Frank Seaman 
 
 To whose generosity and patience, the 
 little contained in this book is due. 
 
 The c Author . 
 
 March 19, 1918 
 
 Yama Farms, Napanoch, N.Y. 
 
Cp)E%UAPS Pottery— 
 ^ the art of moulding and 
 hardening clay — may claim to 
 be the mother of all the arts. 
 
 CHAFFERS. 
 
The Pottery 
 
 and Porcelain at the Hut 
 Yama Farms 
 
 Foreword 
 
 This little book is designed as a guide 
 for those who visit the porcelain room at 
 the Hut. If it shall lead one person to live 
 again in spirit among the struggling Stafford- 
 shire Potters; to enjoy the fruition of their 
 experiments in the times of Josiah Wedg- 
 wood; to appreciate the efforts of many 
 master workmen and chemists in seeking a 
 hard, true porcelain, and to know the last- 
 ing fame England has achieved commer- 
 cially by her great pottery industry, it will 
 have exceeded its intentions. 
 
 The collection at the Hut was begun, be- 
 cause nothing seemed to be so happy in a 
 log house as “old china. “ It was mostly 
 collected with a view of obtaining usable sets, 
 and the pieces from which a comprehensive 
 survey of the development of English pot- 
 tery and porcelain may be traced, have 
 been the result, rather than the intention in 
 the beginning. 
 
Terms 
 
 npHERE exists some misconceptions about terms for the 
 A products of the potter’s art. Ceramic, which means per- 
 taining to the fictile art (also correctly spelled keramic) comes 
 from Ceramicus that section of ancient Athens which was 
 given up to the making of pottery. The Greek word for 
 potter’s clay and earthenware vessels is keramos. 
 
 The potter’s products with which we commonly come in 
 
 / pottery 
 
 contact may be broadly divided into three classes: j faience 
 
 \ porcelain. 
 
 The word pot is of Celtic origin and pottery is soft, lightly- 
 fired, opaque earthenware, glazed or unglazed. Earthenware 
 might be used to cover all ware made from mineral substances 
 taken from the earth, but when it is sufficiently fired so that 
 the mass fuses hard, and is non-porous, it becomes stoneware, 
 both included under the term pottery. They may be glazed or 
 not without losing the classification. 
 
 Faience is often loosely used to denote any ware between 
 pottery and porcelain. Properly used it is a ware the body of 
 which is soft clay covered with a stanniferous enamel. It was 
 the first ware to require two firings. Much of the early 
 Italian, French and Dutch ware was faience. It is said to 
 have been invented in Faenza, Italy in 1299. “English 
 Delft” is the earliest English example of faience. 
 
 Porcelain is transluscent vitrified ware which has been fired 
 at high temperature when glazed, and has a transluscent glaze 
 also. It is divided into hard paste (pate dure) soft paste (pate 
 tendre) and mixed or hybrid paste. The word porcelain is 
 often traced to the Italian porcellana, because its finely polished 
 surface was compared to the Venus shell or purple fish — so 
 called because the curved shape of the upper surface resembles 
 the curve of a pig’s back — porcella — a little pig. 
 
 China , the short word for chinaware, is the common term 
 employed in England and the United States for porcelain, 
 because the first porcelain in Europe was brought from China. 
 It has no generic significance. 
 
Periods in the Development of 
 English Porcelain 
 
 English pottery from 
 the earliest period to 
 preceding printing, 
 about 1760. 
 
 Glazed earthenware 
 Slip decorated ware 
 Stoneware 
 
 “English Delft” or faience 
 Salt glaze 
 Cream ware 
 
 Wedgwood Period 
 1750 to 1800. 
 
 Green glaze 
 Queen’s ware 
 Jaspar 
 Lustres 
 
 Pearl earthenware 
 Printing under glaze 
 
 English Porcelains 
 Roughly between 
 1750 and 1825. 
 
 Bow ) 
 
 Chelsea | 
 
 Derby 
 
 Loughton Hall I 
 
 Nantgarw | 
 
 Puixton and Locksey 
 Swansea 1 
 
 Worcester 
 Caughley 
 
 Coalport J 
 
 Plymouth 
 
 Bristol 
 
 New Hall ' 
 
 Spode 
 
 Rockingham 
 
 Davenport 
 
 Wedgwood 
 
 Minton 
 
 Combined 
 
 a 
 
 a 
 
 u 
 
Map of England showing location of 
 the most famous early potteries 
 
 i 
 
ZhQotes 
 
 The 17 th and 18 th Centuries 
 in England 
 
 AN era of discovery possesses an element of recurring charm. 
 - 1 The development of English porcelain covers a period of 
 two hundred years, the 17th and 18th centuries, and craftsmen 
 were experimenting along different lines in three parts of 
 England. A discovery in the London district was afterward 
 pursued a step farther in Staffordshire: — a new material intro- 
 duced way down in Plymouth was destined to divide English 
 clay wares into the two great divisions — pottery and porcelain. 
 Carts and wagons were rare in those days and examples of 
 wares and news travelled on horseback and amid dangers of 
 the highwayman. 
 
 Two hundred years ago very few people had ever seen a 
 piece of porcelain, and still fewer possessed even one tea cup. 
 
 The food of the period consisted of oaten bread, butter, 
 cheese, mutton and ale — -served on trenchers of wood and on 
 pewter and in rough earthenware jugs. 
 
 In 1609, at the launching of the first ship built for the East 
 India Company, King James I partook of a banquet at which, 
 “as a specimen of eastern magnificence, all the tables were 
 covered with dishes of China ware.” 
 
 With the introduction of tea into England at about this 
 time, porcelain cups brought with the tea, were not in suffi- 
 cient quantities to supply the demand which soon spread to 
 all classes. This was one of the most powerful incentives to 
 the discovery of materials that would make, and methods that 
 would produce, hard resisting porcelain such as had been 
 brought from China. In the preserved examples of the 
 miscalled “Lowestoft” we have evidence of what much of the 
 porcelain from China was at that time, which the English 
 potters were seeking to imitate. 
 
 The first step beyond earthenware either glazed or un- 
 
glazed was a hard stone ware glazed with salt. The next step 
 was the cream ware pottery to which calcined powdered flint 
 was added. With the discovery of kaolin or china clay came 
 porcelain and after that practically all the important pot 
 works gravitated to the Midland Counties, especially Stafford- 
 shire or to the banks of the Severn where Devon clays were 
 easily brought by boat. Thus grew up the district known as 
 “The Potteries,” where unrivaled for practical purposes has 
 been built up the great English industry in pottery and in 
 porcelain. 
 
 It is because of the work of these pioneers — their experi- 
 ments both successes and failures — their improvements in the 
 preparation of clays, in methods of firing, in kilns and saggars, 
 that we cherish these first examples. Into many pieces went 
 the heart of the worker, and any object produced under such 
 conditions must forever hold a different value, must merit a 
 different judgment — than the millions of dishes now scientifi- 
 cally fired by electricity, and all that science and chemistry 
 and mechanics has brought to the industry — and which are 
 turned out as so much clay turned into money purchasing 
 power by the maker, and which can easily be replaced by the 
 user. 
 
 The period covered by these earnest workers and discoverers 
 saw the changes in Governments as follows: Puritan England 
 from 1603 to 1660 covered the reigns of 
 
 Charles I — 1625 to 1649. 
 
 Cromwell — 1649 to 1658-9 and the restoration of the 
 Stuarts under 
 
 Charles II — 1660 to 1685. 
 
 James II — 1685 to 1688. 
 
 Then came the landing of William of Orange and Mary-^P 
 1689 to 1702 followed by Queen Anne 1702-1714. 
 
 Then came the House of Hanover during which reigns the 
 greatest progress was made in ceramic art — 
 
 George I — 17 14-1727. 
 
 George II — 1727-1760. 
 
 George III — 1760-1820 — Sixty years! which covers the 
 Wedgwood period and 
 
 George IV — 1820-1830. 
 
Clay and Methods 
 
 Materials — Clay is a fine grained substance derived from 
 the decay and hydration of aluminous silicates, white when 
 pure, but usually mixed with impurities imparting various 
 shades of gray, green, brown, red, purple or blue. When wet 
 it can be kneaded between the fingers, and kaolin, often called 
 china-clay is one of the whiter, purer forms of clay resulting 
 from the decompositions of the felspars of granite. Kaolin 
 was long known and used in the Orient for porcelain before its 
 discovery in England by Wm. Cookworthy, at Plymouth about 
 1745 - 
 
 Among the aluminous silicates we find the mineral family 
 of felspars, which form a large part of the crystalline rocks 
 erupted from below. In decomposition they give clays, but 
 when found in the form of stone, mixed with quartz, it is 
 ground and forms one of the chief ingredients of true porcelain. 
 In England these rocks are called China-stone and to the above 
 china-clay and china-stone are due the fictile productions of 
 the whole world. To them for various purposes and forms 
 are added in varying proportions many minerals and metals 
 like lead, flint, barium, sodium, borax, chalk, etc. 
 
 Methods — The potters wheel onto which a lump of moist, 
 plastic clay mixture is thrown, and then shaped by the hand 
 of the potter while the wheel is revolving, is older than authentic 
 history. It is the method of potting most adhered to through- 
 out the east. 
 
 Another method of forming clay wares is called moulding 
 (from the French verb moulage) or in England pressing. 
 Plastic clay is forced into forms, usually of metal and left to 
 shrink as it dries. This was the method used by the early 
 makers of salt glaze and the thin pieces thus made were believed 
 to be in the direction of the secret of Chinese porcelain. Larger 
 pieces are pressed into a number of moulds and then the pieces 
 when taken out of the moulds, are joined together with more 
 of the mixture to cover up the seam and adhering sometimes 
 by the use of slip — the whole fusing together in the furnace. 
 Spouts and handles are moulded and then attached to either 
 thrown, moulded or cast pieces. 
 
The way of casting clay was invented in the Staffordshire 
 potteries, and seems to have been unknown in the Orient. 
 Making clay wares by casting means pouring into a porous 
 mould (usually of plaster of Paris) a mixture of clay and water 
 of the consistency of batter. As the moisture is absorbed 
 through the mould, the clay mixture next the mould begins 
 to harden. When this partially hardened lining of the mould is 
 the desired thickness, the batter mixture or slip is poured out 
 and the drying layer of clay is left to dry and harden. It 
 shrinks in drying and is easily removed from the mould. 
 Very thin ware can be produced by this method and western 
 potters have sought thus to imitate the “egg shell” porcelains 
 of the Orient. The Chinese do not employ this method, as 
 their thin porcelains are made by cutting down the clay with 
 sharp instruments requiring very skilful fingers. 
 
 As a rule the Oriental fires his body and glazing at one 
 operation, but not always. Most European porcelains after 
 throwing, moulding or casting are fired at a moderate degree of 
 heat into what is known as a “biscuit” form. All forms of 
 European porcelain that are unglazed are called biscuit. 
 
 So called “firing” of clay is the method of subjecting it to 
 such extreme heat, as will fuse the silicates into a hard mass. 
 The objects are first put into saggers, a case which has been 
 made on the potter’s wheel of fire-clay, i. e., clay that is not 
 affected by extreme temperatures. To keep these absolutely 
 free from any particles that might fall onto the piece inside, to 
 its detriment, has always been one of the finer points of firing. 
 These saggars protect the ware from the flames and smoke of 
 the furnace or kiln. Among later inventions are muffle kilns 
 where smoke, etc., are conducted by flues. The degree of heat 
 required varies according to the mixture, and are often 
 determined by the effect it is desired to produce in the glaze. 
 When not finished in one firing the ware is removed in the 
 biscuit, and glazed and decorated as the case may be. 
 
 To the biscuit in Europe, but to the unfired body in true 
 Chinese and kindred porcelains, is applied a glaze rich in oxide 
 of lead. This is applied in several ways, — by dusting on in 
 powdered form, by penciling with a brush, by dipping small 
 pieces into a glaze solution anji by blowing. The Chinese 
 
accomplish the blowing by the workman actually blowing the 
 glaze through a piece of gauze at one end of a hollow bamboo; 
 the modern potter does the same work with compressed air. 
 
 Decoration — The decoration of the clay object after it is 
 hardened by drying or firing, is necessarily as varied as the 
 workers, but the limits of such embellishment may be included 
 under the following: 
 
 Slip-decoration consists in decorating a clay body with a thin 
 mixture (slip) of water with a clay usually of different color, 
 through a fine tube or quill, much as a pastry cook decorates a 
 cake. 
 
 Moulded designs in relief are first when moist clay pressed 
 into a metal mould, and then attached to the body of the 
 ware by slip or water. 
 
 Marbling is done with several thin layers of different colored 
 clay mixtures pounded together, and then cut into slices that 
 are afterwards moulded, occasionally thrown. 
 
 Incising is picking out the design by hand with a sharp in- 
 strument or on a lathe from the clay body before it is entirely 
 hard. This is sometimes done when only the outer coat of 
 enamel is thus etched showing another color clay body beneath. 
 It is also done to greatest perfection in China where the design 
 is left which is only a fractional thickness of the body, thus 
 letting light through. 
 
 Punched porcelains are cut entirely through the ware making 
 holes of different shapes to form a design. This was practiced 
 in England in the 18th Century suggested by the reticulated 
 porcelain of China. 
 
 Stamping was at one time practiced by sticking a piece of 
 moist clay onto the body and then pressing with a metal 
 stamp, much as we use sealing wax and a seal. 
 
 Pate sur Pate consists of attaching blocks of soft clay mixture 
 to the body and then modelling this block with sharp tools. 
 
 Colored Glazes are produced to greatest perfection by the 
 Chinese and have never been equalled by the western world. 
 Such glazes are produced by metallic oxides. When put on in 
 splotches they form mottled ware. When put on only'the top 
 of a piece and allowed to run unevenly, the ends of the running 
 are called “tears.” When the ware is covered entirely with 
 
glaze, the color depends largely upon the temperature at which 
 it is fired, and with some oxides whether it is mixed with an 
 alkaline solution, in others to whether it is applied to an 
 unfired or a biscuit body. 
 
 Painting in enamel colors both over the glaze and under the 
 glaze is probably more practised than any other method. All 
 colors used for such painting are minerals mixed with flux or 
 glass. The range of colors depends upon the degree of heat to 
 which the ware will be subjected, hence there are colors that 
 can be used for painting over the glaze that would entirely 
 disappear if fired at a temperature required for fusing body 
 and glaze. 
 
 Printing both on glaze and under glaze , commands the same 
 range of colors as painting. The design is etched on copper as 
 for printing, and then printed on a thin paper from which it is 
 transferred to the ware. 
 
 Blue pie-crust edge. 
 
 Cream ware pottery, marked Davenport. 
 
Stoneware 
 
 GTONEWARE, made of plastic clay to which a little sand 
 ^ and sometimes ground baked clay is added, was first de- 
 veloped and fused into a hard ware in Germany. There were 
 many factories making various colored stonewares in the fac- 
 tories of the Rhineland in the 16th Century. 
 
 As stoneware will not stand a sudden change in temperature, 
 is apt to crack if put on the fire, or split if it comes in contact 
 with boiling water, its use was mostly confined to beer jugs, 
 tankards and ornamental pieces. 
 
 The duties levied on its importation into England were so 
 prohibitive that its manufacture was begun in England dur- 
 ing the reign of Elizabeth, as is attested by several patents 
 granted at that time 
 
 Not until 1671 have we any examples to show that the 
 potters did more than imitate the German ware, but in that 
 year John Dwight began the manufacture of stoneware not 
 only in useful articles employed by the people daily, but he 
 also made a very hard fine stoneware in small statues, fine salt 
 glazed pieces, fine red earthenware and some stamped and 
 mottled wares. He claimed to have solved the mystery of 
 porcelain, but none of his works that survive are of that nature 
 and his book of receipes, which is now in an English museum, 
 contains no formula that could make a true porcelain as now 
 understood. 
 
 The pieces that survive are of such a high character that 
 M. Solon says, “Nothing among the masterpieces of ceramic 
 art of all other countries, can excel the beauty of Dwight’s 
 brown stoneware figures, either for design, modelling or fine- 
 ness of material.” 
 
 Dwight’s factory was at Fulham now a part of London where 
 it remained in his family until 1862. In later years they made 
 commercial pottery only, such as filters, etc. 
 
 A walled up chamber of the old works was opened a number 
 of years ago and a quantity of ale jugs called “Bellermines” or 
 Graybeards were found. Simdar jugs have been found all over 
 England and it is difficult to distinguish between those of 
 English and German manufacture. 
 
While the London potters continued to make hard stone- 
 ware in imitation of German wares, the potters of the Midland 
 counties, having a great abundance of suitable clay, coal and 
 salt at hand, built up a large industry which flourishes to the 
 present day. Removed from direct importations from the 
 continent, and from foreign fashions and influences the stone- 
 ware made in the 17th Century at Nottingham, Chesterfield, 
 Brampton, Congleton, etc., took on a more distinct English 
 character. The dark bear mugs, with white clay eyes and 
 teeth, were produced in quantities and posset pots, tygs, 
 puzzle jugs, etc., are truly English in manner. It was in the 
 Midland counties that great jugs with the handle in the shape 
 of a hound originated and are still made. 
 
 Bellermine, or Graybeard, the common ale jug of the 
 17th Century. Many imported from Germany and 
 many made at Fulham, now in London. 
 
Slip Decorated Pottery 
 
 T 3 REVIOUS to the 17th Century there is little to distinguish 
 ^ the peasant pottery of England from that common on the 
 continent. It consisted of native clays, fired to different shades 
 and usually covered with a glaze of lead, dusted on in powdered 
 form before firing. 
 
 These were simple beginnings, made by peasants, but the 
 17th Century is marked by a gradual increase in the care of 
 production and by using clays which burn to a light color in 
 contrast with the brick red earth of the ware. At first the light 
 clays are used in decorations. Before firing, a thin mixture of 
 clay and water is run through a quill in dots or lines, or traced 
 in dates and names. This is the beginning of slip decoration, 
 of which painting in contrasting clays on a clay body has 
 reached a high development in our Rookwood Pottery. 
 
 Tygs, a name evidently developed from the Roman tegula 
 (tile) that were among the first clay fabrications of England, 
 are cups in which a drink was brewed, and a piggin with which 
 it was ladled, bowls, mugs, jugs, possetpots, miniature cradles 
 (popular gifts at marriages) were common among the peasants. 
 
 In the diary of William of Malmsbury occurs this reference to 
 tygs, which were many handled and stood in the middle of the 
 table: “Formerly the vessels were regularly divided to pre- 
 
 vent quarrels. King Edward commanded the drinking vessels 
 to be made with knobs on the inside at a certain distance from 
 each other, and decreed that no person under a certain penalty, 
 should either himself drink, or compel another to drink at one 
 draft, more than from one of these knobs to another.” 
 
 Occasionally the name of a maker has survived, as in Ralph 
 Toft, and so many dishes signed by him are extant, and of such 
 a similarity of make and treatment, that slip decoration is often 
 loosely referred to as Toft Ware. 
 
 Coarse clay ware is still made and decorated with slip in 
 many potteries in England. In material it is somewhat 
 analagous to Japanese teabowls, but as yet no very large class 
 of people in England or America has placed such a high aesthetic 
 
value on such simple wares as do the Japanese through their 
 tea ceremony and all it means to them. 
 
 Among the early Dutch settlers in Pennsylvania a number of 
 pot works, making rude slip ware, antedate our larger potteries. 
 Even today slip decorated pie plates are still made there. 
 
 The tulip is among the favorite decorations of the Pennsyl- 
 vania potters and one might wonder if the report of this 
 inscription in the King’s palace at Ispahan ever reached them. 
 It is thus quoted by Chardin, “I have taken the tulip for my 
 emblem: like it I have a countenance of fire and a heart of coal.” 
 
Elers 
 
 TN the train of William of Orange who ascended the English 
 ^ throne in 1688 came two Dutch gentlemen named Elers. 
 One of them settled in Staffordshire. Whether he was ex- 
 perimenting in alchemy and sought seclusion, or whether he 
 simply desired to live apart from his neighbors, is not known. 
 At any rate on the west side of the valley of “the potteries” in 
 Bradwell wood, this foreign gentleman, for more than twenty 
 years made small red clay tea pots, jugs and mugs of a kind not 
 hitherto made in England. Many chemists and potters were 
 ardently seeking the secret of the translucent white porcelain 
 from China. No further progress than the red unglazed tea 
 pots, quite equal in workmanship to those that had come 
 from the Orient, by the Dutch East India Company, was made 
 by Elers, and he subsequently removed to London. These 
 teapots were thrown on a wheel with thin handles (not moulded) 
 and when the clay body was partially dry a moister clay was 
 laid on and stamped in delicate designs with brass stamps, 
 some of which are preserved. Even in that day they were so 
 highly prized that they sold for a guinea a piece in London. 
 
