Joseph, John, and Benjamin, constituted the firm
of Twigg Brothers. The two eldest, Joseph and John, were
potters by trade, and, like their father, were employed at the
" Rockingham Works." The youngest, Benjamin, was a joiner
by trade.
The firm of " Twigg Brothers " continued until the year 1852,
when Benjamin Twigg died. Joseph Twigg, the eldest brother
having died previously, John Twigg thus became sole proprietor
of the Kilnhurst Pottery, and remained so up to the date of his
death on June 22nd, 1877. lie was born on December ist, 1801.
John Twigg had five sons, but with the exception of the youngest,
Daniel, they all i)re-deceased him, and the business was carried on
by the said Daniel Twigg and under his own name to March 1884,
when it was purchased by William Simpson Hepworth and his
KILNHURST POTTERY. • 45
son-in-law, Bowman Heald, and has since been and is now carried
on under the style of " Hepworth aud Heald." The Mr. Hepworth
mentioned was a printer and stationer, and for forty years he was
postmaster at Knottingley. He published several works, amongst
them "The History and Antiquities of Knottingley," 1871, and
the amusing " Life and Adventures of Jimmy Hurst of Rawcliffe.'"
Mr. Hepworth died on November 14th, 1888, and Mr. Bowman
Heald became sole proprietor of the works ami continues as such
at the present time. Daniel Twigg, the last of the family connected
with the trade, died on April 17th, 1892.
F'g 33- J"-"' '^vnu Dragon Handle. Mr. A. Hurst's Collection.
John Twigg produced most of the goods without any mark, but
TWlGG was occasionally impressed on the bottom of the ware,
or his initials J. T. were impressed or printed in blue transfer
under the name of the pattern.
We have several pieces marked T\VIG(j, impressed, ami Mr.
Hurst has one marked TWIGG'S, a very hue jug after the style
of the Mason jugs, with a dragon handle.
As regards the presutil period, Mr. i3o\vman Heald. to wlioui 1
am indebted for most of the information about this pottery, tells me
that the goods produced arc the usual useful domestic earthenware
required by the middle and working classes, in prnited, painted,
46
YORKSHIRE POTTERIES, ETC.
sponged, banded, mosaic, etc., on white and ivory bodies, includ-
ing dinner, tea, and toilet wares, etc.
W'lien the works were taken over by Messrs. Hepworth and
Heald, Mr. Bowman Heald introduced what is termed the "Bristol
Ware," made in various sizes of mugs and jugs, such as are used
in the Eastern counties and the South of England and in London.
These goods were formerly made at one of the Bristol Potteries
(since discontinued) exclusively, hence its name. Gradually Kiln-
hurst secured almost the whole trade in this particular line, and is
now practically the only maker of these goods. One great advant-
age is that they are able to produce them with the guarantee that
they are non-crazing. Within the twenty-three years from 1884
to 1907, over one million Bristol mugs and jugs were sold. This
ware is of a dull cream colour with a broad hand of brownish-
yellow on the top and on the top of the handle. Busts and foliage
are moulded on to the sides of the body of the pieces.
Fig. 34. Jug. " Bristol Ware." York Museum Collection.
Besides the home trade a considerable export bu.siness is done,
chiefly to Morocco, Australia, and the West Indian Settlements.
Orders for Morocco have been executed continually and con-
tinuously for the past five-and-twenty years in spite of strong
German competition.
KILNHURST POTTERY. 47
Kilnhurst Pottery is splendidly situated as regards its position,
being in the centre of the South Yorkshire coalfield, and adjoining
Thrybergh Colliery with which it is connected by sidings, and
having eight other large collieries within a radius of four miles.
It is built close to the canal on which it has a wharf, and the
Midland Railway Go's, main line, and the Great Central Railway
Co. run on either side of it.
Kilnhurst possesses a fine series of models, collected from the
"Rockingham," "Don,"' and " Mexborough " Potteries. Several
examples of these have been reproduced from the original moulds,
such as jugs, teapots, and cheese stands, and exhibit beautifully
modelled work, especially those from the " Don " Pottery.
During the time the works have been in Mr. Bowman Heald's
possession, several new features have been adopted in the mode of
manufacture. The printing is now done by machinery on roller
engravings, in place of the old system by fiat copper plates, one
machine turning out work equal to six men. Also the grmding of
glaze and other materials has been economized by the introduction
of Alsing's rotatory grinding cylinders, a great improvement on
the old fixed pan grinding system.
John Twigg, so long connected with this pottery, deserves more
than a passing notice. He was a decidedly eccentric personality,
and was the dominating figure during the whole time he was
associated with the history of the village and works. He was a
keen, shrewd business man, and quite an institution in Kilnhurst.
He was a rigid teetotaler and non-smoker, although he owned a
public house (the Nag's Head) which was within two hundred
yards of his residence. Many amusing stories are related of him
by the old inhabitants.
Another pottery not mentioned by Jewitt was established in
Kilnhurst about the beginning of the igth century. The manu-
factured goods consisted of coarse brown ware made from native
clay, it was not an extensive al'fair, and was closed in i860, the
last to work it being a potter of the name of Bedford. It lay
between Swinton and Mr. Heald's pottery. The s(]uare of cottages
. which now cover the site is called " Pottery Yard."
48
LEEDS POTTERY.
Tliis was the most famous pottery in the County, and the
ahiiost forgotten works there turned out thousands of pieces of the
highest excellency. There is no doubt that pottery has been
made at Leeds, or its immediate vicinity from the earliest times.
Geologically speaking, Leeds is most favourably situated for the
production of, at least, coarse earthenware, as in several parts of
the neighbourhood beds of clay are found particularly suitable for
this purpose, which no doubt have been worked for this class of
ware from British and Roman periods down to our own time, as
pointed out l)y Messrs. Joseph R. and Frank Kidson, in their
classic work, entitled, " Historical Notices of the Leeds Old
Pottery, with a description of its Wares, together with brief
accounts of contemporary potteries in the innnediate vicinity,
hitherto unnoticed."
The Wortley bed of clay is eminently adapted for making stone-
ware, and is now extensively used by several firms for fire bricks
and sanitary ware. Ralph Thoresby, in his Dncatus Leodiensis,
published in 1715, mentions that in his day it was employed for
making tobacco pipes. The village of Potters Newton evidently
takes its name from a colony of potters settled there in early times.
Of the exact date of the first establishment of the Leeds Pottery
nothing definite is known, it is however certain that it was in
existence about the middle of the i8th century, and at that time
wares of no ordinary degree of excellence were produced. The
works were situated in Jack Lane, close to the Leathley Lane
Pottery.
The first proprietors of whom there appears to be any record
were two brothers named Green, in 1760, and it is said that their
earliest productions were in black ware. It was then carried on
by Humble, Green and Co,
The Greens were a notable family in the annals of Yorkshire
Potting, for we find members of it proprietors of, or partners in,
several potteries in the south of the County, viz.: the Don Pottery,
the Swinton Pottery, and the LihThurst Pottery.
In 1783 the firm was Hartley, Greens and Co., and they had so
far advanced in their work and were so well known by that year,
as to justify them in issuing an elaborate book of "designs" of
some of the articles they were producing, printed in English,
LEEDS POTTERY.
49
French, and German. This vohinie is now of considerable rarity.
In 1785 and 1786, fresh editions of the catalogue and book of
plates were issued, and as stated by Llewellynn Jevvitt in his
excellent account of the Leeds Pottery in his " Ceramic Art of
Great Britain," the works at this time had been considerably en-
larged, and the wares made were exported in large quantities to
Germany, Holland, France, Spain, and Russia. So great had the
concern become five years later (1791) that the yearly balance
then struck amounted to over ^51,500. In 1794, anotlier edition
of the catalogue and pattern book was issued.
Fig. 35. Pot-pourri ok Ccjckle Vask. Mr. T. Boyntoii's Collection.
In the year 1800, two fresh partners, Ebenezer Green and E.
Parsons, were added to the firm, and on the death of Mr. Hartley
in 1820, though still carried on as " Plartley, Greens and Co." or
as " Greens, Hartley and Co.," other changes took place. These
repeated changes, and the unpleasantness and disputes that arose
in consequence, were no doubt most detrimental to the concern,
50
wliicli was uitimatel}- tlirown into Chancer}' and a large portion
of the stock sold ofiT,
In iSj5 the affair was got out of Chancery, and passed by
purchase into the hands of Mr. Samuel Wainwright, one of the
partners. Shortl}' after this Mr. Wainwright took other partners,
and traded under the style of " Waiflwright and Co." Samuel
Wainwright died during the terrible cholera epidemic which raged
in the district in i''^34, and the trustees carried on the business
under the style of " The Leeds Pottery Company,"' and employed
Stephen Chappell, who had been head cashier under Wainwright
and Co., as their sole manager.
Fig. 36. Chestnut 13aski:t and Stand. York Museum Collection.
This arrangement contiiuied until the year 1840, when the
trustees transferred the whole concern to Chappell who obtained
it on very advantageous terms. Shortly after this his brother
James became a partner in the concern, the firm then consisting
simply of " Stephen and James Chappell," who continued the works
until 1847, when they l)ecame bankrupt. The pottery was then
carried on for about three years for the benefit of the creditors by
the assignees, under the management of Mr. Richard Britton, who
had for some tune held a confidential position with Mr. Chappell.
LEEDS POTTERY.
51
In 1S50 Mr. Britton and a Mr. Samuel Warburton took the
property oft' the creditors' hands, and carried on under the style of
" Warburton and Britton " until the 3'ear 1S63, when, on the death
of Mr. Warburton, Mr. Richard Britton became sole proprietor of
the works. On July ist, 1872, he was joined in partnership by
his two eldest sons, John Broadbent Britton and Alfred Britton,
the firm being; styled " Richard Britton and Sons."
After this disastrous history of change of ownership, loss of
trade, and bankruptcy, the works were hnally closed in 1878.
After a period of disuse, the pottery was revivetl for a few years
b}' Messrs. Taylor, who made ordinary domestic ware. It then
fell into ruins, and at the present tiiue, considering its past glories
and renown, presents a sad spectacle, only a shed or two, and the
remains of one or two kilns being left, of what was once one of
the most famous potteries in the kingdom.
Fig. 37. Plate with perforations and embossed basket work.
York Museum Collection.
In 1888, Mr. W. W. Slee, 30 Dnncan Street, Leeds, revived the
manufacture of the beautiful cream coloured ware, lustre ware,
etc. He employed some of the workmen from the old works, and
under his direction they turned out many capital pieces.
This pottery was only a small one, and was not on the old site,
it is still in existence I believe.
In 1850, a man of the name of Yates, who had a china and
earthenware shop in Leeds, had his ware marked "Yates, Leeds,''
but he neither made nor decorated the ware.
Leeds PotterV.
Fig. 38. Melon Tureen anp Ladle. Mr. T. Boynton's Collection.
Fig. 39. Cruet Stand. York Museum Collection.
LEEDS POTTERY. 53
The wares manufactured at different periods at these most
interesting works were : —
1. Coarse brown and red earthenware, some of it having a
black glaze, made from the local clay on the first
establishment of the pottery.
2. Delft ware, produced only in small (piantities, and for a
short period.
3. ]T^ard and highly vitrified stoneware, with a strong salt
glaze. .
4. The famous cream or Queen's ware.
5. Black transfer printing on cream ware.
6. \\^are decorated with colour.
