I „ ■ t . ' . ■ ■ ' 1 • r • ■ .I ' • ■ / ' • . ■' ■ '■ N' THE COLLECTORS’ POCKET SERIES EDITED BY SIR JAMES YOXALL, M.P. COLLECTING OLD LUSTRE WARE Digitized by the Internet Archive in 2016 https://archive.org/details/collectingoldlus00bosa_0 SILVER LUSTRE TEAPOT {Trial piece by John Hancock) The original of the teapot shown above was presented by Mr. W. H. Slater of Derby, who was a designer at Hanley Staffordshire Potteries, to Mr. F. Lawden of Hanley, now at Boscombe, Bourne- mouth. Mr. Lawden states that Mr. Slater was a distant relative of the Hancocks of Worcester and of the John Hancock who invented lustre, according to his own statement and also the statement of Shaw the Staffordshire historian. Mr. Slater assured Mr. Lawden that this was a trial pot by John Hancock and had been in the family up to the time of his presenting it to the recipient. Mr. F. Lawden has been in possession of it for many years. W. B. COLLECTING OLD LUSTRE WARE By W. BOSANKO With rosy lustve purpled o' er : I’ope, “ OdjvSsey ” ii. NEW YORK GEORGE H. DORAN COMPANY MCMXVI Printed in Great Britain. EDITOR’S PREFACE I BELIEVE this to be the first book on old English lustre ware ever published ; even in casual articles or chapters of other books the information available in print has hitherto been meagre. Yet there are many collectors of old lustre ware ; it still abounds, there Is plenty of it to hunt for, and prices are not yet excessive. By the aid of this informative book and the study of museum examples a beginner may equip himself well, and may take up this hobby hopefully, certain of finding treasures of rejoicing for the eye. The author of this very uncommon and useful book is an enthusiast and an expert collector, resident in a district which is traditionally associated with lustre pottery. He has gone about his collecting in the spirit of research ; he has not been content merely to amass, he has sought to know all about his hobby ; and in this book he compares, classifies, and arranges lustre wares comprehensively, m a way that nobody else has tried to do. The illustrations, skilfully selected and finely rendered, are almost an education in themselves, and they show that the author has made of his collecting an art as well as a science. I am happy in being able to add this book to the Collectors’ Pocket Series. J. H. YOXALL Vll AUTHOR'S INTRODUCTION S OME of the brilliant lustres produced by the early Staffordshire potters — notably during the Wedgwood period — have an exceptional interest, and the history of the production of lustre ware at the various centres of potting is as elusive as the rich bloom for which the collector now seeks. The absence of historical sequence, the paucity both of data and marked examples, together with the erratic manner in which the metallic glazes were associated with the pottery and porcelain made in the English factories at the beginning of the nineteenth century and onwards, all tend to add fascination to the pursuit of the finer specimens which have survived. The following publications have been quoted or otherwise made use of, particularly affecting the histori- cal points : “ Handbook of English Earthenware ” (South Kensington), by Sir Arthur H. Church, K.C.V.O., F.R.S. “ Transfer Printing on English Pottery and Porce- lains,” by W. Turner, F.R.S. The Connoisseur. Staffordshire Pots and Potters,” by G. W. and F. A. Rhead. IX AUTHOR’S INTRODUCTION “ British Pottery Marks, ” by G. W. Rhead, R.E. “ Chats on English Earthenware,” by A. Hayden. Articles from London Opinion, by J. F. Blacker. Mr. J. R. Kidson gave valuable help on Leeds wares. In addition, thanks are also due to Mr. W. J. Pountney who gave exceptional help respecting the early Bristol Potteries and information about practical potting. Thanks are hereby tendered to Dr. J. Maurice Harper of Bath who supplied several interesting photographs of specimens from his rich collection of Staffordshire pottery, to Messrs. M. Cook, W. McClelland and A. T. Jenkins for the loan of certain specimens, and to Mr. A. Chambers of Buxton for a print in the Copper section. W. B. Tregadjack, Knowle, Bristol CONTENTS PAGE PREFACE vli ILLUSTRATIONS xlii CHAPTER I. (a) LUSTRE 1 (b) ENGLISH LUSTROUS WARES 3 II OLD RVBY LUSTRE (described and illmtrated) 9 HI. OLD GOLD LUSTRE „ 15 IV. OLD COPPER LUSTRE „ „ 24 V. (a) BRONZED-GOLD PURPLE AND LILAC LUSTRE {described and illustrated) 43 (b) PINK LUSTRE „ „ 47 (c) LIGHT GROUNDS {Lustre painting) 49 VI. (a) OLD STEEL LUSTRE {described and illustrated) 52 (b) OLD SILVER LUSTRE „ „ 55 VII. OLD RESIST LUSTRE „ „ 60 VIII. TRADITIONAL DECORATED LUSTRE OF BRISTOL 81 SWANSEA GOLD AND SILVER LUSTRE 87 LIVERPOOL-OLD LEEDS-CASTLEFORD— DON POTTERY 91 NEWCASTLE-ON-TYNE-SUNDERLAND 94 IX. NAMES OR INITIALS ON MARKED WARES 95 DECORATORS’ MARKS-FIRMS WHO USED LUSTROUS EFFECTS 97 X. BUSTS AND FIGURES WITH LUSTROUS GLAZE 99 XL ENGLISH PORCELAINS DECORATED WITH LUSTROUS EFFECTS 106 INDEX 110 XI LIST OF ILLUSTRATIONS FIG. DESCRIPTION PAGE Frontispiece. 1. Goblet. OLD RUBY LUSTRE Overglaze Decoration 12 2. Goblet. Overglaze Wreath 13 3. Jug. OLD GOLD LUSTRE Relief Pattern 16 4. Jug. Wedgwood Mask 17 5. Jug. Decorated Panel 18 6. Goblet. Vertical Facets 19 7. Jug. Ornamented (Wilson School) 20 8. Jug. Decorated (Swansea ?) 21 9. Loving Cup. Decorated (Swansea ?) 22 10. Jug.* Exotic Bird and Foliage 23 11. Jug. OLD COPPER LUSTRE Bird Handle 27 12. Goblet. Lustred Figures 28 13. Mug. Classic Reliefs 29 14a. Jug. Farm and Field Subject 30 14b. Jug. Spotted Dogs in Relief 31 15. Jug. White Spray 32 16. Goblet. Vertical Ribbing 33 17. Jug. Horizontal Ribbing 33 18. Jug. Pale Blue Relief 34 * Copper glaze. Xlll LIST OF ILLUSTRATIONS OLD COPPER UJSTRE-continued FIG. DESCRIPTION PAGE 19. Jug. Overglaze Print “ Charity ” 34 20. Jug. Black Print. View near Buxton 35 21. Goblet. Decorated 38 22. Jug. Canary Ground. Coloured Print (Mother amusing Child) 40 23. Cream Jug. Decorated 41 BRONZED-GOLD LUSTRE, ETC. 24. Jug. Panel View in Colours. “ Faith ” 46 25. Goblet. Mottled Effect 47 PINK LUSTRE 26. Jug. Mariners Arms (Sunderland) 49 LUSTRE PAINTING 27. Jug. Landscape with Bird (Sunderland) 50 28. Jug. Decorated. Chinese Style 51 OLD STEEL LUSTRE 29. Goblet. Plain with fine Beading 53 OLD SILVER LUSTRE 30. Jug. Horses, etc.. Cream Relief on Silver 56 31. Jug. Diamond Pattern 57 32. Jug. Vertical Ribbing 58 33. Sugar-box. Patterned. Bird Handles 59 OLD RESIST LUSTRE 34. Jug. Gold Sprays on White 72 35. Jug. Silver Resist. One Bird 73 36. Mug. Silver Resist. Two Birds 74 37. Mug. Silver Resist. “ E. Beeston Robinson ” 75 38. Jug. Silver Resist. Floral Sprays 76 39. Jug. Silver Resist with Hunting in Blue 77 Print XIV LIST OF ILLUSTRATIONS OLD RESIST LUSTRE — continued FIG. DESCRIPTION PACE 40. Jug. Silver Resist with Names and Date 79 41. Jug. Silver Resist, Coloured Ground and 79 Dated 42. Jug. Silver Resist, with Violet Overglaze 80 Panel ERISTOL, SWANSEA, AND OTHER “ LUSTRE ” POTTERIES 43. Spill Vase. Decorated, Colours, Chinese Style 86 44. Jug. Overglaze Panel View 90 BUSTS AND FIGURES WITH LUSTROUS GLAZE 45. Bust. Silver Lustre. Goddess Minerva 103 ENGLISH PORCELAINS WITH LUSTROUS EFFECTS 46 Plate.* Fine Lilac Resist Decoration 108 * Stone china. XV I. (A) LUSTRE The name : Composition and appearance on pottery. Origin : Persia : Spain : Italy. English Lustre : Discovery in Staffordshire. THE NAME T he name “ lustre ” implies brightness or splen- dour ; — the subject of this book deals with lustred or lustrous pottery. (The limpid spark- ling lustre derived from cut glass is an altogether different subject.) THE COMPOSITION Lustrous effects are produced on pottery or porcelain by the application of an exceedingly thin glaze of metal reduced by chemical agents to a condition of extreme solubility which admits of its being easily and economi- cally applied to a prepared surface. The lustre, i.e. the final glaze, may be composed of one or more metallic ingredients. THE APPEARANCE The result of applying a thin solution of copper to the prepared clay body gives a coating or glaze akin to the sheen of copper or rich gold, after the solution has been fired on a suitable dark clay. When the metal IS burnt on a white or cream ground a lilac or metallic 1 A COLLECTING OLD LUSTRE WARE pink IS the resultant hue. In cases where more than one ground colour is added, before the copper pre- paration is used, a mottled or streaked effect is secured according to the manner m which the ground colours are arranged. When solutions of platinum are used, the firing which always releases certain impurities leaves a fast deposit of uniform silver appearance. ORIGIN— PERSIA The origin of this effective method of decoration is exceedingly old, if not lost in antiquity. The early Persians produced lustrous pottery of wonderful delicacy and interest before the thirteenth century, and possibly the workers copied the process from the remnants of an earlier race. SPAIN AND ITALY Lustrous pottery is known to have been produced m Spain circa A.D. 1350, and a considerable quantity of this styled “ Hispano Mauro ” has been brought to England. Italy was renowned for its wonderful artistic de- velopment long ago, and evolved a brilliant ruby lustrous glaze ; the School of Italian lustre, especially in the Gubbio style, has secured world- wide renown. ENGLISH LUSTRE Lustre of the English variety is the renaissance of what had been produced in Spain and Italy centuries earlier and probably originated from friendly English inter- course and commercial dealings with Spam and Italy. As the metallic solutions are in a great measure 2 ENGLISH LUSTROUS WARES identical, the appearance on the English wares presents many characteristics similar to the earlier lustre. The difference in form, however, is considerable and this also applies in regard to the designs. Admitting the beauty of the work of the earlier masters of lustre, many will be found who favour the handy little English forms, eminently suitable for collectors’ shelves. DISCOVERY IN STAFFORDSHIRE The process of applying to pottery a thin film or coating of some metallic oxide is generally agreed to have been rediscovered m the district known as the Staffordshire Potteries. Neither documentary nor traditional evidence is sufficiently exact to enable us to name the potter who re-discovered the process ; it may have originated in more than one quarter, but the Staffordshire historian “ Shaw ” says it was dis- covered by Hancock, and the latter confirmed it. Many experiments were made by the renowned potter Josiah Wedgwood about 1776, and for some years afterwards. It is perfectly clear that English wares decorated with lustrous effects had been produced before the beginning of the nineteenth century to some extent. (B) ENGLISH LUSTROUS WARES Process of manufacture : Varieties of lustrous effects : Stencilling : Resist lustre : Self grounds. PROCESS OF MANUFACTURE Space does not admit of a long explanation of the methods by which the lustrous effects were produced. 3 COLLECTING OLD LUSTRE WARE The clays were selected, matured, and levigated, and considerable care was exercised during the process for the better class wares. Each potter doubtless guarded his methods closely after making a useful discovery, owing to the com- petitive spirit which prevailed and it has been stated that some of the methods for producing lustre have been lost, e.g., in connexion with the ruby tint, which is presumed to have been produced by Wedgwood. A large amount of genuine old Staffordshire ware is exceedingly rough, and should not be refused when the glaze is exceptionally brilliant. VARIETIES OF LUSTROUS EFFECTS A summary of the various shades on English lustrous pottery — especially of the copper shades — can only be given in general. The shade of the final glaze is influenced by the ground colour and the colour of the clay, by the in- gredients forming the metallic solution, and possibly by other factors. The final reduction of the metals in the firing, under certain conditions left a rich bloom sometimes described as a sub-oxide. In the experi- mental lustre made by Wedgwood it is stated that a bronze powder was dusted over the ware “ before or after ” the firing. Examples of such original lustres are exceedingly rare, yet this gives us a hint that the earlier glazes were delicate. RUBY The ruby or plum shade of lustre is not a durable glaze. It is only faintly observed on well- 4 ENGLISH LUSTROUS WARES preserved pieces, when applied to dark clays. See Chapter II. GOLD A clear shade doubtless derived from a pure solution of copper, which after successful firing, chiefly on brown clays, happens to look like gold. There may be an infinitesimal quantity of gold m the glaze, but it is of an entirely different effect to “ gilding ” with leaf-gold as seen on the best of the old English porcelains. COPPER The copper shades vary most considerably, merging at times when a sub-oxide occurs into a tint of red-gold or almost ruby. Copper lustre, in the best shades, is an exceedingly rich and decorative colour. In the case of an unsuitable body being used together with an inferior glaze of metal, the result is corre- spondingly inferior ; m some genuine old pieces it is only a dead brown. BRONZED PURPLE (See pages 43 and 44) The most ordinary bronzed variety is associated with relief ornaments m white, and panel views, or “ Faith, Hope, and Charity,” and this general class of glaze has an appearance best likened to a ripe blackberry. There are, however, brilliant variants. Note . — The above shades can be picked out in a collection on dark clays, but there is no precise de- marcation. 5 COLLECTING OLD LUSTRE WARE LILAC This somewhat inferior shade of light purple can be regarded as the most common colour on the lighter grounds ; more detailed remarks appear on page 44 respecting it. PINK This is observed in varying shades on white or cream grounds, in a distinct hue from its companion lilac. It has not the undesirable blue tinge which occurs with the lilac. STEEL This shade explains itself. An inferior silver glaze looks like steel when applied to pottery. It is stated to have been secured by the application of a solution of platinum to the prepared earthenware. Being excessively thin the glaze is not strong and often presents blemishes. SILVER This lustrous effect is the potter’s best attempt at producing a silvered surface to imitate the actual silver vessels, and it was secured by the application of a second coating of platinum solution carefully treated. Compared with steel, the true silver lustre variety has an even mirror-like surface. A comparison between the two metals, steel and silver, will give an excellent demonstration of the difference in those lustres termed “ Steel ” and “ Silver.” 6 ENGLISH LUSTROUS WARES STENCILLING The dictionary explains this as “ to paint by a pattern cut out and applied to the surface to be painted.” It would be a comparatively easy matter to prepare a pattern on suitable paper, removing the outline of the design with a knife or scissors. When moistened and applied to the prepared ware, the perforated parts would be covered with the liquid lustre by a brush. This solution would set quickly, and when the stencil was removed the ware would be fired and the process completed. In addition to giving fairly accurate outlines which, however, are sometimes a little ragged, only a small quantity of the metallic solution would thus be needed. RESIST LUSTRE The term is derived from the method adopted in order to secure a white pattern or one of another colour, such as blue, canary, &c., on a silver or copper lustrous ground. A white surface or one of the other shades (there are specimens with more than one ground shade) is first laid on the clay body, the outline is painted or stencilled on with a substance such as glycerine, or some other preparation which would quickly become detached m water. The whole pattern is ” lustred ” over with the metallic solution and allowed partly to dry. The ware is next washed m water, whereupon the glycerine preparation covering the outline or pattern washes off, but the metallic solution is not affected by the bath, or m other words ” it resists ” the water. The ware is next fired to complete the process. 7 COLLECTING OLD LUSTRE WARE This method uses much more of the lustre, and would doubtless occupy more time to accomplish, than the process of stencdlmg, and it explains in a measure why fine resist examples are expensive to purchase. On the other hand it must not be overlooked that certain varieties of lustre treated with fine stencilled designs are also difficult to procure. It will be noticed that the stencil leaves a lustre pattern on the prepared ground, whilst the resist process leaves a white or blue pattern on a gold or silver self ground, according to the kind of metallic glaze em- ployed. SELF-GROUNDS The term “ self ” ground probably calls for a word of explanation. For the purpose of lustre the self-ground refers to a specimen on which the whole or greater part of the surface is covered with the lustre itself : hence the term “ self ” ground. Generally such wares command higher prices when in a perfect state of preservation and of good colour. 