 It is said that only feeble minded and stupid workmen were 
 employed at this remote pot works and historians tell of two 
 men, Twyford and Astbury who simulated idiocy in order to 
 learn the methods of Elers. Both these men afterwards oper- 
 ated potteries, and to Astbury is ascribed the first use of fine 
 white clay from Devonshire, put on the red ground, stamped 
 with a pattern and fired with a lead glaze. 
 
 Abundance of various clays, families in which the making of 
 pottery had been carried on for many years, and constant 
 experiments in materials, led to great activities during the 
 latter half of the 18th Century. Powdered calcined flint was 
 introduced during this time and firing stoneware with common 
 salt — these two innovations led to the two most distinctive 
 and most English of Staffordshire pottery — namely “Salt-glaze” 
 and “cream ware.” 
 
 Just what part Elers, Twyford, Astbury, Ralph Shaw and 
 others played in the development of these wares is now beyond 
 
finding out to a certainty, and examples of characteristic 
 wares have assumed the names Elers, Astbury and others, as 
 signifying a particular ware rather than any certainty that it 
 was made by these particular individuals. 
 
 Astburv Jug, made of red clay, with white “pipe clay” 
 figures in relief, stamped on, and all glazed with lead. 
 Early 18th Century piece. 
 
Stoneware Jug with moulded figures. Marked Neale & Co. 
 
English “Delft” — Lambeth 
 
 npHE majolica of Italy, the faience of Rouen and Nevers 
 ^ in France, and the Delft of Holland — all tin-enamelled 
 pottery, requiring two firings, were known to English trav- 
 ellers and potters in the 17th century. There was a brisk 
 trade in Delft coming into the port of London. The Hol- 
 landers had succeeded in making an imitation of Chinese 
 porcelain which, if not closely examined, was deceiving, and 
 it was in search of the secret of Chinese porcelain that Eng- 
 lish potters began the manufacture of tin-enamelled wares at 
 Lambeth, now a part of London. Although twenty potteries 
 are said to have been making English “Delft” there, not 
 much has survived to the present time. Early in the seven- 
 teenth century, tiles, bottles for wine and drugs, pill slabs, 
 jugs and plates were made in quantities at Lambeth. These 
 all have a coarser red clay body with a thin coating of stan- 
 niferous enamel and were painted mostly in blue. Many are 
 signed, inscribed and some are dated. Often this enamelled 
 ware, made in England, may be distinguished by having only 
 the face of the plate enamelled, the back having a lead glaze 
 over the clay. The body of the English calcareous clays did 
 not as thoroughly combine with the thin coating of enamel of 
 white slip, as the clays used in Holland did, and some specimens 
 of English make may be recognized by the pinkish cast that 
 shows the red clay through the tin enamel. To the Lambeth 
 potteries are ascribed the two series of Merryman plates, 
 which came in numbered sets of six, with one line of a rhyme 
 on each plate. 
 
 Similar “English Delft” was made at Liverpool in the 17th 
 Century in great quantities. It was practically abandoned 
 there after 1760 to make the then common cream-ware that 
 had been developed in Staffordshire. This Liverpool faience 
 is particularly noted for its large punch bowls — doubtless used 
 on the ships that were so frequently sailing from the seaport 
 on the Mersey. Many of these bowls have the name as well 
 as the picture of a sailing ship. Ship designs were also used 
 on large jugs but should not be confounded with the later 
 
printed cream-ware “Liverpool Pottery Jugs.” Sadler and 
 Green, who invented the method of printing on pottery by 
 transfer, lived in Liverpool, and the sale of Liverpool faience 
 tile increased enormously when they could be more cheaply 
 printed than painted by hand. To this period belongs the 
 series of tiles decorated with figures of popular actors, also 
 tiles with current illustrations of poems and fables. 
 
 Similar enamelled wares were early made in Bristol before 
 soft paste porcelain, but not much enamelled-ware can be as- 
 cribed to these potteries after the latter part of the 18th Cen- 
 tury. So great was the improvement in pottery and true 
 porcelain during this period that they superseded faience and 
 it has seldom competed with later English porcelain, although 
 its use was persisted in to some extent after the introduction 
 of kaolin and bone ash. 
 
 “English Delft” or faience plate, dated 1761. 
 
Salt Glaze 
 
 “The most essentially English of all the pot- 
 tery produced in England.” — M. L. Solon. 
 
 WO hundred years ago the Staffordshire potters were 
 
 making a fine, partially fused stone ware. For more 
 than a century previous earthenware with a lead glaze had 
 been made in quantities. The new finer stoneware was fired 
 to a point of greater fusibility and, when the heat of the oven 
 was at its highest, quantities of common salt were thrown into 
 the flues. The fumes of this burning salt fixed upon the ware, 
 the soda being decomposed by the silica of the paste. By 
 1750 there were about sixty kilns making salt-glazed stoneware 
 in Burslem alone. Saturday mornings were the times when 
 the workmen added the salt. It is said the air was so filled 
 with the dense, black smoke resulting that people bumped into 
 each other on the street as in a London fog. 
 
 The Staffordshire clays fired with salt produced a grayish 
 salt glaze, and when clay from Derbyshire was used it showed 
 a slightly greenish caste which has gone by the name of Crouch 
 ware. When the fine, white clay from Devon was brought up 
 the Severn in barges and then brought overland, salt glaze 
 reached its greatest perfection in material — a hard, white ware 
 with a dull glaze and surface like an orange peel. It was one 
 step in advance, thought then to be in the direction of the 
 porcelain of the Orient; but it would not stand boiling water. 
 
 Salt glaze was produced in large quantities by nearly all 
 English potters. Three methods were used. Pressing or 
 stamping small objects between two metal forms; thrown and 
 turned on a wheel like earlier stone ware, and by casting, i.e.> 
 filling a porous mould (earlier of clay, later of plaster of Paris) 
 with liquid clay in the form of slip, and when the part nearest 
 the mould partially dried to the desired thickness, pouring 
 out what liquid remained, leaving the drying clay to further 
 harden on the mould. 
 
 Eighteen kinds of salt glaze pottery have been tabulated as; 
 follows by M. Solon: 
 
 1. Ornaments of white clay stamped with seals. 
 
 2 . Flowers and foliage made in moulds and stuck on with slip „ 
 
3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 10 
 
 11 
 
 12 
 
 13 
 
 14 
 
 15 
 
 16 
 
 17 
 
 18 
 
 Thin pieces made in metal moulds. 
 
 Engine turned pieces. 
 
 Mixtures of colored bodies similar to agate ware. 
 
 Red clay coated with white stoneware scratched like 
 sgrafiato. 
 
 Pieces made in plaster moulds — less sharp in execution. 
 Perforated dishes and basket ware. 
 
 Pressed tiles. 
 
 Scratched and lines filled with cobalt. 
 
 Blue stone paste applied on white ground. 
 
 Decorated with red slip and manganese. 
 
 Shavings of clay strewn on surface as in “Congleton” 
 bears. 
 
 Blue salt glaze — ground colored with cobalt under 
 glaze. 
 
 Tin glaze combined with salt glaze. 
 
 Enamelled in style of Worcester and Derby. 
 
 Size gilded. 
 
 Printing in red and black. 
 
Salt glaze heart shaped teapot. 
 “Salt glaze and Whieldon — the highest 
 expression of a genuine taste.” — Solon. 
 
Moulded salt glazed teapot. 
 
 Note how the design allows the pot to be moulded 
 in several pieces and put together in panels. 
 
Whieldon 
 
 “The wares he must have loved because 
 he made them so perfectly.”— Burton. 
 
 /CERTAIN agate, tortoise shell and other English wares 
 have come to bear the general name Whieldon. This 
 does not mean that they were actually made by that master 
 potter, Thomas Whieldon, at his works at Fenton, but in- 
 cludes wares of the same style and period made by Astbury, 
 Bird and many other potters in Staffordshire. 
 
 It is said that Thomas Whieldon excelled all the other potters 
 in fine workmanship, and when we know that the first Josiah 
 Spode and William Greatback were apprenticed to him, and 
 Josiah Wedgwood his junior partner for three years, we are 
 inclined to ascribe the best and most carefully potted pieces 
 of “Whieldon” to him individually. 
 
 “Salt glaze” stone ware and “cream ware” pottery are the 
 two great productions of the early Staffordshire potters. 
 
 In composition they are alike or very similar, the difference 
 in the finished product being in methods of glazing and dif- 
 ference of temperature in firing. 
 
 The development of agate ware, tortoise-shell ware, black 
 glazed ware, cauliflower, pineapple and melon wares, all com- 
 monly called Whieldon, traces back to the early slip decorated 
 pottery of a century earlier. A marbled ware was then made 
 by “combing” different colored clays together. 
 
 Whieldon agate ware was made from numerous layers of 
 different colored clays, superimposed, and then pounded or 
 pressed together, after which the bat was sliced and the ware 
 was usually moulded, although sometimes thrown on the 
 potter’s wheel. 
 
 Tortoise-shell ware was made of cream ware pottery that 
 was mottled by an application of mineral oxides, which, com- 
 bining with the lead in the glaze, modify the color of the clay 
 underneath. Dark madder-brown was made with manganese, 
 green by copper oxide, and blue by the oxide of cobalt in the 
 form of smalts. Raised ornament on these pieces was first 
 moulded separately and attached to the ware with slip. Mot- 
 tled or tortoise-shell plates were turned out in great quantities. 
 
some showing only the manganese brown, others with splotches 
 of green, yellow and blue, and still others where these mineral 
 oxides are covered with a gray glaze. Whieldon supplied great 
 quantities of agate and tortoise-shell knife handles to the 
 Sheffield cutlers and the metal mounters of Birmingham. 
 
 Highly glazed black ware was made by a mixture of a larger 
 amount of manganese and some cobalt, under a lead glaze; 
 for the quality of which Whieldon was famous. A factory at 
 Jackfield turned out great quantities of black ware. English 
 people have always used and prized black pottery, whether the 
 highly glazed pottery of Whieldon or the more famous black 
 basaltes of Josiah W 7 edgwood. 
 
 The cauliflower, pineapple and melon teapots, caddies, 
 bowls and jugs, are believed to have been first made at Whiel- 
 don’s pot works while Wedgwood was a junior partner. They 
 may have been suggested by the fruit forms then being experi- 
 mented with by porcelain makers further south. The con- 
 ventionalization of these fruits is well done and not offensive 
 as a literal and careful reproduction would be, and, as a rule, 
 they are so carefully and delicately made that they have passed 
 into the class of which it is said, “A thing of beauty is a joy 
 forever.” Technically, the yellow and bright green of these 
 wares mark the beginning of mixing the finely ground mineral 
 oxides with flint and calcined lead ore, which produced a type 
 of colored glazing still in use, and which was perfected by 
 the great Wedgwood. 
 
 A Whieldon pineapple jug of cream pottery 
 and brilliant green and yellow glaze. 
 
A mottled plate in relief with perforated edge. This piece 
 shows not only fine and careful potting, but is an excellent 
 example of the brilliant green and yellow mineral glazes. 
 
Whieldon jug marked in relief, 
 “Success to Lord Rodney.” 
 
 Mottled covered bowl with figures 
 in relief and a gray glaze. In deli- 
 cacy this pottery suggests and rivals 
 Chinese porcelain rice bowls. 
 
 Tortoise-shell teapot with moulded decoration in relief and 
 called Whieldon Ware. From the fact that Daniel Bird 
 made this kind of ware it has been suggested that his mark 
 might have been the bird on the lid. 
 
A cauliflower teapot. 
 
 These were never large. The top part shows the cream 
 ware pottery that was destined to become one of the most 
 important Staffordshire products; and the lower leaves 
 show the brilliant green glaze, the discovery of which is 
 ascribed to Josiah Wedgwood. 
 
A moulded Whieldon teacady. 
 
 The design carefully incorporates the lines where 
 two or more moulds come together. It is colored 
 only by manganese, being a rich brown suggesting the 
 shell of a tortoise. 
 
 “They all represent the perfection of the original 
 processes of the rude peasant potter.” — Burton. 
 
Cream Ware 
 
 Leeds 
 
 / I V HE pottery in Leeds was carried on from 1760 for a 
 A hundred and seven years, but it is only the fifty years 
 following 1780 that the wares of especial interest to collectors 
 were made. The product of those years is a fine, even deep 
 cream color pottery from Dorsetshire clays. Many beautiful 
 fluted forms were made, and probably more cream ware was 
 made with pierced or “punched” designs at Leeds than at all 
 the other cream ware pot works combined. It is the fine, 
 sharp punching and yellowish cream of the different clay that 
 often distinguishes a true Leeds piece. The thin, delicate 
 handles, often twisted and attached to the body with a leaf 
 design, are among the most beautiful of pottery handles. It 
 is said this same style of handle was used in other potteries, 
 but more have survived of Leeds manufacture than of others. 
 
 Slightly marbled wares were made at Leeds, some with in- 
 cised lines covered with a thin green glaze; and an agate or 
 variegated ware like the edges of a marbled book. These are 
 usually of creams, reds and browns. 
 
Cream ware plate showing punched design in border and 
 example of Sadler & Green overglaze printing in black. 
 
V;^lll fakifV^ x - ,; ,/" * ' 
 
 
 
 An early example of painting over the glaze of cream wire. 
 
Liverpool 
 
 /GRADUALLY the Liverpool potters who made tin- 
 enamelled wares gave these up and in their places cream 
 ware of a type closely resembling the Staffordshire ware was 
 made. Black, gray and red fine stone wares and highly glazed 
 green ware were made at Liverpool. 
 
 As the inventors of printing on china lived in Liverpool, 
 much of the cream ware was printed, but American collectors 
 are more interested in the jugs made in Liverpool than in any 
 other ware. 
 
 In the 1 8th Century Liverpool was already growing towards 
 its important place as a seaport. Naturally, much of its pot- 
 tery was sent to the colonies, and especially large jugs — 
 usually barrel shaped and ranging in size from two to twenty- 
 two or more inches in height. These are mostly printed in 
 black and colors — the one illustrated on second page following 
 has a map of the eastern coast of the United States, showing 
 the thirteen original colonies, with the American flag, Washing- 
 ton and an inscription. Often they are decorated with a picture 
 of full rigged sailing vessels, and probably very few ships 
 sailed from the port of the Mersey without carrying its 
 Liverpool Jug. 
 
 In the north country, on Swinton Moor, on land belonging 
 to the Marquis of Rockingham, was a stone ware pot works 
 that made a brown glaze of a very pure form of manganese 
 that has since gone by the name of Rockingham. Usually 
 these pieces are darker at the bottom than at the top and are 
 often examples of splendid glaze. The type, sometimes called 
 “brown china” or “brown stone-ware” is often seen in “Re- 
 becca at the Well” teapots and “Hound Handle” jugs. This 
 factory at Swinton was famous for the ingenious brown tea- 
 pots called Cadogans, which were made for the china dealer, 
 Mortlake of London, and are sometimes marked Mortlake. 
 They were to be filled from the bottom opening which ex- 
 tended as a tube to near the top of the pot, so that when 
 righted the tea was kept in without corking the opening, as 
 in some modern salt cellars filled from the bottom. 
 
At Sunderland, on the Ware River, large quantities of mot- 
 tled rose lustre ware was made. Much of it is only smeared 
 on under black printing, but one occasionally finds a piece 
 of fine lustred ware from these works. The Iron Bridge over 
 the Ware are commemorated on many pieces as illustrated 
 below. 
 
 Pink lustre jug showing the bridge over the Ware printed in colors. 
 
Liverpool cream ware jug. 
 
 plK 
 
Lustres 
 
 Lustred jugs in resist. The third has moulded white figures in relief. 
 
Teaset, with bands of rose lustre, in which the design of grapes 
 is resisted — i. e., allows the body of ware to form the design. 
 
Copper lustre jug with band of yellow. 
 
 Medallion is printed in black showing “Surrender of Cornwallis.’’ 
 Made in England. 
 
Resist lustred jug with canary-colored ground. 
 
Resist lustred pottery punch bowl with birds painted in colors. 
 
Cream ware covered with a very shiny black lead glaze, with 
 moulded figures in relief. Still shows traces of water gilding. 
 
W edgwood 
 
 “England has long taken a lead 
 among the nations of Europe for 
 the cheapness of her manufac- 
 tures. Not so for their beauty. 
 And if the day shall ever come 
 when she shall be as eminent in 
 taste as she is now in economy of 
 production, my belief is that the 
 result will probably be due to 
 no other single man in so great 
 a degree as to Wedgwood. ” 
 
 — Rt. Hon. IV. E. Gladstone. 
 
 Small basaltes jug formerly owned 
 and used by Josiah Wedgwood. 
 
 Josiah Wedgwood’s Pottery 
 
 J OSIAH WEDGWOOD was a seventh son, born in Burslem 
 in 1730 to a family who even then had long been identi- 
 fied with Staffordshire potters. It was he who built the founda- 
 tion, more than any other Wedgwood, for the great pottery 
 works still carried on by the family. He was not a chemist, 
 but a tireless experimenter, who kept careful records of all 
 his experiments; which records probably stood him in better 
 stead than such knowledge of chemistry as was available in 
 the 1 8th century. Pre-eminently a shrewd business man, he 
 profited not only by his own unceasing experiments, but by 
 those which had been carried on by the English potters for 
 a century, in an effort to produce true porcelain. This goal 
 Josiah Wedgwood never reached — unless his pearl ware be so 
 considered — but he raised pottery to its highest point in 
 Europe. As an aftermath of small-pox in his youth, he suf- 
 fered from an infected knee for years, finally having his leg 
 amputated when he was thirty-four years old. While ill in 
 Liverpool he met Thomas Bentley and for eighteen years a 
 close friendship and partnership was kept up. Probably 
 Wedgwood’s love of classical designs, as evinced by his Jasper 
 
wares, was first awakened by association with Bentley, who 
 had some classical knowledge. 
 
 After his partnership with Thomas Whieldon which termi- 
 nated in 1758 and during which time Wedgwood is said to 
 have invented his metallic green glaze, he opened two pot- 
 works in Burslem and later branched out to the larger works 
 at Etruria, two miles away. Although fashions come and go 
 in pottery as in most other things, the Wedgwood potteries 
 have always continued to make green glazed ware — first made 
 by the great Josiah. 
 
 To the early period when he was in business for himself 
 may be traced the further development and perfection of 
 cream ware — to this day one of the staple products of the 
 Wedgwood works. Wedgwood became court potter and to a 
 set of cream ware made for Queen Charlotte is due the name 
 “Queen’s Ware”, often used instead of cream ware. Much of 
 the glazed pottery of this period was sent to Liverpool for 
 decoration, where Sadler and Green had invented a method 
 of transferring print onto the glaze. Later both printing and 
 painting the decoration on glaze was done by a branch 
 Wedgwood works in Chelsea and in Soho, London. 
 
 The Empress Catharine of Russia, through the English 
 Ambassador, commissioned Wedgwood to make a cream ware 
 set for her use, with pictures of English castles, parks and public 
 buildings. This was a work of over two years and required 
 a large force of artists and skillful workmen as each piece had 
 a different view. The border was a design of lavender and 
 green and each piece was marked with a green frog. It was 
 exhibited in London before packing, and the 952 pieces were 
 sent to the Russian Empress, who paid Wedgwood three 
 thousand pounds for it. One cup and saucer is now preserved 
 in the Mayer collection in Liverpool. 
 
 While developing cream ware to great perfection — especially 
 in some of the border designs — it reached a very high point 
 artistically in English table pottery, Wedgwood continued 
 to make agate wares and tortoise-shell wares of great beauty 
 and fine workmanship. He was a master craftsman himself 
 —born in a period when the sons and family and employees 
 of a potter helped in all the potting processes as in the older 
 
days of handicraft. His manhood and later years were spent 
 when the factory system had begun to take the place of mas- 
 ters and apprentices. It is due to his shrewd business ability 
 and methods of organization as much as to his ability as a 
 potter that his name stands pre-eminent among English potters. 
 
 Wedgwood made fine red stone ware, pots and mugs after 
 the methods practised by Elers, and by the introduction of 
 manganese and cobalt in larger quantities to this hard clay 
 body, produced a fine black moulded stone ware called Egyp- 
 tian black or basaltes. This was of such a fine quality that 
 it was easily polished on a lapidary’s wheel — and often forms 
 the pedestal of a vase of agate ware. For many years the 
 London branch did encaustic painting in brilliant colors on 
 black bodies. 
 
 To the white figures on colored grounds is due the greatest 
 fame of Josiah Wedgwood. In the countless experiments for 
 a whiter, harder body, Wedgwood introduced barium sulphate, 
 and the fine stone ware thus obtained for the first time was 
 named by him Jaspar ware. The prevailing spell of the classics 
 following the excavations at Pompeii seemed to fasten upon 
 him at this time and except for the portrait medallions all the 
 Jaspar ware is strongly marked with classical feeling and lore. 
 