.7. Lustre, agate, and tortoise-shell wares.
8. Black Egyptian ware or l^lack basaltes.
g. Blue printed ware.
10, Yellow ware, Rockingham ware, etc.
11. Figures, busts, etc.
Fig. 40. Double Twig Basket. Mr. A. Hurst's Collection.
The famous Queen's, called after Queen Charlotte, or creaiu
coloured ware was the speciality for which the Leeds works
became universally famed, and in it they successfully competed
with Wedgwood. It is this kind of ware which is known amongst
collectors as " Leeds Ware."
In colour, the old Leeds Ware, i.e., the cream coloured earthen-
w^are, is of a peculiarly rich tint, usually rather deeper in tone
than Wedgwood's Queen's Ware, and of a slightly 3cllo\vish cast.
It is very light in weight. The body is particularly hue and hard,
and the glaze of extremely good quality. This gla/.e was pro-
duced with arsenic, and its use is said to have been so deleterious
54
YORKSHIRE POTTERIES, ETC.
to the workmen, that they usually became hopelessly crippled after
four or five years exposure to its effects. Wherever this glaze
runs into crevices it assumes a peculiar greenish hue. The more
modern ware lacks this green tinge, it is much heavier, and has
quite a different character of body, which is appreciable to the
touch, the glaze is more glassy, white, and thickly coated.
Fig. 41. Centre Piece or Epergne. York Museum Collection.
In this beautiful ware many and varied objects were made, such
as large cisterns, magnificent centre-pieces (epergnes), some of
these with perforated hanging baskets for sweetmeats, etc, ; chest-
nut baskets, cockle bowls, butter dishes, cruet stands, candlesticks,
twig fruit baskets in which the "twigs" or "withies" are really
composed of clay in long or short strips as occasion required, and
then twisted and formed into shape ; melon tureens, in the form of
a melon resting on a leaf; soup tureens, the handles being formed
LEEDS POTTERY. 55
of twisted stalks with foliated terminations, and the knob of the
lid representing a small melon or a pomegranate, the skin bursting
and showing the seeds, after an Oriental design ; quintal flower
holders, wine coolers, dessert services, punch bowls and ladles,
and scores of other beautiful things. The perforations, diamond
and heart-shaped piercing, so characteristic of Leeds Ware, were
done by means of a single hand punch, which the workman
pressed against the soft clay, and not by a set of punches fixed in
a machine as is often supposed.
. iflH^^^^^^^^^^^H
^^^^^^^^^^^^^^^^^^H ^.> .* .SI^^^^^^^H
^^^^^^^^^^^^^H
^^^^^^^^^^^^^^^^^^^^^^^■|U^*' e't J^^^^^^^^^^^^M
'^^'r'^ a^^^^^^^^^^^M
^^^^^^^^^^^^^^^^H
><<■' ^^^^^^^^^^^^^M
|H
^^Bu^^^l
": 'I^^KtHH
#^^^H
.'^v^^^^^H
-i'/ ^H^^^^^B
•:<^-^^^H
' :^^^^^^^^^^^|
^-^^^^^^M
-^^^^^v
v>*>v^^^^^^H
-vt'-^^^H
-■':>:*<.^^^^^
^^^^^^H
^^Bf^f^Vfvt^^^Hj^ '
~ ~ ^^^^Hr^ -''
'"1*^% -^^^1
''^1
Fig. 42. Ol.d Leeds Candlestick in centre, York Museum Collection.
The other two, Mr. Slee's make, Mr. O. Grabham's Collection.
A characteristic variety of Leeds v/ork was the combination in
basket work, etc., of embossed patterns with perforations, the
actual centre of the plate or dish being left plain.
Jewitt states that the wholesale price of one of the magnificent
chestnut baskets and stands probably produced about 1782 — 83,
was, in 1794, 8s. 6d. — a price which collectors at the present time
would gladly triple, and even (piatlruple. Dishes and plates were
often decorated with the so-calletl " feather edge."
Many fine pieces of black printetl ware were produced, such as
plates with exotic birds, mugs and jugs with masonic emblems
on them, also " b'aith," '' Hope,"' and " Charity" ; teapots bearing
a transfer print of a metlallion portrait of John Wesley, etc.
56
YORKSHIRE POTTERIES, ETC.
We have in our Collection two plates whicli commemorate the
coronation of George IV. in reddish black transfer. The design
is a crown in a garland, surrounded by the Rose, Shamrock, and
Thistle, and on tlie garland
GEORGE IV CROWN'D July thiy, 1821.
Painted ware. Many of these are quite excellent, whilst others
are just as poor. A magnificent pair of vases or pot-pourri jars
are in Mr. T. Boynton's Collection. They are about 12 inches
high, with dark rich blue and gold body, having panels of well-
painted groups of fruit and flowers. These were made by Messrs.
W'arburton and Britton about 1857. Amongst many other painted
articles fine "rh}tons'' or drinking cups in the form of fox's
masks and dog's heads were made.
A very rare ware made at Leeds was the so-called " Batavian "
ware. These pieces are white inside, having a rich chocolate
coloured glaze on the outside, except where shaped panels were
left. The panels are decorated with imitations of Oriental decora-
tions in blue under glaze colour. Mr. A. Hurst has a fine bowl
in this ware, also a cream jug, having the usual Leeds twisted
handle with foliated terminations.
r"'§- 43- ]^'^ AND Bowl of Batavian Ware. Mr. A. Hurst's Collection.
LEEDS POTTERY. 57
Towards the close of the 17th century, china ware, though costly,
was imported both into England and the continent by means of the
various East India Companies' ships. The Dutch, who possessed
much of the Chinese trade, had a settlement called Batavia on the
island of Java, and this served as a store for all kinds of Oriental
goods collected by the Dutch traders from China, India, and other
eastern countries, including a small portion from the, then, little
known country of Japan.
The Batavian ware was so called from the belief tliat it was
produced in the settlement of Batavia, but it really was an import
from China or Japan.
In lustre ware some very fine pieces were made in the silver,
copper, and purple or rose coloured lustre. The silver lustre was
made largely for those who were unable to afford silver or Sheffield
plate, and as existing types of plate were used as models, some
excellent designs were turned out. We have in our Collection a
beautiful little salt cellar in the rose coloured lustre.
Many mugs, jugs, tumblers, goblets, etc., were made in tlie
agate and tortoise-shell ware, marbled, splashed, and mottled ;
the decoration in these pieces being applied in the form of slip —
not made up of a variety of coloured clays mingled together, as
Whieldon and others did — and the slip is often worked up with a
comb, feather, brush, or sponge on the Leeds pieces.
The black ware, also called black Egyptian and black basalies
or basalt, was made to a considerable extent about the year 1800
at the Leeds works. It is said to have a more decided bluish cast
than is usual in other makes, and was almost entirely used for tea
and coffee services, which were in great request at funeral parties.
I have seen a few small ovals in this ware with busts of various
celebrities in relief upon them, but I ilo not believe that any of
these were made at the old Leeds works, and are very much more
modern,
In the blue printed ware many patterns were used, and aiuoiigst
them the " willow " and its variations. The early l)lue printed
ware was of a peculiar rich strong blue, known as the Old Leeds
Blue.
A canary yellow ware was made at Leeds. This is of consitler-
able beauty, and is sometimes quite plain, whilst in other cases the
pieces are decorated with vine leaves, tendrils, and grapes, in daik
red. We have in our Collection a fine coffee pot with lid of the
former, and a cup and saucer of the latter.
58
YORKSHIRE POTTERIES, ETC.
Several different jugs were made at Leeds. One of the most
famous, of which a specimen is in the Collection of Mr. T.
Boynton, is the rare " Vicar and Moses " jug, having on one side
a spirited engraving of the Vicar and Moses, in black transfer :
Moses with a lantern helping the Vicar, who is evidently half seas
over, home ; for these were the days when not only many of the
laymen, but also considerable numbers of the clergy, seldom
thought of going to bed before they had drimk at least two or
three bottles of good old port. In front of the jug, pendant from
the spout, is painted the arms of the borough of Leeds, the golden
fleece, commonly called the "tup in trouble" with the initials J.B.,
beneath are the words, " Success to Leeds Manufactor)'," and on
the other side the old ballad of the " X'icar and Moses" engraved
in two columns, and surrounded by a border.
The first verse of the said ballad runs as follows : —
" At the sign of the Horse, old Spin-text of course
Each night took his pipe and his pot,
O'er a jorum of Nappy, quite pleasant and happy
Was placed this canonical Sot.
Tol de rol de rol ti dol ti dol."
Fig. 44. Tnii Vicar and Moses Jug. Mr. T. Boynton's Collect
ion.
Leeds Pottery.
Fig. 45. I'uzzLE Jug. York Museum Collection.
Fig. 46. Puzzle Jug. York Museum Collection.
6o YORKSHIRE POTTERIES, ETC.
The well known Puzzle jugs or Teasing pitchers were made in
considerable variety at Leeds, some of them being of very elaborate
design whilst others were much plainer. They were used regularly
in public houses for the amusement of the customers and to the
advantage of the publican, as being very tricky articles to drink
out of, much ale would be spilled, and this would have to be paid
for, as well as that which was drunk.
These jugs often had amusing inscriptions on them, such as
" Within this jug there is good liquor
T'is fit for Parson or for Vicar ;
But how to drink and not to spill
Will try the utmost of your skill."
A very fine blue printed puzzle jug in our Collection has on it
A + Trifle
Shews + Respect
E + S
1799
This, like many of the early pieces of I^eeds whicii have been
turned, bears a small deeply cut circle in the bottom, done by the
action of the lathe. By some authorities this mark is thought to
be very characteristic of Leeds ware.
Fig. 47. The Agricultural Jug. York Museum Collection.
LEEDS POTTERY. 6l
The Agricultural jug, ornamented with various implements con-
nected with agriculture, etc., was also popular. The i8th and
early 19th century farmer was evidently more contented with his
lot than his 20th century successor.
The following inscription appears on a jug in our Collection : —
INDUSTRY.
Let the wealthy and great
Roll in splendor and state
I envy them not I declare it
I eat my own Iamb
My own chicken and ham
I shear my own fleece and I wear it
I have lawns I have bowers
I have fruits I have flowers
The lark is my morning ahirmer
So jolly boys now
Here's God speed the plough
Long life and success to the farmer.
This piece is dated 1823.
The John Gilpin jug in green with well moulded figures upon it.
John Gilpin gallopmg past the "Bell" at Edmonton, with his wig
flying behind him, etc.
Fig. 48. The John (Iilpin Jug. Fig. 49. The Aire Jug.
Mr. A. Hurst's Collection.
Leeds Pottery.
Fig. 50. The Nelson Jug. Fig. 51. The Nelson Jug.
York Museum Collection.
Fig 52. ToBV Jug.
York Museum Collection.
!"'§• 53- The Lord Macaulav Jug.
Mr. G. Hill's Collection.
LEEDS POTTERY,
63
The Lord Nelson jug with a bust of the hero on one side,. and a
picture of the "Victory'" in full sail on the other, on the front the
Admiral's various titles.
The famous Toby jugs were also made at Leeds, as they were at
many other potteries, representing a stout, fat-legged, jovial old
fellow, bearing in one hand resting upon his knee, a jug or pot of
foaming ale, and in the other a long clay pipe.
Mr. Hurst has a jug finely painted with bright plumaged birds,
the spout of which represents the face and neck of the god or deity
of the river Aire.
