NK 4360 B23 ■ SALT GLAZED STONEWARE .SrEDWIN ATLEE BARBER NIC 623 BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Hemu W. Sage 1S91 .J(....lS..Ci..t£S.(*, : rj.l.le.f^ Cornell University Library NK 4360.B23 Salt glazed stoneware :Germany, Flanders 3 1924 020 367 102 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020367102 SALT GLAZED STONEWARE PRIMERS OF ART Tin Enamelled Pottery, By Ediuin AtLee Barber, A. M. ,Ph D. Salt Glazed Stoneware, "By Edwin AtLee "Barber, A. M. Ph. 7). Other Volumes in Preparation Brown Stoneware "Bartmann" (16J inches in height). Boufi&oux, E;irly Eighteenth Century. ART PRIMER PENNSYLVANIA MUSEUM AND SCHOOL OF INDUSTRIAL ART, PHILADELPHIA SALT GLAZED STONEWARE GERMANY, FLANDERS, ENGLAND AND THE UNITED STATES BY EDWIN ATLEE BARBER, A.M., Ph.D. CURATOR NEW YORK DOUBLEDAY, PAGE & COMPANY 1907 .» J : i i; i! I) 'i > ll^.ll'B'VijIlt * f! A I; Ji I i Copyright, 190S, 1907, by The Pennsylvania Museum and School op Industrial Art Philadelphia, Pa. ALL RIGHTS RESERVED, INCLUDING THAT OP TRANSLATION INTO POREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN M, NOTE Thb figures under the half-tone illustrations, to the left, are thb numbers in thb pennsylvania museum and School of Industrial Art, Philadelphia Pa. PREFATORY NOTE. The Art Primers of the Pennsylvania Museum and School of Indus- trial Art are designed to furnish, in a compact form, for the use of collectors, students and artisans, the most reliable information, based on the latest discoveries, relating to the various industrial arts. Each monograph, complete in itself, contains a historical sketch, a review of processes, descriptions of characteristic examples of the best produc- tions, and all available data that will serve to facilitate the identification of specimens. In other words, these booklets are intended to serve as authoritative and permanent reference works on the various subjects treated. The illustrations employed, unless otherwise stated, are reproductions of examples in the Pennsylvania Museum collections. In these reviews of the several branches of ceramics the geographical arrangement used by other writers has given place to the natural or technical classification to permit the grouping of similar wares of all countries and times, whereby pottery, or opaque ware, is classified according to glaze, its most distinctive feature, while, on the other hand, porcelain, or translucent ware, is grouped according to body, or paste. In the preparation of a Primer on Salt Glazed Stoneware the author has consulted the principal authorities on the subject, and he is particu- larly indebted, for many of the facts presented, to The Art of the Old English Potter and The Art Stoneware of the Low Countries and Germany, by M. L. Solon; English Earthenware and Stoneware, by William Burton; the South Kensington Handbook on English Earthenware, by Prof. A. H. Church, and Early English Pottery, NatAed, Dated and Inscribed, by John Eliot Hodgkin and Edith Hodgkin. The infor- mation contained in these pages will serve to clear up certain disputed points and correct some of the long accepted traditions of ceramic writers which have been found to be erroneous. E. A. B. CONTENTS PAGE Characteristics 5 Origin 5 I. Stoneware of Germany and the Low Countries . . 6 Siegburg 6 Raeren 7 Frechen . 9 Kreussen 11 Grenzhausen 12 Bouffioux 14 Bunzlau 16 Dreyhausen 16 Other Continental Stoneware Centres ... 16 II. Salt Glazed Wares of England 17 Fulham and Nottingham 17 Staffordshire 20 Lambeth 22 HI. Stoneware of the United States 23 Recapitulation of Principal Features of Salt Glazed Stoneware 28 Index 3i ILLUSTRATIONS. Brown stoneware "Bartmann" .... Frontispiece AFTER PAGE I. White stoneware baluster jug 6 2, 3. White stoneware canettes 6 4. White stoneware mug 8 5. Brown stoneware jug 8 6, 7. Dark brown stoneware drug jar and mug . . .12 8. Brown stoneware mug 12 9,10,11. Brown stoneware mugs and jug 12 12. Gray stoneware mug 14 13. Gray stoneware jug 14 14. Gray stoneware mug 14 15. White stoneware mug 14 16. Gray stoneware jug 14 17. Gray stoneware tankard 14 18. Gray stoneware jug 14 19, 20. Gray stoneware jug and mug 14 21. Brown stoneware "Bartmann" 16 22. Brown stoneware "Bartman" 16 23. Brown stoneware "Bartmann" 16 24. Brown stoneware " Graybeard " 16 25. Brown stoneware jug 16 26. White salt-glaze teapot 18 27, 28, 29. White salt-glaze plates 18 30. White salt-glaze cup 18 31. White salt-glaze sauce boat 18 32, 33. White salt-glaze teapot and cream jug .... 20 34, 35. White salt-glaze dishes 20 36. White salt-glaze dish 20 AFTER PAGE 37. Brown stoneware jug 22 38. Doulton art-stoneware vase 22 39. Brown stoneware jar 24 40. Gray stoneware fountain 24 41. Brown stoneware jug 24 42, 43. Gray and blue "Toby" jugs 24 44, 45. Gray stoneware tankards 24 46. Gray and blue stoneware jardiniere and pedestal . 24 47. White stoneware mug 24 48. Gray stoneware olive jar .24 SALT GLAZED STONEWARE SALT GLAZED STONEWARE. CHARACTERISTICS. Stoneware is a highly fired, partially vitrified pottery, composed of plastic clay and sand, covered with an exceedingly hard saline glaze resembling in texture the granular surface of an orange skin, produced by throwing into the kiln, when the heat is most intense, common salt, which vapourises and settles on the surface of the ware in minute drops, and being thin and perfectly transparent does not obliterate the finest scratch. The body of the ware, of a white, brown, buff, or gray colour, is so hard that it will strike fire with steel, produces a ringing sound when struck, is impervious to water and resists the action of acids. The ware is finished at a single firing, except, as we shall see hereafter, in those cases where the decorations are applied over the glaze in enamel colors, as in some of the stoneware of Kreussen and the white salt glaze ware of England. Sometimes the brown color of the surface and of the glaze is produced by placing the pieces as closely together in the kiln as they can be set without touching, a process known as "smothering." ORIGIN. It is not known exactly when glazing by evaporation was first dis- covered. In North Germany salt glazed stoneware was being manu- factured extensively early in the sixteenth century. It became popularly, but improperly, known as Cologne ware, a name evidently given to it from the fact that the products of the neighbouring potteries in the valley of the Rhine were sent to that market. Similar wares were pro- duced about the same time, or soon after, in Flanders, hence the name, grh de Flandres, or grhs Flamand. Salt Glazed Stoneware may be divided into three groups, as follows: — I. Stoneware of Germany and the Low Countries. II. Salt Glazed Wares of England. III. Stoneware of the United States. I. STONEWARE OF GERMANY AND THE LOW COUNTRIES. The stoneware of Germany and the Low Countries may be grouped under the following heads, according to the colour of body and glaze: — i. White Ware or Siegburg. 2. Red Brown Ware of Raeren. 3. Brown or Mottled Ware of Frechen. 4. Rusty, Dark Brown and Enamelled Wares of Kreussen. 5. Gray Ware of Grenzhausen, with Blue, Brown and Purple Enamels. 6. Brown and Gray Wares of Bouffioux. 7. Ferruginous Ware of Bunzlau. 8. Dark Red Ware of Dreyhausen. 1. SIEGBURG. Siegburg, opposite Bonn, is believed to be the earliest centre of stone- ware manufacture in Germany. In the fifteenth century a coarse, brownish-gray stoneware was produced there. In the sixteenth cen- tury more artistic ware began to be made and a fine white clay was used. This was for a long time commonly known as Cologne ware. The earliest dated pieces appeared in the second half of that century. Among the most characteristic forms produced at Siegburg are the tall drinking vessels, or canettes, of cylindrical shape, slightly tapering toward the top. At the neck and base are several corrugations or rings imitating the hoops of the earlier wooden drinking flagons. Extending from top to bottom are elaborately decorated panels, usually three in number, stamped with relief designs and attached to the surface side by side, in separate sheets. In some instances the same panel is repeated, but on many of the best examples three entirely different series of sub- jects appear, such as medallions, enclosing coats of arms, masks, and scriptural scenes, frequently accompanied by dates. These pieces have been imperfectly glazed, many examples having an entirely dry surface, while others seem to have absorbed a thin coating of the glaze which shows as a slight gloss in patches. Several good examples of Sieg- burg white stoneware canettes may be seen in the Pennsylvania Museum. At the top of one is a circular medallion representing Solomon judging between the two women with the dead and living babes, repeated three 1. White Stoneware Baluster Jug (5J- inches in height). Siegburg, Sixteenth Century. Nub. 