8 II. OLD RUBY LUSTRE (Described AND Illustrated) “ Old lustre ” ; Wedgwood Ruby glaze : Body. Overglaze decoration-clay characterise' tics : Probable maker. Fracture exposes paste : Fluorescence from moisture : Mark discovered. “OLD” LUSTRE I N view of the obscurity which surrounds the earlier manufacture, some , reference to the term “ old ” appears to be necessary before dealing with the ruby or plum-coloured wares. Collectors in, e.g. 1860 who may have given some attention to English lustre would not have felt much interest m regard to the wares made in 1 840 or 1 850, yet the modern collector regards many of these specimens as interesting and desirable, and as a matter of fact a large quantity of excellent lustre was probably made from 1 840 to 1 850. WEDGWOOD The rare pieces made experimentally by Wedgwood about 1790, following the experiments stated to have been commenced about 1780, would doubtless claim the greatest attention of old collectors, and also perhaps the brilliant pieces which may have been produced by famous experimental potters, Enoch Wood and others of Staffordshire. The scarcity of the dense clay, of an COLLECTING OLD LUSTRE WARE early variety with a rich bloom — perhaps marked with the name of the potter — will be realized more thoroughly after years of searching than in any other way. The term “ old ” is therefore used in a comparative sense : the majority of the pieces to be found now were made after 1 790, possibly much later ; in fact, the ordinary copper specimens of 1 850 can be termed old by present- day collectors, and in a considerable measure those wares will be found to embody Improvements and attractions in colouring gained from the experience of earlier efforts at manufacture. The reader now may be prepared for a great diversity of colour and decorative treatment, and a more pro- gressive interest may be derived from a selection of specimens described on the lines of a rough — ij artificial — classification, than from further general remarks. THE RUBY GLAZE Ruby glaze, as Introducing the section of self ground lustres, is not necessarily the first and oldest, though there is some reason to think of it as that. The “ gold ” lustre as it is termed, one of the results of the Wedgwood experiments and produced about 1792 (?) is usually a mottled effect applied to a white or cream ground. The application of the metallic glaze to a dark surface yields a different effect, and whilst there is uncertainty in regard to how the different shades of copper lustre were secured, there appears to have been an exceptional solution used to secure the ruby sheen. Yet, on the other hand, it may have been accidental, like a goodly proportion of the potters’ triumphs. The final reduction by firing leaves the 10 OLD RUBY LUSTRE actual colour, and the presence of iron must be regarded as a likely factor in the colouring. On good copper varieties we sometimes get what is termed a sub-oxide, i.e. a ruddy copper shade of great beauty. Given one of those examples which occur on a planed surface of red-brown body, and adding to it an almost imperceptible dust, in certain lights sparkling with a faint ruby tint (which seems to vanish into the prevailing red-brown shade immediately we observe it) we have a fair illustration of old ruby lustre in its happiest combination. Some specimens in ex- istence will doubtless bear comparison with moderate examples from the Gubbio School. THE BODY If all Wedgwood productions were “ marked,” the use of the preparation we have termed ruby cannot have been confined to Etruria (Wedgwood). The toy plate (page 46) and a complete dessert service once seen by the writer, are marked with the impressed name ‘‘ WEDGWOOD ” in the paste. The body used is light, thin, and brittle, like the well-known early Queen’s ware of Wedgwood. The illustrated specimens which follow these remarks are however lustred on a dark brown clay of great density, with something of the nature of black basalts in the polished texture from which the ruby glaze acquires a deep brilliance. Both are unmarked, with the exception described m the text. This very dark brown body with its compact texture is associated with many of the best characteris- tics observed in English lustred pottery. In the absence of a rare specimen of black basalts COLLECTING OLD LUSTRE WARE dusted with bronze powder, it seems best to consider the other early features of the numerous wares, and with some hesitation it is decided to produce Fig. 1 as introductory. For it we can claim the beautiful finish on the surface, allied to the fine hard texture of the body, for which the better Staffordshire potters are deservedly famous, and there is also an early sensitive ruby (or plum) glaze, greatly enhanced by the association with the dark body. OVERGLAZE DECORATION From the figure it will be seen that an overglaze sprig decoration was applied to the lustre glaze, a style generally adopted in the later examples. But we are not without evidence that early English pottery re- ceived such treatment, and the Staffordshire man was often a copyist : the fuddling cup of buff ware in- scribed LM. and dated 1770 m the British Museum illustrated on page 97 of “ Staffordshire Pots and Potters,” by Messrs. Rhead, dealing with slip wares on that page — carries a slightly similar floral decoration. CLAY CHARACTERISTICS A large number of copper lustres were ornamented with similar overglaze sprig patterns in a great variety Fig. 1 OLD RUBY LUSTRE of shapes, but the clay characteristics are not always so pronounced as in the example selected. This im- portant base may be said to afford the most useful indication of age, apart from the accident of glaze or class of decoration, and m the absence of more exact data associated with specimens of presumed early work. PROBABLE MAKER Enoch Wood (or Wood and Caldwell as the firm was named later) known to be one of the earliest in Staffordshire for the pro- duction of lustrous effects on pottery, may have manu- factured the specimen illus- trated. FRACTURE EXPOSES PASTE (Fig. 2) A further illustration is here afforded of a dense clay carrying traces of the ruby glaze, and ornamented with a floral wreath of considerable interest. A faint chip not visible in the photograph enables one to see the clay in fracture. The floral wreath is in blue overglaze, a coloured pigment often associated with copper lustres. The design, of a conventional character, is interesting on account of its excellent finish. The pigment is evenly laid, the firing combined with age has produced a certain amount of incorpora- 13 Fig. 2 COLLECTING OLD LUSTRE WARE tion, and presents a superior effect, in comparison with many efforts at decoration observed on later Stafford- shire copper lustres. FLUORESCENCE FROM MOISTURE The ruby tint appears to have been destroyed by hard wear, or perhaps from frequent washing, yet there is no doubt as to the class of glaze originally applied. Around the pattern edge there is a trace of slight fluorescence, probably the result of moisture from the pigment which affected the glaze in the final low firing, or perhaps the glaze and pigment were fired at the same time. MARK DISCOVERED Shortly after acquisition, the writer found a mark on the base, and with considerable surprise, because goblets are seldom marked at all. This mark is in the form of a cross evenly cut in the lustre and showing the clay glaze. Adjoining the cross is a thick dot of the blue pigment used in the decoration, thus : J " I After a careful test, prompted by the possibility of the mark having been recently applied, no doubt remains in regard to its being an original decorator’s mark. Perhaps the person who decorated the goblet realized that it was well done, and complimented himself by adding the well-known cross of the Staffordshire work- man. The piece may have been produced by Wood and Caldwell. There is, however, always uncertainty in these details. 14 III. OLD GOLD LUSTRE (Described AND Illustrated) Work of Wedgwood group : Scarcity of marked specimens : Wedgwood mask-white interior : Undercutting-white slip panel : Vertical facets : Resist band : Wilson School-gold and copper glazes : Swansea Lustre (?) : Raised floral work : Strawberry pattern. T he term gold is somewhat unearned by the glaze found on most examples, made of light-brown clay in styles similar to those used by silver- smiths, and usually associated with the Wedgwood school of moulds and Wedgwood finish. The ruddy tinge of the copper glaze is absent, and yellow or gold is certainly the best description for it. The term gold, however, can be more truthfully applied to the best of the Swansea (?) specimens. Figs. 8 and 9, which possess a red-brown tinge in the paste, thus enhancing the successful effect obtained from the fine copper solution which was probably employed. The reader is reminded that we are dealing with glazes which are found on the dark and brown clays, and that our rough classification has been prompted by the extreme examples m paste and glaze, combined with 15 COLLECTING OLD LUSTRE WARE the early modelling characteristics. These shapes might easily be found treated with copper lustre, as we should term it, seeing that broadly all these solutions are derived from copper, but the clay would probably be a different colour. WORK OF WEDGWOOD GROUP This piece is work typical of the master potters of the Wedgwood school : thus far at any rate there is certainty. The example may have been produced by Mayer, Wood, or one of the several firms known to have issued these classic reliefs in jasper dips, basalts and covered with lustre on ordinary paste of the Stafford- shire genus. It IS fully dipped, i.e. inside and out, but use has rubbed off much of the interior glaze, revealing the colour of the bodyware, and the sharp ornamentation of the relief pattern has also met with hard wear in its history. SCARCITY OF MARKED SPECIMENS Marked old lustres similar to this, especially those having a brilliant glaze, are most difficult to find fully covered with lustre. Specimens of a similar class of work often occur with the relief ornament in white, sometimes on a blue ground. 16 OLD GOLD LUSTRE In most cases, however, this effect is less satisfactory when compared with examples fully lustred, or in other words with “ self ” grounds. Fig. 4 displays some fine work, and we see the vertical facets associated with a mask of the true Wedgwood type. WEDGWOOD MASK Examination of many specimens of copper lustre in which a small mask is used as a decora- tion of the lip will probably reveal the difference in the model. The masks were extensively used m connexion with sil- ver decorations and other coloured pig- ments. Dr. Harper’s collection contains several sets m “ mint condition.” There are one or two masks of a well-known model also met with in the commoner copper varieties. The jug now described is decorated over the lustre glaze with a floral design m bright buff colour. WHITE LINING It is also the first example yet illustrated in which a white glazed lining occurs. Probably it is unnecessary to remark that fluids left in a jug with a metallic lining might taste unpleasantly B 17 COLLECTING OLD LUSTRE WARE under certain conditions, and that therefore the white linings were introduced as an improvement for household purposes. There is no mark on our specimen, yet with little reservation it can be attributed to the Etruria factory. The admirable little example of early work (Fig. 5) was potted in a stout clay, with a similar lining to the specimen just mentioned. UNDERCUTTING It also has the additional attraction of having been finished by hand, probably by under- cutting before being lustred. A close inspection of the print will re- veal the depth of the short vertical chan- nels neatly worked out from the body after the piece had been taken from the mould. The departure or transition to exterior white slip is here introduced, in the form of an oval panel, on which a decorative treatment, in pattern and colouring typical of its contemporaneous period, 1790-1800, will be observed. VERTICAL FACETS Another example of this class of clay with a similar shade of lustre is illustrated in Fig. 6. This is a fine 18 OLD GOLD LUSTRE goblet with sharp outline and beautifully moulded facets in the vertical style. It carries a conventional wreath, the design being reserved from the gold lustre on a pale blue ground. A similar model occurs with dull copper glaze. These varieties were finished by hand RESIST BANDS There are other ex- amples of such work, in which plain narrow bands of white or pale blue (usually the latter) occur without a resist pattern. These resist bands are usually asso- ciated with resist silver wares, and reference to this style is made m another chapter. Fig. 6 WILSON SCHOOL (Fig. 7) In an endeavour to keep pace with the various styles of form and colour, maybe the earlier manifestations ol the English wares — a print is here introduced to illustrate treatment usually described as the “ Wilson School.” According to fragments of Staffordshire history W. Wilson of Hanley introduced “ Gold ” lustre applied to a body ware of a chalky character. Some examples of the Wilson wares are not rare. They occur with exposed ivory white ornament in relief, associated with a gold lustre of startling brilliance (these 19 COLLECTING OLD LUSTRE WARE are least often met with), in rich copper or as bronzed purple glazes. GOLD AND COPPER SHADES The jug selected carries an exceptionally rich copper glaze free from blemish, and it is introduced in the gold lustre section in order to show the outline usually associated with the work of the Wilsons. This example is lustred more extensively than the majority of the wares they issued: many occur with rough hori- zontal bandings left white, or unevenly splashed with the glaze, and much restraint is necessary in accepting examples below a cer- tain artistic level. These ragged bands are the most annoying feature in Staffordshire wares : when associated with fine examples the coarse relief is accen- tuated. The writer once owned an example of the rare bright gold shade referred to. It unfortunately had the faults to which attention is here directed, and in spite of the rarity of the glaze the rough elements being obtrusive, the piece was very reluctantly “ weeded ” out. It is probable that the Wilson’s produced gold resist wares, but good specimens are scarce. In the jug which is illustrated the neck is painted with blue and rich yellow in a floral design. The 20 OLD GOLD LUSTRE interior has a white lining similar to Wedgwood examples. SWANSEA (?) LUSTRE Fig. 8 portrays a brilliant gold lustre, which we are inclined to attribute to the Swansea factory, on the traditional theory that Swansea produced such lustre on pottery body. The clay is stout and hard, but of a warmer shade of brown than that in the specimens just described. The outline is clean, but not cast in such a sharp mould as those attributed to the Wedgwood and Mayer class. The decorated neck- band is a rich one, introducing red and green pigments with some lustrous lines intermingled on the pale blue ground. The interior carries a soft creamy glaze. The double-handled goblet or loving-cup (Fig. 9) is an early nineteenth-century type of great beauty, m gold lustre — the smooth surface of the handles m particular gives the impression that a slip of macaroni had been put into position, coloured and lustred. The paste m the general body of the goblet is stout, of a particularly clear reddish brown shade, and the lustre where perfectly preserved (m addition to being coloured by the rich clay beneath) 21 COLLECTING OLD LUSTRE WARE or where affected by the sub-oxide, is exceptionally brillianL RAISED FLORAL WORK Raised floral work occurs, on a pale blue ground, closely allied with the previous two in composition and shade of lustre, which was a common form of decoration, and it should only be accepted when the bloom of the lustre IS brilliant and the floral work fairly artistic. A large proportion of com- mon Staffordshire was made with orna- ment of a very rough character carelessly coloured in relief, and only a small proportion will be found desirable to collect. STRAWBERRY PATTERN In Fig. 9 the strawberry pattern is associated with conventional treatment on a pale blue ground and probably from the Old Swansea Pottery. In Chapter VIII some reference will be found in regard to the use of lustre at Swansea, in the days of Dillwyn who had charge of the Swansea Pottery from 1802. There is apparently great similarity between the strawberry pattern on the two-handled loving cup, and the decorations in strawberry pattern pro- 22 OLD GOLD LUSTRE duced on white ground porcelains of the ordinary Staffordshire genus, which in view of the marked specimens known are often attributed to Dillwyn. That a similar strawberry pattern may have been produced in Staffordshire is almost certain, and those who happen to possess marked specimens of porcelain or white-faced earthenware should look for similar decorations on the self-ground varieties, with the view of establishing iden- tification. As an illustration of this method of identification the writer has been enabled to trace a lustre to the Spodes, from a porcelain cup decorated in colours, a design similar to that decoration occurring first on a cream-ground mug banded with lustre, and again to a very rich self-ground copper lustre, decorated with coloured foliage and an exotic bird. (Fig. 10.) A print in colours alone could adequately represent this brilliant example. A large number of gold lustres might be included from other moulds, but the early modelled pieces are less common in that shade than ordinary copper pieces. 23 IV. OLD COPPER LUSTRE (Described AND Illustrated) Shades similar to gold : Varieties : Shapes : Thick ^^d thin wares : Sub-oxide, bird handle. Birds in ceramics : Figures of seasons : Classic relief : Hunting subjects : Spotted dogs : Deer : Spray on body -glaze : Wreath under lustre : Three part work : Vertical ribbing : Horizontal ribbing : Pale-blue relief : Charity print : Chinese influence : Orange Asso^ ciation : William HI : Alsop, Derby : Teapots, &c. Coloured bands : Coloured grounds : Canary : Date of introduction : Echoes of Worcester, &c. fasper blues : Boat shape : Modern work- SHADES SIMILAR TO GOLD I N attempting to describe the numerous varieties of copper lustre, it must be admitted that a tinge of gold often occurs on good examples. Several in the gold section can with justice be classified as copper, but most of those shown under “ Gold ” are lustred on a clay slightly different to that of many ordinary copper varieties, and this has given us an opportunity of creating a distinction, chiefly for the purposes of classification. Some of the copper effects, 24 OLD COPPER LUSTRE especially those on which a sub-oxide has formed, are more brilliant and attractive than many gold coloured examples : the latter shade being sometimes created on dead buff clays, not by gold but ordinary copper glaze. These peculiar distinctions will be more clearly realized in the process of forming a collection, and by studying the varied glazes which the freaks of firing and composition have produced. VARIETIES The varieties and the shades are exceedingly numerous. Pairs of goblets sometimes differ from each other in size and colour, and the decoration differs m minute detail. The copper ground-work in some examples covers the ware entirely, but it is possible to select specimens and grade them from dark copper to very light copper shades, from wholly lustred surfaces to specimens merely banded with lustre, and allied with other forms of decoration. SHAPES The shapes were restricted for a while to moulds which, after a little experience, are not difficult to recognize when combined with good workmanship. The expense incurred in polishing and perfecting the old examples before they were fired has resulted in their being sought after, m preference to many irregular forms produced by later Staffordshire potters. THICK AND THIN WARE An impression appears to prevail that the thin self- ground lustres are earlier than the thick ones, but there seems to be no proof of this. 25 COLLECTING OLD LUSTRE WARE The Wedgwood style of relief work for many years influenced the majority of the Staffordshire designs, and the lustres which fall under this influence are almost invariably of a stout, if shapely, body. Apart from the Queen’s ware the thin specimens of copper lustre probably followed after the Wedgwood styles m classic and other heavy relief decoration. Silvered wares are frequently thin, boat-shaped cream jugs patterned like silverwork, also resist silver cups and saucers and occasionally silvered goblets. These silvered examples may have been earlier than the thin wares m copper, and it might be a bold statement to assign them generally to a period after the stout bodies employed ; yet the impression is formed that they illustrate the combinations more easily perfected which gradually replaced the hard varieties. The latter may have been peculiar to one or two old firms which con- tinued to carry on their old methods, whilst potters elsewhere adopted softer clays. Ordinary copper lustres were produced in Stafford- shire to an enormous extent, and large quantities are probably still being made. In the Victorian days pedlars visited remote rural districts, selling the “ seconds ” of Staffordshire lustres, and to these and other very cheap examples little attention was given by the manufacturers, the unskilled labour of children and others being employed. Unmarked specimens are exceedingly difficult problems to collectors who desire to place the credits or discredit to the correct factory. The specimens which follow these remarks, and the order in which they are described must not be 26 OLD COPPER LUSTRE regarded as chronological. Such a large number of potters all producing several kinds of body were at work in Staffordshire, who used old moulds and revived old models purchased from extinct factories, that attempts at a classification in correct detail would be impossible. Reference having been made to the similarity of copper effects to “ gold ” shades. Fig. 1 1 is selected to begin the section called “ copper.” SUB-OXIDE The shade is a bril- liant sub-oxide variety, the paste is hard, heavy and smooth. Fig. 11 BIRD HANDLE The handle of the cream-jug is formed, in a fantastic yet interesting style, as a bird with expanded wing, probably intended to represent an eagle. BIRDS IN CERAMICS Outlines of birds are very much m evidence m con- nexion with all the English ceramics generally — from fine Chelsea and Worcester paintings down to resist silver lustre and the roughly sketched birds occasionally met with in pink or copper lustres on light grounds. This piece has the plain blue band frequently met with in fairly early copper lustre, and indeed throughout 27 COLLECTING OLD LUSTRE WARE the whole history of copper effects. A line of fine beading is here first noticed. FIGURES OF SEASONS As an introduction to lustrous reliefs on reserved grounds, the print selected portrays a very charming little goblet admirably moulded — (exceptionally heavy for its size) of very hard clay, and with a pale blue ground (Fig. 12). The lustre is not brilliant, yet this IS without doubt an early piece. The four figures — all harvesters appa- rently — may be intended to represent the four seasons. They are in relief, and covered with the prevailing shade of lustre, yet brighter m some respects because of application to a clearer paste applied for the relief ; which’again illustrates the effect the groundworks have on the appearance of lustrous glazes. The interior (as in most goblets) is of dark brown clay, with ordinary copper lustre. LEEDS RING On the bottom of the goblet (reversed) a small circular ring occurs, often found on wares which collectors attribute to Leeds — a factory with which the example under notice is probably not associated. 28 OLD COPPER LUSTRE CLASSIC RELIEF Fig. 13 rather resembles Fig. 12. The subject, in lustrous relief, is still classical (Offer ye to the horned god Homs ?) but the modelling is sharper. The general outline of the cup lacks the rigidity of the goblet, which IS frequently associated with silversmiths moulds in the earliest styles ; and the density of the paste m the cup is not quite so pronounced. Beading of a coarser character is here intro- duced. Whilst dealing with re- served grounds frequently of pale turquoise on which lustrous reliefs are intro- duced, mention must be made of a class of jug portraying a “ farm and held ” subject in relief under rich copper lustre. HUNTING SUBJECTS, ETC. A large number of Staffordshire wares are decorated with farmyard scenes, cattle, and incidents of the chase in the ordinary wares, these incidents being m high relief, usually white. Some of them are marked with the name of the potter, but in the case of lustred speci- mens having similar interesting details the metallic glaze would probably destroy the mark m the bring. It IS, however, from ordinary examples which are 29 COLLECTING OLD LUSTRE WARE marked that we identify lustred ones of the same pattern. Fig. 14a represents one of these ordinary ware specimens with relief ornament which are marked WOOD and CALDWELL in the paste (impressed), and not long ago an almost identical example was seen covered with rich lustre. Spode, Davenport, and several other potters made many similar examples. To illustrate the attempt to combine coloured pigments with lustre on relief ornament, we have selected a second print with a sporting subject. It is not a self-ground lustre or one which can be termed true lustre : it is more correctly Staffordshire ware extensively treated with coloured pigments (Fig. 14b). SPOTTED DOGS The ground and body is dull buff, the foliage a pale green combined with gold lustre. The dogs in high relief are pink (very weak lustre) spotted with deep copper lustre, and whilst the subject is interesting, the general effect is distinctly uneven and coarse when compared with the restraint and finish of the com- paratively faultless Wood and Caldwell example, on which the relief ornaments are covered with rich copper 30 Fig. 14a OLD COPPER LUSTRE DEER lustre, in the instance we have quoted but are unable to illustrate here. The weak wash of pink lustre to colour the dogs, on which deeper spots of gold (copper) are applied, exemplify the degrees of tenuity in the use of lustre. The piece is marked A in lustre on the base, and may have been produced by J. Aynsley. See alphabetical list of makers. Many other examples of buff ware decorated in this manner were made m Staffordshire. Deer, horses, dogs, &c., m relief are well known, covered with gold lustre of faint colouring allied with ordinary pigments on the relief portions. Fig. 14b SPRAY ON BODYGLAZE Fig. 15 IS only three inches high, of thin ware and of a clean shape and finish. The decoration is a little unusual, being a spray of pure white on a faint green body glaze. The lustre has the interesting sub-oxide tint, with an ivory white lining. WREATH UNDER LUSTRE Another small jug has a different class of decoration. There is a miniature wreath in relief perfectly covered 31 COLLECTING OLDLUSTREWARE with deep copper lustre, and fortunately the sharpness of the pattern is well-preserved. The large Stafford- shire rose with the leaves, &c., treated in pink and green pigments, appear to be also slightly in relief. These small jugs when perfectly coloured and potted are suitable for cabinet or dresser specimens, but there is an increasing difficulty in finding them perfect m all respects. THREE-PART WORK In their efforts to simulate the results obtained by silver- smiths, some potters produced goblets made from three moulds, e.g. bowl, stem, base, &c. The clay was pressed into shape, dried, put together and fired. We have a two-handled goblet or loving cup arranged by this composite method. It IS probably a fairly early example of nineteenth- century work. It has traces of the ruby lustre, and the twining spray m the floral wreath Is of rich scin- tillating effect on a white ground. VERTICAL RIBBING Fig. 16 presents a copper goblet with vertical ribbing, and conventional decoration on a white band, indicating an attempt at the Vine pattern, often introduced on the bands but usually m more finished style. The goblet is selected because of its vertical ribbing, which 32 OLD COPPER LUSTRE is not extensively met with, and should therefore be more interesting than examples with a plain surface. HORIZONTAL RIBBING Fig. 17 shows pro- nounced horizontal rib- bing, and a decorated neckband in bright colours on a white ground. Sharply ribbed examples are frequently rubbed at the exposed edges. Unfortunately this one bears signs of wear, but the glaze, which is perfect on the base, indicates that originally it was a brilliant example of copper colouring. Fig. 16 PALE BLUE RELIEF Fig. 18 IS pale turquoise ware in relief as an orna- ment on a patterned copper lustre. The shapely design will not fail to commend itself to collectors who like cabinet specimens. The ware is thin, light, and c 33 COLLECTING OLD LUSTRE WARE generally artistic. It is glazed inside and out, having been dipped in the lustre bath, therefore. Fig. 18 In the cases of copper lustre where the body is reserved in white or pale blue (turquoise should be generally under- stood) we meet with a variety in the class of decoration on the flat surface. Fig. 19 illustrates decoration with an overglaze print of “ Charity ” in lilac. The wares known as Cottage Swansea, will be familiar to every one interested m these matters, and ordinary porcelains carrying similar designs are common. It is, how- ever, not so easy to secure perfect lustres of the self - ground variety with a brilliant glaze having these desirable prints, though doubtless an enormous quantity was manufactured. Sometimes Fig. 19 OVERGLAZE PRINT “ CHARITY” 34 OLD COPPER LUSTRE the transfer is in black, and tinted by hand in a variety of colours, whilst in other cases the subject is left in black outline. CHINESE INFLUENCE Examples occur in which pencilled outlines have been completed by the addition of coloured pigments rather carefully applied in blue, red, and green. It hardly seems neces- sary to indicate the extent to which the Staffordshire men re- peated quasi-Chmese subjects : examples are frequently met with in lustre, as well as in many other sections of English wares. The often- met blue printed Willow design is only one of many. ORANGE ASSOCIATION WILLIAM III The writer has an interesting specimen of an Orange Association jug, probably issued by the same firm, as in the case of Fig. 20. The body is pale blue and on each side a small neat overglaze double circle containing emblems and the words Orange Associa- tion ” are shown. On the front is another double circle representing a man on horseback and the letters W. III. Beneath is the number 38. Above the horseman are the words “ Immortal memory. Fig. 20 35 COLLECTING OLD LUSTRE WARE GENERAL PIKE Speaking of historical topics, the writer was recently shown an American subject in copper lustre, viz. a portrait of General Pike, a commander in the American Army. This was in the centre of a simple plate, the rim of which was of rich copper lustre and a band of canary next it. The words printed in black are : “ Be always ready to die for your Country.” (Owner. Mr. A. Chambers of Buxton.) In Mr. Hudson Moore’s “ Old China Book ” a fine copper ” Cornwallis ” jug is described. VIEW OF ALSOP NEAR BUXTON (Fig. 20) Specimens extensively treated with copper lustre which carry local views are seldom found. At times, however, and perhaps in the later days of 1840 and 1 850, printed views of local interest were occasionally prepared. We can take it that this method by over- glaze and underglaze had become very common and the collector may expect to find neat little prints which merely require local Identification. Our figure shows the village church of Alsop-en-le- dale about eleven miles from Buxton. The reverse is another black print of Embden Castle near Derby. The specimens already illustrated represent only a small number of the cleaner outlines met with in copper lustre ; there are a very large number which might have 36 OLD COPPER LUSTRE been selected for illustration. Many carry rough flora ornaments in relief, with ungainly shapes and of coarse finish. It must not be lost sight of that many of these coarser examples are perfectly genuine, and often have a beautiful old glaze, which the collector would like to see transferred to his finer examples perhaps a little worn. TEAPOTS, ETC. We must, however, make some reference to the teapot of Staffordshire copper lustre. Early porcelains with the words “ Bohea Tea ” printed or painted thereon are very interesting, and the use of tea had become general, particularly in the green state, in some districts at a time when lustre was a very well-known variety. The Staffordshire potter certainly did not overlook the teapot, and it is not difficult to find. The spout may be broken or the cover missing, but the pot rests in dignity on the top shelf of the dresser : in many English wares these “ skied ” examples are often interesting and instructive. In lustrous designs, copper and silverware teapots are to be traced in abundance. A first-class design bearing some evidence of the Wedgwood finish in the modelling, and carrying a rich copper lustre is not so easy to acquire as a good silvered example, but indifferent copper glazed pots are met with in many patterns. The best designs are certainly found in the silver lustre variety. One fine piece, damaged, is recollected. It was not large, but the modelling and glaze were admirable. 37 COLLECTING OLD LUSTRE WARE It simulated a silversmith’s pattern, with a rich copper glaze, but its beauty was marred by an inaccurate attempt at architecture, a la Lowestoft on the pale turquoise band around the body. It was only slightly fractured and was tempting to collect, but the “ Lowestoft ” daub decided its fate. Staffordshire, Swansea, who can say ? Goblets and jugs are certainly more desirable shapes for cabinets and dressers than the teapot. COLOURED BANDS Wide or narrow deco- rative bands occur with or without markings on the necks or bowls of jugs and goblets. Some- times the lower part of the bowl is left in white or blue. The strips of ground are often too nar- row to admit of decora- tion, but an effect is sometimes secured by having four or five such stripes in different colours close together. Fig. 21 shows an example with the base of the bowl left in pale turquoise and the decoration above. In another case practically the whole exterior of the goblet except the stem has a white slip ground, carrying one of the well-known transfers. Another goblet has the strawberry pattern m bright colours on white. 38 Fig. 21 OLD COPPER LUSTRE These white slip grounds are an excellent background for coloured decoration, and afford great contrast to an otherwise dark surface. Age, in many instances, has caused the decoration to sink into the paste, which improves the decorative effect. COLOURED GROUNDS The reservation of grounds associated with copper lustre IS m evidence to a far greater extent than m connexion with fine gold or silvered wares, yet these colours do not reach a high standard of beauty. The average jug is the article on which the majority of shades individually appear, such as : Pale blue Pale buff Dark blue Dark buff Pale green Apricot Dark green Canary Pink Granite (non-lustrous) Tortoise-shell mottle Rough sanded ground. Rough specimens of copper lustre have crude panels showing SIX of these shades, but are usually very inferior work. White, cream, and pale blue were the grounds most frequently chosen for decoration m colours. Of the dark and light blues the latter is much more extensively chosen, and the exact shade can be compared to pale turquoise, a colour complimentary to the brown wares. The turquoise or light blue appears to have been used with the earlier wares which had relief applied. This is parallel with the experience in English blue printed wares, as the earlier prints are pale blue and the later (1840-50) ones are dark. 39 COLLECTING OLD LUSTRE WARE Buff is frequently met with — it calls for no special comment. The writer has a goblet with a greenish yellow ground which is unusual. It has no other point of interest. The canary ground is generally associated with nice work, as seen m the print of a fine example, Fig. 22. The apricot ground is common. Occasionally it is decorated with rich floral sprays on the flat, and such exam- ples are more desir- able than the usual coarse flowers in relief. One painted with large roses and blue-bells is m exist- ence. The shades of green are frequently covered with coarse flowers in relief, sometimes with lustre added. The granite effect (non-lustrous) is an old variety and somewhat uncommon. Provided that the copper lustre found in association with it is brilliant, it makes an interesting addition to the “ ground ” examples. The tortoise-shell is a broad patchwork mottled effect, introducing blue, pink, lilac, and touches of copper lustre. The later wares are found thus treated on buff or blue. The sanded ground, sometimes tinged with chocolate shade, is distinctly rough to the touch and in appearance. 40 Fig. 22 OLD COPPER LUSTRE Pink is the shade least often met with, as a ground. It is not a pink lustre but a “ wash ” of paint to which lustre is afterwards applied in a design, sometimes in the manner of the Hispano-Mauro markings. The shade is a distinct relief to the blues and browns in a collection. The specimens are usually pleasing, if a little rough in finish. DATE OF INTRODUCTION ECHOES OF WORCESTER, DERBY, ETC. JASPER BLUES The quotation of anything approaching exact dates in connexion with lustrous effects is distinctly hazardous. In all probability these reserved grounds were introduced with lustres in their crude style, to imitate the fine shades which had become fashionable in porce- lains from Worcester, Derby, and Coalport, and in the case of the numerous blue grounds, there are good reasons for assuming them to be the feeble echoes of the jasper blues of Wedgwood, Adams, Turner, Neale, &c., in whose footsteps later potters for a while followed. The imitation of forms used by silversmiths was not confined to the silvered wares. Occasionally the collector will happen on an example treated with the copper shade (Fig. 23). 41 COLLECTING OLD LUSTRE WARE BOAT SHAPE This familiar boat shape with copper lustre occurs in the proportion of about one to twenty of the silvered wares. In the copper examples there is usually a little overglaze decoration of coloured sprays on the flat, which often seem an unsightly addition to the brilliant metallic glaze ; being carelessly applied. The interior of the piece representing this shape has an exceedingly rich ruddy-bronze hue. In selecting specimens lor cabinet or dresser decoration these ruddy-bronze examples are most effective, when mingled with choice silvered wares. A comparison might be made between this print and the first one of the old gold section — the shapes are not unlike, but the earlier ware (from a mould intro- ducing classic relief ornament) is harder, from its dense texture, and of a lighter brown clay. There may be a difference of ten years in these two examples, so far as the manufacture is concerned. MODERN WORK In closing the descriptions of copper lustre chiefly on dark clay, brief reference must be made to modern examples. Some work, known as “ Lancastrian ” wares decorated with lustre are highly successful up to a certain point. Considerable skill has been brought to bear on the reproduction of these old-fashioned ideas, and a measure of general success has been obtained. The amateur is strongly recommended to examine the paste carefully, which is easily observed in the case of white grounds 42 V. (A) BRONZED-GOLD, PURPLE AND LILAC LUSTRES (Described AND Illustrated) Use of term : Wilson School : Early Victorian effects : Faiths Hope, and Charity : Mottled effects : Wedgwood : Rare purple ground. (B) PINK LUSTRE (Described and Illustrated) Pleasing effect : Sunderland wares : Origin of marbled style : Mariner s Arms : Date of print. (C) LIGHT GROUNDS-LUSTRE PAINTING Brush-work : Bird with landscape : Chinese subject : Maize ground : Two birds. (A) BRONZED-GOLD LUSTRE USE OF TERM B efore describing the other two variants (Purple and Lilac lustres) we must attempt to explain some difficult characteristics of colouring. In using the term “ bronzed-gold ” we propose to apply that name to the colours of lustre which appear on dark 43 COLLECTING OLD LUSTRE WARE surfaced wares, instead of “ purple ” which we reserve for a glaze on lighter surfaces which has a variant often termed lilac. WILSON SCHOOL The glazes which occur on wares (known as the Wilson School) with a chalky body can with considerable certainty be classified under this heading of bronzed- gold, and most of them have applied ornamentslin relief. The Wilsons made gold, bronze, and silver lustres. Their bronze varieties have peculiar shades of their own and are difficult to describe. The rarest are brilliant gold of great beauty ; another shade almost similar is one with a faint shade of purple added to the gold, with apparently a darker surface ; then we have the most common of these three, the deep chocolate ground on which a purple seems to have been applied and which we can best liken to a ripe blackberry. It is this latter shade, apparently mixed with the brilliant gold variety, which leaves us in a difficulty to describe many of the crossed examples. This Wilson gold is often recognized in rare gold or bronzed-gold resist specimens. PURPLE AND LILAC LUSTRE EARLY VICTORIAN EFFECTS It will be readily understood that an excessively thin metallic glaze which is practically transparent will look quite different on a white or cream ground, from a similar glaze on a dark brown ware. The purple or lilac shades do not present such difficulty. The purple metallic effects when mottled are very popular, and 44 BRONZED-GOLD LUSTRE some collectors appreciate the varieties which have the raised ornaments treated with the tint, or even the sketches by brush-work in these weak lustre-wash shades. Some rare examples have exceptional colour combinations allied with a purple ground, and un- fortunately prints in black and white cannot do justice to the numerous varieties of subtle colouring. The lilac, which we suggest contains less of the rich pink tendency than a fine purple is applied to all ordinary inferior grades of weak lustre. Some of the finest grades of clear purple are to be found on the early Victorian pottery and cottage porcelains. Usually those wares are gaudily treated, with rough designs and borders, and this often leads to their exclusion from collections. FAITH. HOPE. AND CHARITY It will perhaps be well to speak of the almost black- berry shade which is the most common of the darker tints. There are a large number of jugs, cups, and mugs painted with this glaze having panel views. These sketches m colour are usually nautical scenes, as a background to female figures symbolic of Faith, Hope, and Charity, and are usually marked with one of those names. The subjects m all probability derived in- spiration from the renowned set of Worcester porcelain made in 1792 for H.R.H. the Duke of Clarence. . . Sea with a ship of war in the distance. Figure of Hope in foreground ... as illustrated in F. W. Blnn’s work on Old Worcester china, page 107. Fig. 24 represents “ Faith.” 45 COLLECTING OLD LUSTRE WARE MOTTLED EFFECTS WEDGWOOD It will be known that Josiah Wedgwood mottled some wares with light ground colours, and applied a lustre to the surface which presents an artistic effect : whilst in certain lights we get a faint ruby tint, the general appearance of the glaze is a weak purple. The writer has a toy plate wi'.h the impressed mark “ Wedgwood.” The ground of the goblet illustrated has not the touch of yellow pigment which we see in the Wedgwood piece, and this is probably one of the many goblets mottled by ordinary methods in Staffordshire. This is also a lilac shade, which in certain lights shows a faint gold tint, not ruby. RARE PURPLE GROUND Among many rare examples of purple ground with fine work from Dr. Harper’s collection, we wish to mention two in particular. The first is a purple ground with a blue hunting scene, the second being a similar ground with the vine motif and floral decoration in a wreath, tinted creamy pink. These examples of work (difficult to photograph) are probably experimental pieces, made in the height of the palmy days by the Staffordshire potters who 46 Fig. 24 PINK LUSTRE spent considerable sums in experiments and were keenly competitive. This excessive competition was the principal factor in the extinction of several under- takings which eventually failed. (B) PINK LUSTRE PLEASING EFFECT Not all the weak shades of copper lustre deserve the term pink. The best variety has none of the blue tinge which is perceived in the weak purple shades. The lustre pink is often at its best when it has sunk a little into an old software. In examples where the decoration is neat and the form also desirable, the glaze should be accepted : discrimination and re- straint are however necessary. A broad statement might be made that many weak purple, lilac, and pink shades lack the vigorous colouring which we see on the dark bodies. The glaze being sensitive is often unsatisfactory, and calls for special examples in a collection. SUNDERLAND WARES Pink lustre frequently occurs on wares made at Sunderland, marked examples are occasionally met with. 47 Fig. 25 COLLECTING OLD LUSTRE WARE One well-known piece, not illustrated, is in the form of a picture, the frame is dark copper glaze overlapping a marbled pink pattern. It is a late black print of some Indian town coloured in red, blue, and green, marked on the back (impressed) Dixon and Co. The back is white ware, all the lustre being on the front. Sometimes printed or coloured texts are shown up inside the pink bands. ORIGIN OF MARBLED STYLE The origin of marbled work on ordinary wares can be traced to the days of Whieldon (1740-1780). The effect was presumably applied to lustrous wares fairly early in the nineteenth century, and the earlier pieces are probably the richest. The pink treatment appears as covering the whole piece in a streaked or marbled style, or as floral wreaths on borders, or as deep bands allied with other decorations. Some of the earlier small jugs of white ware are richly covered with a fine marbled pattern in good pink lustre. Modern imita- tions are to be found with a rough mottled pattern, the glaze being fairly successful. MARINER’S ARMS Fig. 26 illustrates a Sunderland jug about three inches high with a clear pink band. The print represents the Mariner’s Arms, the words “ Success to Commerce ” appearing on a banner. The print is a rough brown underglaze transfer, and in view of the date of coloured underglaze printing through Staffordshire, &c., it was probably made with many others about 1 830. 48 LIGHT GROUNDS On the reverse side, the following verse appears in brown print surrounded with a pretty brown border of a floral character : ON TIME T ime was, is past thou canst not it recall. Time is, thou hast employ the portion small. Time future, is not and may never he. Time present, is the only time for thee Very large quantities of Sunderland wares are to be found lustred, and of recent years many coarse imitations have been put on the market. Some of the earlier kinds, how- ever, are much esteemed by ex- perienced collectors, and such examples are not common. Many jugs from this factory are very large. (C) LIGHT GROUNDS. LUSTRE PAINTING BRUSH-WORK No collector of English pottery wares needs to be reminded that a large amount of earthenware was made covered with a layer of white in imitation of porcelain, and after many experiments this kind of earthenware was brought to a high standard of perfection. During D 49 COLLECTING OLD LUSTRE WARE the time that lustre was fashionable, designs were painted by brush on them in the lustre pigment, and in many instances no other colour than that secured from the lustre was added. We have inserted a print or two dealing specifically with this class The largest pro- portion of wares collected illustrate outlines obtained by dexterity in the use of the brush, freehand, but unfortunately they are not often artistic. BIRD AND LANDSCAPE From Dr. Harper’s splendid collection we illustrate one very fine ex- ample, which introduces a bird and a landscape in the usual gold, light purple shade. It is seldom that fine examples of this class are exposed for sale, and those pieces which do appear on the market are exceedingly disconnected and out of proportion to the objects representedi^(Fig. 27). Specimens of brush-work equal to the illustration should certainly be secured whenever possible. In all probability this jug was painted at Sunderland. Fig. 27 CHINESE SUBJECT The second example of this class is a jug of Staffordshire white ware on which a subject of an Oriental character has been attempted. The outline 50 LIGHT GROUNDS presents a fairly clear pink verging on lilac, but not of the deep tint seen on the jug of the Sunderland type just referred to. An interesting feature in the ware is a cross in relief on the bottom of it. The writer has a blue printed jug which has an exactly similar mark on the base, and it is usually a mild puzzle to a collector. MAIZE GROUND Another interest- ing bit IS a toy mug barely two inches high. The ware is chalky white, but treated with a deep maize on the surface, and over this a little sketch has been painted in gold lustre : a shade which might naturally be expected to result from the use of copper lustre on a yellow ground. Fig. 28 TWO BIRDS Two birds, a cock and hen, are shown to be perched on particularly slender twigs without visible claws, a mere detail for which the amateur artists of Staffordshire have frequently to be excused. 51 VI. (A) OLD STEEL LUSTRE (Described and Illustrated) Ruby lining : Beading : Pelured-gold lining : Fluting. (B) OLD SILVER LUSTRE (Described AND Illustrated) Plain and patterned : Pattern cream relief : Diamond pattern : Height of deception : Boat shapes : Bird handles : Modern toorf. (A) OLD STEEL LUSTRE E xamples of steel lustre do not markedly differ in appearance from the silver lustre proper, and the patterns to which the glaze was applied were usually similar to those used for the silvered wares. They are not often found in a first-class state of preservation and probably were produced at a period when the early sensitive glazes were in use. This surmise is strengthened by the fact that most examples occur on apparently early moulded designs, and Fig. 29 — an ordinary specimen — illustrates this. 52 OLD STEEL LUSTRE RUBY LINING The interior has traces of the ruby lining ; another indication of probable early work, or of the retention of old methods by a conservative potter. BEADING A line of beading on the rim of a silver or steel goblet is a slight departure from the usual severe outlines adopted for those vessels. Yet beading is a particu- larly common ornament on Staffordshire lustres, and the majority of the silver intricate relief pat- terns are beaded and fluted, m a far more extensive and interesting manner than the reliefs associated with coppered wares. Fig. 29 PELURED LUSTRE There is another variety which should be noticed, on account of a slight peculiarity of the surface, termed “ pelured.” The surface of the body presents a minutely pitted one, which closely resembles that of an orange, and as the reader will be aware, the Staffordshire salt-glazed early wares had this peculiarity. 53 COLLFXTING OLD LUSTRE WARE If the use of the hard brittle metal termed manganese caused the pitting, the point must be answered why we have old gold goblets from an identical mould with similar pitting. One or two explanations have been offered for the appearance of such surfaces associated with lustre glaze : that the use of manganese has produced it — or that the mould used for the piece, must have been of old wood and the constant friction of hard clays in the mould had gradually pitted the surface, which then acted on the hardened clay. Practical potters may have other explanations for us, but the mould theory seems a probable explanation. GOLD LINING VERTICAL FLUTING This pelured surface occurs on old forms covered with steel lustre usually, or of a dulled shade of silver. The latter effect is probably due to the minutely broken surface of the body, which prevents the usual cross reflections (the well-known enemy of the patient photographer). Pelured surfaces are also covered with a dull shade of gold lustre, which may be classed with an old gold variety. The goblets often have an interior like gold — not a plum shade, as m the steel example. Short vertical flutes on the lower part of the bowl are sometimes observed ; they break the monotony of the usually severe outlines. 54 OLD SILVER LUSTRE (B) OLD SILVER LUSTRE PLAIN AND PATTERNED Old silver lustre is found applied to an exceedingly extensive variety of Staffordshire wares, and the total production must have been enormous. Perhaps the study of a work on old silver will give those interested an excellent idea of the patterns which may be found ; silver was cleverly imitated, and silversmiths’ moulds were undoubtedly used in every possible form. The silver goblet, with which the teapot is the most numerous variety, was produced in all manner of shapes and sizes, but usually plain. Some are loving-cups with two handles ; another unusual variety observed was from a mould like a champagne glass. When many of these plain examples are carefully measured they will be found to vary considerably In width, depth, and outline of the curves ; which proves that an enormous number of moulds were m use. They are found lined with the plum glaze, in silver-gilt style and also silvered similar to the ex- terior. Fine old examples of goblets with ribbing m the horizontal style, which is exceedingly common in copper lustre, are comparatively scarce. The writer has seen one or two basins with this treatment, and one goblet only, which was unsuitable for col- lection, the glaze being nearly all gone. There are probably a large quantity in existence some- 55 COLLECTING OLD LUSTRE WARE where, however, and they may be well known to other collectors. PATTERN IN CREAM RELIEF Before we describe any illustrations dealing with ordinary patterned silver wares, it will be better to select an earlier example of a silver ground ware allied with decoration m cream relief. This unusual example is from Dr. Harper’s collection. In the gold section reference has been made to the work of the Wilsons, who are credited with having issued various lustred wares, gold, silver, and copper. The body ware of our illustra- tion is a pale buff and similar to that observed in the rare silver cat from the same collection. For some reason, not at all clear, examples with gold or copper having ornaments m relief are often to be found, but those with a wholly silver ground are only occasionally met with. Fig. 30, in all probability, is an early example, and the character of the relief work will be seen from the photograph. Tall shapes, associated with silver lustre, are usually devoid of ornament ; at any rate it is not discovered to the extent found on the boat-shaped pieces — under the silver glaze. 56 OLD SILVER LUSTRE HEIGHT OF DECEPTION The wonderful simi- larity of silver lustre ware to the original metal- work has been men- tioned : a specimen is introduced to show this, so far as printing admits. Fig. 32 can be described as the height of deception ; the ware is thin, hard, and finely potted, the top edge is clean and sharp and many persons before handling it would expect to find it made of metal. A glance into the interior heightens this Illusion. It is a coffee-pot with a small strainer fixed inside the lip, but the cover has not been photographed. A hint can here be given to the amateur, one often mentioned 57 DIAMOND PATTERN Fig. 31 is a specimen known as the diamond pattern, its arabesque ornamentation being exceptionally well chosen. The glaze is carried well down into the jug, with a brown clay as its base. Its graceful outline makes it an excellent cabinet shape. There are some characteristics about it which prompt the supposition that it was produced by Wood and Caldwell. An exactly similar shape occurs in gold lustre, with a small wreath in colours on the lustre glaze. COLLECTING OLD LUSTRE WARE by expert writers on collecting — i.e. never to purchase examples unless they are perfect. Covers of many old wares are in demand in order to complete otherwise perfect examples. TEAPOTS Teapots are very much in evidence, in a large number of patterns. One with magnificent scroll- work and an unusual spout is not illus- trated here. Some of the patterns are admirable, and as a teapot was an article much m demand and probably often broken, considerable attention was given to the manufacture of fine examples. BOAT SHAPE At least half a dozen different patterns on hand would illustrate the variety known as boat-shaped cream- jugs. One piece came from a set, the sugar-box of which had W cut into the glaze and paste. We cannot affirm that this is intended for Wilson, but many silvered wares are known to be marked WILSON. BIRD HANDLES The accompanying figure illustrates a sugar-box in patterned lustre. The fluting and beading are common, 58 Fig. 32 OLD SILVER LUSTRE but the bird handles — a reptilian variety — are a dis- tinctive feature of the piece. MODERN WORK Much modern silvered ware is now on sale, lined with gold lustre. The handles of cream-jugs and teapots are often black, but the collector of Staffordshire old wares should not be mistaken in regard to this novel product. Examples will be found in many good modern china-ware establish- ments. There are other examples of modern work which may be found mixed with genuine old pieces m certain “ antique ” establishments, and care should be exercised to avoid accepting them as genuine old examples. A close comparison between the old and new shows the former to be of a whiter sheen altogether ; the modern wares have a dull greyish hue, which is easily observed when both specimens are held side by side in a good light. It is easy to accept small articles of modern make for inferior old pieces, however, unless some experience has been obtained by past adventures. Old figures, shall we say “ assumedly old ” ones should be carefully inspected before purchase, as clever imitations are known. 59 VII. OLD RESIST LUSTRE (Described AND Illustrated) Gold resist : Wilson School : Silver resist bird : Copper resist : Stencilling (Quasi-resist) : Ground shades with silver : With copper : Dated specimens : Transfer patterns : Chinese style abandoned : Morland prints : Other work with resist : Bands : Gold resist : Stencilling : Gold resist bird style : Sprays : Lilac resist : Two shades. Silver : One bird : Two birds : Very fine spray : Leeds arrows : Orange and silver : Hunting {with blue) : Dated pieces : Panel of birds : Panel views : Watteau prints. OLD GOLD RESIST S UCH an exceptional interest appears to be attached to resist lustres, especially the class known as silver resist, that it may be helpful to describe most of the varieties likely to be discovered. Probably the class of resist work most rarely found is gold resist. This is quite distinct from patterns m gilding, or even resist gilding, seen on the fine English porcelains : the metallic lustre specimens have a warmer shade, indicating their coppery origin. 60 OLD RESIST LUSTRE WILSON SCHOOL In view of the patterns employed it is probable that the work was contemporaneous with the resist silver, and the tinge of the metallic glaze strongly reminds us of some of the clearer shades observed on the bronzed- gold lustres, usually accompanied by chalky ornament in relief, associated with the work of the “ Wilson ” school. In fact it would be of great interest to trace any genuine gold resist lustres which did not emanate from the Wilson school, except perhaps Swansea (?). But the various threads of research have not yet so matured as to give the collector definite information, and the probabilities are that variants which could not be attributed to Wilson would have to be labelled “ Staffordshire,” because of the exceptional scarcity of fine marked examples in superior resist work. OLD SILVER RESIST Of true resist wares, the old silver variety is the largest class. But it must not be taken for granted that in comparison with the general wares of Staffordshire the resist lustres represent a common variety. Large quantities were made, but apparently the manufacture fell into disuse, and the scarcity of fine specimens explains the commercial value attached to them. There seems to be a general opinion that silver resist designs were issued concurrently with the plain lustres or m other words that the date of ” resist ” introduction is contemporaneous with the plain and patterned silvered pieces. This may be correct, yet in view of 61 COLLECTING OLD LUSTRE WARE the elaborate designs which occur on some pieces considered to be early we are inclined to doubt whether the Staffordshire potter began to “ run ” before he had learnt to “ walk,” and in absence of definite proof that both varieties are contemporaneous we think it is more likely some experience had been obtained with simple glazes m the first instance. ” Resist ” may have been introduced some time after the adoption of the transfer process on ordinary wares. Having become expert, little time would then be lost by the competitive and enter- prising potters whose works are now eagerly sought. As a paragraph on transfer printing generally will be found m this chapter, the production of the numerous designs needs no special comment here except as a record of the general run of the patterns. SILVER RESIST BIRD The resist bird with foliage of a sparse character is probably the design with variants most often met with. We have not seen the creature associated with gold resist of the self-ground class, but possibly specimens are in existence. Ordinary foliage and conventional floral designs are also numerous, as well as the Vine pattern, and many of each class are clean and artistic in finish. With the exception of the rare examples of Chinese influence in patterns, the human figure is a great rarity, in resist ; when it does occur with silver lustre it is usually in underglaze blue of the ” Morland ” sportsman type. A large number of pieces have only a small proportion 62 OLD RESIST LUSTRE of the exterior surface treated with resist, and the designs usually introduced are of a floral character. Some self-ground wares present the foliage in underglaze blue, whilst red is occasionally added. COPPER RESIST Resist copper lustre in the strict sense of the term might be applied to every other class of lustre resist except the silver variety, when we recollect that the basic metal, employed before the firing, is probably copper. The best shades (? secured by the elimination of impurities, &c.) are scarce : it is the character of the outline, the extent of the resist decoration and the school of the piece generally which enables the col- lector to use a certain amount of discrimination in his labelling. Resist copper ordinarily, m the specimens usually found by the amateur, is that with a lilac shade. With few exceptions the patterns are of a floral character, and do not present much diversity in the treat- ment. It would appear that at the time copper lustre became generally popular, ordinary relief patterns and overglaze painting had become common, and were considered less troublesome than the older resist process ; hence the comparative scarcity of fine copper self-ground resist work. STENCILLING OR QUASI-RESIST In closing these preliminary remarks on the three varieties, gold, silver, and copper resist wares, we must not overlook the stencilling process. This is practically 63 COLLECTING OLD LUSTRE WARE an effect vice-versa to resist. In the latter we see the pattern in white on a gold or silver ground, whilst with the stencilling the pattern is in gold lustre on the white ground. The stencilling with silver lustre is not a prominent or a satisfactory decoration, probably in consequence of insufficient contrast with the ground colour. Possibly the process of stencilling lustre on white grounds may be later than the true resist process, but on the other hand we know that stencils were used to reserve the pattern ground when producing the resist wares. The process showing how the patterns were secured has already been roughly outlined. GROUND SHADES WITH SILVER RESIST It will be known that several ground shades were used in connexion with the various resist wares. In the majority of cases, which in all probability embrace the earlier examples, a white ground was used, but on some specimens a second shade was introduced, such as canary or blue (white and blue, or white and canary). We have never heard of an example treated with both canary and blue. Below will be found a list of the various grounds, with suitable remarks : White. Most usual shade with the cleanest outlines. White or cream ground probably first used, which coincides with the Queen’s ware body. Buff. Frequently met yet not so often as the white and when the buff is dark the effect is a little unsatisfactory. Canary. Occasionally occurs. It is a shade which often forms a ground for silver decorations with red. 64 OLD RESIST LUSTRE Blue. Occasionally occurs. This ground sometimes gives the silver resist a leaden appearance. Examples are by no means common. Pink. Exceedingly rare. Apricot. Exceedingly rare. GROUNDS WITH COPPER RESIST Occasionally in addition to a white ground being used for a resist treatment, a pale blue ground is treated on the same piece, which gives us an effect of resist in two shades, resembling the silver resist floral work. Those with copper lustre are unusual. RESIST DATED SPECIMENS The earliest dates appearing on lustre are those allied with silver glaze and with silver resist. The writer once saw a nice jug, treated with gold lustre decoration and ordinary floral decorations in coloured pigments, dated 1 81 3 in that lustre. This, of course, was not a resist jug. In silver resist we think a specimen exists bearing date 1756. A silver lustre jug was sold at Christie’s in January 1 908 described as : “ Silver lustre jug decorated with birds and flowers inscribed J. Simpson original Staffordshire warehouse, 1791.” We have illustrated specimens of silver resist from Dr. Harper’s collection, with description (Figs.40and41 ). None of these dates must be accepted as the year of manufacture ; they are all probably anniversary to a birthday, or perhaps a wedding day. The majority of the dated resist wares approximate to the early years of the nineteenth century. E 65 COLLECTING OLD LUSTRE WARE TRANSFER PATTERNS GENERALLY Considerable speculation occurs as to the methods adopted and the patterns used by the early Staffordshire and other potters, and it will be interesting to consider some data associated with the general history of the transfer patterns, so far as they are reflected in the designs applied to old resist lustres ; which, broadly, are of some assistance in enabling us to form an approximate idea of the date of the process. Some old resist lustre is considered to have been made at the group of potteries known as Old Leeds ; according to the Messrs. Kidson, underglaze printing was commenced there circa 1790, and the researches by Mr. Turner yield no further data on that point. This refers to the printing of general wares, and not necessarily to any treated with lustrous decoration. Most of the early factories were more or less under the influence of the Chinese manner of decoration when the underglaze printing was taken up, and many old Leeds marked wares display this influence. The Liverpool printing, with its early overglaze associations, adopted styles from the French school, similar to those produced overglaze at Worcester, but when these over- glaze Watteau subjects disappeared many of the under- glaze prints began to exhibit the Chinese style, the ordinary Willow pattern being one of the most common. With regard to Liverpool, considerable doubt exists whether any factory there produced resist wares ; m fact the veil of uncertainty is thicker over the Liverpool group than almost any other of the well-known potting districts in England. 66 OLD RESIST LUSTRE Mr. J. F. Blacker in his instructive article in London Opinion for May 24, 1913, says the pattern for resist silver lustres was “ printed ” in blue underglaze — that after the pattern had been blocked out with a preparation of treacle or glycerine the ware was dipped in the lustrous bath. It was then washed in water and fired. He considers this was the process in the early examples. In view of the general use of the Willow pattern and its allied variants we might reasonably expect to meet with a considerable number of Chinese designs m resist, assuming it to have been a process in operation in 1 790 ; but the only example with a distinct Chinese influence known to the writer is the very large straight-sided mug from the Ward collection illustrated in a group on page 222 of the Connoisseur for December 1907, which example was in the “ White City ” Exhibition some years ago. Speaking from memory, we do not think this outline was obtained by the underglaze blue, yet the mug was regarded as a most unusual piece from an extensive collection of other designs. CHINESE STYLES ABANDONED It IS, however, apparent that at the time resist lustres came into favour the potters or the public had lost interest m the Chinese patterns, and from this we might infer that the resist process came into operation well after 1 790 ; unless there be some other reason for the absence of those well-known designs. MORLAND PRINTS In Dr. Harper’s collection there are several perfect examples of the underglaze blue printing combined 67 COLLECTING OLD LUSTRE WARE with silver grounds. The subjects are hunting, farm and field scenes and some represent deer with their antlers reaching into tall trees. The figures of hunts- men, which we have also seen picked out in colours, remind one of the Morland Hunting subjects, man with dogs and gun, horses, &c. ; George Morland lived in 1763-1804, and his pictures were engraved long before his decease. Here again, we imagine, some little time would naturally elapse before such transfers would be applied to farmers’ jugs, and possibly the Morland subjects were more widely appreciated for their sporting characteristics after 1804 than previously. With regard to the blue underglaze, much experience had doubtless been secured before attempts were made to apply a large transfer to the awkward sides of a jug, and we may reasonably infer that the production marked a time when transfer printing generally, overglaze and underglaze, had been mastered to a considerable extent. With regard to the overglaze. Dr. Harper’s fine collection contains some splendid purple and lilac prints surrounded by fine resist work, the brilliance of the colours being altogether richer than Worcester porcelain overglaze prints, yet perhaps lacking the exceeding delicacy in outline of the latter. OTHER WORK WITH RESIST Probably the percentage of specimens carrying other work in addition to “ resist ” is small in the majority of collections. The principal additions are : (a) Panel views in overglaze transfer work. (b) Pencilled overglaze outlines of birds on a panel coloured by hand and fired. 68 OLD RESIST LUSTRE (c) Blue underglaze printed and tinted scenes, the blue from the transfer process. (d) Masks coloured in relief surrounded with silver patterns. (e) Black printed wording sometimes combined with other colours. These remarks are applied to examples in which the resist work covers practically the whole field of the jug. In the case under (a) the overglaze panel, views or emblems are usually in one overglaze colour, viz. black, violet, rich purple or a brick red. In the case of (b) the bird in colours is obtained by the old and common process of pencilling an outline, or perhaps transferring it, the coloured pigments being applied by hand. These coloured birds, often of no special artistic merit, when surrounded with resist work are much in demand by collectors, and there are several forgeries m modern work on the market. The class (c) embraces the method described by Mr. Blacker — referred to in the production of outlines — and does not need any further remark here, as we are including a print of a beautiful example, from Dr. Harper’s collection. The writer has another variety with blue leaves, which is not illustrated. With regard to (d) there are many masked jugs decorated with silver lustre, and a few are surrounded with resist. The masks are m relief. In connexion with (c) the artistic merit is sometimes little, but occasionally the work is very fine. It must be understood that these examples are by no means common, and the artistic ones realize high prices when 69 COLLECTING OLD LUSTRE WARE offered for sale. This is not surprising, for they re- present the highest flight of the Staffordshire potter in connexion with early resist wares. RESIST BANDS Quite a large number of pieces, chiefly jugs and mugs, have a band of silver resist at the neck, the remaining ground on the sides being left in white, cream, or maize as the case may be, with and without pigmentary decorations of a minor character. GOLD RESIST Mention has been made of resist gold lustre being found in designs — usually of the floral variety — similar to those found on resist silver wares. Our illustrations must be limited, and as an outline alone does not convey the colouring, we will refer the reader to a print in the Connoisseur, page 199, for November 1902, which accompanies an article mentioning English lustre. A great deal of white ground is often left on these rare examples, and we have already mentioned the undesirable and excessive chalky relief ornaments or turnings which appear in connexion with the Wilson school of lustre. This peculiar bronzed-gold variety is best exhibited with well-silvered examples, all ordinary gold and copper shades not of an absolutely identical sheen being excluded. In a general collection of pottery, pieces covered with a rich underglaze blue pattern will be found an admirable combination with the bronzed- gold. 70 OLD RESIST LUSTRE In fact the difficulties in collecting lustres and blues of even shades are well known. Experiments at blending are highly desirable. GOLD STENCILLED PATTERNS To dispose of the gold shades, it will be well to speak cf them before taking notice of resist silver varieties. With regard to gold stencilling, most of the specimens we have seen occur on a soft azure blue ground, and owing to the exceptional delicacy of the stencilled pattern (which would quickly disappear in use or by washing the ware) the production of a clear photograph IS most difficult. In certain lights we merely perceive the sheen of the lustre and close examination is needed to discover the pattern. In our Old Gold section we illustrated one example with a self-ground gold shade and a decorated neckband, Fig. 8, which also has an exceptionally delicate glaze. In regard to stencilled examples several occur in Dr. Harper’s collection, and we think they came from the same pottery. One is a very fine example in mint condition. The neckband has the soft blue ground covered with quaint markings in gold lustre, whilst the sides of the jug have a stencilled pattern on the blue in gold, of the Vine pattern, exceedingly old and often met in early wares. In this instance the details are unusually complete, showing the leaves and fruit. A second jug has another floral stencilled design. These varieties are uncommon and probably very scarce. Where the lustre is applied to the brown body- ware, the effect is similar to that of a superior copper. 71 COLLECTING OLD LUSTRE WARE GOLD PATTERN IN RESIST BIRD STYLE An old jug — unfortunately split — was once examined. It had a design in gold (copper) lustre, on a white ware ground, of the resist bird with foliage, so well known in the resist silver varieties. Had the example beer vice-versa, re. a gold ground and the resist birds in white, it would have been a most interesting speci- men. Even with the treat- ment seen it was unusual, and the pattern was un- doubtedly copied in gold lustre from a silver resist jug. GOLD SPRAYS IN RESIST STYLE This small jug (Fig. 34) is another illustration of the resist style spray decoration. It will be observed there is a band of solid copper lustre, and where the pattern is disposed over the white ground the appearance is brilliant golden pink. As the sprays are neat, it is considered an interesting variety. One other variety of a stencilled character has a blue ground on which leaves appear, the rest of the surface being a rich copper lustre. The sheen of the glaze is nearly as dark over the dark blue ground as over the brown ware, another illustration of effect of the groundwork shade on the appearance of 72 Fig. 34 OLD RESIST LUSTRE the lustre. The stencilling is a little ragged in this example, but is interesting. LILAC RESIST There are many copper lustre goblets having bands of lilac resist work. They are customary examples of comparatively late work, and call for no special comment. The writer has seen a jug of the shape printed as Fig. 22, the body of which had a similar floral treatment. RESIST IN TWO SHADES A copper lustre jug of fine modelling was re- cently seen with a deep band of lilac resist (i.e. on white ground) at the top, and the body had similar resist pattern on a pale blue ground ; the finely modelled hp, handle, and base being treated with full copper lustre on brown clay. It was a most unusual specimen, but badly damaged. Often our information has to be secured from damaged specimens, but a description of the class of work may help a collector to find a perfect example. SILVER RESIST Some regard has been had to the density of the paste and the smooth finish of the surface in selecting 73 COLLECTING OLD LUSTRE WARE an example to start the silver resist section. The original of Fig. 35 illustrates very clean potting com- bined with an exceptionally even surface, to which excellent tracery has been added in the usual resist style associated with a white ground. ONE BIRD While only a pint jug, it Fig. 36 IS very heavy, and the handle attached is fragile ! Its interior has the ordinary white lining, the base having the ring in the paste which is sometimes attributed to Leeds. Most of the “ bird ” class of jug represent one on each side, but this has only one bird m the front : the photograph has been so taken to show it clearly. The manner in which the glaze has been removed from the neck is also revealed by our print, and the rough mark- ing offers a contrast to the finer lines beneath. It an unusual model, not marked. IS TWO BIRDS Before leaving the resist birds in white on a silver ground, we show another print (Fig. 36) of a straight- sided mug from Dr. Harper’s collection. If an ordinary jug had been selected, only one side could have been 74 OLD RESIST LUSTRE printed ; the mug, however, illustrates the usual bird in a normal attitude, and a second one in flight in the distance. It is probable that this mug was issued from Etruria. These two examples close our descriptions of resist birds, so far as silver and white are concerned. VERY FINE SPRAY Reference has been made to the very fine outlines sometimes found on examples which some collectors associate with the work of the Old Leeds group of potteries, and the mug Fig. 37 may reasonably be taken as a fitting illustra- tion of fine work. The wording “ Eliz^^^ Beeston Robinson ” occurs in resist style on white, with simple lines at the rims. On each side of the plain silvered handle there is an exceptionally fine spray. The one visible m the print represents the acorn and oak leaf, the delicate tracery being exces- sively fine. Beeston is a fairly common name in the north, and there is a Beeston near Leeds. Another mug is marked Dinah,” with floral sprays ; it possibly came from the same pottery. We however prefer the surface of the one printed. In each example the silver glaze is most brilliant. Fig. 37 75 COLLECTING OLD LUSTRE WARE LEEDS CROSSED ARROWS As an excellent representation of the better class of floral wreaths shown in white on silver ground, we include one other print (Fig. 38). This is a distinctly clean and graceful pattern, that does credit to the pottery from which it emanated. The motif of the spray is repeated in miniature on the handle of the jug. In some old w’ares issued at Leeds the base has been found marked with a sort of crossed arrows, and a close examination of the pat- tern in resist reveals an outline of that character. The shape of the jug is identical with several attributed to Leeds, and may have been issued there, but we do not make a definite claim that either this or the mug at Fig. 37 came from the Old Leeds group. Some unusual jugs in white and silver resist introduce horses, stags, or lions. The latter is a rare example from the Ward collection. We must now deal with some rarer specimens of the ground shades associated with silver resist. The question may be asked whether the bird designs or the floral ones are the earlier ? The bewildering examples which emanated from Staffordshire will never be classified to the satisfaction of experts, and those with 76 OLD RESIST LUSTRE the greatest knowledge on the subject hesitate to express definite opinions. It however seems a little unlikely that the earlier patterns embrace a coloured ground in addition to the white one, on the same piece. ORANGE AND SILVER This occurs on a straight-sided mug with a clear floral pattern of somewhat set character. The top band near the rim is silver resist with white, but the body ground IS of rich orange and silver resist. Unfor- tunately black and white print cannot convey the colouring, hence its omission. It is needless to add that examples of this kind are unusual, and we have no evidence to offer as to the pottery which issued them. Fig. 39 RESIST WITH BLUE (HUNTING) Another paragraph in this chapter has dealt with a few of the interesting historical points affecting the underglaze printing associated with silver lustre. Fig. 39 shows a fine example, and is one of a set of three. Unfortunately silver lustre and its allied decoration are exceedingly difficult to photograph, and the originals need to be examined to distinguish characteristics 77 COLLECTING OLD LUSTRE WARE of most interest to the collector. This piece has been taken from Dr. Harper’s rich collection, to which the orange and silver mug also belongs. The writer has another small jug with a Morland sportsman m underglaze blue, carrying a gun, the foliage and details of the figure being picked out with overglaze colours. This is probably a later specimen. RESIST DATED PIECES We are once more indebted to Dr. Harper for the original prints of Figs. 40 and 41 — two exceptionally fine resist jugs, both dated pieces of the kind, so dear to the heart of collectors of English pottery. The jug at Fig. 40 with a circular white panel carries the wording : Elizabeth (& ?) Thomas Hill, Top Longdon, Staffordshire Born April 7 1794. The tracery pattern around the jug is most interesting, while the rim displays a different treatment m the usual silver and white resist style. The jug at Fig. 41 has, in addition to the name and date, a blue ground to the band of resist on the neck. The wording on the front, in resist style, is : Mary Sidebottom 1810. All lustre collectors will appreciate the interest of these two valuable and decorative specimens. 78 OLD RESIST LUSTRE RESIST AND PANEL OF BIRDS IN COLOUR Most of the resist jugs we meet are fairly tall, the boat- shaped variety, which is common m the later patterned wares, seldom being seen. A choice example is in the same fine collection. The description is “ silver resist decoration with panels of exotic birds in colour, principally red.” Fig. 40 Fig. 41 PANEL VIEWS With regard to the overglaze views, it is certainly curious that the majority of the resist wares present views of country residences in the Queen Anne style. They occur in violet, brick red, and purple. Other panels have been seen in black overglaze, one interest- ing specimen having Masonic emblems surrounded with resist. Staffordshire did net copy the styles which had been popular at Worcester thirty years earlier. 79 COLLECTING OLD LUSTRE WARE WATTEAU PRINTS The Watteau prints introduced there by Hancock, following the engravings of Ravenet and others, French artists, for a while held sway and we see a reflection of that style on the wares made at Liverpool. The absence of such fine work from the Staffordshire resist jugs can hardly be attributed to ignorance of what had been done at Worcester and Liverpool. Perhaps the charming little scenes of French Court origin had gone out of fashion, or the Queen Anne views were introduced to show the seats of various patrons of the potteries, in preference to the artificial land- scapes and fountains of Versailles ? Some collectors may have examples of the latter. Fig. 42 carries a print m lilac overglaze, not unlike many later prints from Worcester, and the jug may date from such a period. There is just one shade the writer would like to hear of — viz. a clear coral pink by the overglaze process. Most of the red shades are brick-red. 80 VIII. BRISTOL, SWANSEA, AND OTHER “ LUSTRE ” POTTERIES The traditional decorated lustre of Bristol : Swansea gold and silver lustre : Liverpool : Old Leeds group : Castleford : Don Pottery : Newcastle- on-Tyne : Sunderland. T he obscurity which surrounds the manufacture of certain wares will doubtless remain, but the traditional details are persistent, and in certain instances afford our only information. When “ lustre ” became general, experiments and probably manufacture on a large or a small scale took place at potteries outside Staffordshire and Sunderland ; that the practice did not extend in the west to such important centres as Bristol and Swansea, where potteries had been worked from an early date, seems somewhat inexplicable, if true. BRISTOL BRISLINGTON The good people of Bristol and the adjoining village of Brislington about the year 1 770 must have been well acquainted with lustrous wares of Spanish appearance, in reference to which the reader is referred to the important researches of Mr. W. J. Pountney — and F 81 COLLECTING OLD LUSTRE WARE these must have attracted considerable attention — and possibly travellers, merchants and others sent accounts of them into other parts of the Kingdom. We know there was communication between Bristol and Stafford- shire : it is proved by the fact that Ring, of Bristol, engaged Hassells to make earthenware for him, and the latter sent to his home district for good men. This was as late as 1 786, a date after the experiments affecting lustrous surfaces recorded to have been made by Josiah Wedgwood between 1776 and 1790. RING J. Ring started at the Water Lane Pottery, Bristol, in 1 784, being joined by Hassells m 1 786 ; but so far as can be ascertained there are no “ lustre ” examples in existence which were made at Bristol anywhere near this date : a detail which Mr. Pountney, the greatest living authority on early Brislington and early Bristol potteries, confirms. The shapes attributed to Ring are clean and artistic ; had lustre been made at Bristol m those days, it is probable that moulds similar to those used in Stafford- shire would have produced Bristol examples identical in most respects. Probably in 1786 the amount of lustre ware in actual circulation from Staffordshire was exceedingly limited. POUNTNEY The son of the Pountney of the Bristol Water Lane Pottery, Mr. W. J. Pountney has recently made ex- cavations at Brislington and also to some extent in Bristol. He has tried to find evidence of “ lustre 82 “LUSTRE” POTTERIES having been made at Bristol In the earlier days. He does not consider that any was made at his father’s pottery, but quotes an extract from Matthew’s Bristol Directory for 1 846 as follows : WHITE “ White J. (Jr.) and James.” “ Egyptian and Black Tea-pots, Stone jug ” “ and GOLD LUSTRE WARE.” This proves that m the year 1846 the firm m question were selling the wares mentioned. Potteries at Redcross Street and Baptist Mills, Bristol, were occupied by Messrs. White, and the first evidence which Mr. Pountney is at present able to find in regard to them refers to 1841. Several advertisements appear after 1846, but the mention of GOLD LUSTRE WARE is omitted. HIGH GLAZE The work of White’s Baptist Mills pottery is represented by a black ware having relief designs copied more or less from the Wedgwood and Stafford- shire products, yet lacking the rigidity of outline associated with the best periods. White’s ware, however, is by no means inferior : the remarkable feature about it is the high Jackfield-hke glaze on the interior of the teapots and sugar boxes, and the outer surface has an appearance similar to glassy Welsh coal Specimens can occasionally be purchased m the district of Bristol. 83 COLLECTING OLD LUSTRE WARE GOLD LUSTRE The gold lustre, so far as can be traced up to the present, if actually manufactured by White, or by some other Bristol pottery, does not appear to have been marked, and there may be little to distinguish some of it from Staffordshire wares. EXCAVATIONS Digging has recently been conducted in the parish of Redcliff, Bristol, on the site of an old pottery and general tip. At about a foot from the original surface of the tip two pieces of lustrous ware have been found. They are : SILVER (1) A small fragment Jackfield-like glaze on one side (doubtless the interior) and an exceptionally dense plain silver glaze on the other, equal to a mirror. COPPER (2) A larger fragment of identical clay, with a similar lining and rich copper lustre laid on a very smooth black ground, in fact a ground similar to the interior. Both these pieces may have been imported to Bristol, but here is interesting evidence that lustre of merit was being circulated in Bristol, and of a variety which hitherto the writer has never seen a specimen. BAPTIST MILLS Two conclusions are open to us : either White imported these wares or they were produced at his 84 “LUSTRE” POTTERIES factory. There is proof of the manufacture of the black wares with a Jackfield-like glaze, and finding fragments to which lustre had been applied as a form of decoration, strongly suggests that solid “ lustre ” in the true sense of the term was made in Bristol. The probability of this ware having been sent from Swansea cannot be entertained. That the fragments may represent some evidence of Yorkshire lustre or Staffordshire is probable. Until experts prove the contrary, we are content to class the fragments as Old Bristol. RESIST WARES Many pieces of painted and partially printed ordinary wares are known to have been made at Bristol, circa 1810 to 1830, bearing such dates, and the name of the recipient ; and if resist lustres, for example, had been produced m Bristol, as they already had been at the Northern Potteries and m Staffordshire some years earlier, there should certainly be quite a number of specimens in or near Bristol to prove such manufacture. In the face of our inquiries it would appear that the tradition of “ Bristol decorated lustre ” may be an erroneous designation ; the term may have arisen in consequence of Bristol being then, as it is now, a large distributing centre, and having at one time produced some old lustre of merit. There is one other feature for consideration, i.e. the possibility of Bristol being quoted in connexion with the lustre usually recognized as “ Brislington ” near Bristol. 85 COLLECTING OLD LUSTRE WARE “ B ” MARK The writer has seen two specimens of relief silver ware on the base of which the letter “ B ’’ has been scratched in a cursive fashion. Doubtless they are Staffordshire products. A silver resist jug was offered for sale some years ago which had some characteristics of the Bristol potteries, and a cross was cut m the paste on the base, something like the Bristol porcelain mark. ELIZA FIGURES A characteristic style of deco- ration at the beginning of the nineteenth century was the quasi-Chmese influence m the transfer printing, thus one finds the “ Eliza ” figures of Lowestoft association portrayed on white slip grounds and combined with deep copper lustre glaze. Instead of being “ Long” the figures are dwarfed, for inclusion in the white bands, and are associated with the well-known Staffordshire baskets and roses of enormous proportions. This decoration sometimes occurs on Ming shaped spill vases, and several specimens have been met m the Bristol district. It is no/, however, advanced that they were necessarily made at any of the Bristol potteries. We include an example (Fig. 43). The outline is transferred, and the figures and foliage are coloured m bright pigments. 86 Fig. 43 “LUSTRE” POTTERIES JOHNSTON 1884 A pair of large vases to which a mottled lustre had been applied were recently shown to the writer. They were marked in the paste (impressed) Bristol X X, a sort of crossed swords mark, with the date 1884. Mr. Pountneyto whom the writer is indebted for a sight of them says they were made and dated m March 1884 by Patrick Johnston. SWANSEA The renown of Swansea gold and silver lustre was decided traditionally long ago : pretty well every fine unmarked copper lustre brought forward is attributed to Swansea and the expression “ Swansea lustre ” is familiar to all collectors. There seems to be far more evidence m favour of silver and gold (copper) lustres having been manufactured m the Swansea district than m any other Western pottery. It is known that large quantities of copper ore were imported from Cuba to Swansea for other purposes than lustre, which how- ever rendered the copper available m a purified form for its production without much trouble. CAMBRIAN POTTERIES SILVER LUSTRE In Mr. A. Hayden’s : “ Chats on English Earthen- ware ” the statement is made that silver lustre was discovered by Thomas Wedgwood, youngest son of Josiah Wedgwood, about 1791. From the alphabetical list of marked lustre included in this handbook it will 87 COLLECTINGOL.DLUSTREWARE be seen that previous to 1 790 the Swansea factory was known as the “ Cambrian Potteries, ” having been established in 1 769. We must first of all consider the Cambrian Potteries. In the British Museum there is a specimen of ware with a band of silver lustre marked “ Cambrian,” and unless it was made and so marked after Haynes took the factory in 1 790, the only alternative assumption is that silver lustre was used in the Swansea district in 1790 or even earlier; the late Mr. Duncan, of Cardiff, held the opinion that silver lustre was used at the Old Cambrian Works. This establishes an important fact — about Swansea. Moreover, the late Mr. Duncan had a pair of candlesticks decorated with plain silver and a little resist silver, from a mould identical with specimens marked ” Swansea ” which were not lustred. The design of the resist work is the Vine pattern, a motif of great antiquity used on the early Hispano Mauro wares. The same pattern is frequently painted on white slip bands applied to copper lustre probably of Swansea or Staffordshire make. It also occurs on a rare gold lustre as a stencilled pattern m Dr. Harper’s collection. DILLWYN Lewis Weston Dillwyn took over the potteries m 1802, and it is in connexion with his name that evidence of lustre having been used at Swansea to a considerable extent is firmly established. RESIST WARES At the beginning of the nineteenth century the resist lustres were probably being produced somewhat 88 “LUSTRE” POTTERIES extensively in the Northern district and in Staffordshire, and probably this was well known at Swansea, because we read that the painters Young from the Bristol factory 1803-1806, Pardoe from Derby with floral embellish- ments, and Evans also with good floral work, came to Swansea. It is known that silver lustre was placed on some porcelains issued at Derby, and Derby artists sought work m other districts. Thus attempts may have been started at Swansea to produce elaborate resist patterns, a process of which there is some evidence in the Cambrian days. If however Swansea did not produce gold or silver pottery with stencilled or resist designs, beyond the use of lustre as a minor decorative effect, the Stafford- shire and Northern potteries generally must be awarded the credit for practically all English resist lustres, in view of the doubt that Bristol ever produced any, except of an experimental character, covered with a lustrous glaze. MARKED PORCELAINS With regard to porcelains ornamented with lustrous effects on white grounds there are at least two examples on our record : one marked “ DILLWYN ” and another “ DILLWYN, SWANSEA ” in pink lustre. These examples may have been made from circa 1814 to 1817, a period when it was more common for pottery and porcelains to be marked than from 1790 to 1810. The ornamentation of porcelains with lustrous effects was a common practice throughout the potteries when 89 COLLECTING OLD LUSTRE WARE lustre had become popular. Tea sets were especially in demand. SWANSEA COTTAGE WARES It would be interesting to determine whether the late soft porcelains known as “ cottage Swansea,” often prettily decorated with coloured prints and lustre, were produced at Swansea in its later days of manu- facture, i.e. during the earthenware period. According to the historical data we read that Swansea porcelains were not made after circa 1817, but the manufacture of earthenware was continued until about 1870, when the works were closed. Thetransferredsub- jects which appear on the cottage Swansea varieties rather resemble the print- ing on recognized Swansea earthenwares. Probably the Spodes produced a large quantity of Staffordshire wares carrying designs similar to the Swansea transfers, but the traditional nomenclature ” cottage Swansea ” doubtless had some basis. Fig. 44 SWANSEA OR SPODE We include a print (Fig. 44) of a copper lustre jug about three inches high with a deep lilac transfer ” Flower girl and little boy.” The boy on the reverse side is re- 90 “LUSTRE” POTTERIES presented with a top hat, not however equal to that worn by the ladies in the Welsh costumes ; yet the view has a greater resemblance to the Swansea print- ing than any we have seen. The jug has been in the possession of a family with Welsh associations resident in Bristol for nearly one hundred years, but there is no exact information as to date or place of purchase. Some interesting matter, with fine illustrations, on Swansea lustre will be found in the Connoisseur for July, 1904. To decide the controversy a piece of pottery is wanted fully covered with silver or copper glaze, having the impressed mark “ Swansea,” and made about the beginning of the nineteenth century. To expect the discovery of such a piece marked “ Cambrian ” is perhaps a vain hope. LIVERPOOL LUSTRE In connexion with the products of the Liverpool Pot Works generally there is great obscurity, but the pottery m the Liverpool group, with which the pro- duction of lustre is generally associated, is the “ Her- culaneum Pottery,” m existence, according to some authorities, from 1796 to 1841. There is a record of a number of workmen migrating to this pottery from Staffordshire, who promptly took up the manu- facture of the popular wares of their day, m which certain varieties of lustre were m all probability in- cluded. In the Mayer collection, containing specimens 91 COLLECTING OLD LUSTRE WARE manufactured at the Herculaneum Pottery, a large resist jug is included which is inscribed : “ Ex dona of T. Halton to William Halliday Everton Coffee House.” In the catalogue of the ” Norman ” collection of Silver Lustre, dispersed in London in February 1912, the following occurs : “No. 116. A Liverpool mug in silver resist with inscription. Mary Sidebottom, 1810.” whilst No. 94, in the same catalogue, described “ A Leeds jug, silver ground and border of blue and silver with inscription. Mary Sidebottom, 1810.” In the cases quoted above from the catalogue, the jugs doubtless showed characteristics which enabled the author of the catalogue to classify one as “ Liverpool ” and the other as “ Leeds.” OLD LEEDS LUSTRE Leeds had a group of factories producing wares similar in paste and decoration, and the management in some instances was in the same hands, i.e. new fac- tories taken over were worked by persons who had been previously employed in an adjoining factory. This gives great difficulty to the classification of the wares. With regard to lustre, the cross on the base of the remarkable resist silver gallon jug illustrated in the Connoisseur for December, 1907, from the Ward 92 “LUSTRE” POTTERIES collection Is generally accepted as indirect evidence of silver lustre having been issued from the group of Leeds Old Potteries. The author Is indebted to Mr. J. R. Kidson, the recognized authority on “ Leeds,” for the following letter : ...” I have no evidence that Leeds was the earliest in the field regarding the making of lustre ware. . . The difficulty about lustre ware is the absence of any factory mark. The incised cross in the clay I do not take to be a factory mark, and certainly not Leeds ; I should say it is a workman’s mark. “ In all my experience I have only found two marked pieces of Leeds pottery silver lustre ware, and I have never seen any Leeds copper lustre ware. They appear to have made more of this m the north, probably at Newcastle and Sunderland. “ I should say that very little was made m Yorkshire. Staffordshire and the North of England seem to have been the largest makers, but as stated, the absence of factory marks makes it very puzzling. ” CASTLEFORD POTTERY NEAR LEEDS A pottery was established here by David Dunderdale about 1790 and it is known that lustrous specimens were produced. Unfortunately no marked specimen IS available. DON POTTERY This pottery was founded In 1790 at SWINTON, Yorks, by John Green, a potter from Leeds, and 93 COLLECTING OLD LUSTRE WARE doubtless a considerable quantity of ware is in exist- ence, with the characteristics of Leeds wares. NEWCASTLE-UPON-TYNE Various firms have produced wares at Newcastle from about 1 780, and a very large quantity of lustrous effect combined with printing has survived. The lustre varied very greatly in character, and out of the enormous quantities produced a few nice specimens may be found. Mottled and pink effects combined with rough colours are one of the chief characteristics. SUNDERLAND Several potteries are recorded in this district, and a considerable quantity of Sunderland lustre, artistic or otherwise, may be found. Sunderland firms frequently marked their specimens such as : J. Phillips. Hylton Pottery Phillips and Co. Dixon and Co. One specimen is marked “ Dixon and Co.,” im- pressed, but the work is not of a high merit. Frog mugs are often mentioned m connexion with this group of potteries, and some reference must there- fore be made to them. The mugs frequently decorated with copper lustre were made with the model of a frog attached inside, and a person unaware of the occupant would be startled, when the discovery was made. 94 IX. MARKS Names or initials on marked lustred wares ; Decorators' marks : Other firms who used lustrous e0ects. I N the early days of English pottery it was not the custom to mark the ordinary wares, and this omission applied to the cheaper products much more than it did to the expensive pieces. In connexion with the metallic glazes the absence of marked examples is well known. Lustrous specimens carry an impressed name or letter, if the mark is not in relief, when marked at all. Sometimes the name is printed in colour, or written on a lighter ground. In a few instances initials are scratched m the lustrous glaze. In the oldest examples the name was impressed into the paste before the piece was glazed, i.e. before the body glaze was applied, and before the full lustre glaze was added ; consequently the name was ob- literated by the firing. An alphabetical list has been prepared for use by the reader, who may, it is hoped, be able to add a few more names from information m his possession. 95 COLLECTING OLD LUSTRE WARE Name or Initial “A” Allertons Aynsley Remarks Probably Aynsley {see Aynsley) or Allerton Staffordshire. Circa 1831 and onwards. (J. Aynsley), Lane End, Staffordshire. Circa 1800. “ B ” (Impressed) “B” (cursive) Barlow, Staffordshire. Circa 1800. Scratched on silver lustre. Probably Stafford- shire, 1820. Bailey and Batkin Longton, Staffordshire. One of the earliest known firms who made silver lustre. Bailey and Harvey Bott and Co. Bratt Cup marked. Dr. Thorpe’s collection. Staffordshire. “ George Bratt ” name appears on silver Cambrian piece. Piece in British Museum. Factory 1769 to 1790. See also Dillwyn. Copeland and Garrett 1833 to 1847. “ D ” Probably Davenport of Longport. Circa 1800 Dawson Dillwyn Sunderland group. Circa 1810. (Swansea ) Previous to 1790 known as Cam- brian Potteries. Purchased by Dillwyn 1802; closed 1870. Dixon and Co E. Mayer Sunderland group. Circa 1820. Staffordshire firm of great antiquity. Made lustres of fine finish contemporaneously with Wedgwood. Circa 1790. Fell “ G ” (Masonic) Harley Newcastle group. Circa 1813. Uncertain. T. Harley, Lane End, Staffordshire. Circa 1800. Pineapple jug, lustred decoration. Lakln and Poole Leeds Hanley, Staffordshire, 1770 to 1795. Group of Potteries. Fine resist silver specimens. Circa 1790. Lockett and Sons Mayer and Newbold Meigh f C. Meigh and Sons i 96 Lane End, Staffordshire, 1829. Lane End, Staffordshire. Circa 1800. Old Hall, Hanley, Staffordshire. Circa 1790. MARKS Name or Initial Remarks Minton Circa 1790 and onwards. P. and U. Poole and Unwin. Longton, 1870 (modern). Scott Scott and Co., Sunderland group (Southwick), 1 789. Copper lustre pattern on cup and saucer at South Kensington. Spode 1770 and onwards. Swansea See Dillwyn. Warburton Cobridge factory. Circa 1802. Wedgwood Circa 1760 and onwards. Wlleman J. F. Wileman. Circa 1860. Lustred cream ware. Wilson Hanley, Staffordshire. Circa 1 786 to 1802, &c W. Probably Wilson, but uncertain. E.Wood Burslem. 1 783 and onwards. Wood and Gildwell Burslem. 1790 to 1818. DECORATORS’ MARKS In connexion with the more important of the English porcelain factories, especially Worcester, the marks made by workmen are always carefully considered, and several writers have tabulated such marks for the information of collectors. The persons who decorated lustres in the old days, probably had not the faintest idea that a hundred years later the marks on their roughly finished wares would form the subject of speculation and inquiry. Occasionally they added some mark or initial to the base of the piece with the pigments they had been using, as was done on fine porcelain work. The mark might be meant to indicate the size of the jug, or some special detail, or a special customer. Sometimes only a “ tick ” occurs. G 97 COLLECTING OLD LUSTRE WARE The cross — a very early mark in ceramics — was used at Leeds and Bristol, and examples of Spode’s ware are sometimes marked w’ith a cross. One copper lustre jug has the Coalport mark of a rose m green and yellow pigments roughly painted over the copper glaze on the base. Nearly all the marks such as Dixon and Co., Bott and Co., and many others mostly ending “ and Co.” not infrequently found on lustred pottery (usually on the base where the ground is white cream, or buff m colour) can be accepted as comparatively late specimens when compared with the old lustres probably made about 1800. OTHER FIRMS WHO USED LUSTROUS EFFECTS In addition to the firms we have given, the under- mentioned as well as several other firms not included — are on record as having used lustre decoration : Edwards^ Cork I Dalehall, Staffordshire. Edge } Till of the Sytch. Burslem 1850 and on. Beech and Hancock. Tunstall, circa 1845. Ralph Salt. Hanley 1830-1840. Staffordshire. Figures and groups. 98 X. BUSTS AND FIGURES WITH LUSTROUS GLAZE Staffordshire copies fashion from Chelsea, &c. : Marked wares : Glazes used : Resist effects : Allied decorations : Silvered examples not rare : Skene collection. Bust of Minerva : Lions : Rare model of cat. Busts with copper effects : Figures with coppzr effects I T is desirable briefly to refer to the origin of figure- making in English pottery. It was doubtless first suggested to the porcelain factories, Bow, Chelsea, Derby, &c., by examples from continental sources. In earlier days, however, there are a few examples of original English work, notably the figures produced by Dwight and others. STAFFORDSHIRE COPIES FASHION FROM CHELSEA, ETC. Influenced by the beautiful porcelain specimens produced at Chelsea and Derby, &c., the Staffordshire makers, always ready to copy ideas, turned their attention to the production of pottery figures. There is no doubt whatever that they copied the Chelsea models, but they also introduced many new ones, less classical but more absolutely English in conception, and these latter pieces 99 COLLECTING OLD LUSTRE WARE were probably much more popular with yeomen and peasants, appealing as they did to the simple home-life of rural England : there was less of the court gallantry associated with the early Dresden productions, which found ready echo in the Chelsea porcelains. MARKED WARES The earlier Staffordshire products are often classical and Scriptural. Those decorated with ordinary pig- ments are sometimes marked with the name of the potter, and afford an approximate date. There are also examples on which silver lustre appears as a minor decoration ; therefore when unmarked examples are discovered from similar moulds totally covered with the silver glaze (which so often destroys the name impressed in the paste) the historian is in a great measure justified in attributing such wares to the potter who made the marked but non-lustrous specimens. GLAZES USED So far as can be determined the “ silver ” lustre appears to have been first of all used extensively in connexion with figures. Probably the earliest are those slightly decorated with silver lustre m addition to other coloured pigments, and those wholly dipped in the silver glaze may be slightly later. We have seen how at Swansea when the works were called the “ Cambrian Potteries ” a piece of ware marked “ Cambrian ” was merely banded with silver lustre, and many collectors regard this method as typical of the earliest practice. There are, however, busts totally 100 BUSTS AND FIGURES covered with copper lustre which are undoubtedly old ; in addition to which, many figures with traces of lilac or purple lustre on white or cream grounds allied with other coloured pigments are known. The majority of these can with little reservation be attributed to Staffordshire or Sunderland. RESIST EFFECTS ALLIED DECORATION We know Wedgwood produced resist lustres, yet there appears to be no evidence of resist decora- tion on his figures. This may be due to the fact that the modelling being m relief it did not present a suitable surface for resist work : certainly not because the potters were content to merely Imitate a metal figure m its simplicity, as they issued resist silver cups and saucers, a variety which has never been associated with the art of the silversmith. In connexion with the whole history of lustred wares there is a pro- fusion of allied decorative treatment, yet, beyond the earlier examples of white or cream wares touched with silver or weak copper, the silvered ones m their own class occur without allied decorative treatment, with very few exceptions such as those which were m the Skene collection to which brief reference will be found on page 103. Can it be that most of the figures were issued before resist silver wares had become popular ? SILVERED EXAMPLES NOT RARE Figures covered with a silver glaze are, if not plentiful, not rare. The first traces of silver effects occur on 101 COLLECTING OLD LUSTRE WARE examples usually attributed to Enoch Wood and the firm associated with his name. He set up in business at Burslem in 1 783, and in 1 790 entered into partnership with James Caldwell, in the well-known firm of Wood and Caldwell. There exists a very fine bust of a child, modelled by E. Wood, on a pedestal of silver lustre. A choice pair of silver lustre figures representing “ Females seated reading,” by Wood and Caldwell, are Illustrated at page 431 of Mr. Arthur Hayden’s ‘‘ Chats on English Earthenware,” from Mr. W. G. Honey’s collection, Cork. In the Norman collection, dispersed m London February 1912, there were the following silver lustre figures : Female figure of “ Peace ” by Wedgwood and Bentley 14m. high. Well modelled bust of Shakespeare 13 in. high. Well modelled bust of Shakespeare 16 in. high. In the British Museum we have a figure of a mounted Hussar with uplifted sword under a lustrous glaze, which has been attributed to Wilson. Examples of the Wood and Caldwell figure of ‘‘ Britannia,” decorated with silver lustre on the helmet and shield, are well known, and at least one example was marked by the firm. Ralph Salt, of Hanley, whose name is often found on ordinary Staffordshire wares, is known to have made figures covered with silver lustre, circa 1830- 1840. 102 BUSTS AND FIGURES SKENE COLLECTION In Messrs. Lawrence and Lawlor’s article in the Connoisseur for May and July 1904, an account will be found of a variety of silver lustre figures which had been obtained from the descendants of the actual manufacturers, by the Rev. G. Skene. The articles referred to are excellent, condensed in detail, and splendidly illustrated, and should be procured. It was stated some time ago that the Skene collection had been dispersed. BUST OF MINERVA For our own illustrations, we have preferred to show (Fig- 45) an exceptionally fine bust of Minerva from the col- lection of Dr. Harper. LIONS CAT In addition to the human figure as the subject, we meet occasionally representations of lions. The king; of animals was often copied in Staffordshire, but lustred varieties with a silver glaze are attributed to David Wilson. Wedgwood probably also made examples. These are usually heavy sideboard pieces. There must also have been representations of domestic animals 103 COLLECTING OLD LUSTRE WARE treated with lustre glaze, as we have the print of a cat from Dr. Harper’s collection. It reminds us of the early solid agate and salt-glazed models of the same animal, but so far as lustre is concerned it is a most unusual example. These pieces are seldom marked and there is the greatest difficulty in assigning them to any particular pottery. BUSTS IN COPPER LUSTRE The number of “ copper ’’ figures or busts of lustred pottery is exceptionally limited, and it has to be con- fessed that unless the copper figures have all been collected, the only conclusion to be arrived at is that they were not numerously made. It may be that the silver glaze was more popular at the time that “ figures ” and allied modelling generally were in demand, or that the firms who issued the figures to the greatest extent had not started to use copper glazes. There was considerable expense in connexion with figures, and assuming that the silvered wares are earlier, then when coppered wares came into fashion at the beginning of the nineteenth century the potters may have learnt discretion, and did not attempt to produce figures treated with deep copper glaze. Other novelties may have sprung into favour then. In the Hanley Museum there is a very fine bust of George Whitfield, beautifully modelled and lustred to give a “ bronze ” appearance. The bust of a female in copper lustre was in the collection of Mr. W. G. Honey of Cork, and it is illustrated on page 223 of Mr. A. Hayden’s “ Chats on English China.” 104 BUSTS AND FIGURES Another bust in copper lustre was exposed for sale some five or six years ago. It was about sixteen inches high, and remind the writer of a much earlier stoneware bust of James II, which is attributed to Dwight. This example did not carry a very brilliant glaze. FIGURES IN COPPER One or two smaller figures treated with full copper glaze have been heard of, but reliable details are difficult to procure. We think it must be accepted that the manufacture of old copper lustre figures, on the lines of the silvered examples, was not extensive, and collectors who possess them with a dark ground fully dipped m a brilliant copper glaze must regard themselves as ex- ceptionally fortunate. The beginner should be on his guard against the modern model of a Staffordshire Toby in lustre : we have never met a genuine old example. 1C5 XI. ENGLISH PORCELAINS DECORATED WITH LUSTROUS EFFECTS Staffordshire and Swansea : Gold or pink lustre : Strawberry pattern : Resist style : Sprig designs : Stone china and lustre : Land- scape in gold lustre : Worcester and Derby : Victorian. AT the beginning of the nineteenth century the \ formula for making porcelain was common, and Staffordshire took up its production very extensively. STAFFORDSHIRE AND SWANSEA It is from Staffordshire and Swansea that we get many quaint tea-sets decorated with lustre patterns, the designs produced being quite beyond the scope of the present volume intended chiefly to deal with lustred wares, and not with china decorations. The patterns were generally set ones, in the case of the saucer of a tea-set a blank space was left where the cup stands, the lustre being arranged in pattern on the border. 106 ENGLISH PORCELAINS GOLD OR PINK LUSTRE Sometimes the pieces were merely edged with copper or silver lustre, the additional work being transfer prints or rough floral designs. Many fine porcelain sets were produced, and probably a lot of marked specimens are in existence. The brilliant finish of some examples treated with a pure solution of copper doubtless gave rise to the terms “ gold ” or “ pink ” lustre. STRAWBERRY PATTERN The strawberry pattern Is a well-known rendering of lustre decoration on china, — it was appreciated, and therefore extensively produced. The design is often attributed to Dillwyn who had charge of the Swansea factory ; marked examples touched with lustre are in existence. One hint can be given, viz. : the more extensively the article is treated with lustre (with a fair degree of accuracy in outline) the more desirable it IS. The ground associated with the strawberry pattern m some cases nearly covers the side of the cup and most of the saucer, though some designs present only a narrow band. RESIST STYLE In the most elaborate porcelains clean geometrical outlines are reserved in white on a wide pink border, absolutely identical with much resist silver work, and our very satisfactory print of a stoneware plate. Fig. 46, excels the majority of the porcelain examples. These resist borders are often a little crude m finish. 107 COLL.ECTINGOLD LUSTREWARE There should be no difficulty in finding porcelain examples. SPRIG DESIGNS Other early specimens carry sprig designs in silver lustre, relieved by red floral markings or sprays. These are less common than the pink lustre. The merely banded porcelains, both with silver and copper, were issued extensively, and are, we think, the least desirable, unless associated with his- torical prints, &c. STONE CHINA AND LUSTRE Porcellaneous stone- wares are found treated with lustrous effects and a semi- translucent toy jug, cream ware, high glaze with figures in relief can be mentioned which is banded with rich copper lustre edged with red. It was probably made by Spode. It is only two inches high. LANDSCAPES IN GOLD LUSTRE A very large number of sets of china were issued, chiefly from Staffordshire, decorated with crude land- scapes in pink or gold lustre, painted on a white ground with the “ Lowestoft ” landscape. These 108 ENGLISH PORCELAINS decorations are usually mere daubs. The lustre pig- ment used was excellent, however, and it must be often a source of regret that the glaze has to be excluded from the collector’s shelf because of the slovenly decora- tion. Jugs of pottery body with white ground are often met, decorated in the same manner. Lakm and Poole produced such wares. We have seen Staffordshire or Swansea porcelains carefully finished, described as “ Brislington gold lustre.” This appears to be quite erroneous. WORCESTER AND DERBY The use of lustre was not unknown at the leading English porcelain factories, and both the silver and copper glazes appear to have been experimented with and issued to some extent. Silver lustre has been found on Old Derby porcelain, and bronze decorations were used m connexion with important pieces at Worcester, during the Flight and Barr period. VICTORIAN In conclusion the reader will hardly need to be reminded of the Victorian cottage sets of china with purple prints, edged and to an extent patterned with lustre. One set represents the late Queen Victoria and the Prince Consort : another shows the late King Edward as a youth flying kites at Windsor. 109 INDEX Alsop, near Buxton, 36 American subjects, 36 Apricot ground, 39, 65 Bands, coloured, 38 resist, 70 Basalts, 11,12 Beading, 53 Binns (Old Worcester), 45 Bird decoration, 50, 69 handles, 27, 58 Birds in ceramics, 27, 51 Blackberry lustre, 45 Black prints, 69 Blacker, J. F., 67 Blue grounds, 39, 65 Blue printed wares, 39 Boat shapes, 42, 58 Brislington, 81-85, 109 Bristol, 81-87 Britannia, 102 Bronze-gold lustre, 43 Brush-work, 49 Buff grounds, 39, 64 Busts, 99, 103, 104 Cambrian Potteries, 87, 88 Canary grounds, 39, 64 Castleford wares, 93 Cat model, 103 Chinese influence, 35, 62, 66, 67 Classic reliefs, 16, 28, 29 Coalport mark, 98 Coloured grounds, 39 Composition, 1 Connoisseur, 67, 70, 91, 92 | no Copper, glazed figures, 104, 105 Cornwallis jug, 36 Cottage Swansea, 34, 90 Cream relief, 56 Crossed arrows, 76 Dates of introduction, 41 Decorators’ marks, 97, 98 Deer, 3 1 , 68 Derby, 89, 109 Diamond pattern, 57 Dillwyn, 88, 89, 107 Dinah, 75 Discovery in Staffordshire, 3 Dogs, 31 Don Pottery, 93 Duke of Clarence china, 45 Duncan, Cardiff, 88 Eagle handle, 27 Eliza figures, 86 English gilding, 60 Etruria, Wedgwood, 4 Excavations, Bristol, 84 Faith, Hope, and Charity, 45 Farm subjects, 68 Females reading, 102 Figures, 101 decoration, 62 Forgeries, 69 Frog model, 94 General Pike, 36 Gold lustre, 15, 19 resist, 60, 70 INDEX Gold stencilled, 71, 72 Granite ground, 39 Green grounds, 39 John (Leeds), 93 Ground shades with resist, 64, 65 Gubblo School, 2, 1 1 Hancock, frontispiece, 3, 80 Hand finished, 19 Harper, Dr., collection, 17, 46, 50, 56, 65, 68, 69, 71, 74, 78, 103 Hayden, 87, 102, 104 Herculaneum pottery, 91 Hill, E. and T., Top Longdon, 78 HIspano Mauro wares, 2, 88 Horizontal ribbing, 33, 55 Horses, 31 Hunting subjects, 29, 68 Italian lustre, 2 Jackfield glaze, 83 Jasper blues, 41 Johnston, Bristol, 87 Kidson, Leeds, 66, 93 Lakin and Poole, 109 Lancastrian lustre, 42 Lawrence and Lawlor, 1 03 Leeds ring, 28 Lilac lustre, 44, 45 resist, 73 Linings, ruby, 53 gold, 54, 55 silver, 55 Lions, 76, 103 Liverpool lustre, 91 London Opinion, 67 Low'estoft decoration, 38, 86, 108 Maize ground, 51 Manganese, 54 Marbled style, 48 Mariners’ ArmS: 48 Marks, 95-98, 100 Masked jugs, 17, 69 Masonic emblems, 79 Mayer, 16 Minerva (bust), 103 Modern work, 42, 59 Morland prints, 62, 67, 68, 78 Mottled effects, 46 Newcastle-upon-Tyne, 94 Norman collection, 92 Old Leeds, 66, 75, 76, 92 lustre, 9 Orange and silver, 77 Association jug, 35 Origin of lustre, 2 Other work with resist, 68 Overglaze decoration, 12, 13 34 Painted lustre, 49 Panels, 18, 68 birds in colours, 79 Pelured lustre, 53 Pencilled outlines, 35 Persian lustre, 2 Pink grounds, 39, 65 lustre, 43, 47 Planed surfaces, 1 1 Porcelains, 1 06-9 marked, 89 Pountney, Bristol, 82 Purple lustre, 43-44, 46 Queen Anne style, 79, 80 Queen’s ware, 1 1 , 26 Raised floral work, 22 Reddish body, 21 Relief patterns, 63 Resist bird, 62 dated pieces, 65, 78, 79 lustre, 7, 60-80 two shades, 73 Ring, Bristol, 82 Robinson, Eliz. Beeston, 75 111 INDEX Ruby lining, 53 lustre, 9 Salt, Hanley, 102 Sanded ground, 39 Seasons, figures of, 28 Self grounds, 8 Shakespeare bust, 102 Shaw, historian, 3 Sldebottom, Mary, 78 Silver lustre, 55 Silversmiths’ moulds, 55 Silver resist, 61, 73-80 Skene collection, 103 Spain, Hispano Mauro, 2 Spode decoration, 23, 90, 108 Spotted dogs, 30 Spray on body glaze, 31 Sprig designs, 108 Staffordshire roses, 32 Steel lustre, 55 Stencilling, 7, 63 with silver, 64 Stone china, 108 Strawberry pattern, 22-3, 106-7 Striped lustre, 38 Sub-oxide, 1 1 , 27 “ Success to Commerce,” 48 Sunderland wares, 47-49, 94 Swansea, 15,21,87-91 Cottage, 90, 91 Teapots, 37, 58 Thick wares, 25 Thin wares, 25 Three-part work, 32 Tinted scenes, 69 Time, verse, 49 Toby model, 105 Torto.se-shell, 39 Transfer patterns, 66-67 Trial pot, Hancock, /ronfjspiece Turner, 66 Turquoise ornament, 33 Undercutting, 18 Underglaze blue, 67, 70 with resist, 77 Varieties of lustre, 4-5 Vertical, facets, 18 fluting, 54 ribbing, 32 Victorian pottery, 45, 109 Vine pattern, 62, 88 Ward collection, 67, 76 Watteau prints, 80 Wedgwood group, 15 and Bentley, 102 Josiah, 3, 4, 9, 10, 46 101-3 mask, 17 Thomas, 87 Welsh costumes, 90-1 White, Bristol, 83 grounds, 64 inings, 17-18 William 111,35 Willow pattern, 67 Wilson, gold, 44, 61 school, 19, 20,44, 102, 103 silver, 56, 58 Wood, Enoch, 13, 102 and Caldwell, 14, 30, 37, 102 Worcester factory, 109 prints, 68 Wreath under lustre, 31 Yorkshire, 93 Ballantyne Press, London t t ^0 ( i y' i / ; I r.FTTV r.FNTER LIBRARY 3 3125 00004 6298