Electioneering, masonic, and manj' other jugs were made as
well. Mr. George Hill, of Thornton Dale, has a very fine Lord
Macaulay jug.
Fig. 54. Leecfi Jak. Dr. J. L. Kirk's Collection.
A fine leech jar is in the possession of Dr. J. L. Kirk, Hungate
Hall, Pickering. It is in cream ware, ornamented with dark red,
two handles and perforated cover. Height 11 inches, with the
word LEECHES upon it. Apothecaries' jars or drug pots were
also made here.
Mr. Hurst has the centre part of a jelly mould, well painted
with various fruits on either side, so that when brought on to the
table in the midst of the clear transparent jelly the decorations
would show through.
64
YORKSHIRE POTTERIES, ETC.
Fig- 55- Jelly Mould. Mr. A. Hurst's Collection.
Many interesting mugs were made.
Tlie Rodney mug : this is of large size, made to represent the
head, face and neck, with the wig curls and hat of the famous
Admiral Lord Rodney.
The Toad, Frog, and Lizard two-handled mugs were made
having at the bottom, or crawling along the sides, a representation,
well modelled and coloured, of one or two of the above reptiles ;
as the ale which covered them was drunk, the reptiles became
tig. 56. The Rodney Mug. Fig. 57. Lizakd and Fkog Mug.
Mr. A. Hurst's Collection.
LEEDS POTTERY.
65
visible, and were supposed to considerably astonish the drinker.
Mr. Hurst has one which contains a lizard and two frogs.
In Mr. Wilson's Collection is a mug ornamented with lustre, on
which is the following most pertinent advice to convivial spirits : —
" Come my old friend and take a Pot
But mark now what I say
While that thou drinkst thy neighbour's health
Drink not thine own awa}'.
It but too often is the case
While we sit o'er a Pot
We kindly wish our friends good Health
Our own is quite forgot."
Fig. 58. Fox Mask Sauce Boat with Swan Handle and Swan Stand.
York Museum Collection.
Fig. 59. Hound's Head Rhvton or Drinking Cup
Yorl< Museum Collection
66
YORKSHIRE POTTERIES, ETC.
Electioneering and masonic mugs were made, as well as many
others. Beautiful sauce boats in the shape of swans, fox's masks,
fish, etc., were turned out, also cream jugs in the shape of cows,
some with maids milking and some without. Jardinieres of
cornucopia form, elaborate tobacco pipes with the stem in several
close round coils, fine tea-poys or tea-caddies, money boxes in the
shape of plain and elaborate little cottages, and a thousand other
articles quite beyond the scope of this paper to mention, much
less to describe.
Finely modelled and coloured figures such as those in Mr.
Hurst's Collection, representing "Neptune" and "Charity" were
produced.
In the summer of 17S1, busts of John Wesley were exhibited at
the Methodist Conference in Leeds. These were most probably
Fig. 60. BtJST OF John Wesley. Mr. J. K. Trifiitt'.s Collection.
copie.l from that modelled by Enoch W'ood, of Burslem, in that
year. The teachings of John Wesley had gained many adherents
in Yorkshire, and the Leeds Pottery is said to ha\e done a great
trade in jugs, having upon them a black transfer j)rint of the
preacher, and as before mentioned, teapots having the same design
were largely manufactured.
A large figure of a horse with L.P. (Leeds Pottery) on one
corner of the horse-cloth was made at an early date, and used by
Leeds Pottery.
^^K^ If
H^H
mr^ '^^^1
S^I^^H
V , . V i^^^^l
^^H ' ^^^^^^l^^l
^^V'^jiff^l ^^^^^H
Hs _> ^^^^1
^^^^^^V«t
^^^H
-^ iL^I
■-■'^^
^Hv s H .'If^^^^^I
^^^^^ ^
•/■^ J|
1^ i ^-- M
^^^^^^H! '
M
^^^^^^^^^^^^^KS^^s^mfL-::^j^^y-£.i^gaitm^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Fig. 6i Charity ANU Neptune. Mr. A. Hurst's Collection,
Fig. G2. Horse. York Museum Collection.
68
YORKSHIRE POTTERIES, ETC.
driif^srists and otliers as a sign that horse and cattle medicines
were sold by them, in the same way tliat one made of plaster of
Paris is now enipl<)\(Hl. X'eterinary surgeons and saddlers also
used them.
'^^i
.t '^^^^^M
\;:-^
Fig. 63. Salt Cellar in Rose Lustre. York Museum Collection.
Fig. 64. Beak. Mr. J. R. Triffitt's Collection.
After much research on tlie matter, I have no doubt that many
of the bear's j^rease pots, with liiiely painted lids representing
bears, brown, black, and while, under various conditions, were
produced at Leeds, though I have never been fortunate enough to
meet with a marked sj)ecimen. Some of these represent a bear
climbing up a pole in the Zoological gardens, the bear pit being
surrounded by an admiring crowd ; soldiers shooting bears in the
LEEDS POTTERY,
69
mountains, an old bear teachings the yonii<^ bears tlieir lessons,
hunters chasing polar bears on ice, etc.
Mr. Trifiitt has a very fine large figure of a polar bear standing
on an ice tioe, in Leeds ware, atid on it in black letters,
"GENUINE BEAR'S GREASE & COLD CREAM SOLI) WITHIN."
Fig. 65. Beak's Gkmase Pots. Mr. O. Grabham's Collection.
Fig. 66. Lids of Bear's Grease Pots. Mr. (J. Grabham's Collection.
To Messrs. R. Hendrie and Co., tlie well known perfunieis and
fancy soap makers, 4 Nile Street, City Road, London, X.. I am
indebted for the following advertisement, taken from the Morning
Herald of May 31st, 17^7, advertising a dead bear from which
grease or fat could be obtained. 1 asked Messrs. llciulrie for
what purpose the bear's grease was used, and they kindly replied
as follows: " You ask for what purpose it is used. We can only
make a guess, that because the bear is a hairy animal people think
his fat must be good for producing hair ; but as to wliether this
has been put to any scientific test, we cannot say."
Leeds Pottery.
NT taken from the '• Morning Herald," M
..— imd t >\,
^^y^j, hiv: azcn dfcv^
y -.. ...... 4^ .y '">tp'>
.-' iil'i- rh p ^ni\
,**''K--r^ r t i 'v arc cui^tjk
- V .n 4ni cr.ce^
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( F, E .\ R .S G H. E A S F.
T EVVIS HKNi)R!P., Co!r.b-m.;ker in ordi.
1' / .,,iy'.-:. '■ , ' !'■ . 1 '•: i,> ll-e Pcinccf,
Ri;yal. V'i 1 Fnr.cpls Mary,
.lid Prin..l i-.L5-.|.r-, .'Jvldrr^-fnuarf,
b'ssicJv! :•: , gentry, &:. ny: he has
jui'i hid .1 !■ •">• «"'* f»c'' a<;-':j;c'.J
ir.J
havp any '' ' . . ' ':.■■■.■. j-i ,
l\: p\
t-r frt a' - ' -
: idli^i
fcUHj.r !'• -•■ )'■, •: 11 '.. .i
fiom fhc b- ll :n.s'^t';. ■■■.•:.- ^.:-.^ '■>! ;.!-, ,
-■" ' "\
Is f'.iJv .11 •rr,.- : . .-.. ir ->■ '1- '■■ : . ''
', 'i
hehas'.'-i;-. .v ... V 1- ,■-..-...
I
nsir ^ve;rf\ \ ^
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ever set \.n:. •■ i
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<l.,:t.':. • v' . ...
'(''
r'l'" r.<r-^- '
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•^,k -t..; •■ . :
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■1 'h' . . ■• • •
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.r, Iiue{\
CjieJ t . . > '
■„tb^>"^
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inc. .ri . .
Ij'
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■_ V M ,".1 r ■=. I . - ;. T : . -. 7, tv'
-Sl^'-""'"'^ •■^' " '"■'"^-^"^
Fig. 67. Advertisement of Bears Grease, " Morning Herald," May 31ST, 1787.
Fig. 68. PoT-i'OURRi Jars. Mr. T. Boynton's Collection.
LEEDS POTTERY. 71
The marks adopted at the Leeds Pottery were
LEEDS POTTERY*
in large capitals, with a terminal asterisk, impressed.
The same lettering, without the asterisk, in small capitals, im-
pressed.
impressed in the form of a cross.
I have seen tliis twice repeated on a plate, forming a doid)le
cross, also with HARTLEY, GREENS & CO. m
addition to the cross on another plate, all impressed
HARTLEY, GREENS & CO.
LEEDS » POTTERY
Ho H ^
vZ ^ f^ Oo
^ "J 70^
< -■ .-< Q
X -o
in a semi-circular form, impressed.
L.P. on the large figures ot the horse, in black.
Leeds Pottery incised on the bottom of a goblet in writing
letters.
LEEDS POTTERY in black transfer on the outsitle of a jug
in the yellow ware, ornamented with grapes, leaves and tendrils
in red.
R. B. & S. within an ornamental circle, which also gave the
name of the pattern. This, according to Messrs. Kidson, for 1
72
YORKSHIRE POTTERIES, ETC.
have not seen a piece so marked myself, was printed in blue or
other colours at the bottom of the plate or dish.
Another mark used by Mr. Britton is said by the same authorities
to be the letter « within a gothic quatrefoil in a circle, impressed.
The best Collection of Leeds ware that I have seen is un-
doubtedly that in the possession of Mr. Richard Wilson, Armley,
Leeds. Mr. Thomas Boynton, Bridlington, has a very fine one,
and so has Mr. Arthur Hurst, York, and my very best thanks are
due to these gentlemen who have so kindly allowed me to examine
most thoroughly the beautiful specimens in their possession.
We, also in the York Museum, have a fine series of Leeds
Pottery.
Fig. 69. Bowl with Perforated Outer Jacket. York Museum Collection.
LEEDS.
HUNSLET HALL or PETTY'S POTTERY.
For the following account of this pottery, I am entirely indebted
to Messrs. J. R. and F. Kidson, who give it in their classic work
on " Leeds Pottery." The premises were still standing in 1892,
ill a ruinous condition, situated at the corner of Beeston Road and
Holbeck Moor, but just within the township of Hunslet. After
the Leeds Old Pottery it was in its day the most important of the
Leeds local potteries. In 1792, the pottery was in the hands of
Messrs Petty and Rainforth, but had been established some time.
They made cream and other wares of a similar type to tliat
manufactured by Hartley, Greens and Co. Many of their pro-
ductions were exported to Brazil. In 1817 to 1825, the firm was
LEEDS POTTERY. ^3
Petty and Hewitt ; from 1S25 to 1H45, it was styled Samuel Petty
and Son. After this, Messrs. Petty, having by means of their
exports to Brazil established a South American agency, retired
from the earthenware business and went into another class of
trade.
In 1847 the pottery passed into hands of Mr. John Mills, who
had previously in conjunction with a Mr. Hepwortli, worked the
Leathley Lane factory. Mr. Mills held the concern for twenty
or thirty years, when it finally passed into the hands of Taylor
Brothers, who for some few years worked this, the old Pottery,
and several others at the same tmie.
As far as is known no mark was used at this pottery, and pieces
made here are very difficult to distinguish.
The other local potteries, which I have not space to more than
mention, are dealt with by Messrs. Kidson in their " Leeds Old
Pottery," and according to these authorities were : Taylor's Pottery,
Allison's Pottery, Russell's l^ottery, Marsden's Pottery, Leathley
Lane Pottery, and Wibsey Pottery.
LINTHORPE POTTERY.
When this pottery was given up in tSSg, one of tlie most inter-
esting of the industries in Middlesbrough came to an untimely end.
It was established in 1879 by Mr. John Harrison, but owing to
the sudden death of that gentleman, work ceased ten years later.
The site is now occupied by the Linthorpe Laundry, but
originally it was the " Sun Brick Works," of which Mr. Harrison
was the proprietor. In consequence of the suggestions of Dr.
Dresser, the welbknown architect and designer, who was struck
with the suitability of the clay for the purpose, Mr. Harrison had
some trial pieces made, with the result that he decided to lay
down the necessary plant and connnence the work of the potter.
He was lucky in securing as his manager Mr. Henry Tooth, who
afterwards went to the IJrctby Art Pottery in Derbyshire, toi
whose skill and energy the success of the lUKlertaking was very|
. largely due.
During the early years of the manufactory the name of Chr.
Dresser forms part of the impressed mark on the ware. A few
early forms, includmg many of the No. i design -a small urn-
shaped vase— lack even the impress LINTHORPE, Init later
the impress was LINTHORPE Chr. Dresser on the base of
74
YORKSHIRE POTTERIES, ETC.
all specimens, and this was followed by the word LINTHORPE
across an outline of the No. i design, with or without Dr. Dresser's
name, and very generally bearing in addition to the number ot the
design the initials of Mr. Tooth, rl or H. T.
At one time the works employed about one hundred hands, and
a very large amount of ware was turned out. Although at first
the forms of the productions were chiefly of the more severe and
classical type : Egyptian, Moorish, Indian, Chinese, Japanese,
Mexican, and Celtic designs were shortly attempted with great
success, and the delicate blendings of colours are much admired.
Fig. 70. Vase. York Museum Collection.
Every attention was paid to attaining to beauty of form, colouring
and glazing. The colours were subdued in tone, but included
many hues, though soft greens, greys, crimsons, and purples pre-
dominated. One peculiarity of tlie ware is that the brilliant
glazes often assumed an " accidental pattern," due to changes
which took place in the firing. As the proprietor stated in a
LINTHORPE POTTERY,
75
pamphlet, which is now somewhat scarce, " the Linthorpe Ware
has been designed to meet a growing want of the present day ; it
will be found with its varied effects to accord with all the forms of
art decoration, and to take its part in adding richness and beauty
to an apartment without disturbing that general repose which we
now seek to achieve in our rooms."
Vases, inkstands, etc., with flowers and leaves beautifully
modelled in relief were made ; and in the plain, richly-coloured
glazes — rose bowls, tazzas, card trays, ewers, plaques, toilet ser-
vices, ash trays, and many other useful and ornamental articles
issued from the pottery, ranging in size from the tiny inch-high
breakfast salt cellar to vases which counted their height in feet
instead of inches.
Hearth and other tiles were also placed on the market, as well
as a few samples of umbrella and walking-stick handles.
Fig. 71. Vase. Mr. O. Grabham's Collection.
A fine exhibition of I.inthorpe Art Ware was held at the
Dorman Memorial Museum, Middlesbrough, in 1906, for which
a catalogue was compiled by Mr. Baker Hudson, the Curator,
and it is from the excellent account of the Linthorpe Pottery here
given that most of the above information is derived.
76
MEXBOROUGH OLD POTTERY.
There were two well-known potteries situated here,, and marked
pieces of the ware from either of them are decidedly rare.
The iirst was established at the end of the i8th century by
Messrs. Sowter and Bromley, who held the works till 1804, when
they came into the possession of Mr. Peter Barker, the son of
Joseph Barker who came out of Staffordshire as manager of the
Swinton works. He became partner with Mr. Wainwright at
the pot works at Rawmarsh, afterwards Hawley's, and ultimately
took to the works at Mexborough. These were contmued by the
brothers Peter and Jesse Barker, who were succeeded by Mr.
Samuel Barker, the son of the latter, until the year 1834, when
they acquired the Don Pottery. By Samuel Barker the works
Fig. 72. Oval Dish with Perforations. York Museum Collections.
were continued until 1S44, when they were discontinued, but the
freehold was retained by the then owners, viz. : the Barker family,
by whom it was converted into a foundry for the production of
railway wagon wheels, etc. For many years it was carried on
under the style of H. and S. Barker Ltd., but eventually was
closed, and remained so for some years. Part of it in igio was
being used as a foundry on a smaller scale than previously, and
the other part as a glass bottle works. Very few people are aware
that a pottery ever existed here, and I am indebted to Mr.
Bowman Heald for the information. Its position was on the
MEXBOROUGH POTTERY. 77
canal side, about half way between the other Mexborough Pottery
and the Don Pottery.
The mark used, impressed in capitals in the ware, was
SOWTER & CO.
MEXBRO.
We have a teapot, in a pretty blue transfer, having a swan for a
knob on the top of the lid, also a well potted oval dish ornamented
with a variety of the popular "Willow" pattern in a pretty shade
of light blue and having large perforations along the outside.
MEXBOROUGH.
ROCK POTTERY or MEXBRO' POTTERY.
These works, at first very small, were estabHshed for the manu-
facture of brown and yellow wares and common red garden pots,
by a man named Beevers, who, with a partner named Ford, carried
on the business for some years. The workrooms at this time were
built close up to the natural rock, which indeed formed the back
wall of the pottery, and from this circumstance tlie place was
known as the " Rock Pottery.'"
The works next passed into the hands of Messrs. Reed and
Taylor, who owned the works at Ferrybridge.
In iSjcj the pottery passed entirely into the liands of Mr. James
Reed, who carrieil it on till 1849, when he was succeeded by his
son Mr. John Reed, who altered the name from the " Rock " to
the " Mexbro' " Pottery, but amongst the inhabitants it always
was and is known as the " Rock Pottery." John l^eed carried on
the work till his death in January, 1S70, and his executors under
the management of Mr. C. Bullock till 1873, when it was pur-
chased by Messrs. Sydney Woolf and Co., owners of the Old
Ferrybridge Pottery and of the Australian Pottery, Ferrybridge,
and managed by Mr. Bowman Heald, to whom I am indebted for
much information about this and other potteries in the district.
This firm worked the concern and did an extensive trade during
the following ten years, but at the end of 1883 their name dis-
appeared from the list of Yorkshire earthenware manufacturers,
and the two Ferrybridge Potteries passed into other hands. Mr.
Bowman Heald was manager here from 1873 to the time of the
closing down of the works in 1883.
The plant of the Rock i^ottery, including engravings, moulds,
models, stock-in-trade, etc., were disposed of to a Swinton glass
78
bottle manufacturer, Mr. W' illiam Wilkinson, who after ten months
trial relinquished the business, and finally he disposed of every-
thing by auction, this being the finish of its history as a pottery.
The site being a valuable one, almost in the centre of Mex-
borough, the buildings and kilns were soon in the hands of the
wreckers, and eventually a series of houses and shops, together
with a handsome Wesleyan chapel, were erected on the spot,
where for nearly a century tlie busy artisan had plied his craft.
Prior to the sale Mr. Wilkinson allowed Mr. Bowman Heald to
choose any models and designs that he cared to take, and he
became the possessor of the model of the Keep of Conisborough
Castle referred to by Jewitt, also of many other interesting models
which formerly had been obtained at the dissolution of the old
Rockingham and other works.
The marks used at the Rock Pottery were REED in large
capitals impressed in the ware.
REED in blue letters printed on the bottom of a garland sur-
mounted by a crown, the garland enclosing the words "stone
ware," everything in blue. This is on a fine large jug or ewer in
our Collection, printed in a deep rich blue with the same rural
scene on each side, namely, a boy playing on Pan-pipes and some
goats lying down.
Fig.'73. Large Ewer. York Museum Collection.
79
MIDDLESBROUGH POTTERY.
The Middlesbrough Pottery was established in 1834, when the
population of the place was only about two hundred. It was the
first of the public works, and was started by Richard Otley, Joseph
Taylor, John Davison, Thomas Garbutt, and a few other local
men, and at first made a better class earthenware chiefly for export.
The first oven was fired in April 1S34, and the first order shipped
to Gibraltar in September of the same year. From 1S34 to 1844
they traded as the Middlesbrough Pottery Co., and from the latter
year to 1852 as the Middlesbrough Earthenware Co. From 1852
until the pottery was closed in 1887 the firm traded in the name
of the proprietors, Messrs. Isaac Wilson and Co.
The early specimens of the ware bear the mark of the anchor,
with or without the cable, with the words MIDDLESBRO
POTTERY surrounding it in horse-shoe form, letters and anchor
all impressed.
Fig. 74. Middlesbrough Mark.
Mr. Baker Hudson, the Museum, Middlesbrough, to wliom I
am indebted for most of this information, tells me that he had a
talk with Mr. Lmcoln, who for some tliirty years was an employee
of the firm, and according to the latter the firm had a warehouse
and agent at Hamburg, and their trade tliere suffered a very
definite eclipse when the Germans imposed a tariff upon English
earthenware, whilst they could send their manufactures in here
free. The same old story.
Two plates in tne Dorman Memorial Museum, Middlesbrough,
bear as a marking, an angel or well-grown cherub blowing a
trumpet which bears a scroll on which appears the set or pattern
number, and below this " I. W. & Co." beneath which, in horse-
shoe form, MIDDLESBRO POTTERY appears in the same
Middlesbrough Pottery.
Fig. 75. Plate. Mr. O. Grahham's (:ollection.
Fig. 76. Plate. Mr. O. Grabham's Collection.
Fig. 77. Bowl ornamented with Lustre. Mr. A. Hurst's Collection.
MIDDLESBROUGH POTTERY,
8i
colour as the above transfers. Witliin the horse-shoe appears the
anchor and over this a crown, both impressed in the ware. Mr.
Lincoln says that the crown was used to mark the better class
(white paste) ware, which they generally spoke of as " Crown
Ware." These two plates of course belong to the Isaac Wilson
and Go's, period.
I have seen several pieces impressed on the back
I. W. & Co. MIDDLESBRO.
and I have a plate with a view of some of the kilns of the pottery
in brown transfer on the back.
Fig. 78. Plaque. York Museum Collection.
A curious mark on a plate in Mr. Hurst's Collection is
LONDON in a semicircle, and below, the anclior and cable,
all impressed in a kite-shaped form.
Cliaffers, in his " Marks and Monograms on Pottery and I^orce-
lain," nth edition, igo6, gives a figure of the same mark with IS
over the impress, and in this connection Mr. Baker Hudson tells
me that there was a Mr. I. Sharpe connected with tlic early daj's
of Middlesbrough, who also might have had something to do with
the pottery, or the initials might stand for the London dealer who
sold the ware.
82
NAFFERTON POTTERY.
Miss Madeleine Longbottom, of Nethergate, Nafferton, tells me
that the pottery was built in 1S35, and bricks were being made
there in 1844. The pot-kiln business was started m 184S by one
of Cliarles Longbottom's potters named Joseph Lagdon, who died
in i860.
Charles Longbottom started the pottery on October 6th, 1848,
and it was closed down in Samuel Longbottom's time, April 27th,
1899.
There were three kilns : one for bricks and tiles, one for garden
pots (a small one), ami one for earthenware and glazed goods.
The Longbottoms bought a lot of glazed domestic ware from
T. Hulme, Burslem, Staffordshire, and from others, and this being
sold at the pottery made many people think that it was made
there ; but, with the exception of the white " biscuit " or nn-
glazed pot-pourri vases with covers and handles, impressed
underneath S. L. for Samuel Longbottom, the large two-handled
ornamented vases, with covers, and certain flower stands and
bowls nicely decorated with finely modelled and glazed ivy leaves
and sprays upon them, mostly coarse rustic ware — garden chairs
and seats — and garden pots were made liere.
Fig. 79. Pot-pourri Vase. Mr. A. Hurst's Collection.
83
NEWHILL POTTERY.
Situated near Wath-upon-Dearne, this pottery was established
in 1822 by Mr. Joseph Twigg, who up to tliat time had tlie
management of the Swinton Old Pottery, by whom, in partner-
ship with his sons John, Benjamin, and Joseph Twigg, it was
carried on until about 1866, when it passed into the hands of
Messrs. Binney and Matthews, who were shortl}' afterwards
succeeded by Messrs. Dibb and Coulter. In April, 1872, the
works were purchased by Messrs. Bedford and Richmond, but
were very soon closed down, and the site is now occupied by
cottages.
Mr. Bowman Heald saw a quantity of white plates made here
for export in 1871, but no mark was on them. But as marks are
very rarely put upon any but printed ware this does not prove
that the works had no mark. Although near tlie coal-field this
pottery was badly situated, being some distance from the canal
and railways which caused great expense in cartage, etc.
RAWMARSH, near Rotherham, POTTERY.
William Hawley commenced potting about 1790, and carried
on the manufacture of earthenware at the Top Pottery up to the
time of his death in 1818, then in his 63rd year, after which the
business was conducted by his wife Elizabeth, known as Dame
Hawley, herself taking the active and important part of manage-
ment, making domestic ware and tiles of a good quality for
hearths, until she died in 1844 in her 85th year. The Dame was
known for her shrewdness and general knowledge of pottery.
George, her son, now conducted the business, working it success-
fully, and in a short time purchasing the Low Pottery, at Raw-
marsh, which was previously carried on by Messrs. Taylor and
Wainwright, and eventually closing down the Top Pottery. A few
years afterwards the Low Pottery was purchased by a company^
only to be carried on for a year or two, when it was bought back
again mto the Hawley family by Hawley Brothers, and carried on
for the second time in conjunction with the Norllifield Pottery,
Rotherham. The Low Pottery was dismantled in 1905.
Another pottery, known as the Meadow Pottery, near Round-
wood Brook, is said to have existed here, but I can obtain no
information about it.
For much of this information, and for that concerning North-
field Pottery, Rotherham, 1 am indebted to Mr. Sidney Hawley.
^4
ROCKINGHAM or SWINTON POTTERY.
At the beginning of the iSth century, a hard brown ware of
much tlie same quahty as that made at Nottingham and Chester-
field was produced on Swinton Common, wliere clays used for
various purposes were abundantl}' found. In 1745, a Mr. Edward
Butler established a tile yard and pot works for common earthen-
ware on a part of the estate of Charles, Marquis of Rockingham,
which lay close to Swinton Common. In 1765 tlie works were
taken by William Malpass, who held another small pot work at
Kilnhurst. With him were associated John Brameld and subse-
quently his son, W^illiam Brameld. In 1778 Mr. Thomas Bingley
became a partner and the principal proprietor of the works at
Swinton, and had for partners amongst others, John and William
Brameld, and a man named Sharpe. The firm at this time was
carried on under the style of " Thomas Bingley and Co." and did
well.
From about the year 1787 down to 1800, the firm traded under
the style of " Greens, Bingley and Co.'" This was owing to some
of the Greens of the Leeds Pottery having become partners, and
taken an active part in the Swinton manufactory with Bingley,
Brameld, and those who were connected with them in these works.
Mr. John Green became acting manager of the Swinton works,
and afterwards founded the Don Pottery. The partnership with
John Green was carried on under the style of " Greens, Bingley
and Co., Swinton Pottery," and the same price lists which were
printed at Leeds, with the Leeds Pottery heading, had that
heading cut off and that of Greens, Bingley and Co., Swinton
Pottery," written in its place. Later on large fresh price lists
were printed. They were headed " Greens, Hartley and Co.,
Swinton Pottery." The patterns used at Leeds were evidently to
some extent adopted at Swinton. In 1796 the firm was " Greens,
Bingley, and Co.," but was dissolved in 1806. At the dissolution
of the partnership, the whole concern fell into the hands of two of
the partners, Messrs. John and William Brameld who, with
others^ continued the works with considerable spirit under the
style of " Brameld and Co." until their deaths. Additional buikl-
ings were erected, and cream coloured ware was made extensively,
and the rare fine white earthenware, known as the " chalk body,"
which, owing to its costliness through loss in firing, was only made
to a small extent.
ROCKINGHAM OR SWINTON POTTERY. 85
In 1813 the sons of the old proprietors succeeded to the concern
on the death of Wilhani Brameld, and many improvements were
made. In 1825 the firm succumbed to the strain of financial
difficulties, but Earl Fitzwilliam the owner of the property at
Swinton came to the rescue, and the Swinton works were hence-
forth known as the Rockingham Works, and began to use the
crest (a griffin) of the Fitzwilliam family as the mark of the firm.
Although under the Bramelds the Rockingham works were emin-
ently successful from an artistic point of view, they were not so
commercially, and in 1842 were closed after involving not only their
noble owner, but also the Bramelds in a loss of many thousands of
pounds. The chef-d'cciivre of the Rockingham china works, the
gorgeous dessert service made for William IV., for which £^5,000
was paid, l)ut which cost the producers considerably more, had
much to do with the embarrassments that caused the final stoppage
of the works.
After the stock was sold, Isaac Baguley, who was manager of
the gilding department under the Bramelds, commenced business
for himself on a small portion of the works by decorating and
gilding goods purchased from other potteries. This he continued
for eleven years to 1855, when his son, Alfred Baguley, succeeded
him. Alfred Baguley continued the business on the old premises
till the year 1865, when he removed to Mexborough and opened
a china shop in High Street, about one hundred yards from the
Mexborough Rock Pottery. In the yard at the rear of his house
and shop he had a workshop and an enamelling kiln, in which he
fired the finished goods after they had been decorated, etc. He
carried on business here to the time of his death on March 7th,
i8gi. Neither of the Baguleys mentioned really manufactured
any goods, they simply glazed and decorated them. Mr. Bowman
Heald, of the Kilnhurst Pottery, tells me that he can speak from
nearly twenty years knowledge of Mr. Alfred Baguley, as from
1872 to his death all his Rockingham ware was fired under Mr.
Heald's direction at the " Mexborough Rock Pottery " and the
Kilnhurst Pottery " respectively. He purchased the best Stafford-
shire china and earthenware in pure white from Minton's, Brown-
Westhead, Moore and Co., and Powell, Bishop and Stonier ; also
at the Rock Pottery, Mexborough, Mr. Bowman Heald, from
time to time made him quantities of jugs, coffee pots, beakers, etc.,
in white earthenware. All this ware, both china and earthenware,
was in the "glost" finished state. Mr. A. Baguley never decorated
Fig. 80. Flint Mill, Rockingham Works, 1908.
Fig. 81. Outer Shlll uf Kiln, Rockingham Works, igo8.
ROCKINGHAM OR SWINTON POTTERY.
87
on the "biscuit" or unglazed ware, and it is very doubtful whether
his father ever did so. '
His process then was to " dip " or cover such parts as required
with the original old Rockingham glaze, whicii he prepared and
ground himself (the brown chocolate coloured glaze). The ware
was then taken to one of the potteries mentioned, and tired in the
ordinary manner in a " glost " kiln. Afterwards the gilding and
decoration was done, also tiie printing from a copper-plate by
transfer, by himself, of the mark, etc. h^inally the ware was fixed
in his "enamelling" kihi, which last process of course is necessary
for all ware that is decorated and printed etc., on the glaze, not
under it. It is termed the " hardening on " kiln.
Fig. 82. Jug.
Fig. S3. Jug.
Mr. A. Hurst's Collection.
Alfred Baguley enjoyed the patronage of the Fitzwilliam
family, and much of his Rockingham ware was produced for
Wentworth House. His mark was the crest of Earl Fitzwilliam,
viz.: a griffin and BAGULEY, ROCKINGHAM WORKS.
He was not allowed to use the crest except only for pieces that
were made for the Fitzwilliam family. Others tliat he decorated,
as for example a small chocolate pot in our Collection, of the old
brown Rockingham glaze and gilded, were without the crest, and
88 YORKSHIRE POTTERIES, ETC.
have ROCKINGHAM WORKS MEXBRO in a garland or
garter running round BAGULEY in the middle, all printed in red.
Mr. Heald says : " I passed liis little shop daily for many years,
and remember his signboard in big letters,
A. Baguley, Rockingham Works.
On the death of Mr. Baguley the business was discontinued. He
was quite an artist in his profession, and personally was a kind
and genial man. He appreciated very much the privilege of fixing
his ware as stated, for which firing only a nominal charge was
made, and a few years before his death, he, wishing to tender an
acknowledgment of my help — I hope I may put this without
egotism — very kindly gave me the recipe for the old Rockingham
glaze, as made by the Bramelds, and afterwards by his father and
himself."
After the Rockingham works were closed in 1842, the flint mill
in connection with the same was carried on for a year or two by
one of the Brameld family, and later it came into the hands of
James Parker, a former workman of Brameld's, by whom the flint
grinding was continued till 1887, the ground flint being sold to
difierent potteries in the district.
I. and I. Walker were the next to take over the flint mill business,
but only had it for about twelve months, when they gave it up,
and the works have remained entirely closed since then. A few
years ago the engines, boilers, and flint milling machinery were
demolished and sold as scrap iron.
The place, although situated in a beautifully wooded part of
Swinton Common within three or four miles of Wentworth House,
presents a ruinous, and considering its past renown, a sad spectacle.
Whatever its position as a manufactory may have been considered
in the past, it is now unsuitable for such a purpose, being quite
isolated from the river and railways. One interesting remnant of
the works is still in existence, this is the outer shell of one of the
largest kilns, and is in a good state of preservation. It has been
converted into a small pox isolation hospital, and was used as
such some years ago. Plates of this and the flint mill, both of
which I photographed in 1908, are reproduced.
James Montgomery the poet, and the Bramelds were great
friends.
As before mentioned, up to the year 1825, the works were known
as the Swinton Pottery, and after that date as the Rockingham
ROCKINGHAM OR SWINTON POTTERY.
89
Works. Many beautiful and valuable pieces were made here
both in earthenware and in porcelain.
The famous "Brown China" or Rockingham Ware which has
been copied, but never quite successfully, by almost every manu-
factory in the kingdom, was first made here late m the iSth
century. Tins particular ware is of a fine reddish brown or
chocolate colour, and is very smooth and beautiful. The body
is of fine, hard and compact white earthenware, and the brown
glaze as made by the Bramelds, by which the peculiar shaded and
streaky effect was produced, is as fine as it is possible to conceive,
Fig. 84. Cadogan Coffee Pot. York Museum Collection.
and the goods required to be "dipped" and passed tlirough the
firing no fewer than three times before it was considered to be
perfect. This is the glaze the recipe for which is in the hands of
Mr. Bowman Heald. In its preparation great care is necessary
in the selection of the materials, only the very best and purest
being used, indeed, when made originally by the Bramelds, they
went so far as to use distilled water in the mixings.
Of the many articles made in this charming ware, perhaps
the most famous is the curious coffee pot without any lid, and
filled from an opening in the bottom of the piece, known as the
" Cadogan Pot." This curious piece was formed on the model of
an example of green Indian ware, said to have been brought from
abroad by the Marquis and Marchioness of Rockingham, or by
the Honourable Mrs. Cadogan, and preserved for fifty or sixty
Rockingham Pottery.
Fig. Sj. Plate. Mr. O. Grabham's Collection.
Fig. 86. Underside of same Plate,
ROCKINGHAM OR SWINTON POTTERY. QI
years at Wentworth, before it was thought of being copied.
Vessels of this same construction are in existence, which are said
to be of early Japanese make. These Rockingham Cadogan pots
are said to produce a better flavour of tea and coffee than any
others, and were much used by George IV.
The marks used at the Rockingham Works were
tyh6^Cnni(7//ajJl incised on the "Cadogan Pots."
ROCKINGHAM in large and small capitals impressed
in the ware, also MORTL(3CK and NORFOLK, impressed,
Mortlock being the London dealer.
BRAMELD++ in capital letters impressed.
BRAMELD & CO. and BRAMELD m small capital letters
impressed.
Mr. T. Boynton tells me that he has seen an early piece of
Rockingham or Swinton Ware marked BINGLEY.
The crest of Earl Fitzwilliam — a griffin — was adopted in 1825,
on the commencement of the manufacture of china under the
assistance of that nobleman, and from that period the pottery was
known as the Rockingham Works, instead as heretofore as the
Swinton Works.
The griffin is usually painted in red, mauve, or purple, with
" Rockingham Works, Brameld," sometimes with the word Royal
added, in writing letters in corresponding colour to the griffin, in
seven or eight different forms, above, below and around the
griffin.
A. Baguley's mark, when he worked at Mexborough, has been
described before.
Another mark found on the cane coloured jugs with figures in
white in relief upon them, and the upper part of the handle repre-
senting the tail of a horse, whilst the lower portion of the same
represents a horse's shin and hoof, Fig. 82, is BRAMELD in
relief, surrounded by a wreath, all contained in a raised boss or
cartouche on the bottom of the jug. One of these pieces is in
Mr. Hurst's Collection, and he also has two very curious china
extinguishers of Rockingham Ware. These represent the figures
of two of the landladies at some of the old country inns. They
are well modelled and coloured, and are hollowed out and coloured
brown inside, so that they can be used for extinguishing candles.
92
YORKSHIRE POTTERIES, ETC.
At Wentworth House, the seat of Earl Fitzwilliam, there is a
very fine Collection of Rockingham Ware, and amongst it a
magnificent vase, which was the largest china vase produced at
at that time in a single piece in this country. It stands three feet
nine inches in height, and is three feet one inch in circumference.
The " Dragon Vase" or the " Infernal Vase " was also made, and,
according to Jewitt, some of the finest vases which had ever been
produced were turned out at these works,
Mr. Freemantle, Barbor Hall, Rotherham, also has a very fine
Collection of Rockingham Ware.
Fig. 87. Mark on Rockingham China.
ROTHERHAM.
HOLMES POTTERY.
Was started about 1850. The original proprietors may have
been as stated by Jewitt, Messrs Earnshaw and Greaves, but Mr.
G. Jarvis built it. The place was afterwards worked by four
partners, Messrs. Jackson, Dickinson, Greaves, and Shaw, from
about 1855 to 1870. From that date to 1880, it was carried on
by Mr. G. Shaw, trading as J. Jackson and Co. Mr. G. Shaw
took over the business in 1880, trading as J. Jackson and Co
ROTHERHAM POTTERY. 93
until 1887, when he altered the name of the firm to George Shaw
and Sons.
General earthenware is made, white body with printed and
other decorations.
Messrs. Shaw tell me that there never has been a trade mark, or
any distinctive mark, beyond names of patterns or initials, or the
name of the firm, thus, J. J. & Co., up to 1887. From that date,
if a mark was used, which was very rarely, it was " G. S. & S."
The patterns principally made here when the pottery started
were "Willow," "Wild Rose," etc., and these are still being made.
ROTHERHAM.
NORTHFIELD POTTERY.
In 1885, George Hawley purchased Northfield Pottery, Rother-
ham, from Joseph Lee, who built the works about 1850, and
manufactured earthenware for the American markets, the trade
mark used being the royal coat of arms.
Prior to building Northfield Pottery, Lee carried on a small
pottery near to Bridgegate, Rotherham, which was very primitive
but evidently successful, because it enabled him to take up potting
on a much larger scale, although within so short a time of his new
venture he had to give it up. George Hawley now worked two
potteries, namely, Low Pottery, Rawmarsh, and Northfield
Pottery, Rotherham, with the assistance of his two sons, William
and George, until his death in October 1863. He was a very
industrious potter, and was held in the highest esteem by all who
knew him, both in business and in private life.
The two sons, William and George succeeded to the business,
and continued the manufacture under the style of William and
George Hawley, doing a fair amount of export trade as well as
supplying the home markets, their trade mark being W. & G.
Hawley.
On the death of William, which took place at Rawmarsh in
1868, his three sons, Matthew, the eldest, Walter and Arthur
George, took over the Northfield Pottery and carried on as
" Hawley Brothers," under the successful management of Matthew,
who had always been keenly interested in the business, and who
had received a thorough grounding from his father.
94
YORKSHIRE POTTERIES, ETC.
George, the surviving brother of William continued at the Low
Pottery, Rawmarsh, trading as " George Hawley." Matthew
Hawley died in August, 1888, leaving his two sons, Sidney and
John William, in partnership in trust with his brother Arthur
George, and it is to Mr. Sidney Hawley that I am indebted for
most of the above information.
In January 1897, the business, for family reasons, was converted
into a private limited liability company, under the name and style
of " Hawley Brothers Ltd.," manufacturing general domestic
earthenware. In the year igoo leadless glaze was introduced and
used in place of lead glazes, large quantities of goods of a very
line quality being made for Government use in various depart-
ments, besides for railway companies, public institutions, etc.
Fig. 88. Saucer. Mr. O. Grabham's Collection.
In 1903 the Company changed, and at the present time is carried
on as the " Northfield Hawley Pottery Co. Ld.," manufacturing
earthenware of a common kind.
Marked specimens of the Northfield Pottery are rare. We have
a teapot ornamented with curtains and tassels in blue and orange,
having a deep border, at the base, of green leaves on a yellow
ground, with a broad line in dark blue, running at the top and
bottom of the border, impressed HAWLEY on the bottom, and I
have seen a Toby jug similarly marked.
ROTHERHAM POTTERY.
95
The mark of the Northfield Hawley Pottery Co. Ltd. is a Hon
rampant, with his riglit paw placed on a globe. This is on the
back of a saucer, decorated on the front witli a print of a rural
scene in red, in my possession. It is impressed in the ware.
Fig. 8g. Impressed Trade Mark of the Factory,
AND Pattern Mark printed in red, on the Back of the Saucer.
The trade mark of Hawley Brotliers consisted of the initials
H.B. intertwined in the centre of a shield, and 1790 below them,
this being the date when William Hawley founded the Top
Pottery, Rawmarsh.
Fig. 90. Teapot. York Museum Collection.
ROTHWELL POTTERY.
Messrs. J. R. and F. Kidson, in their book on " Leeds Pottery,"
state that an important pottery was situated here and was a
going concern in 1770, doing a considerable trade in earthenware.
Wares of all kinds appear to liave been manufactured, including
cream ware and the ordinary white ware painted in enamel colours.
In 1773 it was in difficulties, and very shortly after was closed
down, much of the stock l)eing purchased by the Leeds Pottery.
96 YORKSHIRE POTTERIES, ETC.
A new pottery on a smaller scale was started by Samuel Shaw,
a potter from Staffordshire, in 1774, but how long lie continued to
trade is not known, nor is the date of the first establishment of
the Rothwell Pottery known.
The field where the pottery formerly stood is now built over,
and is known as " Pottery Fold."
SMALL CLUES POTTERY,
situated at Bradshaw, near Halifax, was commenced between
1800 and 1810 by James Robinson, a dissolving partner from the
Catheralls of Soil Hill. It was afterwards worked by a Mr. Wade,
and was closed down about 1870. Black ware and the usual
" slip "' decorated wares of these South Yorkshire potteries were
made here.
SOIL HILL or SWILL HILL POTTERY
is in the township of Ovenden and parish of Halifax, a short
distance from the Causeway Foot terminus of the Halifax tram-
way on the Halifax and Keighley road, under the hill known by
the same name. Soil or Swill Hill.
The pottery was started about the year 1770 by one Catherall,
and was worked by him and his descendants or connections down
to the year 1897, when it passed to IMr. Isaac Button, whose sons
still carry it on.
The commencement of Catherall with these local potteries was
at Keelham, near Thornton, between 1760 to 1770, by a Jonathan
Catherall, then he removed and established the Soil Hill Pottery
in 1770. The above Mr. Catherall came from Wales, he was born
in 1740 and died in August, 1807. The pottery is also sometimes
known as the Swilling End Pottery.
The present buildings were erected in 1898, the old buildings, a
little distance away, are in ruins. The clay used, principally
common yellow, lies on or near the surface in varying depths.
Common articles such as plant pots, washing bowls, bread and
stew pots, troughs, with some fancy and rustic ware such as hen
and chicken money boxes, cuckoos, etc., as well as puzzle jugs or
teasing pitchers, are the articles made here.
There is no distinctive mark or initials on the ware, and speci-
mens of the early work are very bad to get hold of.
Through the kindness of Mr. Nicholas Taylor, late of the
Denholme Pottery, I obtained several interesting pieces for our
I
Soil hill pottery.
57
Collection, decorated in 3'ello\v slip, with initials and dated, such
as a flower pot, knife box, linlder for a pound of randies, sugar
box, etc. These decorated pieces were the work of a Samuel
Catherall, who worked at tlie Soil Hill Pottery, he died about
1887. None of tliese West Riding potteries used a trade mark,
and the different makes can only he distinguished b)- their glaze,
colour of body and decorations. Soil Hill about 1867 did most
of the quill stringing and decorations ni relief. Plowcans and
Denholme did a portion also. Mostl}' pruits in relief were done
at Howcans. Inlaying was done at all of them.
Fig. gi. Holder for a I'ound of Tallow Candles.
York Museum Collection.
On a highly ornamented flower pot in this ware in our Collection,
with the pot itself and the stand for the same ringed round with
small handles, is this inscription in incised letters, " S. C. Born
March igth, 1807, antl made this pot April 2gth, 1868, at Swilling
End."
The initials stand for the Sanuiel ('atherall mentioned above.
We also have a fine knife box, dilfernig from the Howcans one in
being quite solid along the sides, not with open trellis work that
exists in the Howcans piece. . It is decorated with masks in relief,
and bears the^date 1872. ' ' :
G
98
STOCKTON-ON-TEES.
THE STAFFORD POTTERY.
There were several potteries at Stockton, but only one on the
Yorkshire or south side of the river Tees, known as the Stafford
Pottery, at Thornaby-on-Tees. It was established in 1825 by Mr.
William Smith, and began as a small brown ware pottery, but the
founder, a man of energy and enterprize, roused to emulation by
the thriving potteries on the Wear, determined to enlarge his
scheme of operations. He went into Staffordshire and there
engaged a managing partner. Mr. John Whalley, who had an
intimate knowledge of potting, gained in some of the best known
Staffordshire works. In 1826 the firm began operations under
the style of William Smith and Co. In order to get command of
more capital Messrs. William and George Skinner were taken
into partnership, and eventually the firm became George Skinner
and Co. On Mr. Whalley's retirement, Mr. Ambrose Walker, a
native of Hanley but an inhabitant of Stockton from his boyhood,
who had also the advantage of having been trained under Mr.
Whalley, and who had received from him all his valuable recipes,
etc., undertook the management, and the firm became Skinner
and W'alker in 1870. , '
The Stafford Pottery was noted for the extensive use of ma-
chinery at a time when the art of " throwing" was almost entirely
a manual labour.
At one time a branch pottery was established at Genappes, near
Mons, in Belgium, the workmen being sent over from Stockton.
The pottery still continues, being carried on by the Thornaby
Pottery Co. Ltd., and employs about one hundred hands.
The wares made are common printed and sponged earthenware
and the brown ware, often called " Sunderland " ware, because it
was first made at that town. It is made from the natural clay of
the district, and has a lining or "slip" applied to the inside, while
the outsjde is left of the natural colour and glazed almost to the
bottom. It has been one of the industrial products of the County
of Durham for the past 120 years.
Cane ware is also made from clay the colour of bamboo or
thereabouts. It is very unusual for it to have any coloured deco-
ration, though often " slipt " white or blue inside.
STOCKTON-ON-TEES POTTERY.
99
In 1848 an injunction was granted against the firm at the
instance of the Wedgwoods, of Etruria, for tlie infringement of
patent, the Stockton firm using tlie name Wedgwood in their
mark, generally wrongly spelt with the addition of an E, thus :
W. S. & Go's. WEDGEWOOD, impressed.
Another mark adopted by the firm, also impressed on the
bottom of the ware, was
W'. S. & Go's,
QUEEN'S WARE.
Some pieces have elaborate printed marks. The name of the
pattern, fruit basket and garland, with W^ S. & Co., and in
addition the number and W, S. & Go's., impressed.
Mr. Hurst has a plate having on the back the forged
Wedgwood mark, WEDGEWOOD, impressed, and on the rim
of the plate also at the back, enclosed in scrolls, all being in
black transfer :
W. S. & GO.
Stafford Pottery
No. 16.
Plates were made here with German mottoes on them for
export to Germany.
The mugs with the picture of the No. i engine and carriages on
it were made here, but were doubtless made at otlier potteries as
Fig. 92. Railway Mug showing No. i. Engine. York Museum Collection.
Stockton-on-Tees Pottery.
Fig. 93. Railway Mic. Yurk Museum Collection.
Fig. 94. Railway Mug. York Museum Collection.
Fig. 95. Railway Mug. Mr. J. R. Triffitt's Collection..
STOCKTON-ON-TEES POTTERY.
lOI
well, as it would be a popular subject for such a purpose, So or go
years ago. The engine depicted on the mug in our Collection,
namely, the Express, was that which ran between Liverpool and
Manchester about 1827 — 1830. The engines bore the names of
some of the old horse coaches, such as the "Tally-ho," " High-
flier," " Mail," " Eclipse," etc. Some of the nobility and gentry
through whose land the line passed had the privilege of having
one of their carriages strapped on to the top of the last plain flat-
topped railway wagon, and of riding in it if they did not care to
go in the ordinary coaches. In our mug the carriage on the last
wagon is empty, but on one belonging to Mr. J. R. Triffitt, a
whole family is shown sat in the carriage, ladies and gentlemen ^
and a man perched in the "dickey" behind, the luggage being
placed on the top of the preceding coach.
As recently as 1914 I find that the Great Eastern Railway Co.
stated in their time tables that "passengers riding in their own
carriages are charged first class fare." This was kindly pointed
out to me by Mr. J. W. Davis, York.
Fig. 96. Plate. Mr. O. Grabham's Collection.
The pretty blue and white and brown and white marbled and
combed chargers or dishes, some of them of large size, and known
as " Welsh trays," though why I have never been able to discover,
were not made at the Stafford Pottery, but only at the "Clarence
Potteries, " Norton, on the Durham side of the Tees. They were
I02
YORKSHIRE POTTERIES, ETC.
nuicli 111 vogue for about thirty years, beginning in 1850, but the
demand for them gradually dwindled down to nothing, and none
were made here since 1895. They were chiefly used by butchers
as meat dishes and are now somewhat difficult to obtain.
Only the early ones were marked HARWOOD, impressed on
the back. The colouring or combing on some of these dishes is
on the top of the glaze and not under it.
Some fine cobles, in pottery, were made at Stockton. These
are representations of the Yorkshire fishing and pleasure boats
known as cobles. Also toad and frog mugs, decorated with lustre
and a verse and a ship outside, and having the usual amphibian
inside.
Fig. 97. Coble. Mr. A. Hurst's Collection.
Fig. gS. ToAU Mug. York Museum Collection.
The other potteries in Stockton, though on the Durham side of
the Tees, were the "Clarence Potteries," Norton, where the
Welsh trays were made, founded l)y Thomas Harwood in 1849,
and carried on by him till his death. Sold by his trustees in 1877
to the present owners and operators, " The Clarence Potteries Co.
STOCKTON-ON-TEES POTTERY.
103
Ltd," and it is to Mr, P. Graham, of the above firm, that I am
indebted for miicli of the information concerning them.
Old Clarence Pottery, Stockton. Founded in 1825 by
Thomas Ilarwood, and sul:)sequently carried on by his sons as
" Harwood lirothers " and others, and demohshed about 1887.
Only Sunderland ware was made liere, and no special mark was
ever used.
Stockton Pottery, Stockton, Ainsworth's. Founded in the
forties by Thomas Aiusworth, and closed down and demolished m
1901. The mark used was the Stockton coat of arms, namely, an
anchor and cable impaling a castle, impressed in the ware.
North Shore Pottery, Smith's, was demolished about 1888.
Last carried on by Win. vSmith, a son of the founder, who, after
leaving Stockton, started Cliffe House Pottery, West Hartlepool.
This pottery was demolished about i8g8. I have a plate marked
G. F. S. (George h'othergilliSmith).
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I'ig. gg. Welsh Tkav. York Museum ("ollectioii.
I04
SWILLINGTON BRIDGE POTTERY.
Situated near Methley, in a field adjoining the river Aire and
the bridge wliich spans the same, very little is known about this
pottery. The 1845 Survey marks a pottery of black ware near
Swillington Bridge. It is said to have been closed owing to the
smoke from the fires blowing across the Lowther's park. Large
trees now grow over part of the site, and very few people know
that a pottery ever existed here.
Specimens of this ware are very rare. We have the only
marked piece that I have ever seen. It was most kindly presented
to us by Mr. J. R. Kidson, of 116 Albion Street, Leeds. It is a
round plaque, with figures in relief in colours, and incised on the
back, "John Wildblood Swillington Bridge Pottery, July 12th,
1831."
Mr. Thomas Boynton has a big jug but it is unmarked, and
Mr. A. Hurst has a large two-handled loving cup, also not
marked, with this inscription on it, betw'een two lines of painted
flowers :
" Eshaldwell Brewery is known very well
For brewing good ale none it can excel
Pay off your old scores and order again
For im sure of the ale you cannot complain.''
Fig. u
I'j,
I.. Vurk Museum Colleeticn.
I05
WOODLESFORD POTTERY.
I have, unfortunately, not been able to ascertain when this
pottery was first started. It was working in 1845 under the firm
of Gibson and Shackleton. Then Benjamin Taylor had it, and
the last proprietors were Messrs. Hewitt and Jenkinson.
It closed down as an eathenware pottery in i8gi, but was
worked as a fine art pottery for two or three years later.
There were three kilns, but only common household ware, such
as pots, dinner services, etc., were made. No marks were used,
except the names of the patterns on the back of some of the pieces,
such as " Willow," " Eton College," etc.
We have a sauce-boat of this ware, for which, along with the
information given above, I am indebted to Mr. Benjamin Walker,
of 10 Church Street, Woodlesford, who worked at the pottery for
about thirty years, starting in 1857, at the age of fourteen.
WOODNAM HOUSE POTTERY.
Situated at Elland, and also known as Blackley Pottery, was
changed into a black ware from a fine ware pottery between i860
and 1870 by Titus Kitson, whose father, Joseph Kitson, was a
potter previously just above Woodnam House Pottery. Then he,
Joseph Kitson, removed, and commenced at Ainley Top Pottery,
about 1839. This was closed down about 1886. These Kitsons
have been established as potters since 1820.
Woodnam House Pottery was worked as a fine ware pottery in
the 1 8th century by a Mr. Cartledge, and a piece of this ware is
now in llie possession of Mr. Titus Kitson, junr., dated 1734. We
also have a crude jug of this ware dated 1719, standing on three
very sliort legs, brown glaze, decorated witli light yellow slip,
also a much later photograph frame with the inscription :
THINK OF ME. Woodnam House Pottery was closed in
1907.
YEARSLEY POTTERY.
At Yearsley, near Coxwold, there was a pottery in early times,
which is especially interesting, because one branch of the Wedg-
woods of Staffordshire settled there at an early date. There is in
the museum attached to the Abbey at Ampleforth a large cistern,
io6
YORKSHIRE POTTERIES, ETC.
covered with the old green glaze, having on it, in incised letters,
Jofvrv T£)ec)<^ TOooS which was made here, which the authorities
at Ampleforth Abbey most kindly allowed me to examine and
photograph ; and Jewitt mentions a puzzle jug which used to be
in the Museum of Practical Geology, London, having the same
name on it, and the date i6gi, in the same green lead glaze
which was made here.
Fig. loi. Cistern. Ampleforth Abbey Museum.
A John Wedgwood made pots in Walmgate, York, in the
beginning of the i8th century.
The ware made by the Yorkshire Wedgwoods was the common
hard brown ware made from the clays of the district, and consisted
mainly of pitchers, pancheons, porringers, and other vessels of a
homely kind.
One member of the Wedgwood family has been immortalized
in song,
" At Yearsley there are pancheons made,
By Willie Wedgwood, that young blade.'"
YEARSLEY POTTERY.
107
Pancheons are thick coarse eartlienware pans, made of varioiis
sizes, and used for setting away milk in, and for washing purposes.
They are made in many locaHties, and besides being sold by
earthenware dealers, are hawked about the country by men who
make their living in no other way. Several fragments of brown
pottery have been dug up at Yearsley, and amongst the rest,
Jewitt mentions a brown earthenware oven, green glaze, semi-
circular, open at the top, with a hollowed ledge round the inner
side about half way, and a flat bottom, having two handles at the
sides, and between them a crinkled ornament bearing some letters,
and the date 1712.
The Yearsley Pottery has been done away with for many years,
and now the plough goes over its site. I have found several frag-
ments of the old pottery when going over the ground.
YORK. PLACE'S WARE.
The names of potters appear very early in the list of the Free-
men of York. The first to be mentioned is Thomas de Brandesby,
potter, in the 12th year of the reign of Edward the First, 1284.
Fig. 102. Jug. Mr. T. Boynton s Collection.
Francis Place, who may be looked upon as one of the pioneers
of modern pottery, commenced the manufacture of what at the
lo8 YORKSHIRE POTTERIES, ETC
time was considered " equal to true china ware," about the year
1665. But little is known however either of the manufactory or
of the ware he produced. The former is supposed to have been
situated somewhere on the site of the King's Manor, now the Blind
School, but though I have often made enquiries, I have never been
able to hear of any fragments ever having been found there when
excavations were going on. Of the latter, one piece of the ware,
originally in the possession of Horace Walpole, namely, a coffee
cup, is now in the British Museum, and a jug is in the Collection
of Mr. Thomas Boynton, of Bridlington, and one or two more
pieces are said to be in the hands of some of iiis descendants, but
the ware is of extreme rarity. It was simply a tolerably fine kind
of earthenware, of a greyish colour streaked with black and brown.
Place was an artist of some merit, and designed and etched.
Thoresby in his " Ducatus Leodinensis " (1714) mentions Place
and his wares several times, and Walpole says : " His pottery cost
him much mone}' ; he attempted it solely from a turn for experi-
ments, but one Clifton took the hint from him, and made a fortune
by it." Vide Ferrybridge Pottery.
YORK CHINA MANUFACTORY.
In 1838 Mr. Haigh Hirstwood, formerl}' of the Rockingham
China Works, esiablished a china manufactory in York, and by
the succeeding spring had so far progressed that the following
paragraph appeared in one of the York papers : " York China
Manufactory — Mr. Hirstwood, of Stonegate, is erecting a kiln,
extensive warehouses, etc., in the Groves, for manufacturing,
gilding, and burnishing china, whicli has not previously been
attempted in this city."
The works were established in Lowther Street, Groves, and
were continued until about 1850, when the concern was wound
up. Mr. Haigh Hirstwood was at the famous Rockingham works,
under the Bramelds, for forty years, he was a clever painter of
flowers, etc., and was considered the best fly painter at the
Rockingham works.
According to Jewitt, in 1826 he copied for use in the decoration
of the Rockingham china upwards of five hundred insects at
Wentworth House, which had been arranged by Lady Milton,
the daughter-in-law of Earl Fitzwilliam. He, and his sons Joseph
and Thomas, who were brought up at the Rockingham works.
YORK POTTERY. I09
were enga^'ed upon the chefs-d'cetivve of that manufactory, namely,
the services for \\\r\^ WilHam I\'. and for the Duchess of Cumber-
land. He was succeeded in his business in Coney Street, where
the china, etc., was sold, by his son William Hirstwood, who was
not a practical potter like Joseph and Thomas.
When Haigh Hirstwood started kilns in Lowther Street and
commenced business in the decorating and finishing departments,
he did not' actuall}' make any, but bought liis china, etc., in the
"white" from Sampson, Bridgwood, and Co., of Longton, Stafford-
siiire, and from others, and then decorated and finished it. He
was assisted in his work by his son-indaw, William Leyland, who
was also from the Rockingham works, and a clever painter, gilder,
and enameller, but disagreements arose and the partnership was
dissolved, Mr. Hirstwood dying in York in 1^54. Mr. Le3'land
removed to London, where he took to printing and decorating
lamps, and he died there in 1853. No special mark was used by
Hirstwood.
The Misses Hoyle, Gillygate, York, grand-daughters of Haigh
Hiistwood, have two plaques painted by Joseph Hirstwood, repre-
senting various flowers such as roses, dahlias, tulips, auriculas,
woody nightshade, etc., and one painted by William Leyland
showing foxglove, moss rose, guelder rose, and tulip. These are
beautifully done, and I am much indebted to the Misses Hoyle for
much information, and also for being permitted to examine their
plaques and to have them photograplied.
Tiie)' very kindly presented us with a broken plate, painted by
Joseph Hirstwood, representing a basket of grapes, cherries,
strawberries, currants, etc., with a broad blue border, havitig gilt
bands and edge. Miss Sarah Hoyle remembers breaking this
when she w'as a little girl. It is in the Rockingham style.
It is not known where the Jonathan Martin mugs were made.
They represent on one side Jonathan Martin with heavy fetters
on either side of lum, and this inscription : " Jonathan Martin, the
Incendiary, Tried March 31st, 1S29, before Mr. Baron Hullock,
and sentenced to confinement diirmg His Majesty's pleasure."
On the other side is a picture of the Minster burning, and this
inscription : " York Minster on fire, Feb>- 2nd, 1S29.'" These
mugs are very rarely to be obtained now. W^e have one in blue
transfer, and Mr. E J. Hardcastle, York, has one in the same
colour. We also have one in black transfer, smaller than that in
l)lue.
York Pottery,
Fig. 103. Plac^ue Painted by Joseph Hirstwoou.
The Misses Hoyle's Collection.
Fig. lo-^. I'LAyuE Painted by William Leyland.
The Misses Hoyle's Collection.
YORK POTTERY. Ill
I have a blue printed earthenware soup plate which has printed
on the back in large ornamental capitals in blue,
J. T. BUCKLE & CO. YORK.
In 1846, John Townsend Buckle & Co., 18 Low Ousegate, York,
were china and earthenware merchants. The firm is now Messrs.
Newington and Scott.
Mr. Giles, the deputy town clerk of York, tells me that he has
found Mansion House accounts with Buckle and Co. in 1842 for
the sum of two pounds, six shilhngs, and in 1845 for the sum of
forty-four pounds, eight shillings, for china, etc. The white china
cups and saucers at the Mansion House, York, with a broad blue
band, and the York coat of arms in the centre in colours, were
made by Messrs. Minton, but the saucers have on the back in
writing letters, J. T. Buckle & Co. York.
It was often the practice for dealers in china and earthenware
to have their names put on the ware they dealt in, though of
course they had nothing whatever to do with the manufacture
of the same, which was turned out for them at some well-known
pottery.
The Registered Mark Act only came into force about 1867,
though of course many potteries adopted marks of their own long
before that. Pieces marked according to the Act may be about
1867 or much later, for once on the register the makers generally
use the mark on their ware.
There are preserved at the Mansion House some very interest-
ing Ward cups, generally known as the " Ward Pottery," but
they are in reality made of porcelain, and, in the opinion of Mr.
J. R. Kidson, Leeds, are Salopian ware, made at the Caughley
factory in Shropshire, in the latter half of the i8th century.
These cups are white, with a dark blue and gilt rim, and bear
the coat of arms of tlie city of York, viz. : argent a cross gules
charged with five lions passant and guardant or, also, according
to the particular Ward to which they belong, the words
MICKLE GATE WARD.
MONCK WARD.
WALMGATE W^ARD.
Bootham W^ARI).
The Bootham cups have the lettering smaller than on the others,
and they are without the blue and gilt rim. When Mr. Rhodes
Brown was Lord Mayor in 1913, he very kmdly allowed me to
carefuly examine all the cups, and have a specimen from each
York Pottery.
Fig. 105. York Ward Cups.
Fig, 106. York Ward Cups.
Fig, 107. YuKK W AKIi CL'FS.
Fig. loy. York Ward Cups.
YORK POTTERY. II3
Ward photographed. In 1915 the tlieii Lord Mayor, Mr. J.
Bowes Morrell and the Corporation, most kindly loaned to us one
cup from each of the four Wards to be exhibited in our line
Collection of Yorkshire Pottery. When I examined the cups
in 1913 there were of Bootham Ward 16, Micklegate Ward 17,
Monck Ward 13, Walmgate Ward 18.
These cups were used for drinking burnt wine, etc., in, and I
am indebted to Mr. T. P. Cooper, York, for the foUowmg, which
is of considerable interest :
The
Customs and Orders
Of the
Lord Mayor
Aldermen, Sheriffs, Four-and-
Twenty, and Commons
of the
City of Y'ork
touchmg
The wearing of their several Gowns, antl
the several Treats or Entertainments at
Elections and Admittance into Council
and other Antient Customs.
York:
Printed by A. Ward, in Coney Street
1762.
" Treats at the Common Hail." "At the election of Lord Mayor,
12 gallons of red and white wine : whereof 5 gallons in the inner
Room, and 6 gallons to the commoners (to be divided equally
amongst the Wards), and i gallon to the chamberlains, six
shillingsworth of White Manchet Half-penny Rolls ; whereof four
dozen of Rolls to the commoners : viz. one Dozen to every Ward,
and the rest to the inner Room. Two table-cloths, and six
napkui.-, ill the inner Room : a Pound and a Half of refined Loaf
Sugar, 24 Cups for burnt Wine, two Tea Kettles for burning it,
and 24 Drinking Glasses for cold wine, at the expense of the
Person elected ; and Wine and Sugar in Tankards and 2 Biscuits
for each member that sets the Loril Mayor elect, home."'
At the election of Alderman and Sheriffs, similar drinks, etc.,
were provided, also Cups : 24 Plates, Pipes and Tobacco were
provided when Aldermen were sworn.
H
114
YORK. LAYERTHORPE POTTERY
was established in 1846 by Mr. John Webster, the ware made
consisting of flower pots, chimney pots, bowls, socket pipes, etc.
It was closed down between forty and fifty years ago.
Many other small potteries existed throughout the County, such
as those at Osmotherley, Wakefield Moor, Potovens, near Wake-
field, Rosedale, etc.
So many people are unacquainted with the legend of tlie
popular " Willow" pattern, which is and has been so largely used
to decorate various pieces of pottery, both the typical pattern, here
reproduced, and its variations, that I make no apology for intro-
ducing it here. I am very much indebted to Mr. H. M. Loadman,
Stonegate, York, for the loan of the blocks of the frontispiece —
which is Mr. Loadman's own idea of the York " Willow " pattern
— and for the typical " Willow " here reproduced.
STORY OF THE "WILLOW" PATTERN.
In the house seen on the right hand side of the plate lived a
Mandarin who wished his daughter Li-Chi to marry an old but
wealthy suitor. Knowing that she was loved by Chang, his
secretary, he imprisoned her in a room overlooking the water, so
the lady sent a message in a cocoa nut shell floating down the
stream, arranging to meet Chang when the Willow leaf began to
fall. This he received, and by the help of a gardener who lived
in the small house under the fir tree, the lovers met and are seen
fleeing away over the bridge, the lady in front, Chang following
with her jewel case, and the Mandarin pursuing them with a whip.
But they escaped in the boat to an island where they lived happily
until discovered by the wealthy suitor, who, in revenge, set fire to
the house. Their prayers for help being heard, they were changed
into the two birds seen flying away safe, under the protection of
the gods.
7.
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BIBLIOGRAPHY.
Llewellynn Jewitt — The Ceramic Art of Great Britain.
Illustrated. 1878.
Joseph R. Kidson and Frank KiDsoN--Historical Notices of
the Old Leeds Pottery, with a description of its Wares. Illus-
trated. 1892.
Dr. Maud Sellers^ — Pottery, A History of the County of York.
(Victoria County Histories). Illustrated. Vol. II. 1912.
Archdeacon H. Armstrong Hall — Castleford Pottery, and
Frank Kidson — Leeds Pottery. Handbook of the old Leeds
Exhibition. 1908.
Baker Hudson — Catalogue of a Loan Collection of Linthorpe
Art Ware, exhibited at the Dorman Memorial Museum, Middles-
brough, 1906, with a brief account of the Pottery and its
productions. Compiled by the Curator.
W. Chaffers — Marks and Monograms on Pottery and Porce-
lain. Illustrated. 1906.
Edward A. Downman — English Pottery and Porcelain. Illus-
trated. 1904.
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