'Ui>-ziJ, '«>-oIj1. 2, 3. White Stoneware Can'ettes (9J inches in height). Siegburg, Late Sixteenth Century. times. Extending around the central portion are three oval medallions, each depicting David and Goliath, while below are three half-circles, in each of which Daniel and the angel are pourtrayed. Between the medallions are well-modelled vines. The clay is of a pale buff tint, with a very thin coating of salt glaze (see No. 3). Another vessel of the same form shows figures of Joshua, Alexander and David, with the date 1589 (see No. 2), while a third is entirely covered with biblical subjects, including pourtrayals of Moses, Adam and Eve, a crucifix and Agnus Dei. ; Another form which was popular with the early Siegburg potters is the baluster-shaped jug, with globular body spreading out above in a cup-like mouth and below in a broad foot. A marked peculiarity of these pieces is the thumbing or pinching of the feet into bosses or waving outlines. A small baluster jug, in the Museum collection, is decorated with three relief medallions, representing Adam and Eve in the Garden of Eden (see No. 1). The handles of these jugs are circular or ring-shaped, and are frequently only large enough to admit the forefinger. The main characteristics of Siegburg stoneware are the light colour of the clay; the absence of salt glaze except as a thin gloss; decoration (usually scriptural or historical subjects) by means of stamped panels applied (in the case of canettes) in sheets; the thumbing or smoothing of the bases of pieces by hand, and the consequent absence of the concentric grooves produced by the cutting wire. Marks were rarely used. White stoneware, bearing a strong resemblance to the Siegburg ware, but with a better glaze; was made at Altenburg, Saxony, late in the seventeenth and early in the eighteenth century. Cylindrical mugs embossed with the arms of Saxony are numerous. One example, in the Museum collection, is decorated with bands of separately applied rosettes and small floral reliefs, and mounted with hoops of pewter, a broad foot and lid of the same metal (see No. 4). Frequently the white- ness of the clay was intensified by a thin wash of stanniferous enamel 2. RAEREN Raeren, near Aix-la-Chapelle, in the old province of Limburg, was the earliest seat of .the stoneware industry in Flanders. In 1814 it became a part of Germany. Here was produced the first salt-glazed 8 brown stoneware, pieces having been discovered bearing dates as early as 1539. The Raeren, or Limburg, stoneware is of a metallic reddish-brown colour, produced by the flames of the kiln acting on the oxide of iron contained in the clay, . the protected or covered parts remaining un- coloured. Examples of Raeren stoneware frequently present a mottled or variegated surface, shading in places from a pale gray through yellow to bronze-like brown. Sometimes the ware was dipped in a solution of pulverised iron ore or rubbed with black lead to darken the colour. The glaze is often smooth and glossy, and does not show distinctly the granulation or pitting of the surface. One of the most characteristic shapes is the jug or vase with a cylin- drical centre placed between two half-spheres, the lower one terminating in a foot, the upper one surmounted by a long, cylindrical neck. These jugs were moulded in separate parts, which were afterwards joined together. They have a frieze extending around the central portion, usually decorated with scenes from the Old or New Testament. A subject frequently employed is the Peasants' Dance. A pair of flagons, or Bauemtanz-Kruge (Peasants' Dance jugs), in the Museum collection, have a light brown or reddish glaze, and the date 1597 (see No. 5). Around the centre extend bands with continuous figure scenes of men and women dancing in pairs, accompanied by the following inscription: — GERHET DU MUS DAPER BLASEN SO DANSSEN DI BUREN ALS WEREN SI RASEN FRY VF SPRICHT BASTOR ICH VERDANS DY KAP MIT DEN KOR. Translation: Gerald thou must blow lustily So the peasants may dance as though they were mad Faith, says the pastor, I will dance away my cap with my cassock. Jugs of similar shape are embellished with a band of panels or apart- ments, illustrating "Works of Mercy." The letters which generally accompany these scenes are abbreviated inscriptions, as D. D. R., "Durstigen Dranken" (give drink to the thirsty); H. S., "Hungrigen Speisen" (feed the hungry); N. K., "Nackten Kleiden" (clothe the naked); W. D., "Wappen Dantzig" (the Dantzig arms), etc. These jugs were afterwards copied in the gray and blue stoneware of Grenzhausen. L . . Vo. '82-3Gn. 4. White Stoneware Mug (7J inches in height) . Altenburg, Saxony, about 17(30. No. '82-367. 5. Brown Stoneware Jug (10 inches in height). Racren. 1597. 9 While, as a rule, factory marks were not piacea on ancient stoneware, on Raeren ware are frequently found letters and monograms which represent abbreviated inscriptions, or the initials of merchants for whom the pieces were made. In a few instances the first letters of the names of potters or modellers are found, but these were later copied by so many other makers that they may be considered untrustworthy for purposes of identification. Among these marks will often be seen a device resembling the figure 4, which, while its significance has never been fully determined, is supposed to represent the badge of an asso- ciation of merchants. This mark consists of various combinations of the circle, cross and figure 4, and seems to have been extensively em- ployed in the fifteenth, sixteenth and seventeenth centuries, not only by merchants but by artisans as well. It occurs on the wares of Raeren and Siegburg, on Italian maiolica, on tapestries, and figures in books as the marks of printers. It doubtless had its origin in the chrisma, the monogram or emblem of Christ, composed of the first two letters of the Greek word for Christ, the symbol adopted by Constantine the Great, in the year 312, for use on the labarum or Christian standard. Sometimes the second letter was placed directly above the first, or on the upright arm of the cross. These marks, if they may be considered as such, are usually enclosed in embossed medallions which ornament the sides of jugs and other articles. The principal characteristics of Raeren stoneware, as we have already shown, are a yellowish or grayish body; heavy bronze-like glaze, varying in colour from a deep reddish-brown to a pale dirty yellow, frequently mottled or freckled, in places, and more nearly resembling a thick coat- ing of lead than a deposit of salt glaze; moulded in sections and joined together; decorations in relief, among the most popular subjects being Peasants' Dances, Works of Mercy, biblical scenes, Arms of towns and individuals, medallions containing ciphers, badges or merchants' marks. Some of the large vases or fountains of Raeren are among the greatest masterpieces of salt glazed stoneware. Many of these were copied by the Grenzhausen potters. 3. FRECHEN. Frechen, near Cologne, is one of the ancient centres of salt glazed stoneware in Germany. The ware produced there bears a close re- semblance to that of Raeren in colour and forms, and it is frequently 10 difficult to distinguish the one from the other. Many of the Frechen products, however, possess well-marked peculiarities. The glaze is often of a blackish, rather than brown tint, and sometimes appears of a dull greenish-yellow tone, usually freckled or accumulated in spots. The ware is generally coarse and simply decorated. A common shape is the Graybeard, distinguished by a spherical body tapering at the foot and neck, with a single small loop handle at the back. On the narrow portion of the neck is modelled a rude representation of an elongated, bearded mask. These vessels, known in Germany by the name Bart- mann (bearded man), were afterwards imitated in England, where they were popularly called Bellarmines. Llewellyn Jewitt, in his Ceramic Art of Great Britain, states that they "were derisively named after Cardinal Bellarmine, who died in 1621. The Cardinal having, by his determined and bigoted opposition to the reformed religion, made himself obnoxious in the Low Countries, became naturally an object of derision and contempt with the Protestants, who, among other modes of showing their detestation of the man, seized on the potter's art to exhibit his short stature, his hard features, and his rotund figure, to become the jest of the alehouse and the byword of the people." This form of jug was produced in infinite variety, and, while also made to some extent at other German and Flemish factories, is more frequently found among the Frechen productions. Another form of vessel, produced extensively at Frechen, was the canelte with boldly modelled decorations, usually coated with the blackish glaze already mentioned. At a later date the gray and blue stoneware was extensively made there. A decorative detail, frequently used on Bartmanns and other shapes, is a coin-like medallion, disposed at intervals around the surface. Some of the best examples possess bands of inscriptions around the centre. Arms and conventionalised designs in medallions form a conspicuous feature, and vines and scroll-work also abound. Frechen ware was cut from the wheel, instead of being torn away, as was the case with the Siegburg ware, and one of the most distinctive features is the presence of elliptical markings or concentric circles of grooves on the base, usually starting at a fixed point near one edge and extending entirely across, produced by the coarse twisted wire or cord used in cutting the clay from the wheel while slowly revolving, at the end of the operation of throwing. This phenomenon proves the ware to be of later date than the hand-finished pieces of Siegburg. These lathe 11 marks are only occasionally found on the productions of other German stoneware factories. The principal distinguishing features of Frechen ware are, therefore, the gathering of the brown glaze into groups of spots or freckles; the wire marking on the base; the use of applied coin-like ornaments and scroll-work; the majority of the brown glazed Graybeards or Bartmanns originated at Frechen. 4. KREUSSEN. At Kreussen, in Bavaria, brown stoneware was made from about the middle of the sixteenth century; the earliest dated specimens which have come to light belong to the early part of the seventeenth century. A dark brown clay was extensively used. The ware usually possesses a rather thin glaze or gloss, more evenly distributed than that of the white ware of Siegburg. Jugs, jars and mugs are among the most familiar forms. The earliest productions are of a uniform, rusty brown colour, decorated with applied fragmentary reliefs, such as figures of the Apostles, heads of historic personages, arms, etc. The drinking mugs were usually capacious, and of broad, squatty form. Drug jars, of barrel shape, with four or six flat sides or panels, were particularly characteristic. In the Museum are several fine examples of this ware. One of these, a hexagonal drug jar, bears relief figures of ten of the Apostles on five of the panels, two on each, while the sixth side contains the inscription, johann may. doctor, m. d. st. c. m. 1657. Around the shoulder of the jar are clusters of grapes, while at the six angles are heads of cherubs, festoons, etc. A contracted circular top is fitted with a pewter lid which is screwed in, on which the date 1658 is engraved. This piece came from the celebrated collection of M. Roux, of Tours (see No. 6). A second example is similarly decorated with representations of the Apostles, apparently from the same moulds, while above them are portrait medallions of men and women, including one of Gustavus Adolphus. On the shoulder are five-petalled roses and other flowers. A large, low drinking mug of the same rusty brown ware, with pewter cover, has for adornment the twelve Apostles, in the midst of which is the figure of Christ (see No. 7). The surface of these pieces shows distinctly, through the glaze, the lines of the brush used in smoothing the clay around the applied reliefs, the fine parallel striations running at different angles, where the direction of the brush has been changed. 12 Another peculiarity noticed on the majority of the Kreussen products is an unglazed circular place near the centre of the base, several inches in diameter, evidently caused by placing the pieces on top of each other in the kiln, only the annulus or exposed rim being subjected to the fumes of the vaporized salt. At a somewhat later period, bright, opaque enamels — red, yellow, blue, brown and white — resembling oil colours, were applied to the reliefs, and gilding was liberally used. The same forms were employed, the decorative subjects being figures of the Apostles, representations of boar and stag hunts, heads and busts of actual personages, etc. Several fine examples of this style may be seen in the Museum collection. A group of enamelled pieces of the seventeenth century, two mugs and a wine jug, or cruche, are shown in Nos. 9, 10 and n. The ornamen- tation is in relief, touched with vivid light blue, red, yellow, white and green enamels. The mug at the right is ornamented with figures of Saints, alternating with sprays of lilies of the valley. Around the top extends an inscription, while beneath the handle appears the date 1672. The central jug bears in front the figures of the Virgin and Child. A large, low mug, in the same collection, is embellished with hunting scenes (see No. 8) on the two sides, and the head of a gentleman of the period in front. So-called mourning jugs, with geometrical patterns in black and white, often reheightened with gilding, were also produced in abun- dance. The use of enamel colours and gold marked the decadence of the art. Many counterfeits of this ware have been produced, but these may generally be detected by the oil pigments used, which can be easily scraped off with a knife. The distinguishing features of Kreussen stoneware are the peculiar uniform dark-brown colour of the glaze, often suggestive of iron rust; the distinctive forms of vessels; the use of coloured, opaque enamels and gilding on the wares of the second period, and the frequent occur- rence of large, circular, unglazed places on the bases of vessels. Some of the tall enamelled jugs, or cruches, however, which have come to our notice, show the wire markings which distinguish the Frechen Bartmanns, but the grooves are finer and closer together. 5. GRENZHAUSEN. At Grenzhausen and Hahr, near Coblentz, a gray clay was used in the manufacture of salt glazed stoneware during the seventeenth, vr w**-"*:*^-'^ < ■.«■,->')■'•>'., /.« Brown Stoneware Drug Jar and Mug (14 and f»i inches in height). Kreussen, Bavaria, Middle Seventeenth Century. No. '05-237. 8. Brown Stoneware Mug (5| inches in height) Decorated with Coloured Enamels. Kreussen, Bavaria, Seventeenth Century. Noa. "82-338, '90-470, *82.340. 9, 10, 11 . Brown Stoneware Mugs and Jug (Central Jug 10 inches in height). Decorated with Coloured Enamels. Kreussen, Bavaria, Seventeenth Century, 13 eighteenth and nineteenth centuries. The earlier wares reveal the influence of the Raeren potters. Later, a more original style was developed, in which free-hand incised designs were combined with moulded ornaments, and cobalt blue and manganese purple or brown enamels — colours which will stand the high temperature to which the ware is exposed — were, and still are, employed. These are most effectively used in the very distinctive style of work known as champleve', where the patterns are dug out and filled in with the coloured glazes (see No. 13). Jugs with crowned initials of German, French and English sovereigns, pilgrim bottles, mugs of an infinite variety of forms, bottles with numerous flat or faceted surfaces, salt cellars, inkstands, figures of animals, annular vases and harvest bottles, are only a few of the forms which have been made in these places. A profusion of moulded ornaments, applied in all sorts of combinations, often covers the entire surface. A mug of gray body and dark-blue colouring, with mounted knights in relief, and a "Works of Mercy" flagon, in the Raeren style, are two specimens of Grenzhausen stoneware of the eighteenth century, in the Museum collection (see Nos. 14 and 16), and in No. 17 we see a good example of the G. R. (Georgius Rex) jug, which was later copied in England. The earliest known example of Grenzhausen stoneware in any American collection is a jug in the Boston Museum of Fine Arts, bearing the date of 1694. The decoration consists of incised floral designs surrounding an applied medallion on the front containing relief busts of the French King and Queen, encircled by the following inscription: "Lovis le Grand Roy de France et de Nav. et Marie Terese Reyne de France." The spaces between the decorations on the front half of the jug are covered with heavy, dark-blue enamel. The lower end of the handle is curled up in the characteristic Grenzhausen style (see No. 18). A variety of Grenzhausen ware is composed of whitish clay, resem- bling that of Siegburg, embellished with incised designs and relief ornaments. Flowers, leaves and other details were produced by placing on the surface of the ware small bats of clay and pressing them with engraved stamps, and then carefully removing the excess of clay around the edges, instead of first moulding the ornaments and attaching them separately, as was done at other places. The stems were then traced in the clay with an instrument possessing four or five parallel points (see Nos. 15 and 18). Many of the modern pieces made at Grenzhausen and Hohr are 14 reproductions of the characteristic earlier forms of other places. As such pieces, however, are usually made of the bluish gray clay instead of the white and brown clays of the originals, and are coloured with blue and purple enamels in the Grenzhausen manner, they cannot properly be classed among forgeries. The most popular forms imitated are the tall canettes 01 Siegburg and the Peasants' Dance jugs of Raeren. Gray- beards, or Bartmanns, were not formerly made in the Grenzhausen district, but of late years they have been occasionally produced to fill special orders, in imitation of the early wares of the Flemish factories. About the year 1875 large quantities of "G. R." jugs were manu- factured at Hohr for the English market, after the old models, to supply the demand for antiques, the old recurved handles being faithfully copied. In some instances these reproductions were buried in mud for several weeks to produce the appearance of antiquity. Collectors are warned against these dangerous imitations of the old pieces. The chief characteristics of Grenzhausen stoneware are a gray or bluish-gray tint of the body and a heavy, brilliant salt glaze; the peculiar decoration — a combination of incuse, or sunken, and incised ornaments and moulded reliefs; the use of cobalt blue, purple and brown enamels. Marks seldom appear on Grenzhausen ware, and the bases of mugs and jugs, as a rule, present a smooth and carefully sponged surface. Handles were generally recurved or curled up at the lower ends, fre- quently forming loops (see No. 14), but for many years this practise has been abandoned and plain handles or those terminating in a flat point, have been in vogue. The blue enamel of the older ware is blacker than that of the modern, and the body is of a more vellowish-gray tint than that of the recent productions. 6. BOUFFIOUX Pottery is known to have been made at Bouffioux and the adjacent villages of Ponte-de-Loup and Chatelet (now in the territory of Belgium) at an early period, but it was not until near the end of the sixteenth cen- tury that the manufacture of stoneware was firmly established in that district. The earlier ware was a brown stoneware of good body and glaze, sometimes smeared with blue enamel, imitating the products of Raeren and Frechen, but much inferior in quality of decoration. At a later date the gray and blue stoneware of Grenzhausen was imitated here, and continued to be manufactured extensively until the beginning of the nineteenth century. The products were the coarser varieties «a««™ ■-•-•• -,r aa. F, 444, 7G-859. 12. Gray Stoneware Mug (5£ inches in height). Moulded and Incised Decoration, Blue Enamel. 13. Gray Stoneware Jug (8 inches in height). Champleve Style, Blue and Claret Enamel. Grenzhausen, Eighteenth Century No. '00-240. 14. Gray Stoneware Mug (5 inches). Moulded Decoration, Blue Enamel. Grenzhausen. Eighteenth Century. No. 76-858. 15. White Stoneware Mug (8| in.). Stamped and Incised Decoration. Grenzhausen, about 1T50, No. '09*41- 16. Gray Stoneware Jug (11 i inches in height). " Works of Mercy," Raeren Style. Moulded and Blue Enamel Decoration. Grenzhausen, Eighteenth Century. 17. Gray Stoneware Tankard (10} inches in height). Moulded, Incised, and Blue Enamel Decoration. Grenzhausen, Eighteenth Century. a oCFiue Arte, BuBtun. 18. Gray Stoneware Jug (11| inches in height). Moulded and Incised Decoration, Blue Enamel Ground. Grenzhausen, 1694. jJ ^<,..;, J :| J aa#tSBWW5i * 1 P^^P ^ ^HK^jfljElft ■ J^w7 ^Jj^^i i 1§ WadBworth Athenseurn, Hartford, Cnnn. 19, 30. Gray Stoneware Jug and Mug. Moulded, Incised, and Blue Enamel Decorations. Germany : Eighteenth Century. 15 of ware, such as beer jugs, travelling bottles, water barrels, large Bart- manns used for holding oils, acids, drugs, etc., and kitchen utensils. In the Boston Museum of Fine Arts is a large globular jug of the Graybeard type, embellished with a heraldic medallion, supported by two lions rampant. Two circular medallions, one at each side, bear large and rudely modelled heads of Claudius and neko, respectively, surrounded by inscriptions which have been copied from older models, as shown by the reversal of some of the letters. On the front of the neck is the usual bearded mask, which is rudely daubed with dark blue enamel, as are also the other reliefs. The glaze, which has collected together in little patches, is of a red-brown tint. The handle is curled up in the Grenzhausen manner, and the base of the jug is coarsely grooved in the Frechen style. This interesting piece belongs to the first part of the seventeenth century (see No. 21). Another example, in the same collection, is somewhat similar in form but of smaller size (No. 22). The three armorial medallions on the front and sides are from the same mould and bear an inscription and the date 1618. The glaze is dark brown and evenly spread over the entire surface. The colour which is smeared over the reliefs is dark blue, almost approaching black. The handle at the lower extremity terminates in a long point, resembling the tail of a lizard, and on the base are coarse wire markings. A similar Bartmann of brown ware may be seen in the Trumbull- Prime collection of Princeton University. The mask and the three circular medallions containing heraldic devices are stained with blue and bear the date 1604. The glomeration of the brown glaze in this piece is quite marked, while the handle, as in the preceding, extends down close to the body in a thumb-indented point (No. 23). Quantities of Bouffioux stoneware have been dug up in the vicinity of London, England. A fine example, in the Museum collection, eight inches in height, has the "lizard's tail" handle and bears on the base the concentric grooves of the cutting wire (see No. 24). It was brought to this country from Ireland many years ago. The illustration facing the title page represents a large Graybeard or Bartmann of primitive form and crude decoration, which may be seen in the collection of this Museum. Occasionally marks, initials or names of makers are found on pieces of Bouffioux ware, but the characteristic mark of merchants, resembling the figure 4, so frequently found on Raeren ware, does not occur on the 16 Bouffioux products. The decorations usually consist of convention- alised and meaningless medallions appropriated from the designs of other factories, or of a grotesque mask, in the Frechen style. 7. BUNZLAU. A peculiar variety of stoneware was extensively produced, in the second half of the eighteenth century, at Bunzlau, twenty-five miles northwest of Liegnitz, in the southwestern part of Germany. The decorative embellishments of the late period consist of moulded and applied reliefs of yellowish- white clay, sometimes gilded. Cruet-shaped jugs of various sizes, with pointed lips, are common, which are usually mounted in pewter, with lids of the same metal. A small example of this form, in the Museum collection, with raised designs of leaves, and coat of arms, surmounted by a crown, is here illustrated (No. 25). This product is characteristic and readily recognised, but possesses little artistic merit. While it can scarcely be classed with salt glazed wares, it is here referred to, since it is a true, hard stoneware, and cannot properly be grouped with any other wares. The glaze somewhat resembles in colour that of the Peasants' Dance jugs of Raeren, being of a bright, dark red tint with a metallic lustre, smooth and regular, containing a con- siderable proportion of iron, without the mottled appearance of the Raeren stoneware. Several good examples of Bunzlau ware are in the Trumbull-Prime collection of Princeton University. Coffee pots, milk pans, and other kitchen utensils were also extensively made. 8. DREYHAUSEN. Extending over a period of perhaps two centuries, beginning with the latter half of the sixteenth century, a peculiar variety of dark red stone- ware was produced at this place, in the Grenzhausen district. The majority of examples known are of the "baluster" shape, somewhat similar to the early jugs of Siegburg, the principal characteristic being that the neck, or body, is surrounded by numerous loops supporting small, movable rings, which produce a tinkling sound when the vessel is shaken. The decoration is usually of the simplest character, con- sisting principally of horizontal corrugations and furrows. OTHER CONTINENTAL STONEWARE CENTRES. Previous to the middle of the seventeenth century Flanders included a part of the present territory of Holland and the departments of Nord and Pas-de-Calais, now belonging to France. Stoneware was produced 21. Brown Stoneware " Bartmann " (l'Vj inches in height). Medallions Smeared with Blue Enamel. Bouffioux, Early Seventeenth Century. 1 if III U! vtisPtl K^ 'tNcf v - B 1 ■fee V*, > gl No. '114401. 24. Brown Stoneware "Graybeard' (7| inches in height). Bouffioux, about 1700. *r ■* a f ^KL; 'I B [§ • 25. Brown Stoneware Jug <5J inches in height). Yellow Relief Designs. Bunzlau, Eighteenth Century. 17 extensively at numerous places of less importance in Germany and in the Low Countries. These productions, being in the styles of those of Raeren, Frechen or Grenzhausen, need not be reviewed here. Our narrative would not be considered complete without some men- tion being made of the so-called French gres, although it is now gener- ally conceded that true salt glazed stoneware was never produced in France. The celebrated "Gres de Beauvais," or "blue pottery of Savignies," of French writers, formerly supposed to be a true stoneware, in reality consists of a partially vitrified body, covered with a thick coating of opaque blue enamel. This manufacture was carried on from the latter part of the fifteenth century until about the middle of the seventeenth, the decoration consisting of raised designs in Gothic style, in which the fleur-de-lys figured conspicuously. At Chapelle-des-Pots, near Saintes, and other places in France, similar wares were produced, but since they were not glazed with salt, they do not properly come within the scope of this historical sketch. II. SALT GLAZED WARES OF ENGLAND. The salt glazed stonewares of England may be divided into three classes: — i. Early Brown Ware (Fulham and Nottingham). 2. White Salt Glaze Ware (Staffordshire). 3. Modern Brown Ware (Lambeth). 1. FULHAM AND NOTTINGHAM. The earliest English stoneware was known as "Crouch ware." Mr. M. L. Solon, in The Art of the Old English Potter, asserts that the term was derived from the name of the white Derbyshire cky, while Mr. William Turner, in the Connoisseur of January, 1905, suggests, with some degree of plausibility, that it may be a corruption of Crich, the name of a town in Derbyshire where " Crouch ware " was produced at an early date. The oldest English salt glazed stoneware is a close imitation of the Frechen brown ware, being distinguished by its very conspicuous accumulation of the glaze, or granulation in minute drops. Previous to the beginning of the manufacture in England large quantities of white and brown stoneware from the Rhenish potteries found their 18 way into the London market, and it is often difficult to distinguish these from the Fulham productions. It has not been clearly established who first introduced the use of salt glaze. into England. Numerous writers have repeated, without question, the story of its accidental discovery in the year 1680 by a servant who, while boiling salt in an earthen vessel, was called away, and on her return discovered that, the brine having overflowed, the outside of the pot was partially glazed. Mr. Solon and others have, however, effectually disposed of this tradition by pointing out the fact that it is a chemical impossibility to produce salt glaze under such conditions. To the Elers brothers other historians have accredited the invention, about 1690, but in the light of recent discoveries it is now generally conceded that glazing with salt had been practised in England before the arrival of these Dutch potters in Staffordshire. John Dwight, of Fulham, took out a patent in 1671 for his discovery of the "mysteries of the Cologne ware." Few pieces of his work are known, but those which have survived are of the highest merit. He executed a series of statuettes which rank with the best works of the kind ever produced. Among these may be mentioned the figures of Jupiter, Mars, Meleager and Saturn, coloured in imitation of fine bronze, and busts of Prince Rupert, James II, Mrs. Pepys and an effigy of his deceased daughter, Lydia Dwight, in lighter coloured clay, which are preserved in some of the principal museums of England. After Dwight's time the Fulham works were continued, and operated until a recent date. Here were made mugs, tankards, jugs, Bellarmines and beer bottles, bearing the medallions and initials of English rulers. Dated examples have been found, ranging from 1721 to 1764, some of the popular subjects, in relief decoration, being hunting scenes, the head of Queen Anne, St. George and the Dragon, and "Hogarth's Midnight Modern Conversation." - Gray stoneware jugs of spherical form, and cylindrical drinking mugs, of the eighteenth century, with stamped and incised decorations and blue enamel ornaments, have been found in considerable numbers in certain localities, particularly in the New England States. Many of these bear the impressed letters G. R. (Georgius Rex) beneath a crown. Although this ware bears a close resemblance, in colour, shapes and decorative features, to the Grenzhausen productions of the same period, it has always been known to American collectors as of Fine Arte, Boston. 36 White Salt Glaze Teapot (4J inches in height). Staffordshire, about 1740. Noa. '32-760, 'SU-Hie, '04-131. 27, 28, 20. White Salt Glaze Plates (8 and 14 inches). Staffordshire, about 1750. Owned by Mr. ff. L. Calvcr. 30. White Salt Glaze Cup. Scratched Blue Decoration. Staffordshire, about 1770. 31. White Salt Glaze Sauce Boat (3f inches in height;. Staffordshire, about 1750. 19 Fulham stoneware. There is one particular in which it appears to differ from its German prototype, that is the manner in which the handles are attached. In the Grenzhausen pieces the base of the handle usually terminates in an outward and upward curl, while the majority of the specimens which have come under our notice, that were brought to this country by the early settlers, possess a handle which is pointed at the lower end where it joins the body. That such pieces were brought from England has been clearly proved, but whether they are of English origin or German importation is still an unsettled question. Mr. William Burton, in his English Earthenware and Stoneware, states that "We have further information as to the wares made by Dwight's suc- cessors from what is known of the Fulham trouvaille, found in 1866. While some repairs were being carried out at 'the works a forgotten chamber was broken into, which was found to contain a heap of stone- ware vessels and fragments of various types and dates, long walled up and forgotten. Most of these specimens were in the shape of common ale jugs or wine bottles, and so similar were they in material, shape and decoration to the pieces we know to have been imported from Cologne, that but for this find we should have been in doubt if such pieces were of German or of English make. In addition to these were many round-bellied gray jugs, with scratched and stamped ornaments and patches of cobalt blue and manganese purple used as grounds. Several of the latter kind had the monograms of English sovereigns, with a crown above, stamped on the front, and thus give us a definite place of origin for some of the well-known pieces of this description." Mr. Solon, in his Catalogue of a Small Collection of Salt Glaze Ware (Hanley, England, 1890), asserts that "The Fulham Ware, having never been marked, and being often the mere reproduction of the types imported from Flanders and Germany, identification rests in most cases on mere speculation." Some good examples of this ware are to be seen in the Fuller and Terry collections of the Wadsworth Athenaeum, Hartford, Connecticut (see Nos. 19 and 20). Photographs of these two pieces were sent to Mr. Solon for identification, and he has expressed his opinion that they are not of English manufacture, but German importations of the second half of the eighteenth century. "I never saw any example of the kind," he writes, "that had been attributed to an English potter." They are, in all probability, examples of the degraded ware which was produced in the Grenzhausen district in large quantities late in the eighteenth century for the English trade. 20 At Nottingham, stoneware was first produced at the beginning of the eighteenth century. It is thin in substance, well potted and grace- ful in form, but crudely decorated with simple designs, the prevailing subjects being scrolls, flowers and foliage, and frequently inscriptions, scratched in the clay while wet. The glaze is of a bright, red-brown tint, with a somewhat metallic lustre, caused by a thin wash of ferru- ginous clay. The surface of the ware is much smoother and less granu- lar than that of Germany and Flanders. Most characteristic in form are the mugs, pitchers or jugs, with ribbed or horizontally corrugated necks, two-handled cups, and the celebrated "bear jugs," the latter being made in the form of a bear, covered with shavings of clay to pro- duce a rough appearance, the head being detachable to serve as a drink- ing cup, while the body answers as a receptacle for the beverage. At Brampton, Chesterfield and Swinton brown stoneware was pro- duced in the eighteenth century, which closely resembles the Nottingham ware, but is thicker and clumsier, and not so well finished. 2. STAFFORDSHIRE. The term "salt glaze" has been applied to an English product, a true stoneware of white body, thin and graceful in appearance, so highly fired as to be translucent in its thinnest parts, covered with an exceed- ingly hard saline glaze, which first appeared in Staffordshire near the close of the seventeenth century. Thomas Miles, of Shelton, produced a white stoneware as early as 1685. Prof. A. H. Church has divided the manufacture of white salt glaze ware into four periods, approxi- mating twenty years each, as follows: — Previous to 1720, Archaic period, when impressed and applied orna- ments were used on thrown or turned vessels. From 1720 to 1740, when flint was added to the body, the work being fine and sharp. From 1740 to 1760, when coloured enamels were employed for decor- ating the surface. From 1760 to 1780, when basket and pierced work were prevalent. The productions of the first of these periods were embellished with ornaments impressed or stamped in the clay, or separately moulded and afterwards applied to the surface. The ground of the ware was drab coloured or white. The ware of the second period was formed by stamping or pressing % ■•• /^\ 1 l: if 1 ,tvic •> WM ^^^fl H^«i^_.«^mI Wadaworth Athcnicum, Hartford, Coi 32, 33. White Salt Glaze Teapot and Cream Jug. Decoration in Enamel Colours. Staffordshire, about lT'iO. Nob. '82-1417, '82-1418. 34, 35. White Salt CIlaze Dishes (9 and 10 inches), Staffordshire, about 1780. 36 White Salt Glaze Dish (15 inches). Decoration in Enamel Colours, Rose, Green, Muddy Blue, Brown, and Black. Staffordshire, about 1760. 21 in metal dies, or by the casting process, which consisted in pouring liquid clay, or slip, into baked clay or plaster moulds, in which the decor- ative designs had been previously engraved. This method insured thinness of substance and delicacy and sharpness of relief. Numerous potteries throughout the Staffordshire district began the manufacture of this beautiful and purely English invention, which soon began to be exported in considerable quantities to Holland and other European countries and to America. Teapots, tea caddies and many-sided vessels were produced in an endless variety of forms, in imitation of various animals, such as camels, squirrels, bears, cats or representations of houses. A quaint little example, in the form of a house, in the collection of the Boston Museum of Fine Arts, is here shown (No. 26). Conventional forms were ornamented with fan and shell-shaped reliefs, scrolls, floral patterns and delicate traceries. Bottles, vases and jars were beautified by floral sprays, rosettes, armorial bearings, masks and convolute ornaments, while plates, tea cups, dishes and trays of various graceful forms were bordered, and often entirely covered, with panels and alternating medallions of hatched, diapered, trellised and starred ornamentation. During this period and the preceding, no colour was used to relieve the pure whiteness of the ware (see Nos. 27, 28, 29 and 31). In the third period, colour was first added to the decoration. Patterns were scratched in the unbaked clay, into which the blue colour was rubbed before firing. This style of ornamentation was known as "scratched blue" (see No. 30). Pieces of this description frequently bore inscriptions and dates ranging from 1750 to 1780. Between 1740 and 1750 William Littler, of near Burslem, produced some most beau- tiful and effective pieces of salt glaze with a solid, deep blue ground, by dipping them, while still in a partially dried clay state, into a slip of the same ingredients, to which blue colour had been added, which were afterwards fired in the salt glaze oven. Some of these pieces were painted with designs in raised white enamel, in the Persian style of the stanniferous faience of Nevers, France. These decorations were fixed by a second firing at a lower temperature. Another style of decor- ation, largely employed between 1740 and 1760, was the painting on the glaze in enamel colours. Human figures, Chinese scenes, birds and flowers were added in polychrome (see Nos. 32 and 33). A superb example of this style, in the Boston Museum of Fine Arts, is a dish, 22 fifteen inches in diameter, painted with a figure scene in brilliant enamel colours (see No. 36). Toward 1750, pressing in plaster moulds came into vogue, whereby it became possible to produce large pieces, such as platters and tureens. Entire table services were made by this method. Some of the later pieces were covered with tinted grounds— red, purple and turquoise blue — in which small panels of various patterns were reserved in white, to receive the polychrome paintings. About 1755, soon after the invention of transfer printing, that process was applied to salt glaze decoration to a considerable extent. During the third period the art of making salt glaze ware had reached its highest development. The fourth period marked the decadence of the art. Pierced and basket designs, in combination with embossed work (see Nos. 34 and 35), were the principal features of this epoch. Aaron Wood and other potters modelled patterns with basket work centres and perforated borders. About 1780, after the introduction of cream ware and porce- lain, the manufacture of salt glaze began to decline rapidly, although it continued to be made at a few establishments until after the beginning of the nineteenth century. While the greater portion of white salt glaze was produced in Stafford- shire, it was also made to a limited extent at Liverpool, Jackfield. Leeds and a few other places. 3. LAMBETH. Stoneware was first produced at Lambeth about 1751. The ware is usually coloured a rich reddish-brown above, while the lower portion is of a buff or yellowish hue, presenting the appearance of having had the upper half covered with a darker surface wash. The form of the Lambeth jugs, like those of John Turner and William Adams, of the early nineteenth century, is characteristic. From a spherical body rises a broad, perpendicular collar, the upper edge of which has been pinched or bent out in front to form a small triangular lip. Handles frequently terminated in a moulded ornament or were fixed with a modelled leaf. Two examples of this form, of about 1820, in the Mu- seum collection, are embellished with moulded hunting scenes and separately applied figures of men, monkeys and dogs. One of these has a handle which has apparently been attached by means of two stoneware screws, a method which obtained in some of the English 'S3 So a o a 5 W — .-. en ?t |*j 23 potteries at that time (see No. 37). In 1820 there were several potteries in Lambeth where stoneware was being made, such as ink and beer bottles, pickle jars and hunting jugs. Mr. John Doulton was apprenticed at the beginning of the nine- teenth century at the old Fulham works of White, the celebrated potter, and after serving his time he went to Lambeth, where, in the year 1815, he established, in conjunction with Mr. John Watts, a small stoneware pottery in Vauxhall Walk. In 1826 they moved the works to High Street, where the plant was rapidly enlarged as the business steadily increased. The Doulton ware has in recent years become justly celebrated. The most characteristic, and certainly the most thoroughly artistic, style of decoration practised by the Doultons is that revealed in the designs scratched on the plain wet surface of the ware. Among the best artists in this line of work is Miss Hannah B. Barlow, whose etchings of animals were first seen in this country at the Philadelphia Centennial Exposition in 1876. Since then her work has become familiar to all lovers of art on this side of the Atlantic. Her spirited renderings of horses, dogs, sheep and rustic life, in the fewest possible lines, are truly remarkable, and she has been placed by competent critics next to Rosa Bonheur as a delineator of animal life. Among other celebrated ceramic artists who have been employed at the Lambeth works may be mentioned Mr. George Tinworth, Mr. Arthur B. Barlow, Miss Florence Barlow and Mr. Frank A. Butler. The Doulton art stoneware reveals a combination of several processes. Surrounding the zones or panels of scratched decorations, which are covered with salt glaze, are bands of coloured enamels, outlined and carved designs and bossed or jewelled work. In the Museum collec- tions are many fine examples of the best products of this factory, the majority of which were purchased at the Centennial Exhibition, while others are of a more recent date. In this collection, Miss Hannah B. Barlow and Mr. George Tinworth are well represented (see No. 38). A pair of large modelled and jewelled garden vases, four feet in height, are perhaps the most elaborate and striking pieces in the collection. III. STONEWARE OF THE UNITED STATES. Previous to the establishment of stoneware potteries in the American colonies, some of the earlier German and English settlers brought with them to this country utensils of salt glazed earthenware, some 24 of which were used in barter with the Indians, and a few of these have been found in aboriginal graves. . In Lancaster County, Pa., a brown stoneware Bellarmine jug, eight inches in height, of the Frechen type, has been taken from a Conestoga Indian grave of the period of about 1750, having been brought to this country during the German immi- gration. Similar examples have been found with native remains in New York State, one of which is in the possession of Mr. S. L. Frey, of Palatine Bridge, N. Y. This is a large one-handled cup of gray stoneware, embellished with figures of animals in blue, a curious example of Grenzhausen ware, belonging to the latter half of the seventeenth century. A two-handled cup, of English white salt glaze, of the eighteenth century, was obtained from a burial place in the same State. Mr. W. L. Calver, who has investigated the sites of Revolutionary encampments in the vicinity of New York City, has found numerous fragments of plain salt glaze and scratch blue ware among the debris of English military camps of about 1780, together with many white clay pipe bowls, bits of vessels of Leeds creamware, black basalt ware of Wedgwood and other English pottery of that period. The white salt glaze pieces are exceedingly thin and even in body, and were evidently made by the casting process. The fragments of scratch blue ware are rudely incised with conventional floral designs and "herring-bone" borders of a pale purplish blue colour (see No. 30). In the month of September, 1906, the writer discovered, among the upturned clods of an ancient kitchen garden, on the site of an old fishing settlement (once known as Gosport) on Star Island, Isles of Shoals, off Portsmouth, N. H., numerous fragments of English white salt glaze, including pieces of teapots, cups and plates, some of which, of the period of about 1740, are exceedingly thin and delicate, while others, of a later date, are thick and heavy and bear the characteristic embossed patterns. Here were also unearthed bits of brown and gray stoneware from the German potteries and delft-ware from Holland, showing that imported wares were in general use in this part of New England during the latter half of the eighteenth century. /Salt glazed stoneware has been made in America since early in the eighteenth century. The first products were of a rude and simple character, in the forms of crocks and jars and other utilitarian articles, entirely devoid of ornamentation save an occasional dash of blue or, in exceptional cases, a few roughly incised ornaments. John Remmey, Owned hy tbe Author. 42, 43. Gray and Blue "Toby" Jucs (8§ and 6i inches in height). Grenzhausen Style. Made by Wingender & Bro., Haddonfield, N. J. Nob. '01-41, '07-41. 44, 45. Gray Stoneware Tankards (11| and 10} inches in height). Moulded and Blue Enamel Decorations, Grenzhausen Style. Made by Wingender & Bro,, Haddonfield, N. J, Owned by the Author. 46. Gray and Blue Stoneware Jardiniere and Pedestal (33 inches in height) Grenzhausen Style. Made by Win gender anrl Bro.. Haddonfield, X.J (From " Pottery and Porcelain of the United States," G. P. Putnam's Sons, N. V.) Owned by Mr. Chat-lea U. Benbam. 47. White Stoneware Mug. Carved and Enamelled Decoration. Made by Charles C. Benham, (By Courtesy of The Ladies' Home Journal.) No. '9*.aw. 48. Gray Stoneware Olive Jar (1 ft. 10-i inches in height). Modelled and Blue Enamel Decoration. Made by Mrs. S. S. Frackelton. By Courtesy of The Ladies' Home Journal.) 25 a German, established a pottery in New York City about 1735. His works were situated at Potter's Hill, near the old City Hall. On a map showing the plan of New York City in 1742, the pottery of Remmey & Crolius is marked. At a later date, John Remmey having died in 1762, the second partner, or possibly his son, appears to have carried on the business alone, as is indicated by a stoneware jug eleven inches in height, with two loop handles and a spout. The ware is of a rich brown colour, with stamped and cobalt blue decorations. On the back is the inscription: — New York, Feby 17th 1798 Flowered by Mr. Clarkson Crolius. Around the spout is a conventional design of leaves and flowers in blue, while similar embellishments adorn the body above the inscrip- tion (see No. 41). This pottery continued in operation until about 1820. Late in the eighteenth, or early in the nineteenth, century Paul Cushman began the manufacture of salt glazed stoneware near Albany, N. Y. Numerous examples of his work have survived, several of them bearing the date 1809. The body is of a brownish tint and the decorations, which are usually scanty, are in cobalt blue. In many instances the name of the maker is scratched on the sides of jars, and occasionally inscriptions are found (see No. 39). Other stoneware potteries were in operation in the United States previous to the nineteenth century. At Norwalk, Ct., salt glazed ware was being produced in 1780. At Morgantown, W. Va., and Huntington, N. Y., gray stoneware with blue decorations was made about 1800. John and William Norton, at Bennington, Vt., were turning out stoneware about the same time, while at Norwich, Ct., similar ware was manufactured a few years earlier. At Utica, N. Y., a pale grayish stoneware has been made, in decorated utilitarian forms since about 1820. The Pennsylvania Society for the Encouragement of Manufactures and the Useful Arts published the following advertisement in the New Jersey Journal at Elizabethtown, in its issue of January 25, 1792: — "1. To such person as shall exhibit the best specimen of Earthen- ware or Pottery, approaching nearest to Queensware, or the Nottingham or Delf ware, of the marketable value of fifty dollars — a plate of the value of fifty dollars, or an equivalent in money. 26 "2. To such person as shall exhibit the best specimen of Stone ware, or that kind of Earthenware which is glazed with salt, of the value of fifty dollars, a plate of fifty dollars' value, or that sum in specie." One of the conditions of this competition was that the ware should be made in Pennsylvania or New Jersey. We are not advised of the result of this announcement. At Strasburg, Va., stoneware potteries were in operation previous to the beginning of the nineteenth century. Solomon and Samuel Bell, from Hagerstown, Md., established a stoneware pottery there about the year 1842. Among the best pieces produced during the early years of this factory is a large gray salt glazed stoneware water jug, or fountain, with handles modelled in the semblance of coiled serpents and human masks, surrounded by impressed ornamental patterns. On the body are boldly painted tulip designs in rich cobalt blue, and the stamped mark of Solomon Bell (see No. 40). The pottery is still operated by the sons of the founders. Charles Wingender & Brother are among the few potters in the United States who continue to produce the old-fashioned German gray salt glazed ware with blue and purple decorations. They served an apprenticeship in the potteries of Hohr, near Coblentz, in the Grenzhausen district, and their productions are similar to the wares now made in that section (see Nos. 44, 45 and 46). Some of the old moulds which had been used in Germany for a century or more are still in use at their establishment in Haddonfield, N. J., while many of their best designs are original. Their beer steins, jardinieres, pedestals and water coolers are modelled after the old Ger- man forms, and compare favourably, both in decoration and in mechanical execution, with the modern imported ware of a similar nature. One of the most elaborate historical patterns which they have produced is a representation of the battle of Teutoberg Forest which took place in the year 9 a. d., in which Quintilius Varus led the Roman troops against the Germans, the latter being victorious. In this engagement the Roman army was completely destroyed, and Varus perished by falling on his own sword. This spirited rendering was originally used at the Hohr pottery, but has been remodelled for the Haddonfield factory (No. 45)- Salt glazed stoneware is manufactured extensively at the Charles Graham Chemical Pottery Works, Brooklyn, N. Y. Mr. Charles C. Benham, who for more than twenty-five years has been carving 27 and colouring designs in this body, has executed many beautiful pieces at these works, in a style not attempted elsewhere. The surface of the ware is carved in artistic patterns in low relief, coloured with a rich, deep blue and covered with salt glaze. His most recent pieces, such as drinking mugs, jugs and vases, are made of fine white clay (No. 47). He has also produced some large panels with painted decorations in cobalt colour, in the style of Holland Delft. It was reserved for a woman, however, to breathe the breath of artistic life into the body of American stoneware, and under her deft touch, guided by refined instinct and inventive genius, the old utilitarian forms were converted into new and graceful shapes, and the crude blue colouring, which served for ornamentation, gave place to artistic designs in relief, always significant, harmonious and thoroughly appro- priate. The honour of raising the humble manufacture of salt glazed ware in this country to a place beside the finer ceramic arts belongs to Mrs. S. S. Frackelton, formerly of Milwaukee, but now of Chicago. A fine example of her work is a large jar, now in the Museum collection, which was purchased at the Chicago Exposition in 1893. It is over two and a half feet in height, of the ordinary gray colour, supported by winged feline feet and ornamented with fruited olive branches in high relief and rich blue colouring (see No. 48). The commoner varieties of stoneware are often lined with what is known as "Albany Slip," a bluish clay taken from the bed of the river near Albany, N. Y. This clay contains a large percentage of iron and forms a black or dark brown glaze of considerable hardness. The stoneware of the United States shows the influence of the Rhenish potters. The imitation of the white salt glaze of England was never attempted in this country, so far as we are aware, unless, indeed, it should be hereafter demonstrated that the "white and chiney" ware which was manufactured at Burlington, N. J., between 1685 and 1691, by the agents of Dr. Daniel Coxe, of London, Proprietary and Gover- nor of the Provinces of East and West Jersey, was in reality similar to the white stoneware produced by Thomas Miles, of Shelton, Eng- land, about the same time. It is within the range of probability that this first American white ware was glazed with salt, but thus far no pieces have been recognised. If any examples have survived to the present day, they must be sought for in the islands of Jamaica and Barbadoes, to which points, according to Dr. Coxe's statements, the greater portion of the output was shipped. — " M 60 „ « 3 u B « .H S u ■§!:§ «f J- e3 §a 1 B,g, .2. « si 5 gj'o 3^ M.S. 12 S m S p u O JH , ■on ^ •3 2 « « *3 tg m _ o M « a S * * 8 -gas 11-3 -S ■2 sfi a 1 .1 a £S 6'i r.3 a - ,W ">> -a .2 3 2 9fi i o -a 6- fr & •a Q a | I 2 of w S •a ■§ I 1 5 INDEX Adams, William, 22 Aix-la-Chapelle, 7 Albany, N. Y., 25, 27 Albany Slip, 27 Altenburg, 7 Apostles, 11, 12 Baluster jugs, 7 Barbadoes, 27 Barlow, Arthur B., 23 Barlow, Florence, 23 Barlow, Hannah B., 23 Barrel-shaped vessels, 11, 15 Bartmann, 10, 11, 12, 14, 15 Base, crimped, 7 unglazed circle, 12 wire marked, 10, 12 Basket work, 20, 22 Bauemtanz-Kriige, 8 Bear jugs, 20 Belgium, 14 Bell, Solomon & Samuel, 26 Bellarmine, 10, 11, 15, iS, 24 Benham, Charles C, 26 Bennington, Vt., 25 Biblical subjects, 6, 7 Blue salt glaze, 21 Bonn, 6 Boston Museum, 13, 15 Bouffioux, 14 Brampton, 20 Brooklyn, N. Y., 26 Brown stoneware, 7-12, 14-16, 24 Bunzlau, 16 Burlington, N. J., 27 Burton, William, 19 Butler, Frank A., 23 Calver, W. L., 24 Canettes, 6, 10, 14 Cast salt glaze, 21, 25 Champleve' decoration, 13 Chapelle-des-Pots, 17 Chatelet, 14 Chesterfield, 20 Chicago, HI., 27 Church, Prof. A. H., 20 Coblentz, 12, 26 Coin-like medallions, 11 Cologne, 5, 6, 9, 18, 19 Continental stoneware centres, 16 Coxe, Dr. Daniel, 27 Crich, Derbyshire, 17 Crimped foot, 7 Crolius, Clarkson, 25 Crouch ware, 17 Cruche, 12 Cushman, Paul, 25 Decorations, champleve', 13 enamel colours, 12, 13,14,17, 18, 20, 21 incised, 13, 14, 18, 20, 23 incuse, 14 moulded, 6, 11, 13, 16, 20 painted, 12, 21, 22 printed, 22 scratched, 21, 23, 24, 25 sunken, 13 Delft, 24, 25, 27 Doulton, John, 23 Doulton ware, 23 Dreyhausen, 16 Drug jars, n, 15 D wight figures, 18 D wight, John, 18 Elers Brothers, 18 Enamel colours, 12, 13, 14, 17, 18, 19, 20, 21, 23 England, 17-23 Flanders, 5, 8, 14, 19, 20 Frackelton, Mrs. S. S., 27 France, 16, 17 Frechen, 9, 10, 11, 17, 24 Frey, S. L., 24 Fulham, 17, 18, 19, 23 Georgius Rex, 13, 14, 18 Germany, 6-16, 20, 24 Gilding, 12, 16 Glaze, blackish, 8 ferruginous, 16, 20 freckled, 10, 17 granulated, 15, 17 metallic, 8, 20 red, 16 red brown, 8, 9, 20 rusty brown, 12 smooth and glossy, 8, 20 thin and dry, 7, 11 Graham, Charles, Works, 26 3' 32 INDEX Grenzhausen, 12-16, 19, 24 Gres de Beauvais, 17 Gres de Flandres, 5 Gres Flamand, 5 Gres of France, 1 7 Gres of Savignies, 17 Gray and blue stoneware, 12-14, *7> 18, 1 19, 24-27 Graybeard, 10, n, 14, 15 G. R. jugs, 13, 14, 18 Gustavus Adolphus, 11 Haddonfield, N. J., 26 Hagerstown, Md., 26 Handles, lizard's-tail, 15 recurved, 13, I4> 15 Hohr, 12, 13, 26 Holland, 16, 21, 27 Huntington, N. Y., 25 Ireland, 15 Jackfield, 22 Jamaica, 27 Jewitt, Llewellyn, 10 Kreussen, 11, 12 Lambeth, 22, 23 Leeds, 22, 24 Limburg, 8 Littler, William, 21 Liverpool, 22 London, England, 15 Low Countries, 6, 10, 17 Marks, 9, 15 Medallions, coin-like, 10 Metal dies, 21 Miles, Thomas, 20, 27 Milwaukee, Wis., 27 Monograms of rulers, 13, 18, 19 Morgantown, W. Va., 25 Moulded salt glaze, 22 Mourning jugs, 12 Nevers, France, 21 New York, N. Y., 25 Norton, John and William, 25 Norwalk, Ct., 25 Norwich, Ct., 25 Nottingham, England, 20, 25 Peasants' -dance jugs, 8, 9, 14 Persian style, 21 Pewter, 7 Pierced designs, 20, 22 Plaster moulds, 22 Pont-de-Loup, 14 Princeton University, 15 Printed decoration, 22 Queen Anne, 18 Queensware, 25 Raeren, 8, 9, 13, 14, 15 Recapitulation of features, 28, 29 Remmey and Crolius, 25 Remmey, John, 25 Salt glaze, blue ground, 21 brown, 7-12, 14-16, 24 cast, 21,25 enamelled, 12, 13, 14, 17,18, 19, 20, 21, 23 gray, 12, 13, 14, 17, 18, 19, 24-27 moulded, 22 origin, 5, 17 painted (see Enamelled) printed, 22 scratched blue, 21, 24 tinted grounds, 21 white, 6, 7, 13, 20, 2r, 22, 24 Savignies, 17 Saxony, 7 Scratched blue, 21, 24 Scratched decoration, 19, 21, 23, 24 Siegburg, 6, 7, 10, 14 Solon, M. L., 17, 19 Staffordshire, 20-22 Stanniferous enamel, 7 Stoneware, brown, 7-12, 14-16, 24 gray, 12-14, 17-19, 24-27 gray and blue, 12-14 . red, 16 red brown, 8, 9, 20 rusty brown, n, 12 white, 6, 7, 13, 20, 21, 22, 24 Strasburg, Va., 26 Swinton, England, 20 Tinted salt glaze, 21 Tinworth, George, 23 i Trumbull-Prime collection, 15 Turner, John, 22 Turner, William, 17 United States, 23-27 Utica, N. Y., 25 Wadsworth Athenaeum, 19 Watts, John, 23 Wedgwood, 24 White salt glaze, 20-22, 24 White (potter), 23 Wingender & Brother, 26 Wire marks on base, 10, 12, 15 Wood, Aaron, 22 "Works of Mercy" jugs, 8, 9, 13