 More skillful artists and sculptors were employed — notably 
 Flaxman, who in Italy modelled some of the most beautiful 
 forms — and the exquisitely moulded white Jaspar figures, that 
 were united to colored Jaspar bodies before dry, have a grace 
 and fineness of workmanship surpassing anything ever done 
 previously in England. Portrait plaques in bas-relief were 
 produced in quantities and, while a few are twelve inches 
 high, they are generally three or four inches. Small articles 
 like beads, earrings, plaques to be set in brooches, or metal 
 boxes testify that Josiah Wedgwood never lost connection 
 with the metal mounters of Birmingham to whom he had 
 previously sold agate wares. 
 
 Large vases display the great skill of this master potter 
 and the one often called the Pegasus vase, which Wedgwood 
 presented to the British Museum, was evidently intended to 
 represent his ambition as a potter. 
 
 In 1784 the famous Barberini vase was brought to England 
 
by Sir William Hamilton. It was almost immediately sold to 
 the Duchess of Portland. After her death the following year, 
 the Duke of Portland bid it in at the sale of their museum 
 pieces, and commissioned Josiah Wedgwood to copy it. Here 
 was a work demanding the utmost skill and though many 
 copies were then made and have since been made it is doubtful 
 if any were entirely satisfactory to the master potter. The 
 original vase, discovered in 1623 and probably made in the 
 third century, was of blue-black glass and the figures were of 
 an opaque white, with which the glass was covered and then 
 the figures sculptured. Wedgwood copied it in a blue-black 
 basaltes with white Jaspay figures. 
 
 After 1790 Wedgwood invented his “pearl stone ware,” and 
 immense quantities of this in printed table ware were sold at 
 home and in the colonies, as well as many pieces lustred with 
 platinum, gold and copper. 
 
 After the first early years, Wedgwood’s business acumen led 
 him to mark and to retain records of the marks of nearly all 
 his pottery, and in the 19th century the marks tell almost to 
 a year when any piece was made. 
 
 Josiah Wedgwood died in 1795 the most honored potter of 
 his day and left one of the greatest, if not the greatest, name 
 in England’s commercial development. 
 
 The best pottery of Josiah Wedgwood represents one of the 
 highest terms of beauty that can be made in clay, where every 
 mechanical invention is invoked and every detail is carried 
 out with pains and precision and scientific exactness; and it 
 is the antithesis of the pottery of Japan, where beauty is 
 achieved as a direct result of the artistic sensibility of the 
 potter, and machines, precision and exact repetition are never 
 sought. One conforms to classical convention, the other ex- 
 poses the potter’s soul. 
 
 During the last quarter of the 18th century the Stafford- 
 shire potteries were producing immense quantities of pottery, 
 and certain staple wares like agate, tortoise-shell, salt glaze, 
 cream ware, printed both under and over glaze lustres, and 
 figures were made by nearly all potters. Very few pieces were 
 
marked, and only long study and close comparison can surely 
 ascribe them to individual potters, among whom the most 
 famous were the Warburtons, Hollins, Turner, Palmer, Neale, 
 Mayer, Adams, Enoch and Ralph Wood, and Caldwell. 
 
 The Staffordshire pottery figures, made during this period, 
 are coarser and cruder in coloring than the porcelain figures 
 then made at Bow and Chelsea and Bristol, from whom the 
 inspiration evidently came. 
 
 Mottled Rose lustre plate with incised mark Wedgwood. 
 
Black Basaltes Teapot. 
 
 The first teapot made by Josiah Wedgwood is preserved at Etruria. 
 
So called “Lowestoft” 
 
 /^\N the eastern coast of England is a town called Lowestoft. 
 ^'During the 17th and 18th centuries it was an important 
 port for the reception of goods brought by the Dutch East 
 India Company to Holland. Its distance from Rotterdam is 
 about 100 miles. At one time there is known to have been a 
 large warehouse in Lowestoft, and a considerable stock of 
 Oriental goods, including porcelains. 
 
 During the past few decades a good deal of true porcelain of 
 a coarse, uneven character, has been called “Lowestoft.” 
 Most of the specimens that still go by that name are a typical 
 Chinese porcelain in character, and contain kaolin, which had 
 not been discovered in England when many of these pieces 
 were made and dated. 
 
 The composition, color and surface texture are all Chinese. 
 The decorations are not. Hence, probably, arose the mistake. 
 The ware was manufactured in China. Whether it was 
 decorated there on English orders, with designs supplied with 
 the orders, probably through the captains of the sailing 
 vessels, which seems most likely, or whether it was brought to 
 England, perhaps to this warehouse in the town of Lowestoft, 
 and there decorated, is a mooted question. 
 
 At any rate it is a true porcelain brought to England from 
 China, when only glassy porcelains had been made in Europe, 
 and its decoration — so often consisting of English coat of arms 
 that it is frequently called “Armorial porcelain” — is decidedly 
 English. 
 
 During the 18th Century there was a porcelain factory at 
 Lowestoft. A few examples of the ware made there are 
 preserved — fortunately. Some are marked, “From Lowes- 
 toft,” or “A Trifle from Lowestoft.” Chemical examinations 
 of these prove them to be soft paste porcelain similar to that 
 made at Bow and Derby, and excavations on the site of the 
 one known pottery in Lowestoft, have revealed only frag- 
 ments of this same English porcelain — with no trace of true 
 felspathic porcelain ingredients. 
 
Chinese porcelain coffee pot, with spread eagle and thirteen stars. 
 
 Painted one order of the Doane family of Boston, and brought 
 there in a sailing ship, about 1750. 
 
Porcelain 
 
 T>ESIDES the division of clay wares into potter)^ and 
 porcelain, we find the latter varies so much with time, place 
 and materials that three important divisions of porcelain are 
 acceptable. There are so many mixtures and combinations 
 and we enter so constantly the lawless field of art, that no 
 hard and fast rule can be applied to every piece. 
 
 In general, the first division of porcelain is that made from 
 clay and from stone rich in felspar; and to this class belong 
 Chinese porcelains, usually fired but once, with the glaze, and 
 the more modern true porcelains of England, France and 
 Germany. 
 
 The second are the glassy porcelains made in England, 
 France, Germany and Italy during the 18th Century. 
 
 The third are the bone porcelains made in England, America, 
 France, Sweden, Italy and Germany in the 19th Century. 
 
 In tracing the development of English pottery and porce- 
 lain through the 18th Century we are concerned only with the 
 glassy porcelains, but here it may be well to add a word about 
 all three. 
 
 The Chinese porcelains are rich in a felspathic rock which 
 they call pe-tun-tse and a very pure kaolin. The glaze is 
 usually made of a mixture somewhat like the body and the 
 whole is fired together once, at a lower temperature than that 
 required by a more refractory mixture. The result is that the 
 glaze fuses into the body irregularly, by tiny microscopic 
 rods, so that the light is reflected and refracted deeper than in 
 other wares. This gives a softness and bloom not found in 
 porcelain made in other ways. 
 
 Glassy porcelains, among which are included 18th Century 
 English porcelains, old Sevres and Meissen are rich in China 
 clay, very hard and refractory, fired into a biscuit and then 
 covered with a glaze, often of the nature of glass, and fired 
 again. This makes a hard, white shiny ware, but the light in 
 striking it stops at the biscuit, thus not giving the softness as 
 when it can penetrate more deeply. 
 
 The bone porcelains of the 19th Century are made of about 
 
the same ingredients — kaolin, felspar and quartz; to which is 
 added powdered calcined bones. This porcelain is subjected 
 to two or three or more firings, and results in a hard resisting 
 ware of great durability. 
 
 A “Parian” body, having a larger proportion of felspar and 
 fired at a lower temperature than bone porcelain, was invented 
 by Copeland at Stoke-on-Trent in 1845 and had a great vogue 
 for more than twenty years. It took its name from the fact 
 that in the biscuit it looked like marble. The Irish porcelain, 
 called Belleek has a Parian body and a lead glaze such as was 
 used by the early English potters on their rough earthenware. 
 
 English porcelain figure of the 18th Century, made at Chelsea. 
 
Bow, Chelsea, Derby and Longton Hall 
 
 T 7 IVE important porcelain factories in England first began 
 A to make a soft paste porcelain with a frit glaze rich in lead, 
 between 1745 and 1755. It is probable that the methods of 
 one pot works was carried to another by travelling workmen, 
 and in the middle of the 18th Century we find the potters 
 working at Bow, Chelsea, Derby and Worcester were all 
 making an artificial porcelain. 
 
 These are the porcelains of England eagerly sought by 
 collectors, and though bone-ash was introduced at both the 
 Bow and Chelsea works, these wares must not be confounded 
 with the bone porcelain made in the 19th Century, after 
 fritted glaze was abandoned by Josiah Spode at Stoke. 
 
 For forty years following 1740 the Chelsea works were turning 
 out quantities of artificial porcelain. Its products may be 
 roughly divided into three periods, the first when the paste 
 was soft and translucent is marked by a very mellow glaze and 
 is usually decorated in blue under the glaze. 
 
 The second, when colored enamels were used is marked by a 
 more opaque texture, by extreme weight and an uneven 
 surface. 
 
 The third period after 1749, when bone ashes were first 
 used, was more like our modern porcelains and was the time of 
 greatest output. Nearly all Chelsea porcelain is marked 
 with an anchor in various shapes, sizes and colors. 
 
 After 1770 the works were purchased by Duesbury, principal 
 owner of the Derby works and, after operating the factory in 
 Chelsea a few years, all the moulds were removed to Derby 
 and the works (Chelsea) closed in 1784. 
 
 A very great variety of porcelain was made at Chelsea, in- 
 cluding all the useful table wares, vases, trinkets, toys, knife 
 handles, and ornamental figures. The small statues are more 
 eagerly sought now and higher prices paid than for the other 
 productions . The early works were influenced by the fewChinese 
 wares the potters had seen, and later by the realistic table ware 
 made at Meissen, and still later by the rococo decorations then 
 in vogue in France, with white panels reserved for polychrome 
 painting heavily framed in gold on rich colored grounds. 
 
With the removal of the Chelsea factory to Derby, the wares 
 of the latter were not affected. There is a great similarity 
 between the products of the two works as also of the Bow 
 factory which was also purchased by Duesbury and removed to 
 Derby. Duesbury died in 1786 and was succeeded by his son. 
 In 18 1 1 the Derby factory was sold to Robert Bloor. The 
 excellence of design and workmanship was not kept up and 
 when Bloor went crazy the factory with the moulds of the Bow, 
 Chelsea and Derby works were sold to Samuel Boyle of Fenton 
 and shortly afterwards dispersed to various Staffordshire 
 potters. These details are mentioned to emphasize the fact 
 that the early factory at Derby had no connection with the 
 present Royal Crown Derby Porcelain Company which was 
 established in 1888. 
 
 The most distinctive work of the old Derby pottery were the 
 biscuit statuettes first made in the time of Duesbury from a 
 special paste which he used only for them. Very skillful 
 modellers were employed for the early ones, and the grace and 
 elegance of these figures have not been exceeded in English 
 porcelain. Choice examples are to be seen in the British 
 Museum. The later ones deteriorated in workmanship and 
 material. 
 
 As early as 1744 Helyn and Frye applied for a patent to 
 make porcelain, claiming that the secret had been discovered 
 from a recipe including an earthy mixture from America, 
 called “unaker,” made by the Cherokee Indians, and sold in 
 England. This “patent,” as we know now, could not produce 
 a true porcelain. The ingredients used in the wares made at 
 Bow for thirty years were learned from potters from the 
 continent, whose wares it closely resembles. 
 
 The figures made at Bow, Chelsea and Derby have a delicacy 
 and charm sometimes suggesting both Sevres and Meissen, 
 but a simplicity among the better ones enables one to place 
 them definitely among English works. As a rule the figures of 
 Chelsea and Derby outrank the Bow statuettes, but the 
 useful ware made at Bow is among the most delicate porcelain 
 produced in England in design and feeling. Printing never 
 played a part at these three factories. 
 
Worcester 
 
 A choice specimen of Worcester embodies the collectivity 
 of the character of English manufacturing, crystallized as 
 it were into the unit. — M. L. Solon. 
 
 TTOUNDED about 1750 and still making porcelain, the 
 A Worcester works, have seen many changes, but it stands 
 as the most representative of the most English of English 
 porcelains, just as Wedgwood embodied the best of English 
 workmanship in pottery. If one could have but two specimens 
 of English clay ware, made before the 19th Century, it would 
 be possible to choose the most representative in porcelain from 
 the Worcester works and the most representative in pottery 
 from Wedgwood. 
 
 In the middle of the 18th Century Dr. Wall and an apothe- 
 cary’s assistant named Davies started the Worcester Works. 
 Their endeavor was to learn the secret of the Chinese porcelain, 
 the same as all the potters of the time. It should be said that 
 nowhere else in England was the Oriental porcelain more 
 carefully studied, and more of its spirit preserved than at 
 Worcester. The underglaze blues of the early days approached 
 the Oriental more closely than any other produced then, ex- 
 cept the Delft, which was of an entirely different substance 
 and has only a surface resemblance. 
 
 The products of the first few years were a hard, durable 
 porcelain, better able to withstand a sudden change of tempera- 
 ture than either Bow or Chelsea and this was an important 
 feature with the ever increasing drinking of tea. 
 
 After the death of Dr. Wall, the works were carried on by 
 his son and later purchased by Thomas Flight, when an era of 
 great commercial activity began. King George III and Queen 
 Charlotte visited the pottery in 1788 and granted them the 
 title of “Potters to the King,” and the works has since been 
 known as the Royal Worcester Porcelain Manufactory. 
 
 A partner was taken in and for a time the wares are marked 
 “Flight and Barr.” Later they were amalgamated with 
 Chamberlain who conducted a small opposition works and the 
 mark remained Chamberlain & Co. until 1852: at which time 
 
A. Kerr and R. W. Binns took office as art directors. The 
 present company owes much to Mr. Binns. 
 
 Printing was introduced early at Worcester by workmen 
 from the enamel works at Battersea, independently of the 
 invention in Liverpool by Saddler and Green. 
 
 In its long career and many changes there are distinct 
 periods, but the use of underglaze blue and of Oriental designs 
 have been most persistant. Some periods are marked by a 
 very dark blue underglaze ground with medallions of white 
 which are decorated in colors either painted or printed. Many 
 and varied were its patterns of tableware, and they never made 
 the quantities of ornamental figures and vases turned out by 
 the other porcelain manufacturers. The Worcester works 
 has earned its place in English porcelain enjoyed by Sevres in 
 France, and Meissen in Germany, by a steady, sane, healthy 
 growth of conservative styles and excellent workmanship. 
 
 Worcester dish marked Flight & Barr. 
 
Caughley 
 
 AT Caughley in Shropshire on the Severn grew up a porcelain 
 ^ works under Thomas Turner that then differed but little 
 
 from Worcester in methods or designs except in the mark. This 
 was a C often so made as to resemble the crescent mark of 
 Worcester. The works were torn down in 1814. 
 
 While Thomas Minton, afterwards the founder of the 
 Minton works at Stoke-on-Trent, was apprenticed to Turner 
 at Caughley, he engraved the famous willow pattern from a 
 Chinese plate. It was first applied to porcelain and later to 
 earthenware, when it was first printed in blue in 1780. 
 
 Across the river from Caughley at Coalport, John Rose, 
 formerly manager of the Jackfield pottery, founded a works 
 that produced porcelains of the styles and in imitation of all 
 the makers. The double L mark of Sevres and Louis Quatorze 
 and many other marks were here pirated to enhance the 
 demand and reputation of the potters. The forged marks 
 were often accompanied by a small X. 
 
 Plymouth and Bristol 
 
 TN 1768 Thomas Pitt (Lord Camelford) financed a pot works 
 at Plymouth for one William Cookworthy. Here, remote from 
 other porcelain works, was first introduced kaolin which was to 
 do away with soft paste porcelains and revolutionize the manu- 
 facture of these, not only in England but in the western hemi- 
 sphere. Two years later the works removed to Bristol under 
 management of Richard Champion. 
 
 These two potteries were the first in England to use kaolin, 
 which had been discovered in the Cornwall Clays. In 1775 the 
 House of Commons passed a bill limiting the use of kaolin to 
 certain kinds of porcelain in certain factories. At this time we 
 hear of Josiah Wedgwood journeying to Bristol to oppose the 
 license in the hands of Champion. 
 
 Here at last, first at Plymouth and then at Bristol, was a 
 true porcelain made, after experiments lasting about one 
 hundred years. At first there was great difficulty in finding 
 
a clay that would make saggars that would withstand the 
 firing of this new material, but it was one more step on our 
 way to the knowledge of true porcelain, so long held by the 
 Chinese. 
 
 The patent of the Bristol works was sold to the New Hall Co. 
 of Staffordshire in 1781 and Richard Champion came to the 
 United States and settled in Camden, South Carolina. 
 
 The porcelain of Bristol, for the eleven years during which 
 the factory was operated, is marked by simplicity and delicacy 
 of design. Frequently there are festoons and bows of ribbon 
 design and of laurel leaves and gilding. The usual tablewares 
 were made and among the most notable examples preserved 
 are from the service made for Edmund Burke, in 1774. 
 
 The figures made in Bristol are quite similar to those made in 
 Meissen. On account of the difference in material and in 
 glaze, there is no difficulty in distinguishing these figures from 
 those made at Chelsea and Derby. 
 
 The very distinctive wares made at Bristol are the small oval 
 and circular medallions of carefully modelled flowers, fired only 
 in the biscuit, and a few with flower wreaths enclosing a coat of 
 arms or a portrait. A Bristol medallion of Benjamin Franklin 
 is preserved in the British Museum. 
 
 Swansea and Nantgarw 
 
 A LL through the period of soft paste porcelain in England, 
 ^ ^ we find a wandering figure named Billingsby. He was a 
 flower painter of no slight ability, but was evidently fired by 
 a great enthusiasm and lacking in practical qualities. Some- 
 times bankrupt, sometimes in miserable health, he painted or 
 modelled or tried to manage potteries at Derby, Worcester, 
 Nantgarw, Swansea and finally at Coalport. 
 
 While Billingsby was making a very fine paste for his porce- 
 lain at Nantgarw, Mr. Dilwyn of Swansea, the owner of the 
 Cambrian Pottery, recognized the value of the paste if it 
 could be made to overcome the excessive loss in firing, when 
 most of the pieces lost their shape. 
 
 With the co-operation of Dilwyn the Billingsby works at 
 
Nantgarw were removed to Swansea in 1814 and for a few 
 years an artificial porcelain was made, usually tableware 
 decorated with flowers in enamel colors, specimens of which are 
 now very few. 
 
 The opening of the 19th Century is marked with the mastery 
 of the technical difficulties of true porcelain, and most of the 
 factories removed to Staffordshire. Here the potters of Spode, 
 Davenport, Ridgway and Minton developed the bone porce- 
 lains we know today. Great quantities of tableware with very 
 highly colored painted designs were turned out at the Spode 
 factory, while the Ridgways and Davenports seem to have done 
 a very large export business in printed ware. During the early 
 19th Century a little porcelain was turned out at Etruria but 
 the bulk of the Wedgwood products were pottery. 
 
Highlands at West Point, Hudson River, 
 by Enoch Wood. 
 
 Dark Blue 
 
 Underglaze 
 
 Printing 
 
 Made in Staffordshire from 
 sketches made in America 
 — and sold to the Colonists 
 in great quantities before 
 the establishment of 
 potteries here. 
 
 /^NNE of the interesting phases of the Staffordshire potteries 
 V '^is the manufacture there of table ware designed especially 
 for the American Colonies. While the independent and 
 united states were struggling with their new problem of 
 Government, in an undeveloped land, much or most of the 
 manufactured articles were brought from the mother country. 
 No potteries existed in America at all capable of supplying the 
 needs of the people, until after about 1850. 
 
 Amidst the rather expensive porcelain brought here from 
 China in sailing vessels, the demand for English pottery grew. 
 The Liverpool makers, already at a seaport, with no expensive 
 journey to carry the wares to the ship, supplied the American 
 demands with cream ware printed in black, brown, red and 
 green designs for the twenty-five years from 1790 to 1815. 
 Soon after the war of 1812 the black printed wares and lustred 
 wares of Staffordshire began to take their place and dark blue 
 printed ware was furnished in great quantities until 1830. 
 The decade between 1830 and 1840 sees a change in the colors 
 and printing and in the texture of the ware. All sorts of 
 cheap printed wares were sold here until the introduction of 
 bone porcelain and the establishment of potteries here met a 
 new and growing demand. 
 
 The dark blue plates of the early Staffordshire potters form 
 a unique place in the history of English pottery. In the first 
 
place the cobalt with which this stoneware was decorated was 
 both cheap and attractive, and the method of printing under 
 the glaze, and the natural flow of the blue, concealed many 
 defects of the ware. The potters appealed very directly to the 
 patriotism of the young nation when prints were made from 
 sketches brought from the states, of the important public 
 buildings of the new world. Travelling was not easy in those 
 days and there was a deeper feeling about having a picture of 
 the City Hall, New York, on a plate, if you lived in the woods 
 of Vermont, than that which prompts a travelling son in 
 New York today, to send a souvenir postcard of the tallest 
 building there to his home folks on the farm. 
 
 Potters claim that the dark blue of that period is a lost art: 
 even if this is an open question, the fact remains that no such 
 blue is produced today. Its quality may be enhanced with 
 age, or it may have been a very unusual form of cobalt, but it 
 is a distinctive product of a bygone day. 
 
 When firing, plates were placed in saggars the top side down 
 resting on the “middle foot” of the cockspur whose three other 
 points touched the underside of the plate below, thus making 
 three small holes in the bottom of the plate, and one small hole 
 in the middle of the face of the plate. These marks are to 
 be found on all the plates of that period. 
 
 Many, among the Staffordshire potters, printed their stone- 
 wares under the glaze in blue, and a number adopted a special 
 border design that helps identification if the mark is missing. 
 
 Enoch Wood, one of the early potters, whose trade with the 
 colonies must have been considerable, used a shell border, on 
 much, but not on all of his ware — James Clews used a flower 
 border of three styles besides making the States Plates: 
 Ridgway, a border of conventional rose design: — -Stubbs, a 
 border of apple blossoms and eagles: R. Stevenson and 
 Williams, a border of oak leaves, etc., etc., all of which with 
 the names and descriptions of the views have been carefully 
 arranged by the late Mr. Barber of Philadelphia. 
 
Early American Potteries 
 
 TN Bergen County, New Jersey, in 1825, was incorporated a 
 A company for the manufacture of pottery now known as the 
 Jersey City Pottery. It continued in the same place until 
 1892 when the old buildings were demolished, most of the old 
 moulds and copper plates dumped on the meadows, and thus 
 passed into tradition a works where many potters in the 
 United States had their first training. Very few of the early 
 products of this factory remain. Daniel Greatback, from that 
 Staffordshire family of potters, was a modeller there, and 
 among the moulds preserved and the rare pieces may be 
 mentioned the raised ware, probably modelled by him, 
 including apostle jugs, with figures in panels; brownware jugs 
 with hunting figures in relief at the bottom, and a handle in the 
 shape of a hound, and a jug with a raised tulip design. 
 
 A jug was made at this pottery during the heated political 
 campaign of 1840, with a log cabin at the top, and a printed 
 portrait bust of Harrison in the center under the inscription 
 “The Ohio Farmer.” 
 
 After 1848 the factory was operated by Rouse and Turner, 
 both Englishmen from Staffordshire. They made quantities 
 of white biscuit ware, and ivory white ware for decorators and 
 cups for telegraph purposes. 
 
Bennington 
 
 A S early as 1846 three men were associated in a pot works at 
 ^ Bennington, Vermont, which in 1849 became known as the 
 United States pottery. The principal manager of the works 
 during the twelve years it was in operation was C. W. Fenton. 
 Associated with him as modeller was Greatback, who had come 
 from Jersey City. 
 
 The United States pottery made four distinct styles of ware, 
 “Parian,” “Rockingham,” scrodled or lava-ware and white 
 granite ware decorated with gold. The works are best known 
 by the brown flint ware and the white Parian. 
 
 Many pieces of Parian have a pitted ground of varying 
 shades of blue, with white figures in relief, and some are all 
 white and usually glazed on the inside. This factory was the 
 first to make Parian ware in the United States at a time when 
 it was but a recent invention in England. 
 
 The brown flint ware was a heavy, hard composition rich in 
 felspar and flint and the kaolin from South Carolina, and it has 
 a metallic glaze produced by oxide of manganese. The heat 
 held the fumes in suspension and caused the various streakings 
 with which we are familiar — for no enamel color would survive 
 the intense heat at which it was necessary to fire this ware. 
 
 A great variety of useful and ornamental articles were made 
 at Bennington and many people now living can remember 
 when these were carried about the country on the backs of 
 peddlers. 
 
 At the New York Exhibition of 1853 a large variety of wares 
 were exhibited, chief among them by its size, was a monument 
 ten feet in height. Its base was made of the so called lava- 
 ware — different layers of colored clay worked into agate — and 
 above was the brown flint ware surmounted by a Parian bust 
 of Mr. Fenton enclosed in columns, and on top of this a parian 
 figure of a child receiving a Bible from its mother. 
 
 It is interesting to note as we observe the newer brown 
 insulators on our telegraph poles today that in 1853 Horace 
 Greeley wrote of the Bennington ware then exhibited, “This 
 ware has been employed on the telegraphs in the vicinity of 
 
Boston. Among these specimens is a patented form, which 
 has a shoulder with a re-entering angle of forty-five degrees: 
 this angle causes the wind and rain to pass downward, and 
 prevents the inside of the insulator from being wet.” 
 
 Though there were dozens of small pot-works in various 
 parts of the country prior to 1850, they were nearly all short 
 lived. Among them stand out most clearly the slip-decorators 
 among the Pennsylvania Dutch, the American Pottery Co. of 
 Jersey City and the United States Pottery Company of 
 Bennington. 
 
 The latter half of the 19th Century is marked by a similar 
 commercial development as has taken place in England; and 
 the bone porcelain made here today has the same durable 
 qualities evidently the most appreciated in our unlovely and 
 commercial civilization. 
 
 Bennington teapot of generous proportions 
 — one of the earliest American teapots. 
 
Stevens House in Hoboken, New Jersey, by Stubbs. 
 
 ZNfumbered fist of dPottery and 
 Porcelain at the Hut , 1917 
 
 1- Bellermine Earthenware Ale Jug of 16th Century. 
 
 2- Astbury Jug, brown, glazed with cream colored raised 
 arms and lions rampant. 
 
 3- Salt Glaze Plate, 12". 
 
 4- Salt Glaze Square Fruit Dish. 
 
 5- 6 Salt Glaze Plates, Basket Pattern. 
 
 6- 2 Salt Glaze Perforated Plates. 
 
 7- Salt Glaze Plate, 9" 
 
 8- Salt Glaze Basket Plate, perforated edge. 
 
 9- Salt Glaze Basket. 
 
 10- Salt Glaze Gravy Boat. 
 
 11- Salt Glaze Salt Cellar. 
 
 12- Salt Glaze Teapot, heart-shaped, decorated in red and 
 green. 
 
 13- Salt Glaze Teapot, enamelled in colored flowers. 
 
 14- Salt Glaze Jug, enamelled in colors. 
 
 15- Salt Glaze Teapot, raised greenish figures. 
 
 16- Salt Glaze Teapot, vine in raised bluish green salt glaze. 
 
17- Salt Glaze Jug, blue bands. 
 
 18- White Earthenware Teapot, sliding cover. 
 
 19- White Earthenware Jug, blue and green bands. 
 
 20- Whieldon Tortoise Shell Plate, 9". 
 
 21- Whieldon Tortoise Shell Plate, 9". 
 
 22- Whieldon Tortoise Shell Plate, 10". 
 
 23- Whieldon Tortoise Shell Plate, 7". 
 
 24- Whieldon Tortoise Shell Plate, 9". 
 
 25- Whieldon Tortoise Shell Plate, 9". 
 
 26- 6 Whieldon Tortoise Shell Plate, 9", alike. 
 
 27- Whieldon Green Glaze Plate, 11", perforated edge. 
 
 28- Whieldon Tortoise Shell Plate, 11", perforated edge. 
 
 29- Green Glaze Plate, 9". 
 
 30- Green Glaze Plate, 8j£". 
 
 31- Green Glaze Plate, 7". 
 
 32- Green Glaze Jug, hunting scene showing traces of gilding. 
 
 33- Green Glaze Jug, with incised lines. 
 
 34- Green Glaze Jug, shape of house. 
 
 35- Whieldon Cauliflower Teapot. 
 
 36- Whieldon Cauliflower Teapot. 
 
 37- Whieldon Cauliflower Jug. 
 
 38- Whieldon Cauliflower Jug. 
 
 39- Whieldon Cauliflower Jug. 
 
 40- Whieldon Cauliflower Jug, with cover. 
 
 41- Whieldon Cauliflower Tea Caddy. 
 
 42- Whieldon Brown Tortoise Shell Teapot with legs and 
 standard with legs. 
 
 43- Whieldon Brown Tortoise Shell Teapot with legs, raised 
 decoration. 
 
 44- Whieldon Brown Tortoise Shell Teapot with legs, raised 
 decoration. 
 
 45- Whieldon Brown Tortoise Shell Teapot without legs, 
 raised grape decoration. 
 
 46- Whieldon Hot Water Jug, Brown Tortoise Shell, with legs. 
 
 47- Whieldon Brown Tortoise Shell Bowl with raised decora- 
 tion, 6 ". 
 
 48- Whieldon Brown Tortoise Shell Bowl, plain with splotches 
 of yellow and green, S/ 4 "- 
 
 49- Whieldon Grayish Tortoise Shell Teapot without legs, 
 raised decoration. 
 
50- Whieldon Light Brown Tortoise Shell Teapot, with 
 leaves, raised decoration. 
 
 51- Whieldon Brown and Green Tortoise Shell Teapot, with- 
 out legs, raised decoration. 
 
 52- Light Brown and Green Whieldon Cream Jug, with legs, 
 thin fluted edge. 
 
 53- 1 Pair Staffordshire Figurines. 
 
 54- Agate Ware Sugar Bowl, green band. 
 
 55- Brown Agate Ware Covered Bowl. 
 
 56- Hexagonal Green and Brown Teapot, dragon handle, 
 cauliflower spout. 
 
 57- Grayish Brown Agate Ware Teapot, with legs. 
 
 58- Mottled Gray Teapot, green bands. 
 
 59- Agate Ware Chocolate Pot, dog on cover. 
 
 60- WhieldonTortoise Shell SquareTea Cady with silver cover. 
 
 61- Round Cream Pottery Basketwork Tea Cady, green and 
 brown raised decorations. 
 
 62- Square Cream Pottery Tea Cady, brown and green 
 raised decorations. 
 
 63- Cream Pottery Square Tea Cady, raised green and brown 
 decorations with cover. 
 
 64- Cream Pottery Basket Teapot, raised green and brown 
 decorations. 
 
 65- Cream Pottery Basket Teapot, raised green and brown 
 decorations. 
 
 66- Cream Pottery Basket Teapot, raised green and brown 
 decorations. 
 
 67- Cream Pottery Hot Water Jug with raised green and 
 brown decorations with cover. 
 
 68- Green and Brown Sauce Boat, scaled like fish 
 
 69- Green and Yellow Sauce Boat, raised decorations, cream 
 pottery. 
 
 70- Brown Agateware Jug, with cover. 
 
 71- Melon Tea Cady, brown and green. 
 
 72- Melon Teapot, cauliflower handle, raised leaf decoration 
 near handle. 
 
 73- Cream Pottery Teapot, green and brown splotched, 
 twisted handle. 
 
 74- Brown Agate Jug, with cover. 
 
 75- Brownish Agateware Vase, polished basaltes base screw- 
 ed on. 
 
76- Yellow and Green Jug, with cover, raised corn decoration 
 
 77- Covered Mottled Bowl, raised decoration, evidently 
 made after seeing a Chinese rice bowl 
 
 78- Whieldon Pottery Jug, with inscription “Success to Lord 
 Rodney,” from Bemrose Collection, Derby, England. 
 Purchased from R. Watson, Montreal. 
 
 79- Small Cream Ware Teapot, flower on cover, twisted 
 handle. 
 
 80- Cream Ware Jug, 5", twisted handle, flower on cover. 
 
 81- Cream Ware Jug, 8", twisted handle, flower on cover. 
 
 82- Cream Ware Jug, 8", twisted handle, flower on cover. 
 
 83- Cream Ware Jug, twisted handle, flower on cover. 
 
 84- Cream Ware Teapot, 1 1 W ", plain handle, flower on cover. 
 
 85- Cream Ware Teapot, decorated in colored enamels 
 (cover broken). 
 
 86- Cream Ware Teapot, twisted handle. 
 
 87- Cream Ware Sauce Boat, shell pattern. 
 
 88- 4 Pieces, Teapot, Sugar, Creamer and Bowl, cream ware 
 pottery twisted handles, mottled red painting, medallions 
 in green. 
 
 89- French Agate Ware Bowl, Cover and Stand, agate 
 glazed pottery made at Apt, Avignon. 
 
 90- Bowl, printed in black, with portraits of Washington 
 and Franklin outside, Adams inside. 
 
 91- 4 Small Cream Ware Cups and Saucers, with twisted 
 handles. 
 
 92- Cream Ware Mustard Pot, with cover. 
 
 93- Cream Ware Jug, 3L4 L shaped like Liverpool jugs. 
 
 94- Cream Ware Salt Cellar. 
 
 95- Cream Ware Salt Cellar. 
 
 96- Cream Ware Salt Cellar. 
 
 97- Cream Ware Salt Cellar. 
 
 98- Cream Ware Salt Cellar. 
 
 99- Cream Ware Salt Cellar. 
 
 100- White Ware Salt Cellar. 
 
 101- Cream Ware Pickle Dish, 
 
 102- Cream Ware Pickle Dish, 8", No. 518, raised leaf and 
 currant decoration. 
 
 103- Cream Ware Pickle Dish, 10", shell pattern, very light. 
 
 104- 2 Cream Ware Flower Pot Holders, punched railing. 
 
105- Cream Ware Plate, perforated, 10", “Jumereld”. 
 
 106- Cream Ware Plate, perforated design, 2 raised heads, pie 
 crust edge, 10". 
 
 107- Cream Ware Plate, 9", perforated design in edge and 
 raised festoons. 
 
 108- Cream Ware Deep Saucer, 7", perforated. 
 
 109- Cream Ware Saucer, 5", perforated. 
 
 1 10- 6 Cream Ware Plates, 8", perforated edge, birds printed 
 in black in center. 
 
 1 1 1- 6 Cream Ware Plates, 9", scalloped edges showing traces 
 of gilding birds printed in black in center and 6 bird 
 medallions on rim. 
 
 112- 6 Cream Ware Plates, pie crust edge, painted deep 
 maroon, and painted maroon flowers. 
 
 113- Cream Ware Side Dish to match No. 112. 
 
 1 1 4- P erforated Cream Ware Ink Well, 5 " x 7", square. 
 
 115- Cream Ware Oblong Cake Box with cover, painted in 
 colors. 
 
 116- Oval Cream Ware Dish, cover with moulded figure of cow. 
 
 1 17- 2 Basket Work Perforated Open Dishes with trays in 
 cream ware, 10". 
 
 118- Basket Cream Ware Tray, 10", perforated edge. 
 
 119- Cream Ware Basket, 9". 
 
 120- Cream Ware Platter, perforated edge. 
 
 121- Cream Ware Platter, perforated edge and raised festoons, 
 
 nf^". 
 
 122- Open Work Cream Ware Basket, pottery, twisted 
 handles, “Crawford ” . 
 
 123- Cream Ware Perforated Open Dish and Tray painted in 
 red, incised Wedgwood. 
 
 124- 2 Cream Pottery Plates, raised flower design, 10". 
 
 125- 2 Cream Pottery Plates, raised flower design, 10". 
 
 126- 6 Cream Pottery Plates, 10" with blue corn flour design 
 
 127- Cream Ware Open Dish, 11". 
 
 128- 13 Cream Ware Wedgwood Plates, raised grape design, 7". 
 
 129- 10 Cream Ware Wedgwood Plates, raised grape design, 
 10". 
 
 130- 6 French Stoneware 9" Soup Plates, printed in black, 
 different historical scenes, Legros D’Anizy. 
 
 131- 6 French Faience 9" Plates, printed in black, classical 
 scenes, Legros D’Anizy. 
 
132- 11 " Cream Faience Plates, similar to No. 13 1. 
 
 133- Cream Stone ware Teapot, glazed with 2 glazed brown 
 medallions. 
 
 134- Cream Stoneware Glazed Sugar Bowl with glazed brown 
 medallions. 
 
 1 3 5-White Stone Ware Jug. 
 
 136- Pottery Bowl and Cover, painted in blue, 4F2 
 
 137- Pottery Bowl and Cover, painted in blue, 4^". 
 
 138- Cream Leaf Pickle Dish, green edges, 5". 
 
 139- 2 Rough Brown perforated edge pottery plates, metallic 
 glaze, 9". 
 
 140- Brown and Green Salt Cellar. 
 
 141- 4 Pieces, Teapot, Sugar, Creamer and Bowl, unglazed 
 yellow pottery, white moulded thistle decoration. 
 
 142- Olive Drab Teapot and Creamer, pottery unglazed with 
 white relief design, incised Wedgwood. 
 
 143- Strawberry Dinner Set, cream ware pottery, painted, 
 lion handles, 39-10", 10-10" soup, 13-8", 12-6^", plates 
 1 -17", platter, 2-19" platter, 2-21" platter. 
 
 144- 2 13" Vegetable Dishes with covers like No. 143. 
 
 145- Soup Tureen, with platter to match. 
 
 146- 2 Sauce Boats to match. 
 
 147- 2 Salts to match. 
 
 148- 2 Mustard Cups with covers to match. 
 
 149- Strawberry Cream Ware Tea Set, 2 teapots, 1 sugar, 
 1 creamer and 1 bowl. 
 
 150- 12 Cream Ware Strawberry decoration cups and saucers. 
 
 151- 6 Octagonal Cream Ware Soup Plates, flower decoration, 
 in color, greenish raised edge. 
 
 152- Wedgwood Black Basaltes Teapot. 
 
 l 53~Wedgwood Black Basaltes Cream Jug, glazed inside. 
 
 154- Black Basaltes Sugar Bowl, swan on cover, glazed inside. 
 
 155- Jackfield, black glazed Jug, 4", plain. 
 
 156- Jackfield, black glazed Jug, 7", plain. 
 
 1 57- Jackfield, black glazed Jug, 5 with cover and legs. 
 
 158- Jackfield, black glazed Teapot, 8", with legs. 
 
 1 59- Jackfield, black glazed square Tea Cady, 4^", plain with 
 cover. 
 
 160- Jackfield, black glazed Jug, 5 ", with legs and cover, gilded. 
 
 161- Jackfield, black glazed Jug, 5", with legs gilded. 
 
i6iA-Jackfield black glazed Jug, 6", with legs gilded, bird on 
 cover. 
 
 162- Jackfield, black glazed Bowl with raised vine decoration. 
 
 163- Jackfield, black glazed Cup and Saucer with raised vine 
 decoration. 
 
 164- Liverpool Cream Ware Jug, 8p2 ", map of 13 Colonies one 
 side; Geo. Washington, Mason’s device, ship and Ameri- 
 can flag obverse side. 
 
 165- 2 3" Cream Ware Flower Pots, green incised bands, in- 
 cised Spode mark. 
 
 166- Stone Ware Bowl, 10", printed in black, Washington, 
 Franklin and Lafayette outside, “Shipwrights Arms” in- 
 side. 
 
 167- Low Stoneware Bowl, plain beaded edge, 13". 
 
 168- Chinese Coffee Pot, 9j^", decorated in reddish brown, 
 spread eagle, 12 stars, initials (J.J.P.); twisted handles. 
 
 169- Chinese Teapot, to match above. 
 
 170- Sugar Bowl, to match above. 
 
 171- Tea Cady, to match above. 
 
 172- Helmet Pitcher, to match above. 
 
 173- 5 Low Cups without handles, to match above, and 
 Saucers. 
 
 174- 5 Higher Cups and Saucers with handles, to match above. 
 
 175- 2 Chinese Saucers, 8", decorated in blue and gold. 
 
 1 76- 6 Chinese Saucers, 6 ", decorated in blue and gold to match . 
 
 1 77- 5 Chinese Saucers, 6j^" plates, to match. 
 
 178- 5-8" deep Chinese plates initials J.R.G., blue borders. 
 
 179- Chinese Vegetable Dish and Cover, 11", English coat of 
 arms. 
 
 180- Chinese Vegetable Dish and Cover, 11", English coat of 
 arms and initial S. 
 
 181- Chinese Teapot, Sugar Bowl and Helmet Pitcher, decor- 
 ated in red. 
 
 182- “Helmet Pitcher”. 
 
 183- “Helmet Pitcher”. 
 
 184- Chinese Teapot, red medallions, twisted handles. 
 
 185- Chinese Bowl, red medallions to match. 
 
 186- 4 Chinese Saucers, to match. 
 
 187- Jug, 4L2 ", marked by former possessor, “Old Lowestoft 
 — Rare”. 
 
 188- Chinese Teapot, with brown medallions, 6". 
 
189- Chinese Coffee Pot, with brown medallions to match, 10 ". 
 
 190- Coffee Pot, 10", black decoration, a queen and peacock 
 each side, twisted rope handle. 
 
 191- Chinese Bordered Plate, overglaze, 10", marked BJCS 
 in center. 
 
 192- Chinese Bowl, 11", with 2 medallions of mason’s em- 
 blems. 
 
 193- Chinese Bowl, 10", ship with American flag. 
 
 194- Cream Ware Tea Set, 2 tea pots, 1 sugar, 1 jug. 
 
 195- 9 Cups and Saucers to match No. 194, no handles. 
 
 196- 7 Octagonal Plates, polychrome decoration in imitation 
 Chinese, marked Spode, 8". 
 
 197- 6 Chinese Soup Plates, 9", polychrome enamel decoration. 
 
 198- Small Chinese Tea Pot, vine forming standard. 
 
 199- Chinese Cup without handle, black design. 
 
 200- Chinese Cup with handle, same black design. Has paper 
 on bottom, “From J. A. Vernoy to Wm. Southwick,” 
 the latter built the colonial house in Napanock, 1830. 
 
 201- Gold Ban Jug, cream ware with burnished gold spout, 10". 
 
 202- Gold Band Tea Set, tea pot, sugar bowl, 2 creamers and 
 bowl. 
 
 203- 9 Gold Band 12-sided Cups and Saucers. 
 
 204- 9 Gold Band 7" 16-sided Plates. 
 
 205- 2 Cake Plates like above. 
 
 206- Fruit Dish, cream ware with gilt, raised vine and fruit in 
 colors. Worcester. 
 
 207- Square Dish to match No. 206. 
 
 208- 10 Fruit Plates to match No. 206, 8". 
 
 209- Sugar Bowl and Jug and 4 cups and saucers, black print- 
 ing, silver lustre bands, marked Mettlacher Hartsteingue. 
 
 210- Bowl, rose printing and rose lustre bands, 7". 
 
 211- Bowl, 7", rose printing and rose lustre bands. 
 
 212- Cup and Saucer, rose printing (house unidentified) wfith 
 silver lustre bands. 
 
 213- Tea Pot and Jug, rose printing and rose lustre bands. 
 
 214- 4 Cups and Saucers, to match No. 213. 
 
 215- Yellow Ground Pottery Tea Set with black printing, tea 
 pot, sugar bowl, cream jug, 7" bowl, 4 cups and saucers. 
 
 216- Silver Lustre Tea Set, tea pot, sugar, cream jug, larger 
 jug and 5 cups and saucers and 5" bowl. 
 
 217- Silver Luster Coffee Pot, 12". 
 
218- Silver Lustre Tea Pot, 5". 
 
 219- Silver Lustre Tea Pot, 6^2 ", same shape as No. 218. 
 
 220- Silver Lustre Sugar Bowl, 5", same shape as No. 218. 
 
 221- Silver Lustre Cream Jug, 4". 
 
 222- Silver Lustre Bowl, 6". 
 
 223- Silver Lustre Open Salt Cellar. 
 
 224- Silver Salt Shaker. 
 
 225- Silver Lustre Sugar Bowl. 
 
 226- Silver Lustre Tea Pot. 
 
 227- Silver Lustre Toby. 
 
 228- Silver Lustre Sugar Bowl. 
 
 229- Silver Lustre Tea Pot. 
 
 230- Square Stoneware Dish, painted with red and silver lustre 
 vine. 
 
 23 i-Sunderland Pink Lustre Mottled Tea Set, tea pot, sugar 
 bowl, jug, 6 } 4 ,r bowl, 10 7" plates, 9 cups and saucers 
 (23 pieces). 
 
 232- 7 Painted 7" Plates, pink lustre band, marked Hollens 
 & Harris. 
 
 233- 10 Pink Lustre Painted Cups and Saucers with handles. 
 
 234- 5^2" Pink Lustre Bowl to match No. 233. 
 
 235- Painted Flower Tea Set with pink lustre bands, 15 pieces, 
 tea pot, sugar bowl, cream jug, bowl and 11 cups and 
 saucers. 
 
 236- Tea Set with transferred polychrome Scenes, band of 
 resist rose lustre, 2 tea pots, sugar bowl, jug, bowl, 12 
 cups and saucers with handles. 
 
 237- Resist Rose Lustre Tea Set, grape vine pattern, tea pot, 
 cream jug, sugar bowl, sauce boat and platter, 12 cups 
 and saucers, 16 pieces. 
 
 238- Pink Lustre Bowl, 6^2". 
 
 239- Pink Lustre Tea Pot, 10" high. 
 
 240- Pink Lustre Jug. 
 
 241- Pink Lustre Boat Shaped Tea Pot. 
 
 242- Pink Lustre Boat Shaped Sugar Bowl. 
 
 243- Pink Lustre Plate, raised edge, 7L2 " . 
 
 244- Pink Lustre Deep Plate, 7L2 ". 
 
 245- Pmk Lustre Cream Jug. 
 
 246- 5 Pink Lustre Cups and Saucers. 
 
 247- 9 Saucers, same. 
 
248- 8 Pink Lustre Plates, 7^". 
 
 249- 9 Pink Lustre Plates, 6^2 
 
 250- 10 Pink Lustre Plates, 8". 
 
 251- 4 Pink Lustre Plates, 6". 
 
 252- 5 Pink Lustre Plates, 7". 
 
 253- 5 Pink Lustre Plates, 7". 
 
 254- 3 Pink Lustre Cup Plates, painted polychrome centers. 
 
 255- 2 Cup Plates. 
 
 256- Pink Lustre Creamer and 8 cups and saucers to match. 
 
 257- Pink Lustre Tea Pot and 2 cups and saucers to match. 
 
 258- 4 Pink Lustre Cups and Saucers. 
 
 259- Pink Lustre Sugar Bowl. 
 
 260- Pink Lustre Sugar Bowl. 
 
 261- 8" Plate, pink lustre bands and design in color. 
 
 262- Pink Lustre Plate. 
 
 263- Pink Lustre Plate. 
 
 264- 2 Small Pink Lustre Mugs and small bowl, 3 pieces. 
 
 265- Pink Lustre Jug. 
 
 266- Pink Lustre Jug, black printing. 
 
 267- Pink Lustre Bowl, 6". 
 
 268- Pink Lustre Bowl, 6". 
 
 269- Pink Lustre Bowl, 6". 
 
 270- Sugar Bowl, pink lustre bands, polychrome bands also. 
 
 271- Sugar Bowl with pink lustre. 
 
 272- 2 Pink Lustre Deep Plates, 8". 
 
 273- 2 Pink Lustre Cups and Saucers and 2 6^2" Plates to 
 match. 
 
 274- Pink Lustre Bowl, 5L2 
 
 275- 4 Pink Lustre 8" Plates. 
 
 276- 5 Pink Lustre 7" Plates. 
 
 277- 5 Pink Lustre Saucers, same as No. 276. 
 
 278- Pink Lustre Tea Pot, same pattern as No. 276. 
 
 279- 2 Pink Lustre Plates, 8". 
 
 280- 6 Plates, 8" rose lustre band and black printed scene in 
 center. 
 
 281- 2 Plates, 6" to match No. 280. 
 
 282- 1 Cup and 2 Saucers, to match No. 280. 
 
 283- 1 Cream Jug, black printing, rose lustre band. 
 
 284- Cup and Saucer, rose printing, rose lustre band. 
 
285- 1 Bowl, 5", painted. 
 
 286- 1 Cup and 3 Saucers, same as No. 285. 
 
 287- 3 Cups and Saucers, transfer pink printing. 
 
 288- 1 Teapot, pink printing, rose lustre bands. 
 
 289- Pink Lustred Bowl, painted, 11 
 
 290- Resist Rose Lustre Jug with blue band. 
 
 291- Resist Pink Lustre Bowl, yellow flowers, 6 } 4 ' r . 
 
 292- Tea Set, raised white decoration, also painted in colors 
 and pink lustre, tea pot, sugar bowl, creamer, bowl, 
 8" cake plate, 11 cups and saucers. 
 
 293- Cream Jug, bowl, 2 cake plates, 3 cups and saucers, very 
 similar to No. 292. 
 
 294- Tea Set, black edges, brown printing, children, tea pot, 
 sugar bowl, cream jug, 12 cups and saucers, 8" plate. 
 
 295- Worcester Tea Set, 1 bowl, 1 square plate, 1 round plate, 
 tea pot, sugar bowl, creamer, 9 coffee cups and saucers, 
 12 tea cups and saucers. 
 
 296- Worcester Tea Set, sugar bowl, creamer, bowl, plate, 
 
 8 cups and saucers. 
 
 297- Worcester Tea Set, tea pot, sugar bowl, creamer, 3 plates, 
 
 9 cups and saucers, tea, 8 coffee cups and saucers. 
 
 298- White and Gold Tea Set, sugar, cream jug, tea pot, bowl, 
 square plate and 8 cups and saucers. 
 
 299- 9 Cream Ware Pottery Plates, raised conventional rose 
 in center with traces of gilding. 
 
 300- 4 Cream Ware Pottery Plates. 
 
 301- Blue Willow Porcelain Tea Set, gold grape vine pattern 
 bands, tea pot, sugar bowl, tray, cream jug, bowl, 2 
 plates, 6 tea cups and saucers, 4 coffee cups, Caughley. 
 
 302- Gilded Tea Pot, sugar, creamer and 2 coffee cups and 
 saucers. 
 
 303- Transfer Printed Tea Set, imitation Chinese, 2 tea pots, 
 1 sugar bowl and tray, cream jug, 2 plates, 10 tea cups 
 and 12 saucers, 12 coffee cups. 
 
 304- Columbine Sprig Tea Set, tea pot, sugar bowl, creamer, 
 8 cups, 13 saucers, 14 plates, 6j^", 2 cake plates, 9". 
 
 305- Cake Plate similar from Mrs. Charles Ogden. 
 
 306- Crown Derby Plate, 8J^". 
 
 307- Chinese Tea Cady. 
 
 308- Mortlake Cadogan Teapot. 
 
 309- Blue Underglaze and Lustre Bowl, 6 ". 
 
3 io-Worcester Cup and Saucer, no gilt. 
 
 31 i-Purplish Ironstone Tea Set with flowers and birds, 
 marked Florida E. C., teapot, sugar bowl, cream jug, 
 2 10" plates, 6 7>^' / plates, 6 5F2" sauce dishes, 6 cups 
 and saucers, no handles. 
 
 312- Buff Shaving Mug, relief painted in colors and lustre. 
 
 313- Tea Set, hexagonal porcelain relief design, also transfer 
 of flowers in colors, teapot, sugar bowl, cream jug, bowl, 
 12 cups and saucers, 29" cake plates, 12 7" plates, sauce 
 dishes, 10 5", 11 cup plates, 4". 
 
 314- Tea Set, cream porcelain, raised lavender grape vine 
 pattern, teapot, sugar bowl, cream jug, 17" bowl, 1 1 cups 
 and saucers, 12 4" cup plates, 29" cake plates, 12 6jT " 
 plates, 17" plate. 
 
 315- Teapot, same design, but body not in relief. 
 
 316- 2 9" Cake Plates, same as No. 314 but showing traces of 
 gilding. 
 
 317- Tea Set with raised lavender thistle decorations, teapot, 
 2 sugar bowls, 2 cream jugs, bowl, 4 cups and 6 saucers, 
 6 cup plates, 1 cake plate, 1 13^" platter, 1 11" platter, 
 77" plates, 66" plates. 
 
 3 18- Octagonal Tea Set, raised lavender figures with lustre, 
 teapot, sugar, cream jug, 67" plates, 1 saucer. 
 
 3 19- Octagonal Cream Jug similar to No. 318. 
 
 320- Cup Plate similar to No. 314. 
 
 321- Round Tea Set white relief, also grape vine lavender 
 raised figures with lustre, sugar bowl, cream jug, 2 cake 
 plates, 6 cups and 8 saucers, 67" plates, 11 7" plates 
 slightly different in shape. 
 
 322- Sprig Teapot. 
 
 323- White with Green Sprig Tub with 4 egg cups. 
 
 324- 3 Sprig Cups and 4 Saucers. 
 
 325- 2 Odd Saucers and 2 Cups, Plate and Cream Jug. 
 
 326- French after Dinner Coffee, 2 cups,i saucer, Mme. E.Sarre. 
 
 327- Sprig Creamer and 2 Cake Plates. 
 
 328- 2 6^2 " Sprig Plates. 
 
 329- White Moulded Porcelain Teapot, water jug, 2 plates, 
 2 cups and 1 saucer, painted with flowers, Swansea style. 
 
 330- Old Berlin Plate, perforated edge. 
 
 331- Raised Flower Plate. 
 
 332- 8" Painted Bowl. 
 
Washington and Lafayette, by R. Stevenson & Williams. 
 
Mt. Vernon, Home of Washington, by J. & W. Ridgway, of 
 Hanley & Shelton, “Beauties of America Series,” about 1810. 
 
Park Theatre, New York, 
 by R. S. & W. of Cobridge, where Jenny Lind sang. 
 
Arms of New York State, by T. Mayer of Stoke. 
 
Baltimore and Ohio Railroad, by Enoch Wood. 
 Shell border, made at Stoke-on-Trent. 
 
Catskill Mountain House, by Enoch Wood & Sons. 
 
Erie Canal at Utica, 1824. 
 
 Opened by Gov. DeWitt Clinton, who was born in Napanoch, 
 and whose mother, Mary DeWitt, was born in the original farm- 
 house where the Yama Farms Inn is built around it. 
 
The Dam and Water-works, Philadelphia (side wheel boat). 
 
Landing of the Pilgrims, by Enoch Wood. 
 
The Richard Jordan Plate, 
 by Joseph Heath & Co., of Tunstall, 1829. 
 
Welcome Lafayette, the Nation’s Guest. 
 Probably by Davenport. 
 
View of Sandusky, Ohio, with Steamer Henry Clay in the foreground. 
 
 Maker unknown. 
 
Dr. Syntax Platter, “A Noble Hunting Party,” 
 by Clews, whose descendants now live in the U. S. 
 
Log Cabin by Ridgway. 
 
 Border and mark “Columbian Star, October 28, 1840.” 
 Engraved by Thomas Hardley. 
 
333 - Open Work Basket with Feet. 
 
 334- Open Work Basket with Feet. 
 
 333-Open Work Basket with Standard screwed in. 
 
 336- Chinese Nankeen Hot Water Plate. 
 
 337- 6 Fitzhue Pattern Nankeen Cups, twisted handles. 
 
 338- 6 Fitzhue Pattern Nankeen Plates, 10". 
 
 339- 2 Fitzhue Pattern Nankeen Vegetable Dishes with covers. 
 
 340- Fitzhue Pattern Nankeen Platter. 
 
 341- 2 Fitzhue Pattern Nankeen Sauce Boats. 
 
 342- 9 Odd 9" Sprig Plates. 
 
 343- 12 Sprig Cups and Saucers and Cream Jug to match. 
 
 344- 2 Cups, 1 Saucer, 1 8" Plate, 2 Sauce Dishes, brown 
 transfer, marked Ironstone China, J. Wedgwood, Tyrol. 
 
 345- 9 Cornflower Sprig Plates, 7^". 
 
 346- 2-6" Plates, 1 Cup and 2 Saucers, same pattern, No. 245 
 
 347- 10 Pottery Plates, 9^ " gold band, flowers painted in color 
 by hand. 
 
 348- Pink Printed Tea Set, beehive pattern mark vase and 
 anchor, 2 teapots, 1 large jug, 1 small jug, sugar bowl, 
 12 cups and saucers, no handles, 1 bowl, 2 cake plates 
 11 " marked “Fountain scenery’’, 6-7" plates. 
 
 349- Pink Printed Jug, marked Indian Pagoda J.J.J. 
 
 350- 4 Mulberry Cups and Saucers. 
 
 351- 2 Mulberry Plates, 7>T". 
 
 352- Mulberry Plate, 8". 
 
 353- Brown Printed Tea Pot. 
 
 354- Black Printed Sauce Boat with Tray. 
 
 355- John Wesley Bowl, 6". 
 
 356- Black Printed Sugar Bowl, child and kitten. 
 
 357- Mottled Mulberry Jug, 9". 
 
 358- 6-7" Plates, 6 Cups and Saucers, printed in green, marked 
 Forest Florentine China (beehive in mark). 
 
 359- 6 Brown Printed Cups and Saucers marked “Fancy 
 Flowers, W. R., opaque china.’’ 
 
 360- Blue and White Printed Set, marked Jones and Son, 
 British History, 12 Soup, 10", 12 Plates, 10", 12 Plates, 
 8 IT", 6 Plates, 6", Sauce Boat, Tray and Ladle, and 
 Cover, 1 Open Vegetable Dish, 2 Vegetable Dishes with 
 Covers, 2 Platters, 14", 1 Platter, 17". 
 
 361- Light Blue Printed Sauce Boat, ladle and cover. 
 
362- Light Blue Printed Sugar Bowl. 
 
 363- Light Blue Printed Cream Jug. 
 
 364- 5 Light Blue Printed Egg Cups. 
 
 365- Pair Light Blue Printed Pickle Dishes. 
 
 366- Light Blue Printed Salt Cellar, 5J^ // . 
 
 367- Light Blue Printed Soup Tureen, with cover, 12". 
 
 368- Light Blue Printed Pickle Dish. 
 
 369- Dark “Flowing Blue” Tea Set, 2 Tea Pots, Sugar 
 
 Bowl, 2 Cream Jugs, Bowl, 14 Cups and 10 Saucers, 
 4 Sauce Dishes. 
 
 370- Vegetable Dish with cover, similar to No. 369. 
 
 371- 11 Blue Plates, 7^", marked “Hindustan” Maddock. 
 
 372- 4 Blue Plates, 9", marked “Amoy” and incised 
 
 “Davenport”. 
 
 373- 3 Blue Plates, 9^", marked “Amoy” and incised 
 
 “Davenport”. 
 
 374- 1 Blue Plate, 10", marked “Amoy” and incised 
 
 “Davenport”. 
 
 375- Blue Plate, 10", marked Tonquin, J. H., and incised 
 Heath. 
 
 376- 2 Blue Plates, marked W. Adams & Son. 
 
 377- 1 Blue Plate, 8", Chapoo, J. Wedgwood. 
 
 378- 1 Blue Plate, 10", marked Shapoo, T. and R. B. 
 
 379- 2 Dark Flowing Blue 10" Plates, marked T. Edwards. 
 
 379A-2 Dark Flowing Blue 11" Plates, marked Coburg. 
 
 380- 18" Very Dark Blue Platter, marked “Oregon, Chinese 
 Fountain, T. J. & J. Mayer, Longport”. 
 
 381- Printed Blue Tea Pot with bird. 
 
 382- Printed Blue Tea Pot, Sugar Bowl and Jug, apple 
 blossoms, incised Adams mark. 
 
 383- White Pottery Sugar Bowl and Jug, painted with dark 
 blue flowers. 
 
 384- Wash Bowl and Pitcher, similar to 383. 
 
 385- Dark Blue Printed Sugar Bowl, with cover, animal 
 decoration. 
 
 386- Dark Blue Printed Coffee Pot, 11" high. 
 
 387- Dark Blue Printed Cup and Saucer. 
 
 388- Dark Blue Printed Cup andSaucer, First Loco motive. 
 
 389- Dark Blue Printed Cup and Saucer, 6", Franklin at the 
 grave of Washington. 
 
39°~Dark Blue Printed Cup and Saucer, 7", Franklin at the 
 grave of Washington. 
 
 391- Dark Blue Cup and Saucer, 7", Landing of Lafayette. 
 
 392- Sauce Boat, blue pie crust edge. 
 
 393- 4 Octagonal White Soup Plates, with blue pie crust edge. 
 
 394- Same, 4", Cup Plate. 
 
 395- Same, Salt Cellar. 
 
 396- Same, Salt Cellar on pedestal. 
 
 397- Same, Sauce Boat, with Tray, Ladle and Cover. 
 
 398- Same, 6" Plate with raised White Festoons, 7" blue edge. 
 
 399- Same, 6" Plate with raised White Festoons, 7" blue edge. 
 
 400- Same, 6 " Plate with raised White Festoons, 7" blue edge 
 Portrait of Geo. III. 
 
 401- Round Soup Plate, 10", raised design in white, blue edge. 
 
 402- 4 Round Soup Plates, 10", blue edge. 
 
 403- 8 Stoneware Plates, blue edge, 9". 
 
 404- 4 Stoneware Sauce Plates, blue edge, 5". 
 
 405- 8 Light Blue Printed Soup Plates, 10", flower design, 
 white edge. 
 
 406- 11 Light Blue Printed Plates, marked “Persian” 
 
 with bee hive in mark. 
 
 407- Blue Printed 10" Soup Plate, like No. 406. 
 
 408- 9 Dark Blue Printed 10^2" Plates, white edge, marked 
 Ridgway’s Asiatic Palaces. 
 
 409- Dark Blue Plate, 8", marked “Ironstone Lobelia”. 
 
 410- Dark Blue Printed Sugar Bowl, as is, ship scene. 
 
 411- Dark Blue Printed Open Vegetable Dish, Bothwell 
 Castle, Clydesdale, Adams, incised. 
 
 412- 6 Light Blue Printed Plates, marked “Canterbury” 
 incised Herculaneum with crown. 
 
 413- 2 Light Blue Printed Plates, 9^2 ", marked “Catskill 
 Moss, Meredith R.” 
 
 414- 2 Light Blue Printed Plates, 9", marked “Ontario Lake 
 Scenery, B. & D.” 
 
 415- Light Blue Printed Plate, 8^2", marked “Belzoni, 
 E. W. & S.” 
 
 416- Light Blue Printed Plate, 8^2", marked “Syria”. 
 
 417- Light Blue Printed Plate, marked “Oriental, W. R. 
 England,” bee hive in mark. 
 
 418- Light Blue Printed Plate, 7", marked “Spode”. 
 
419- 2 Light Blue Printed Plates, 7", marked “Davenport”. 
 
 420- Light Blue Printed Plate, 8", marked “Davenport”. 
 
 421- 5 Light Blue Printed Plates, 8", marked “Lozere, Iron- 
 stone, E. Challinor”. 
 
 422- Light Blue Printed Plate, 10", marked “Columbia, 
 W. Adams & Son”. 
 
 423- 4 Light Blue Printed Plates, 8", marked “Columbia, 
 W. Adams & Son”. 
 
 424- Light Blue Printed Plate, 8", marked “J. Wedgwood”. 
 
 425- Light Blue Printed Plate, 8", marking indistinct. 
 
 426- Light Blue Printed Plate, 10", marked “Pearl Stone 
 Ware, Venus, P. W. & Co.”. 
 
 427- Light Blue Printed Plate, 10^2", marked “Bankirg, 
 Challinor”. 
 
 428- Light Blue Printed Plate, 10^2", marked “Ironstone 
 China, Isolabelle, W. Adams & Son’s”. 
 
 429- Light Blue Printed Plate, iof^", marked “Palestine, 
 J. Ridgway, Registered No. 7154”. 
 
 430- 5 Light Blue Printed Plates, io 7/ , Asiatic Pheasants, 
 W. & H.. 
 
 431- 1 Light Blue Printed Plate, marked. 
 
 432- Light Blue Printed Plate, 10 marked “Fountain- 
 Scenery”. 
 
 433- 2 Light Blue Printed Plates, 10 marked “President’s 
 House, Washington”. 
 
 434- Light Blue Printed Plate, 11", marked “W. Penn’s 
 Treaty, T. G.”. 
 
 435- Light Blue Printed Plate, 9", marked “Harper’s Ferry 
 from the Potomac, W. R. & Co.”. 
 
 436- Great Fire Plate, Light Blue Print, 9", marked “Ruins 
 Merchants’ Exchange” N. Y. 
 
 437- Light Blue Printed Platter, 17^", Log Cabin, marked 
 “Columbian Star, Oct. 28, 1840, Ridgway”. 
 
 438- Worcester Tea Set, Gold Bands and highly colored 
 Floral Design, Tea Pot, Sugar Bowl and Tray, Cream 
 Jug, 2 Cake Plates, 9", 6 Tea Cups and Saucers, 1 Bowl, 
 6 Coffee Cups and 5 Saucers. 
 
 439- Worcester Set, marked Flight & Barr, 10 Plates, 9", 
 1 Dish, 9 y 2 \ 2 Square Dishes, 8 } 4 ", very similar to No. 
 438. 
 
 440- IO Porcelain Plates, 6", decorated in blue gold and 
 red scrolls and flowers. 
 
441- 6 Soup Plates, io", decorated in brilliant colors and gold, 
 marked “Imperial Stone China”. 
 
 442- 6 Plates, 10", decorated in blue, red and gold, marked 
 incised “Stone China, warranted Clews”. 
 
 443- Putty colored Mug with raised flowers in color. 
 
 444- Putty Colored Jug, similar to No. 443, 4^". 
 
 445- Cup and Saucer, black printed. 
 
 446- Bowl, 6", printed in black, The Play Fellow. 
 
 447- Yellow Mug with portraits of Lafayette and Washington. 
 
 448- Pottery Cream Jug, painted in Blue. 
 
 449- Cup and Saucer, blue band and colored vine. 
 
 450- Blue Apostles Syrup Cup. 
 
 451- Octagonal Plate, 6", painted “The Pretty Doves”. 
 
 452- House with two towers in porcelain and place to hang 
 watch. 
 
 453- Bennington Wash Bowl and Pitcher. 
 
 454- Bennington Wash Bowl and Pitcher. 
 
 455- Frog Mug. 
 
 456- Covered Bowl, 4^", crackled and sprigged. 
 
 457- 2 Figures of Child with horn. 
 
 458- 2 Figures with 2 Swans. 
 
 459- Bennington Soap Dish. 
 
 460- Bennington Chamber. 
 
 461- Bennington Teapot, 13" high. 
 
 462- Bennington Jug, 8" high. 
 
 463- Bennington Sugar Bowl and Cover. 
 
 464- Bennington Tobacco Jar and Cover. 
 
 465- 2 Bennington Curtain Knobs. 
 
 466- Bennington Weight and Scales with Shoe. 
 
 467- Bennington Bowl. 
 
 468- Bennington Teapot. 
 
 469- Tulip Pitcher, brown mottled ware. 
 
 470- “Rebecca at the Well” Teapot. 
 
 471- Bennington Tob)^. 
 
 472- Bennington Toby. 
 
 473- Bennington Candlestick. 
 
 474- Bennington Candlestick . 
 
 475- Bennington Candlestick. 
 
 476- 2 Pairs Bennington Door Knobs. 
 
477~B rown Jug, child’s figure raised on side. 
 
 478- Bennington 10" Oval Baking Dish. 
 
 479- Bennington Round 11 " Oval Baking Dish. 
 
 480- Bennington Round 13" Oval Baking Dish. 
 
 481- Bennington Cuspidor, 18". 
 
 482- Bennington Cow Jug, with lid on back. 
 
 483- Bennington “Book Bottle” marked “Departed Spirits”. 
 
 484- Bennington Bottle in form of book. 
 
 485- Bennington Picture Frame, 6" x 8". 
 
 486- Bennington Doll’s Wash Bowl and Pitcher. 
 
 487- Bennington Cup with Standard and Handle. 
 
 488- Bennington Eight Sided Baking Dish, 10". 
 
 489- “Lowestoft” Chinese Platter, 18", vine border. 
 
 490- Chinese Helmet Pitcher, 7". 
 
 491- Chinese Helmet Pitcher, 7 M . 
 
 492- Chinese White Tea Cady, 5 ", decorated with black 
 design. 
 
 493- Chinese Hot Water Jug, 6", black design. 
 
 494- Chinese Hot Water Jug, 6". 
 
 495- Deep Chinese Plate, 9", English design and border. 
 
 496- Chinese Saucer, 6", red pie crust edge. 
 
 497- Chinese Saucer, 6", red medallion Chinese scene, in 
 center. 
 
 498- Chinese Cup and Saucer, “Lowestoft” style. 
 
 499- Four Cream Ware Salt Cellars. 
 
 500- Salt Cellar, brown moss painted decoration. 
 
 501- Pair Open Dishes, copper lustre with raised flowers in 
 colors. 
 
 502- Copper Lustre Teapot, Sugar Bowl, Jug and Bowl, 6", 
 blue band with colored flowers. 
 
 503- Blue and Copper Lustre Mug. 
 
 504- Copper Lustre Sugar Bowl and Cream Jug, painted with 
 pink flowers. 
 
 505- 4 Cups and 5 Saucers, copper lustre, plain and fluted. 
 
 506- Child’s Play Set, copper lustre, Teapot, Sugar Bowl and 
 Creamer, 3 pieces. 
 
 507- Copper Lustre Cup and Saucer. 
 
 508- Copper Lustre Cup and Saucer. 
 
 509- 3 Copper Lustre Salt Cups, painted. 
 
 510- 3 Copper Lustre Salt Cups, painted. 
 
5 1 1- 3 Copper Lustre Salt Cups, white band painted. 
 
 512- 3 Copper Lustre Salt Cups, pink lustre band. 
 
 5 1 3 - 3 Copper Lustre Salt Cups, pink lustre band. 
 
 514- 3 Copper Lustre Salt Cups, blue band. 
 
 515- Jug, 4", olive ground, raised white design, copper lustre 
 bands. 
 
 516- Jug, 5", blue glazed ground, white figure in relief, rose 
 
 and copper lustre bands. 
 
 517- Jug, 3", copper lustre band of pink lustre ground, resist 
 white vine. 
 
 518- Copper Lustre Jug, 5", brown ground, blue band, vine 
 painted in rose lustre and green. 
 
 519- Copper Lustre Jug, 4 brown band with raised flowers 
 painted in colors. Purchased at Woodburne, N. Y. 
 
 520- Copper lustre Jug, 4", band with white ground painted 
 in colors. 
 
 521- Copper Lustre Jug, 5", two green bands with lustre 
 scroll over them. 
 
 522- Copper Lustre Jug, 5L2", plain blue band, three rows 
 beading. 
 
 523- Copper Lustre Jug, 5L2 ", blue band painted with copper 
 lustre. 
 
 524- Copper Lustre Jug, 6^2 ", tulips in relief. 
 
 525- Copper Lustre Jug, 7", painted with pink flowers. 
 
 526- Copper Lustre Jug, 6^2", broad blue band painted with 
 lustre. 
 
 527- Fluted Copper Lustre Jug, 8", painted in colors. 
 
 528- Copper Lustre Jug, 7", brown band with scroll. 
 
 529- Plain Copper Lustre Jug, 7". 
 
 530- Copper Lustre Jug, S} 4 ", dancers. 
 
 531- Copper Lustre Jug, 9", yellow band, medallion, “Sur- 
 render of Cornwallis” one side, obverse “Lafayette.” 
 
 532- Copper Lustre Jug, yellow band, same as No. 531 but 
 5 " high . 
 
 533- Copper Lustre Jug, 7", red band, raised flowers in color. 
 
 534- Copper Lustre Jug, 6", blue ground, raised figures in 
 white relief. 
 
 535- Copper Lustre Jug, 6", pink band and lining, painted. 
 
 536- Copper Lustre Jug, 8 ", two pink bands, painted in lustre. 
 
 537- Copper Lustre Jug, 7", 3 rose lustre bands, vine in white 
 resist (cracked) . 
 
538- Copper Lustre Jug, 7", 2 medallions with transfer print- 
 ingin colors. “Charity/’ 
 
 539- Silver Resist Jug, 5". 
 
 540- Silver Resist Jug, 6". 
 
 541- Silver Resist Jug, 6". 
 
 542- Silver Resist Jug, 8>^". 
 
 543- Silver Resist Jug, 5L2 ", white figures in relief. 
 
 544- Silver Resist Jug, 5 white leaves in relief. 
 
 545- Silver Resist Jug, 5 ", white and blue painted flowers. 
 
 546- Silver Lustre Jug, 7^", shell pattern showing deep 
 cream pottery underneath. 
 
 547- Plain Silver Lustre Jug, 7>^", white inside. 
 
 548- Plain Silver Lustre Fluted Jug, 8". 
 
 549- Silver Lustre Jug, 9", broad deep lip. 
 
 550- Silver Lustre Resist Jug, 8J^", canary ground. 
 
 551- Canary Ground Jug, 6", painted with silver lustre and 
 red. 
 
 552- White Jug, grape vine in relief painted in colors, silver 
 lustre band, 5". 
 
 5 53- Same as 552 but 6 ". 
 
 554- White Jug, “pineapple” relief, painted in red and silver 
 lustre, 6j|". 
 
 555- Similar to 554, 5 K'". 
 
 556- White Salt Glaze Jug, blue bands, figures in relief. 
 Incised under one figure Wellington. 
 
 557- White Stone Ware Jug, raised figures, blue bands, 
 painted, little green paint also. 
 
 558- Glazed Stone Ware Jug, figures in relief, painted, “Tam 
 O’ Shanter,” 7>^". 
 
 559- Same as 558 but 9". 
 
 560- White Glazed Jug, 5J^", relief pattern painted in blue 
 and brown. 
 
 561- Glazed Jug, 6", relief painted in blue and brown, band 
 grape vines in relief painted green and blue. 
 
 562- Glazed Jug, 7", relief design painted in colors, heart 
 shaped medajlion, “Sportive Innocense”. 
 
 563- Glazed White Jug, blue band, 7", scene painted in rose 
 lustre. 
 
 564- Glazed White Jug, 6", design n relief spread eagle in 
 rose lustre. 
 
 565- Glazed Cream Jar, 5 reli f design in rose lustre. 
 
566- White Glazed Jug, 3^", very light, relief design in 
 white, “Queen Charlotte,” rose lustre and colors. 
 
 567- White Glazed Jug, 5^", yellow ground, dogs in relief, 
 white relief vine painted in colors and rose lustre. 
 
 568- White Glazed Jug, 7", hunters and dogs in relief, and 
 vine, painted in colors and rose lustre. 
 
 569- Cream Glazed Jug, 6", green ground, dogs and vine in 
 cream relief, rose lustre bands. 
 
 570- White Glazed Jug, relief design painted in green and 
 rose lustre. 
 
 571- Plain White Glazed Jug, 5J^", band transfer print of 
 hunting scene in colors, rose lustre bands. 
 
 572- White Glazed Jug, children’s figures in relief with goat, 
 polychrome, rose lustre bands. 
 
 572A-Plain Sunderland Mottled Rose Lustre Jug, 6". 
 
 573- Sunderland Mottled Rose Lustre Jug, 9", Sunderland 
 bridge and inscription, obverse, Mariner’s Arms. Poem, 
 “The Sailor’s Tear”. 
 
 574- Bennington Jug, 11 
 
 575- Bennington Jug, 11 
 
 576- Bennington Dog. 
 
 577- Putty Colored Jug with relief of doors and windows 
 painted green. 
 
 578- Putty Colored, Unglazed Jug, 7L2", band with hunting 
 scene in relief, steel colored metallic bands. 
 
 579- Crackled, Glazed Jug, 10", broad silver lustre band 
 
 spout repaired, two medallions printed in black. 
 
 580- Glazed Deep Ecru Jug, 8", three medallions painted in 
 black, silver lustre bands. 
 
 581- Glazed Stoneware Jug, 6", black printed medallion 
 
 “Welcome Lafayette,” obverse medallion ships. 
 
 582- Glazed Stoneware Jug, 6", black printed medallion 
 
 “President Washington,” obverse pastoral scene. 
 
 583- Glazed Stoneware Jug, 6", black printed medallion 
 
 “Welcome Lafayette,” obverse scene and scroll “July 4, 
 1776, America declared Independence”. 
 
 584- Dark Blue Printed Jug, 7", Washington at the Tomb of 
 Franklin. 
 
 585- Dark Blue Printed Jug, 8", City Hall, New York. 
 
 586- Dark Blue Printed Jug, 11", “States Pitcher”. 
 
 587- Dark Blue Printed Jug, 5 ", “Washington Independence”. 
 
588- Dark Blue Printed Jug, 8^2", rural scene and weeping 
 willow. 
 
 589- Dark Blue Printed Jug, 5^", Boston State House 
 with cows, obverse City Hall, N. Y. 
 
 590- Dark Blue Printed Jug, 4", 2 medallions “Washington,” 
 Lafayette Eagle. “Republicans are not always un- 
 grateful/’ “In commemoration of the visit of Gen. 
 La Fayette to U. S. of America in the year 1824.” 
 
 591- Dark Blue Printed Jug, 4", City Hall, New York. 
 
 592- Dark Blue Printed Jug, 6", inscription to Erie Canal. 
 
 593- Dark Blue Printed Jug, 7", Landing of Lafayette. 
 
 594- Dark Blue Printed Jug, 6", “The Duke of Wellington,” 
 obverse “Lord Hill”. 
 
 595- Glazed White Jug, 6", blue design in relief, painted 
 vine and letters G. S. 
 
 596- Glazed White Jug, 7", glazed blue ground and white 
 figures in relief. 
 
 597- Glazed White Jug, 6 ^/ 2 ", bluish lavender glazed ground 
 figures in white relief. Serpent spout and handle. 
 
 598- White Glazed Hexagonal Jug, 6}4 ", relief flowers in blue 
 
 599- White Glazed Jug, 4", blue glazed ground, animals in 
 white relief. 
 
 600- Chinese Barrel Shaped Jug, g}4", blue and white twisted 
 blue handles. 
 
 601- Crackled Stoneware Glazed Jug, 11", red and blue 
 decoration, green dragon handle. 
 
 602- Similar to 601, 6 } 4 ", marked “Mason’s Patent Ironstone 
 China” . 
 
 603- Gray Glazed Jug, 11", much relief, fish spout, dragon 
 handle, bearded face, etc. 
 
 604- Putty Colored Unglazed Jug, 10", heads and scrolls and 
 vine in relief, glazed inside. 
 
 605- Unglazed Gray Jug, 10", scrolls in relief, glazed inside. 
 
 606- Stoneware Unglazed “Apostle Pitcher,” 9", glazed inside. 
 
 607- White Stoneware “Apostle Pitcher,” 8", glazed inside. 
 
 608- Putty Colored Unglazed Jug, 5", trees in relief, glazed 
 inside. 
 
 609- White Parian Jug, 8", palm trees in relief, marked 
 U. S. pottery. 
 
 6o9A-Glazed Jug, 5", rural scene in color transfer over the 
 glaze. 
 
610- Glazed Jug, 5", brown ground, moss painted under 
 glaze. 
 
 6ioA-Glazed Jug, 5", dark bands, blue ground and design 
 painted in colors. 
 
 611- Crackled Glazed Ironstone Jug, 7 >2", printed in brown, 
 marked “Valetta Opaque Pearl, J. Hawley”. 
 
 612- Putty Colored Glazed Mug, painted with blue and silver 
 lustre. 
 
 613- Pair Rose Lustre Mottled Candlesticks, incised mark 
 Wedgwood. 
 
 614- Octagonal Plate, mottled rose lustre, incised mark 
 Wedgwood. 
 
 615- Bennington Lamp Base, 9J^", brown mottled standard, 
 blue base. 
 
 616- 6 Ironstone Plates, 9", incised “Real Ironstone China,” 
 blue bands and flowers. 
 
 617- 6 Ironstone Plates, 10", like No. 616. 
 
 618- White Plate, 9", silver lustre bands, house in center, 
 printed in maroon. 
 
 619- Porcelain Plate, 9", vine pattern printed in colors, very 
 thin in center. 
 
 620- Six Pink Lustre Plates, 9", various patterns. 
 
 621- Pink Lustre Plate, 7". 
 
 622- Four Pink Lustre Cup Plates, 4". 
 
 623- Two Pink Lustre Cream Jugs, 4". 
 
 624- Plate, 8", border in relief in colors, center-medallion of 
 Lafayette and Washington, printed in red. 
 
 625- Two Bristol Cream Jugs with painted flowers. 
 
 626- Porcelain Plate, Rothenburg. 
 
 627- Salt Glaze Teapot, 3 ", basket design. 
 
 628- 2 Salt Glaze Pierced Dishes with Handles, 11 
 
 629- Wedgwood Jaspar medallion, green ground, white 
 figures of grasshoppers and fairies. 
 
 630- Companion piece to 629. Both framed in black. 
 
 631- Wedgwood candle stick, Jaspar ware, green, white and 
 lavender. 
 
 632- Fifteen light blue and white Wedgwood Jaspar medal- 
 lions, each with a horse in a different position. De- 
 signed by the English horseman Stubbs. 
 
 633- Brass mounted port-folio with center and corner inserts 
 of light blue and white Wedgwood Jaspar ware. 
 
634 - Dark blue and white Wedgwood Jaspar ware, flower 
 pot with saucer, 12" high. 
 
 635- Blue and white Wedgwood Jaspar panel 6" by 12", 
 Dancing girls. 
 
 636- Bennington Toby 7" high. 
 
 637- Bennington candle sticks, 8". 
 
 638- Bennington candle sticks, 8". 
 
 639- Bennington Jug with F. W. in raised initials under glaze. 
 
 640- Bennington cuspidor. 
 
 641- One dozen Bennington Door Knobs, round. 
 
 642- Bennington Door Knobs. 
 
 643- Dark blue printed plotter. 
 
 644- Dark blue printed fruit dish. 
 
 645- Dark blue printed plate. 
 
 646- Dark blue printed plate. 
 
 647- Dark blue printed plate. 
 
 648- Dark blue printed plate. 
 
 649- Dark blue printed plate. 
 
 650- Dark blue printed plate. 
 
 651- Dark Blue Printed Bowl, 9^", Washington at the grave 
 of Franklin . 
 
 652- Dark Blue Printed Bowl, I2j^", Washington at the grave 
 of Franklin. 
 
 653- Dark Blue Printed Jug, 10", Washington at the grave 
 of Franklin. 
 
 654- Dark Blue Printed Sauceboat, Tray, Cover and Ladle 
 Four marked “Falls in the Catskill Mts.” Shell border. 
 
 655- Blue Printed Plate, 10", “N. Y. from Brooklyn Heights. ” 
 Incised A. Stevenson. 
 
 656- Blue Printed Plate, 10", Washington and Lafayette in 
 Medallion. Marked Stevenson & Williams. 
 
 657- Blue Printed Plate, 10", not marked. “Franklin at the 
 grave of Washington” wrongly printed. 
 
 658- Blue Printed Plate, 9", Freeman’s Warehouse, Chatham 
 St., N. Y. 
 
 659- Blue Printed Plate, Atheneum, Boston, I. & W. 
 
 Ridgway, Beauties of America. 
 
 660- Blue Printed Soup Plate, 10", Octagon Church, Boston, 
 I. & W. Ridgway, Beauties of America. 
 
 661- Blue Printed Platter, 11 ", Court House, Boston, I. & W. 
 Ridgway, Beauties of America. 
 
662- Blue Printed Open Vegetable Dish, 11^2", Mt. Vernon, 
 Washington, I. & W. Ridgway, Beauties of America. 
 
 663- Blue Printed Plate, 7", Insane Hospital, Boston, I. & W. 
 Ridgway, Beauties of America. 
 
 664- Blue Printed Soup Plate, Stoughton’s Church, 
 
 Philadelphia, I. & W. Ridgway, Beauties of America. 
 
 665- Dark Blue Printed Plate, Library, Philadelphia, 
 
 I. & W. Ridgway, Beauties of America. 
 
 666- Blue Printed Plate, 10 ", City Hall, New York, I. & W. 
 Ridgway, Beauties of America. 
 
 667- Same as 666. 
 
 668- Blue Printed Plate, 8>^", Library, Philadelphia, I. & W. 
 Ridgway, Beauties of America. 
 
 669- Blue Printed Plate, 10", The Dam and Water Works, 
 Philadelphia, side wheel. 
 
 670- Dark Blue Printed Plate, 10", The Dam and Water 
 Works, Philadelphia, stern wheel. 
 
 671- Blue Printed Plate, 7", Woodlands near Philadelphia, 
 eagle border. 
 
 672- Dark Blue Printed Plate, 7", City Hall, New York, 
 eagle border. 
 
 673- Dark Blue Printed Plate, 10", Bank of the United States, 
 Philadelphia, eagle border. 
 
 674- Dark Blue Printed Plate 8", white border, New York 
 Battery. 
 
 675- Dark Blue Printed Plate, 8", Hospital, Boston. 
 
 676- Dark Blue Printed Plate, 10", Capitol, Washington, 
 R.S.&W. 
 
 677- Dark Blue Printed Soup Plate, City Hotel. 
 
 678- Dark Blue Printed Plate, 9", City Hotel, New York, 
 Oak leaf border. 
 
 679- Dark Blue Printed Plate, 10", Water Works, Philadel- 
 phia, oak leaf border. 
 
 680- Dark Blue Printed Plate, 10", Park Theatre, New York, 
 oak leaf border. 
 
 681- Dark Blue Printed Plate, 10", Alms House in the City 
 of New York, by G. Wall, Esq. 
 
 682- Dark Blue Printed Plate, 7L2", Columbia College, A. 
 Stevenson. 
 
 683- Dark Blue Printed Plate, 10", Exchange, Baltimore. 
 
684- Dark Blue Printed Plate, 10", shell border, unmarked, 
 Sidewheel Steamer “Chief Justice Marshal, Troy”. 
 
 685- Dark Blue Printed Plate, 10", Commodore MacDon- 
 oughs’ Victory. 
 
 686- Dark Blue Printed Plate, 10", two ships, one with Ameri- 
 can flag, shell border. 
 
 687- Dark Blue, Printed Plate, 10". 
 
 688- Dark Blue Printed Plate, 9", Gilpin’s Mills on the 
 Brandywine Creek, shell border. 
 
 689- Dark Blue Printed Plate 10", shell border, “City of 
 Albany, State of New York,” cows. 
 
 690- Dark Blue Printed Plate, 10", “Constitution & Guer- 
 riere” Wood. 
 
 691- Dark Blue Printed Plate, 10", shell border, “Table 
 Rock Niagara”. 
 
 692- Dark Blue Printed Plate, 10", Pine Orchard House, 
 Catskill Mountains. 
 
 693- Dark Blue Printed Soup Plate, 10", shell border, Pine 
 Orchard Hoiuse, Catskill Mountains. 
 
 694- Dark Blue Printed Plate, 9J^", Transylvania Univer- 
 sity, Lexington, E. Wood & Sons. 
 
 695- Dark Blue Printed Plate, 10", Wood, Baltimore & Ohio 
 R. R., level. 
 
 696- Dark Blue Printed Plate, 9", Baltimore & Ohio R. R., 
 incline. 
 
 697- Dark Blue Printed Plate, 8", The Capitol, Washing- 
 ton, Wood. 
 
 698- Dark Blue Printed 9" Plate, shell border, Marine Hos- 
 pital, Louisville, Kentucky. 
 
 699- Dark Blue Printed 8" Plate, Washington. 
 
 700- Dark Blue Printed 8" Plate, Erie Canal, Aqueduct 
 Bridge at Rochester. 
 
 701- Dark Blue Printed Platter, 17", marked “Sandusky”, 
 Ohio. 
 
 702- Dark Blue Printed Fruit Dish on pedestal, nj^", “State 
 House, Boston,” eagle border. 
 
 703- Dark Blue Printed Round Open Vegetable Dish, 10", 
 “Harvard College, R. S. W.,” fluted white edge. 
 
 704- Dark Blue Printed Soup Plate, 10", Table Rock, Niagara 
 
 705- Dark Blue Printed Soup Plate, 10", “Albany,” cows 
 and men in a boat. 
 
706- Dark Blue Printed Plate, io ", “Entrance of the Erie 
 Canal into the Hudson at Albany”. 
 
 707- Dark Blue Printed Soup Plate, 10", “Erie Canal, view 
 of the Aqueduct Bridge at Little Falls”. 
 
 708- Dark Blue Printed Plate, 9", Lawrence Mansion. 
 
 709- Dark Blue Printed Plate, 10", Lawrence Mansion. 
 
 710- Dark Blue Printed Plate, 10" apple blossom and fruit 
 border. 
 
 711- Dark Blue Printed Plate, “No gains without 
 
 pains,” Franklin’s Morals. 
 
 712- Dark Blue Printed Plate, 10 ", Arms of New York, 
 Mayer. 
 
 713- Dark Blue Printed Plate, 7^", Arms of South Carolina, 
 Mayer. 
 
 yj^-Dark Blue Printed Plate, 9", Arms of Rhode Island, 
 E. Mayer, Stoke. 
 
 715-Cream Pottery Plate with blue piecrust edge, 10", 
 portrait of “Capt. Hull of the Constitution” printed in 
 black. 
 
 7j5_C re am Pottery Plate with blue piecrust edge, 10", 
 portrait of “Pike, always ready to die for your country” 
 printed in red. 
 
 7J7-Dark Blue Printed Plate, 10 ", steamboat and cows. 
 
 718-Dark Blue Printed Plate, 5^2 ", Mendenhall Ferry, 
 Stubbs, incised. 
 
 y^-Dark Blue Printed Plate ,6", houses, castle and two men 
 in a boat. 
 
 720- Same as 719. 
 
 721- Dark Blue Printed Plate, 6^2", shell border,. 
 “Highlands Hudson River, near Newburgh”. 
 
 722- Dark Blue Printed Plate, 6>^", shell border, “Highlands 
 Hudson River, near Newburgh,” different from 721. 
 
 723- Dark Blue Printed Plate, 6J/2", shell border, “Commo- 
 dore MacDonough’s Victory,” E. Wood & Sons. Burslem. 
 
 724- Dark Blue Printed Plate, 6 } 4 ", shell border, “Cowle’s 
 Harbour,” E. Wood & Sons. Burslem. 
 
 725- Dark Blue Printed Plate, 6^2", “Cupid Behind Bars,” 
 E. Wood & Sons. Burslem. 
 
 726- Blue Printed Plate, 6 l A", “Landing of the Pilgrims,” 
 Enoch Wood & Sons. Burslem. 
 
 727- Same as 726 but 9". 
 
 728- Same, 7VC'. 
 
729- Same, 10". 
 
 730- Dark Blue Printed Plate, 7", eagle border, “Hoboken 
 in New Jersey,” Stevens House. 
 
 731- Dark Blue Printed Plate, 8", “Near Fishkill”. 
 
 732- Dark Blue Printed Plate, 8", “View of Trenton Falls” 
 
 733- Dark Blue Printed Plate, 7J2 ", oak leaf border, Colum- 
 bia College, New York, R. S. W. 
 
 734- Blue Printed Plate, 8J^", inscription at opening of Erie 
 Canal. 
 
 735- Dark Blue Printed Soup Plate, ioj^", States plate, 
 house and cows in center. Clews. 
 
 736- Dark Blue Printed Plate, 11 ", States plate, house and two 
 fishermen center. Clews. 
 
 737- Dark Blue Printed Plate 11", States plate house and 
 cows in center. Clews. 
 
 738- Dark Blue Printed Plate, 11", States plate, house and 
 two fishermen in center. Clews. 
 
 739- Same as 738. 
 
 740- Same as 738. 
 
 741- Same as 738. 
 
 742- Dark Blue Printed Plate, 7", house and two women in 
 center. Clews. 
 
 743- Dark Blue Printed Plate, 8", house with balconies in cen- 
 ter. Clews. 
 
 744- Dark Blue Printed Plate, 8", same as 743. 
 
 745- Dark Blue Printed Plate, same as 743. 
 
 746- Dark Blue Printed Plate, same as 743 . 
 
 747- Dark Blue Printed Plate, same as 743. 
 
 748- Dark Blue Printed Plate, same as 743 . 
 
 749- Dark Blue Printed Plate, 8", same as 743. 
 
 750- Same as 743 . 
 
 751- Dark Blue Printed Plate, 9", States plate, house and 
 sheep in center. Clews. 
 
 752- Same as 751. 
 
 753- Dark Blue Printed Plate, 10", “La Grange the residence 
 of the Marquis La Fayette,” E. Wood & Sons. 
 
 754- Dark Blue Printed Soup Plate, 10", copper lustre band 
 “La Grange the residence of the Marquis La Fayette,” 
 E. Wood & Sons. 
 
 755- Dark Blue Printed Plate, 7", “Mt. Vernon, seat of the 
 late Gen. Geo. Washington”. 
 
756- Dark Blue Printed Plate, 7", “Philadelphia”. 
 
 757- Dark Blue Printed Plate, 7", white edge, figures, pa- 
 goda and weeping willows. 
 
 758- Same as 757. 
 
 759- Dark Blue Printed Plate, 10", “Water Works, Phila- 
 delphia,” oak leaf border. 
 
 760- Dark Blue Printed Plate, 10", Harvard College, R. S. W. 
 Oak leaf border. 
 
 761- Dark Blue Printed Platter, 19". Clews. Landing of Gen. 
 Lafayette at Castle Garden, New York, 16 August, 1824. 
 
 762- Dark Blue Printed Plate, 7". Clews. Same as 761. 
 
 763- Dark Blue Printed Plate, 9", same as 761. 
 
 764- Dark Blue Printed Plate, 10". Clews. 
 
 765- Same as 764. 
 
 766- Same as 764. 
 
 767- Dark Blue Printed Platter, 17", Dr. Syntax series, 
 
 “A Noble Hunting Party.” Clews. 
 
 768- Dark Blue Printed Platter, 15", Dr. Syntax series, 
 
 “The Advertisement for a Wife”. 
 
 769- Dark Blue Printed 10" Open Vegetable Dish, Don 
 
 Quixote’s Library. 
 
 770- Dark Blue Printed 10" Soup Plate. Clews. “Dr. 
 
 Syntax Mistakes a Gentleman’s House for an Inn.” 
 
 771- Dark Blue Printed 10" Plate, “Dr. Syntax and the Bees.” 
 Clews. 
 
 772- Dark Blue Printed 9" plate, Dr. Syntax star gazing. 
 Clews . 
 
 773- Light Blue Printed 9" Plate, border in relief, Dr. Syntax 
 star gazing. Clews, incised. 
 
 774- Dark Blue Printed 9" Plate, Dr. Syntax returned from 
 his tour. Clews. 
 
 775- Light Blue Printed 9" Plate, border in relief, Dr. Syntax 
 returned from his tour. Clews, incised. 
 
 776- Dark Blue Printed Plate 6", “Dr. Syntax and a blue 
 stocking beauty.” 
 
 777- Dark Blue Printed Plate, 5L2", “Dr. Syntax and Dairy 
 Maid”. 
 
 778- Blue Printed Plate, 6", Dr. Syntax and Dairy Maid. 
 
 779- Blue Printed Plate, 7L2 ", “Dr. Syntax turned Nurse”. 
 
 780- Dark Blue Printed Plate, 9", “Dr. Syntax reading his 
 1 our . 
 
781- Same as 780. 
 
 782- Dark Blue Printed Plate, 10", “Dr. Syntax painting a 
 portrait” . 
 
 783- Dark Blue Printed Plate, 10", “Dr. Syntax disputing 
 his bill with the Landlady”. 
 
 784- Same as 783. 
 
 785- Dark Blue Printed Plate, 10", “Dr. Syntax taking 
 possession of his Living”. 
 
 786- Same as 785, darker print. 
 
 787- Blue Printed Plate — Imitation — “Dr. Syntax Reading 
 his tour.” Placed here for comparison. 
 
 788- Dark Blue Printed Platter, 11". Clews. “The Rab- 
 bit on the Wall from Wilkie’s designs”. 
 
 789- Dark Blue Printed Platter, 11", “Don Quixote’s Attack 
 upon the Mills”. 
 
 790- Dark Blue Printed Sauce Boat, 6 ",“Sancho PanzaConflict’ ’. 
 
 791- Blue Printed Soup Plate, 8f^", Court House, Balti- 
 more. 
 
 792- Cream Ware Plate, 9", border in relief, incised “Clews 
 Warranted Staffordshire,” same mould as light blue 
 Syntax plates Nos. 773 and 775, gilt bands. 
 
 793- Same as 792. 
 
 794- Same as 792, 793. 
 
 795- Blue Printed Plate, 6^T", Boston Court House with 
 chaise. 
 
 796- Light Blue Printed Plate, 10", inscription, “Congress 
 shall make no law respecting an establishment of religion; 
 or prohibiting the free exercise thereof: or abridging the 
 freedom of speech: or of the press: or the right of the 
 people peaceably to assemble: and to petition the Gov- 
 ernment for a redress of grievances. Constitution U. S.” 
 
 797- Light Blue Printed Plate, 8", incised Davenport with 
 anchor. Junk, pagodas and willow tree. 
 
 798- Dark Blue Printed Plate, 6yi". E. Wood & Sons. 
 Figure of Christ. 
 
 799- Dark Blue Printed 8" Plate. St. Paul’s School, London. 
 
 800- Blue Printed Plate 7", Boston Court House with cows. 
 Rogers, incised. 
 
 801- Dark Blue Printed Plate, 9", center medallion fruit and 
 flowers . 
 
 802- Dark Blue Printed Plate, iof^", figures in boat, feeding 
 swans. 
 
803- Dark Blue Printed Plate, 9", figures on horses in clouds, 
 incised Wood T. 
 
 804- Dark Blue Printed Plate, 9", same as 803. 
 
 805- Blue Printed Soup Plate, 9", “Quebec.” 
 
 806- Blue Printed Plate, 10", Boston Court House with chaise. 
 
 807- Blue Printed Plate, 10", Boston Court House with cows, 
 incised Rogers. 
 
 808- Dark Blue Printed Soup Plate, 10", Chinese scene with 
 zebra, incised mark Rogers. 
 
 809- Dark Blue Printed Soup Plate, 10", figure of Christ 
 talking to water carrier, incised Wood. 
 
 810- Dark Blue Printed Plate 10", white edge in relief, 
 cupid behind bars, incised Wood. 
 
 811- Dark Blue Printed Soup Plate, 10", girl behind bars 
 reaching for grapes, incised Wood. 
 
 812- Dark Blue Printed Plate, 10^2", figure leading mule, 
 woman and child on mule. Wood. 
 
 813- Dark Blue Printed Plate, 10", fisherman and boat, 
 woman and child and fish. 
 
 814- Blue Printed Plate 11 ", one man in boat, willow pattern, 
 3 men on bridge, 32 oranges, 2 birds. 
 
 815- Dark Blue Printed Plate, 10", “Coronation Clews.” 
 
 816- Dark Blue Printed Plate, 10", medallion with shelfs in 
 center. 
 
 817- Dark Blue Printed Plate, 10", “R. Hall’s Select 
 Views. Pains Hill, Surray.” 
 
 818- Dark Blue Printed Plate, 10", “Sheltered Peasants, 
 
 R. Hall.” 
 
 819- Dark Blue Printed Plate, 10", “Palestine, R. Steven- 
 son. 
 
 820- Dark Blue Printed Plate, 10", “London Views, St. 
 
 Phillip’s Chapel, Regent Street.” 
 
 821- Dark Blue Printed Plate, 10", “Bamborough Castle, 
 Northumberland .” 
 
 822- Dark Blue Printed Plate, 10", Fonthill Abbey. 
 
 823- Dark Blue Printed Plate, 10", Guilford Hall, Suffolk. 
 A. Stevenson, incised. 
 
 824- Dark Blue Printed Plate, 10", Italian scenery, St. 
 
 Peter’s, Rome. 
 
 825- Dark Blue Printed Plate, 10", scalloped edge, white 
 relief, Tomb of Absalom. 
 
826- Dark Blue Printed Plate, 11", scalloped edge, white 
 relief, two men and dogs hunting, incised Herculaneum. 
 
 827- Same as 825. 
 
 828- Dark Blue Printed Plate, 9", scalloped edge, white 
 relief, “Field Sports/’ two men and three dogs hunting. 
 Herculaneum. 
 
 829- Dark Blue Printed 10" Plate, Fonthill Abbey. 
 
 830- Dark Blue Printed Plate, 10", Taymouth Castle, Perth- 
 shire. Riley. 
 
 831- Dark Blue Printed Plate, 10 ", Bamborough Castle, 
 Northumberland, incised Adams. 
 
 832- Dark Blue Printed Plate, 10", “Llanarth Court, Mon- 
 mouthshire. R. HallT 
 
 833- Dark Blue Printed Plate, 10", “Palestine. R. Steven- 
 son.” 
 
 834- Dark Blue Printed Plate, 10", “Buenos Ayres.” 
 
 835- Light Blue Printed “Pine Tree” Platter, 17", “No. 100, 
 19 N. Y., 1839, Coterie.” 
 
 836- Blue Printed Plate, 7", “Senate House, Cambridge, 
 J. & W. Ridgway.” 
 
 837- Dark Blue Printed Plate, 7 ", “Don Quixote and Sancho 
 Panza.” 
 
 838- Dark Blue Printed Plate, 8", “Sancho and the Priest and 
 the Barber.” 
 
 839- Dark Blue Printed Plate, 8". Clews. “Playing at 
 Draughts. From Wilkie’s Designs.” 
 
 840- Dark Blue Printed Plate, 9", “The Valentine from 
 Wilkie Designs.” 
 
 841- Dark Blue Printed Plate, 8", “Quadrupeds.” 
 
 842- Dark Blue Soup Plate, 9", “The Meeting of Sancho and 
 Dapple.” 
 
 843- Dark Blue Printed Plate, 10", “Don Quixote and the 
 Shepherdess.” 
 
 844- Dark Blue Printed Plate, 10", The Mouse, Wilkie De- 
 signs. 
 
 845- Dark Blue Printed Plate, 10", Playing at Draughts, 
 Wilkie designs. 
 
 846- Dark Blue Printed Plate, 1 1 ", “The Valentine from 
 Wilkie Designs.” 
 
 847- Dark Blue Printed Plate, 10", “Don Quixote and the 
 Shepherdess.” 
 
 848- Dark Blue Printed Plate, 10", “Mambrino’s Helmet.” 
 
849~Dark Blue Printed Plate, io", “The Mouse from Wilkie’s 
 Designs.” Clews. 
 
 850- Dark Blue Printed Plate, 10", “Sancho Panza hoisted 
 in the Blanket.” 
 
 851- Dark Blue Printed Plate, 9", “Winter View of Pittsfield, 
 Mass.” Clews. 
 
 852- Dark Blue Printed Soup Plate, 10", “Sancho Panza 
 and the Bear Hunt.” 
 
 853- Dark Blue Printed Plate, 9L2", “The Kent East India- 
 man.” Wood. 
 
 854- Dark Blue Printed Plate, 10", “View of Liverpool.” 
 E. Wood & Sons. 
 
 855- Blue Printed Soup Plate, 9", “Peace on Earth.” 
 
 856- Dark Blue Printed Soup Plate, 10", marked “Kaolin. 
 Ware, Shusan, F. & R. P. & Co.” 
 
 857- Dark Blue Printed Plate, 10", “Fairmount near Phila- 
 delphia.” Stubbs. 
 
 858- Dark Blue Printed Plate, 10", “Peace and Plenty.” 
 Clews . 
 
 859- Blue Printed Plate, 11", T. Mayer, Longport, “Tomb 
 of Absalom, Village of Siloam, The Book of Kedron.” 
 
 860- Light Blue Printed Plate, 10L2", The Boston Mails, 
 Ladies Cabin. Edwards. 
 
 861- Light Blue Printed Plate, 8", Caldwell, Lake George. 
 W. R. 
 
 862- Light Blue Printed Plate, 7", “The Valley of Shenandoah 
 from Jefferson’s Rock,” W. R. S. & Co. 
 
 863- Light Blue Printed Plate, 9", “Harper’s Ferry from the 
 Potomac Side,” W. R. 
 
 901- Pink Printed Plate, 7", scalloped white edge, “Monte 
 Video, Connecticut, U. S.” 
 
 902- Pink Printed Plate, 6", “New York, U. S.” 
 
 903- Pink Printed Deep Dish, 7", “Monte Video, Connecti- 
 cut, U. S.” 
 
 904- Pink Printed Platter, 14", “Zoological Gardens. R. &: 
 J. Clews.” 
 
 905- Pink Printed Plate, 7", “Monte Video, Connecticut, 
 
 U. S.” 
 
 906- Pink Printed Soup Plate, ioj^", “Headwaters of the 
 Juniata, U. S.” 
 
 907- Pink Printed Plate, 8", “Shannondale Springs, Virginia, 
 
 U. S.” 
 
908- Pink Printed Plate, io L2", “Catskill Mountain House,, 
 U. S.” 
 
 909- Pink Printed Plate, 8" “Battery, etc., New York. 
 Jackson’s, warranted.” 
 
 910- Pink Printed Plate, 8", “Hancock House, Boston. 
 Jackson’s, warranted.” 
 
 911- Same as 910. 
 
 912- Pink Printed Plate, 9", “The Race Bridge, Philadelphia. 
 Jackson’s, warranted.” 
 
 913- Same as 912. 
 
 914- Same as 912. 
 
 915- Same as 912. 
 
 916- Same as 912. 
 
 917- Same as 912. 
 
 918- Pink Printed Plate, 9", “View near Conway, New Hamp- 
 shire, U. S.” 
 
 919- Pink Printed Plate, 10", “State House, Boston. Jack- 
 son’s, warranted.” 
 
 920- Pink Printed Plate, 9", “Battle Monument, Baltimore. 
 Jackson’s, warranted.” 
 
 921- Pink Printed Plate, 9", Race Bridge, Philadelphia. 
 
 922- Pink Printed Plate, 9", “Baltimore Monument.” 
 
 923- Pink Printed Plate, 10", “Residence of Richard Jordan, 
 New Jersey.” 
 
 924- Pink Printed Plate, 10", “Harvard College, Boston.” 
 
 925- Pink Printed Plate, 9 ", Penn’s Treaty with the Indians. 
 
 926- Pink Printed Plate, 9", “Near Conway, New Hamp- 
 shire, U. S.” 
 
 927- Pink Printed Plate, 10", “Catskill Mountain House.” 
 
 928- Pink Printed Cup Plate, 4", “Thorpe’s & Sprague Mu- 
 seum, Albany.” 
 
 929- Pink Printed Cup Plate, 4", “Peace on Earth”. 
 
 930- Pink Printed Cup Plate, 4", river scene. 
 
 931- Pink Printed Plate, 8 ) 4 ", “Palestine.” 
 
 932- Pink Printed Plate, 8", “The Residence of the Late 
 Richard Jordan, New Jersey.” J. H. & Co. 
 
 933- Same as 932 but 9". 
 
 934- Same as 932 but ioJ/Z"- 
 
 935- Pink Printed Cup and Saucer, no handle. 
 
 936- Six Pink Printed Plates, 8", black printed medallion ia 
 center. Schramberg incised. Scenes in Munchen. 
 
937 - Pi n k Printed Plate, 9>^", center printed in green. 
 
 938- Pink Printed Plate, 9^2", “Erie Canal at Buffalo, ” 
 lace border. R. S. 
 
 939- Pink Printed Plate, 9^", “Texian Campaign.” 
 
 940- Pink Printed Plate, 9", “Clyde Scenery, Jackson’s, 
 warranted” . 
 
 941- Pink Printed Plate, 11", “St. John” on face. 
 
 942- Pink Printed Plate, 9", Dumb Asylum. 
 
 943- Pink Printed Plate, 8", “Castle Garden.” 
 
 944- Pink Printed Plate, 10", “American Cities and Scenery, 
 City Hall, New York, C. M.” 
 
 945- Pink Printed Plate, 9JJL “Boston Mails,” incised 
 Porcelaine a la Perle, J. E. 
 
 946- Maroon Printed Open Vegetable Dish, 12", “Iron Works 
 at Saugerties. Jackson’s, warranted”. 
 
 947- Maroon Printed Plate, 9", “Picturesque Views near 
 Hudson, Hudson River.” 
 
 948- Maroon Printed Plate, 9". 
 
 949- Maroon Printed Plate, 9", “Montreal.” 
 
 950- Maroon Printed Soup Plate, 11", “St. John.” 
 
 951- Two Maroon Prints Cups and Saucers, no handles. 
 
 952- Two Maroon Printed Cups and one Saucer. 
 
 953- Maroon Printed Plate, 9 ", Fountains of Elisha at Jericho, 
 T. Mayer, Longport. 
 
 954- Maroon Printed Plate, 11", Tomb of Absalom, Village 
 of Siloam, Brook of Kedron, T. Mayer, Longport. 
 
 955- Maroon Printed Plate, iof^", Columbus. W. A. & S. 
 
 956- Same as 955, printed in pink. 
 
 957- Same as 955, printed in green. 
 
 958- Maroon Printed Plate, 8", “Millenium.” 
 
 959- Blue Printed Plate, 9", “Millenium”. 
 
 960- Blue Printed Plate, iof^", “Millenium.” 
 
 961- Pink Printed Plate, ioj^", “Millenium.” 
 
 962- Black Printed Plate, ioj£", “Millenium.” 
 
 963- Green Printed Platter, 15", “Millenium.” 
 
 964- White Hexagonal Plate, 6", printed in colors, “Robinson 
 Crusoe.” 
 
 965- Faience Plate, 9", painted on face “Thomas Perry, 1761 .” 
 
 966- Glazed Soup Plate, 9", imitation Chinese. 
 
 967- Glazed Plate, 9", blue band, painted in color. 
 
968- Cream Crackled Plate, pie crust edge, 10", painted in blue. 
 
 969- Blue Printed Plate, ioj^", picturesque views near Fish- 
 kill, Hudson River. 
 
 970- Same as 969. 
 
 971- Same as 969 but printed in black. 
 
 972- Black Printed Plate, 10^2", “Pisturesque Views, Pitts- 
 burgh, Pa.,” Clews. 
 
 973- Black Printed Plate, 10^2", “Pisturesque Views, Troy 
 from Mt. Ida, Hudson River.” 
 
 974- Black Printed Plate, 10^", “The Lower Lake of KiL 
 larney. Carey’s, Felspar.” 
 
 975- Black Printed Plate, % 6", “Fort Montgomery, Hudson 
 River.” 
 
 976- Black Printed Plate, 7", “At Richmond, Virginia* 
 Jackson’s, warranted.” 
 
 977- Black Printed Plate, 7", “Harvard Hall, Mass., Jack- 
 son’s, warranted.” 
 
 978- Lavender Printed Plate, 8", “Battery, etc., New York* 
 Jackson’s, warranted.” 
 
 979- Green Printed Plate, 7", “At Richmond, Virginia, Jack- 
 son’s, warranted.” 
 
 980- Blue Printed Plate, 9", “The Water Works, Philadel- 
 phia, Jackson’s, warranted.” 
 
 981- Maroon Printed Plate, io>£", Palestine. 
 
 982- Black Printed Plate, 9", Fairmount waterworks on the 
 Schuylkill. E. W. & S. 
 
 983- Black Printed Plate, 8", European scenery. E. W. & P. 
 
 984- Black Printed Plate, iojT", “Picturesque Views near 
 Fishkill, Hudson River.” 
 
 985- Same as 984. 
 
 986- Same as 984. 
 
 987- Same as 984. 
 
 988- Same as 984. 
 
 989- Same as 984. 
 
 990- Same as 984. 
 
 991- Black Printed Plate, 9", “Archery.” 
 
 992- Black Printed Plate, 10 L2 ", “Picturesque Views, Hudson*, 
 Hudson River.” 
 
 993- Black Printed Plate, 9". 
 
 994- Black Printed Plate, ioj^", “Hartford, Connecticut* 
 Jackson’s, warranted”. 
 
995~Maroon Printed Plate, ioj^", Hartford, Connecticut, 
 Jackson’s, warranted. 
 
 996- Maroon Printed Plate, 10^", view of the Catskill 
 Mountain House, Jackson’s, warranted. 
 
 997- Brown Printed Platter, 13", “Oriental.’ 
 
 998- Brown Piinted Plat i , ioj^ , ‘State House, Boston, 
 Jackson, warranted.” 
 
 999- Brown Printed Plate, 8", ‘‘Hancock House, Boston, 
 Jackson’s, warranted.” 
 
 1000- Brown Printed Plate, 9", “The Race Bridge, Phila- 
 delphia, Jackson’s, warranted.” 
 
 1001- Brown Printed Plate, 9", “W. Penn’s Treaty. T. G.” 
 
 1002- Brown Printed Plate, 9", “Picturesque Views, Baker’s 
 Falls, Hudson River.” 
 
 1003- Brown Printed Plate, 9", incised T. Mayer. Stoke. 
 
 1004- Brown Printed Plate, 9". 
 
 1005- Brown Printed Plate, 10", Marmora. W. R. & Co. 
 
 1006- Brown Printed Plate, 10 y 2 " , Grecian. W. R. 
 
 1007- Brown Printed Plate, ioj^", W. Penn’s Treaty. T. G. 
 
 1008- Brown Printed Plate, 10^2 ", “The Narrows from Fort 
 Hamilton” . 
 
 1009- Brown Printed Plate, ioj^", “Fruit Basket.” 
 
 1010- Same as 1009. 
 
 1011- Same as 1009. 
 
 1012- Same as 1009. 
 
 1013- Brown Printed Plate, 10^2", “Corinthian.” 
 
 1014- Brown Printed Plate, ioj^", Regina stoneware. J. R. 
 
 1015- Three Brown Printed Plates, 6". E. M. E. C. 
 
 1016- Cream Plate, 7", animal border in relief, “Dr. Syntax 
 Sells Grizzle,” printed in red. 
 
 1017- Blue Printed Plate, 7", pass in the Catskill Mountains. 
 E. W. & N. 
 
 1018- Blue Printed Plate, 9", R. Hammersley, eagle on face. 
 
 1019- Blue Printed Plate, 8", mottled blue border, eagle in 
 blue. 
 
 1020- Same but 9". 
 
 1021- Same but 10". 
 
 1022- Light Blue Printed Plate, ioj£", Texian Campaign. 
 
 1023- Light Blue Printed Plate, 10^2", Pompeii. J. & G. 
 Alcock. 
 
1024- Light Blue Printed Plate, 10 ^ 2 ", “The Capitol, Wash- 
 ington. T. Godwin Wharf”. 
 
 1025- Cup Plate, 4", printed in red, medallion of Lafayette 
 -and Washington. 
 
 1026- Painted Faience Tea Pot, 8", flowers and green bands. 
 
 1027- Dark Blue Printed Platter, 18", “Battery, New York.” 
 
 1028- Dark Blue Printed Plate, 10", Wilkie design, mouse. 
 
 1029- Dark Blue Printed Plate, 8", “Winter View in Pittsfield, 
 Mass.” 
 
 1030- Dark Blue Printed Plate, 10", Wilkie design, playing 
 draughts. 
 
 1031- Dark Blue Printed Plate, 8", MacDonough’s Victory. 
 
 1032- Dark Blue Printed Plate, 10", Trenton Falls. 
 
 1033- Dark Blue Printed Plate, 10", two ships, two men, 
 shell border. 
 
 1034- Dark Blue Printed Plate, ioj^", States Plate, center, 
 house and two fishermen. 
 
 1035- Dark Blue Printed Plate, 10", French castle. 
 
 1036- Dark Blue Printed Plate, 5", three dogs. 
 
 1037- Dark Blue Printed Plate, 5", Landing of Lafayette, 
 New York, 1824. 
 
 1038- Dark Blue Printed Plate, 5L2 ", Mambrino. 
 
 1039- Dark Blue Printed Cup Plate, 4", Sancho Panza. 
 
 1040- Dark Blue Printed Cup Plate, 4^", castle and fountain. 
 
 1041- Dark Blue Printed Cup Plate, 5", castle and fountain. 
 
 1042- Dark Blue Printed Cup Plate, 4L2", castle and fountain. 
 
 1043- Blue Printed Plate, 9", Boston Court House with chaise. 
 
 1044- Blue Printed Plate, 9", Boston Court House with cows. 
 
 1045- Dark Blue Printed Plate, 10", “City Hall, New York, 
 Beauties of America Series.” 
 
 1046- Dark Blue Printed Plate, 10", Fairmount Park, Phila- 
 delphia. 
 
 1047- Dark Blue Printed Plate, 10 “Quadrupeds.” 
 
 1048- Dark Blue Printed Jug, 4". 
 
 1049- Blue Printed Plate, 9^", Landing of the Pilgrims. 
 
 1050- Dark Blue Printed Platter, 18", “Pennsylvania Hospital, 
 Philadelphia, Beauties of America Series.” 
 
 1051- Dark Blue Printed Platter, 16", Wilkie design, playing 
 draughts. 
 
 1052- Dark Blue Printed Platter, 16", Mambrino. 
 
1053- Dark Blue Printed Platter, 16", Mendenhall ferry. 
 
 1054- Two Dark Blue Printed Salt Cellars, 6". 
 
 1055- Dark Blue Printed Plate, MacDonough’s Victory. 
 
 1056- Dark Blue Printed Plate, 9", City Hall, New York, oak 
 leaf border. 
 
 1057- Dark Blue Printed Plate, 8", Wilkie design, playing at 
 draughts. 
 
 1058- Dark Blue Printed Plate, 8 ) 4 ", near Fishkill, Hudson 
 River. 
 
 1059- Dark Blue Printed Plate, 9F2", bridge over the Schuyl- 
 kill River. 
 
 1060- Dark Blue Printed Plate, 10", home of Lafayette. 
 
 1061- Dark Blue Printed Plate, 10", Gilpin’s Mills. 
 
 1062- Dark Blue Printed Plate, 10", Wilkie design, playing 
 at draughts. 
 
 1063- Dark Blue Printed Plate, 10", home of Lafayette, rear 
 view. 
 
 1064- Dark Blue Printed Soup Plate, 10^", Baltimore & 
 Ohio R. R. level. 
 
 1065- Dark Blue Printed Plate, 10", shell border, “Dart- 
 mouth,” ship scene. 
 
 1066- Dark Blue Printed Plate, 10", Wilkie design, playing at 
 draughts. 
 
 1067- Dark Blue Printed Plate, 10", Nahant, Mass. 
 
 1068- Two Blue and White Printed Salt Cellars. 
 
 1069- Dark Blue and White Printed Jug, 4", Washington at 
 Tomb of Franklin. 
 
 1070- Dark Blue and White Printed Jug, 4". 
 
 1071- Brown Printed Plate, 11", City Hall, N. Y. 
 
 1072- Brown Printed Plate, 10", river scene. 
 
 1073- Brown Printed Plate, 10", Hudson River near Hudson. 
 
 1074- Brown Printed Plate, 10", Baltimore Monument. 
 
 1075- Brown Printed Plate, 10", water works, Philadelphia. 
 
 1076- Brown Printed Platter, 18", Falls at Lucerne, Hudson 
 River. 
 
 1077- Copper Lustre Mustard Pot and Salt Cellar with blue 
 bands with design, Nova Scotia. 
 
 1078- Copper Lustre Salt Cellar, plain blue band. 
 
 1079- Copper Lustre Salt Cellar, 3", pink lustre and white 
 band . 
 
 1080- Copper Lustre Salt Cellar, 3", pink lustre band. 
 
1081- Plate, 9", copper lustre and blue edge, octagonal, poly- 
 chrome painted center. 
 
 1082- Blue and White Chinese Reticulated Teapot. 
 
 1083- Copper Lustre Teapot, sugar bowl and creamer, blue 
 band with raised flowers in colors. 
 
 1084- Copper Lustre “Melon” Teapot, 10". 
 
 1085- White Pottery Boat-shaped Teapot, strawberry band in 
 relief, painted in colors, blue lines. 
 
 1086- Bennington Jug, 10". 
 
 1087- Blue Bennington “Parian” Vase, 10", white figures in 
 relief. 
 
 1088- Openwork Fruit Dish' with standard and tray, painted 
 in colors, marked Wedgwood. 
 
 1089- Mulberry Printed Teapot, 15", “Nova Scotia.” 
 
 1090- Mulberry 8 Sided Platter, 18". 
 
 1091- Mulberry Printed Plate, 9". 
 
 1092- Two Mulberry Printed Plates, 10". 
 
 1093- Mulberry Printed Jug, 7". 
 
 1094- Mulberry Printed Jug, 6". 
 
 1095- Mulberry Printed Sauceboat, 5". 
 
 1096- White Cup Plate, 3L2", blue printing Gen. Lafayette, 
 incised A. Stevenson, “Welcome to the Land of Lib- 
 erty . 
 
 1097- Blue Printed Cup-plate, 4L2". Clews. Gypsy figures 
 and Dr. Syntax. 
 
 1098- Blue Printed Plate, 5", Court House, Boston. R. S. W. 
 
 1099- Dark Blue Printed Cup Plate, 3L2", Enoch Wood & 
 Sons. Landing of Pilgrims. 
 
 1 100- Dark Blue Printed Cup Plate, 3 >2", Battery, New York, 
 shell border. 
 
 1101- Dark Blue Printed Cup Plate, 3.^2 \ Battery, New York, 
 fish eye border. 
 
 1102- Same as 1101. 
 
 1103- Dark Blue Printed Cup Plate, 4". 
 
 1104- Dark Blue Printed Cup Plate, 4", Winter View of Pitts- 
 field, Mass. James Clews. 
 
 1105- Dark Blue Printed Cup Plate, 4". Clews. 
 
 1106- Light Blue Printed Cup Plate, 4" “The Tyrant’s Foe, 
 The People’s Friend.” 
 
 1107- Dark Blue Printed Cup Plate, 5", “Winter View, Pitts- 
 field, Mass.” Clews. 
 
1108- Dark Blue Printed Cup Plate, 4", eagle and shield. 
 
 1109- Dark Blue Printed Cup Plate, 3", Woodlands, Phila. 
 
 1 1 10- DarkBlue Printed CupPlate,3 ",“LandingofLafayette .” 
 1 m-Same as mo, with medallion center. 
 
 1112- Same as mo, 4 yi" . Clews. 
 
 1113- Dark Blue Printed Cup Plate, white edge, octagon 
 church, Boston. R. S. W. 
 
 1114- Dark Blue Printed Cup Plate, 4", scalloped, white edge. 
 
 1115- Dark Blue Printed Cup Plate, 4", quadrapeds. 
 
 1116- Dark Blue Printed Cup Plate, 4", Sancho Panza. 
 
 1117- Same as 1 1 16. 
 
 1118- Same as 1 1 16. 
 
 1119- Same as 1 1 16. 
 
 1120- Dark Blue Printed Cup Plate, 4", States plate, with 
 house in center. Clews. 
 
 1121- Dark Blue Printed Cup Plate, 4", castle. Enoch Wood 
 & