The ceramic art of Great Britain from pre-historic times down to the present day, Volume 1 (of 2)

Nottingham.

That pottery and encaustic paving-tiles were made at Nottingham during mediæval times is abundantly proved by the discovery, in April, 1874 (when digging the foundations for the Methodist New Connection chapel), of kilns and examples of tiles and domestic vessels. Of this discovery Mr. A. J. Sully gives me the following account:—

The vessels seem to be of very much the same general character and period as those found at Burley Hill, described on pages 78 and 79. They consist principally of pitchers of almost identical form with those engraved on Figs. 266 to 269 and 272 and 274. The most remarkable is the one described by Mr. Sully as bearing a mask on either side.

In 1641 there appears, from a list of trades compiled in that year and given by Dering, to have been only one master-potter at Nottingham. In 1693 “glass-pots”—i.e. crucibles for glass makers—were made of Derbyshire crouch clay. This is thus alluded to by Houghton in that year, “clay with flat or thin sand glittering with mica. Crouch white clay, Derbyshire, of which the glass pots are made at Nottingham.”

In the beginning of last century Mr. Charles Morley was a manufacturer of brown glazed earthenware in Nottingham. His works were in the lower part of Beck Street, on the way to St. Ann’s Well. Mr. Morley, who amassed a very considerable fortune by his pottery, built for himself the large house in Beck Lane, which was afterwards occupied by his son, the late Mr. Charles Lomas Morley, and still later used as the Government School of Design. In 1737 Mr. Charles Morley, the potter, was one of the Sheriffs of Nottingham. One of his principal branches of manufacture was in brown ware ale-mugs, for the ale-houses of the district, and in pitchers, and other domestic utensils. In 1739, according to a list of trades in that year, there were two master-potters in Nottingham.

Dering, who wrote his “Nottingamia vetus et nova” in 1751, says that at that time Nottingham sends down the river Trent “coals, lead, timber, corn, wool, and potter’s ware.”

In 1772–4 it is stated, in a curious and scarce little work, “A Short Tour in the Midland Counties of England,” that at Nottingham “the making of glass wares is laid aside, and that of pots become very trifling; but here are some small silk mills and also a few on the same principle for cotton, lately erected.”

In 1774 the names of thirteen “pot-makers,” one “mug maker,” and four “pipe makers” occur in “An exact List of the Burgesses and Freeholders of the town and county of Nottingham,” who voted at the election of Members of Parliament in that year, but of course these would mainly be journeymen. The names, which I here extract from a copy of this scarce book in my own possession, are as follows:—

In 1780, in “An exact list of the Burgesses of the town and county of the town of Nottingham, who polled in the election of two Burgesses to represent the said town in the Council Chamber,” the following fourteen pot and mug-makers and one pipe-maker occur:—

In 1802, in a List of the Burgesses in the Free Library[102] the following four names occur;—

In the list of those who voted at the contested election of 1803, only one pot-maker appears. In the same list the “Old Pottery” is mentioned as a place of residence of several persons, thus showing that the manufacture had then ceased at that place.

In 1815, Blackner in his history of Nottingham says, “there were likewise two potteries within the last thirty years,” “but the clay was principally brought from a considerable distance, which added so much to the cost of the pots as to prevent the proprietors maintaining a competition with the Staffordshire dealers.”

The names of “Mug-House Yard” and “Mug-House Lane” in Beck Street, take their origin from the old pot works of Mr. Morley, and show, incontestably, that those works, where “mugs” were the staple production, were known as the “Mug-house.”

The greater part of the clay was brought from out of Derbyshire, but some is said also to have been procured from Hucknall Torkard.

The earliest known dated example of Nottingham ware is the remarkably fine posset-pot (Fig. 812), in the possession of my friend, the Rev. J. S. Doxey, by whom it was thus described for my “Reliquary”:—[103]

In Mr. Briscoe’s possession is a good specimen of the brown mugs so characteristic of Nottingham ware. It is 5½ inches in height, 2⅞ inches in diameter at the bottom, and wider at the top, and will hold about half a pint. It was discovered during excavations in Victoria Street, Nottingham, close to the site of the Old Ship inn, of “Gideon Giles” notoriety.

One of the finest mugs which has come under my notice—and indeed, I believe, the finest known example—is in the possession of Mr. E. M. Kidd, of Nottingham, who is also the fortunate possessor of a fine collection of English china. It is engraved on Figs. 813 and 814. In front is a full-blown rose on a stem, surmounted by a crown, and there are two other crowns, one on either side, a little lower down, between what are evidently intended for thistles; there is also a terminal rose at each end, and the remainder of the body is ornamented with their stems and foliage. At the back, by the handle, are the words

This inscription is, as usual, in ordinary writing letters, incised, or scratched, into the soft clay. On the bottom, in the same kind of incised writing letters, is the maker’s name, W^m Lockett. This is highly interesting, as he, William Lockett, is one of the makers included in the foregoing lists of voters in 1774 and 1780. The name stands thus in the 1774 list:—“Lockett William, pot-maker, New buildings” (in 1780 he was of St. Ann’s Street), and he appears to have given a plumper for the Hon. William Howe, of Epperstone. In the same list is a Henry Lockett, saddler, Smithy row, who voted in the same manner. In the same list the name of the school-master, for whom this special mug was made also occurs, but he voted for Lord Edward Bentinck, and Sir Charles Sedley, of Nutthall, Bart. The name stands thus:—“Johnson John, school-master, St. Mary’s Church side.”

Thus a record occurs both of the maker and the owner of this curious mug, of which Mr. Kidd is the fortunate possessor.

A jug formerly belonging to Mr. Norman has the inscription, incised in writing letters, as follows:—

“John Smith junr of Bassford near
Nottingham 1712”

In the Museum of Practical Geology is a “christening bowl,” thirteen inches in diameter bearing the incised words, in writing letters, “Nouember 20 1726;” a punch-bowl, twenty-two inches in diameter, with the words “Old England for Ever, 1750;” and a highly interesting mug “in brown earthenware with glaze of metallic lustre, ornamented with stamped flowers laid on in relief, and incised inscription in cursive characters, round the rim, ‘Made at Nottingham ye 17th Day of August A.D. 1771.’”

Another good, dated example, brought under my notice by Mr. Briscoe, bears the names of “Thos. and Mary Brammer, May ye 21 1753.” In the collection formerly belonging to Mr. Hawkins was “a neatly formed puzzle jug, of lustrous glaze, ornamented with a vase of pinks [these flowers being most generally used in the ornamentation of the Nottingham Pottery] and scrolls around the lower part, the flowers being a dark red colour; on the front is the date 1755, underneath the bottom, the initials, ‘G. B.’” In the same collection was “a tobacco jar, in form of a bear, of bright lustrous glaze, his head being the cover, a collar round his neck, and a chain, to which is attached a large hollow ball, containing stones and holes, used as a rattle; on the ball is impressed the name “Elizabeth Clark, Dec^r ye 25^th 1769.”

One of the favourite productions of the Nottingham “Mug-house” and its predecessors, was drinking jugs in form of a bear, which were also made at Brampton in the same kind of ware, and at Fulham and other places in other wares. A strikingly good example (Fig. 815) is in my own possession. It is 9½ inches in height, and formed of the usual hard brown glazed ware of this pottery. The whole, with the exception of the neck, is powdered with small fragments of dry clay (not “potsherds” as usually, but erroneously, stated) which have been sprinkled over its surface before firing and burnt in with it. This, it may be remarked, is the usual characteristic of these vessels whenever made. The one under notice has the eyes, outlines of the ears, teeth, and claws, laid on in white “slip.” It, like many other “bears,” is made to rest as in the engraving, or to stand upright when placed on its hams; the body contains the liquor, and the head lifts off to be used as a drinking-cup, holding it by the muzzle.

Lowesby.

In 1835 Sir Frederick Gustavus Fowke, Bart., commenced some Terra Cotta Works at Lowesby, in Leicestershire, and produced vases of very good character and of remarkably hard and fine body from the clays of the neighbourhood. He had previously, about 1833, made some garden-pots for his own use, and finding the clay remarkably good and tenacious, determined upon utilising it. In colour the terra cotta was a full rich red, and in some cases the articles were decorated with Etruscan figures and ornaments in black enamel. Vases, ornamented flower-pots, butter-pots, and other articles of domestic use, were produced, and these were mostly decorated with patterns in black, or occasionally in colours, and gilt.

A shop for the sale of the Lowesby ware was opened in King William Street, London, under the management of a Mr. Purden. The ornamental vases, made of different sizes, were sent up to London as they came from the kiln, and many of the antique shapes were beautifully painted and enamelled in London under Mr. Purden’s superintendence. The manufacture was only continued for a few years and then, not being found to answer, died out. The place is now used as a brick and tile works, and flower-pots are also made.

The mark is impressed on the bottom of the ware. It is a fleur-de-lis, beneath the name “LOWESBY” in a curved line (Fig. 816). Occasionally the name LOWESBY without the fleur-de-lis occurs. The arms of Sir Frederick G. Fowke, Bart., the founder of the works, are, vert, a fleur-de-lis, argent, and the seat is Lowesby Hall, so that the mark represented time armorial bearing of the family, and the name of the estate.

Coalville.

In 1859 the attention of Mr. George Smith (who has made himself a name, and earned the thanks of his country for his philanthropic exertions in improving the condition of the brick-yard children and those of the canal population) was accidentally drawn to the clays of the neighbourhood of Coalville and Whitwick, and he procured some for the purpose of experiments. These trials proving eminently satisfactory, Mr. Smith entered into an arrangement with Mr. Joseph Whetstone and others by which he undertook to establish the manufacture of terra cotta on the spot and to develop the clay resources of the place. The works were therefore established in connection with the Whitwick Colliery Company, at Coalville and Ibstock; they are now worked by the Midland Brick and Terra Cotta Company. Three kinds of terra cotta are here produced, viz., red, white or light buff, and yellow or cream colour. These varieties, each distinct from the other, are thus described for me by Mr. Smith:—

“First, the red. This is made out of the surface clay, of a greyish tint, and varies in thickness from four to thirty feet, and does not shrink much in burning; it burns a beautiful bright red colour and will stand the severest weather and keep its colour. Occasionally a little white scum may be seen on the surface: this is the result of making, drying, and burning too quickly; but this will disappear after it has been in use a winter or so. Second, the light buff or glypto terra cotta. The clay out of which this is made underlies the red terra cotta clay and varies in thickness from six to twenty feet; it is very hard and difficult to be ground to a proper fineness. This terra cotta when burnt resembles very much Bath stone in colour, and may, if it be kept dry from the time it is burnt to the time it is used, be cut and carved with much ease, and it is very suitable for head-stones, &c. But this peculiar speciality disappears after it has been exposed to the weather for a little time, when it gets hard, and turns the edge of the tools. Third, the yellow or cream-coloured terra cotta. The clay for this kind of terra cotta is got out of the coal-pits in the neighbourhood, and lies at a depth of about a hundred and twenty yards from the surface. It averages about five feet in thickness, and is a kind of clay between a pot-clay and a fire-clay. It is very fine, strong, free from iron, and will stand a great heat, but shrinks a deal in burning—about one-eighth. The kind of goods this clay is most suitable for are the following:—Sewage-pipes, chimney-pots, vases, flower-boxes, tiles, and pottery. The goods produced in architectural enrichments are bases and capitals; cornices, corbels, and brackets; arch moulds, vaulting-ribs, and balustrades; diapers, finials, and ridge-tiles, and other articles. Garden and conservatory, as well as table vases—some of which, especially a tripod vase, are of excellent design—are also made of various sizes.”

Ibstock.

The history of these works is that of Coalville; which see.

Polesworth.

Terra Cotta Works.—One of the manufactures of terra cotta carried on by the “Midland Brick and Terra Cotta Company” is situated at Polesworth. It was established in 1875, and the directorship placed in the hands of Mr. J. Joiner, for many years principal manager at the Stamford Terra Cotta Works. The productions consist of fountains; garden, conservatory, and other vases of various designs; architectural details and enrichments; chimney tops, chimney pieces, capitals and columns, crestings and finials, and other articles, including an admirable feature, that of tomb-stones, monuments, memorial tablets, urns, &c. Blue and brown bricks, both moulded and plain; coping, arch, and stable bricks; roofing tiles, garden edgings, drain pipes, and other useful goods are also extensively made. The terra cotta is both red and buff, and is of fine hard and durable quality, and, with a clean, good surface, unites a pleasant shade of colour.

Market Bosworth.

Terra Cotta Works, belonging to the “Midland” Company, before spoken of, have been established for the production of bricks, tiles, fire-clay, and the more ordinary terra cotta goods.

Tamworth.

The Terra Cotta Works at Tamworth were established in 1847, by the present owners, Messrs. Gibbs and Canning, and are now very extensive and important, and produce a large variety of goods of the highest class and character. The principal productions are terra-cotta for architectural, horticultural, and other useful and ornamental purposes; Della Robbia ware; sanitary and other goods; tiles, and bricks, &c. In terra cotta, for architectural purposes, trusses and cornices, bosses and pateræ, brackets and corbels, capitals and bases, balustrades and parapets, keystones and quoins, strings and mouldings, window and door heads, terminals and finials, friezes, diaper work, ashlar, and every other detail, are produced, and of a quality for sharpness, hardness, and durability scarcely to be surpassed. Among the buildings where this Tamworth terra cotta has been well introduced are the Roman Catholic church of the Holy Name at Manchester; the Royal Albert Hall, South Kensington; the Royal Horticultural Gardens; the Colston Hall, Bristol; the Natural History Museum, South Kensington; and the corridor of the New Town Hall, Manchester, &c. For ornamental purposes this firm produces fountains, vases, tazzas, pedestals, garden-seats, brackets, suspenders, figures and groups, garden-edging, and every variety of articles for the lawn, the garden, or the conservatory. Many of these are of excellent design, and the material being durable they are well suited for out-door purposes. The “Della Robbia ware”—a fine terra cotta beautifully and effectively enamelled in brilliant and flat colours on the surface—is produced in endless variety in plaques, &c., for ceilings and walls, where it takes the place of plaster or other surface-covering. Its great beauty is, however, especially apparent in the garden and flower-vases, jardinières, mignonette-boxes, tree-pots, and an endless variety of other useful articles which the firm produce. The designs are chaste and elegant, especially those in which the convolvulus is introduced, and the colouring rich and effective in the extreme. They are among the best productions of this class of goods. Another excellent production of the firm is a grey terra-cotta, which has a pleasing effect for architectural enrichments.

Wilnecote.

The Wilnecote Works, near Tamworth, which rank among the more important in the kingdom, were established in 1860, when Mr. George Skey purchased the coal mines at this place, with the intention of working them. On sinking shafts for the purpose he fortunately discovered several important and valuable beds of fire-clay, and other clays well adapted for pottery purposes, and he wisely determined to at once erect suitable kilns and buildings for their full development. At great cost and under considerable disadvantages suitable workrooms were erected and fitted up with suitable machinery, steam presses, lathes, &c. Competent workmen were engaged, and the manufactory was opened in 1862. The goods produced were so well received and their quality so good, both as regard material and workmanship, as well as design, that the works had very shortly to be considerably enlarged and fresh workrooms, kilns, &c., erected. This was done, and at the present time the entire produce of the coal and clay pits (about 300 tons of coal and 300 tons of clay per week) is used up at the works, which give employment to several hundred persons. In 1864 Mr. Skey having found the concern grown to more than his own personal care could, single handed, control, formed it into a limited liability company, with a capital of £60,000, under the style of the “Wilnecote Company, Limited,” afterwards altered to the “George Skey and Company, Limited,” Mr. Skey being the managing director, and Mr. Thos. Creswell, secretary.

The goods produced are:—in terra-cotta, which is of fine and durable quality, and of excellent workmanship, fountains, vases, tazzas, brackets, pedestals, suspenders, terminals, flower-vases, mignonette-boxes, fern-stands, garden-seats, balustrades, cornices, chimney tops, and every description of architectural enrichment. Game-pie dishes, of admirable design and of perfect modelling, and other articles, are also produced in this material. The colour is a beautiful light cream colour, and the body being very fine the relief patterns “come out” very sharply and effectively. In “Rustic ware,” vases, garden-seats, flower-pots, brackets, fern-stands, and an infinite variety of beautiful articles are made. This “Rustic ware” is a fine buff coloured terra-cotta, glazed with a rich brown glaze, and sometimes heightened with a green tinge, just sufficient to give it a remarkably pleasing effect. The modelling of some of these goods is highly artistic. In stoneware, or Bristol ware, all the usual articles as made at Lambeth, at Bristol, and other places, are produced. In sanitary ware, all the usual and many additional articles are made; these are of remarkably fine and good quality and excellent both in body and glaze, and in firing. In ridging and roofing-tiles, sewerage-pipes, and garden-edgings, and in moulded bricks for cornices, string courses, &c., an endless variety; and in paving-tiles, and facing-bricks of various colours, as well as fire-bricks, all the usual kinds.

Terra-cotta gas-stoves are extensively made in various designs, some of which are registered. They are chaste and even elegant in design, and admirable in construction. Some of the patterns are in high relief, and others, in addition to the relief, are perforated, and have a striking and pleasing effect. Two of the designs are shown on Figs. 817 and 818.

The mark used is the words GEORGE SKEY WILNECOTE WORKS NR TAMWORTH, in an oval, impressed in the ware.

Coventry.

At Stoke, near Coventry, and other places in the district, are old established coarse brown ware works. Mr. Robt. Wakefield is a maker of flower-pots, seakale-pots, &c., of good quality.

Nuneaton.

The works were established about 1830, by Mr. Peter Wager Williams, upon the site of what evidently had been very old pot works, but of which no record appears to exist. At first there were during Mr. P. W. Williams’s lifetime two distinct manufactories. One of these was next worked by his eldest son, Mr. John Williams, who sold it to his three brothers, Peter, Charles, and James, by whom it was carried on under the style of “Caroline Williams.” It passed by purchase into the hands of Mr. J. Rawlins, and was taken by “Messrs. Broadbent and Stanley Brothers,” by whom it was considerably extended. The other manufactory was carried on by Mr. Walter Handley, at whose death it passed to his son-in-law, Mr. David Wheway, at whose decease it was incorporated with the former one, and carried on jointly with it, by Messrs. Broadbent and Stanley Brothers. In 1871 Mr. Broadbent retired from the concern, and it is now carried on by Messrs. Stanley Brothers. The goods produced are terra-cotta vases, chimney-tops, &c.; coloured paving-tiles for geometric designs; garden-edging, ornamental ridging and all kinds of plain building and ornamental bricks; glazed sanitary and other pipes, &c. The firm has recently patented a process for the manufacture of malt kiln tiles, for which they have invented new machinery. They are made of the finest fire-clay, and are of very superior character to any others. The marls in this neighbourhood, from which these various goods are made, are varied, and on the ground worked by this firm alone about twenty different measures occur, and these are of divers colours and qualities. The works occupy nearly ten acres of ground.

Broxbourne.

In 1843, when terra-cotta was but little known, Mr. Pulham turned his attention to it, made numerous experiments in order to bring about its revival, and succeeded in making it both of a good hard stone colour and of a rich pale red. Having done this, he began to produce various small objects for architectural purposes—bosses, angle quoins, brackets, balustrades, small flower-pots, and vases—which remain at the present day as sharp and good as when they left the kiln. He also, about this time, introduced what is termed granulated terra-cotta, having the appearance of stone. Latterly this imitation has fallen into disrepute, and wisely so, for although where terra-cotta is now used it is adopted instead of stone, yet it is not used to imitate stone, but passes for what it is,—bona fide terra-cotta. For architectural purposes, it is still, in some instances, granulated.

Mr. Pulham exhibited specimens of his work at the Exhibition of 1851. Notably amongst them was a handsome Gothic vase in rich pale red, highly enriched; this was placed upon a suitable pedestal of cream-colour terra-cotta. From that time down to the next Exhibition, in 1862, improvements were constantly being made, both in the manipulation, production, and style of the manufacture. Mr. Pulham aimed more at the quality than quantity made; and it is said that he still carries out the rule he laid down, not to extend his business, but to keep it so that it is not too large to be under his own personal supervision. Mr. Pulham exhibited in 1862, among other things, a large Fountain for a gentleman’s grounds near Tunbridge Wells, many features of which, particularly the life-size figure of Hebe which surmounts it, and which is a perfection in burning, were very successful.

In 1871, besides other of his productions, Mr. Pulham exhibited a small fountain, which was at play during the whole time of the Exhibition; and also several new vases. The fountains (for which a prize medal was awarded) and principal exhibits were very favourably noticed. Some of these I give on Figs. 819 to 824. At the Paris Exhibition in 1867 fountains, vases, and architectural embellishments, amongst which may be named the Preston vase (a number of which were made for the People’s Park, Preston), with medallions representing the staple commerce of the place; some rich columns, novel window jambs and dressings; and notably amongst the rest was the Mulready Monument, erected for the Science and Art Department, South Kensington, and at whose instigation it was sent to Paris. The design of this is a pedestal 15 ft. by 10 ft., round the sides of which are sketched in outline some of Mulready’s principal pictures. This pedestal supports a large-size effigy, 7 ft. long, on a raised bier, the whole of this bier and effigy being fired successfully, just as it left the sculptor’s and modeller’s hands, and which was highly commended and spoken of as quite a chef d’œuvre in the terra-cotta art, and obtained the silver medal. It is now in Kensal Green cemetery, where it was fixed on its return from Paris. Mr. Pulham also executed a portion of ornamental terra-cotta used in the New Science Schools at South Kensington. The quality of the terra-cotta produced at Broxbourne is very high; it is hard, firm, compact, and durable, and of a soft and pleasing colour. Besides the articles already named, Mr. Pulham produces a goodly variety of vases, tazzas, pedestals, flower-baskets, and architectural enrichments of every kind.

Stamford.

That pottery was in mediæval times made in Stamford was incontestably proved in the latter end of 1874 by the discovery of a kiln during the course of excavations in the rear of a house occupied by the Rev. E. F. Gretton, formerly Master of the Grammar School there. The kiln was thus described in “The Reliquary,”[104] by Mr. G. H. Burton:—

The very large and important works of this place owed their origin to Mr. J. M. Blashfield, by whom they were established in 1858. Previous to that time, Mr. Blashfield had been, until 1851, engaged, in Southwark Bridge Road, Albion Place, Blackfriars, and Mill Wall, in the Italian marble trade, and the manufacture of cements and scagliola, and the making and laying down of tessellated pavements, &c. In that year he commenced the manufacture of terra-cotta at Mill Wall, London, having a few years previously purchased a number of the moulds, models, &c., from Coades when that manufactory was closed. In 1858 Mr. Blashfield removed his moulds, models, plant, &c., to Stamford, where a splendid clay for his purpose exists, and where he soon became as successful as such enterprise and ability as his deserved, and where he did more for the development and improvement of the beautiful in art than could otherwise have been accomplished. In 1874 the works merged into a limited liability company, under the style of the “Stamford Terra-Cotta Company,” which failed and was wound up in 1875, when the plant and stock were sold by auction.

Mr. Blashfield’s name is very intimately connected with the subject of encaustic paving-tiles, having been associated with the late Mr. Herbert Minton in their revival. In reference to this the following extract from a paper read by him is interesting:—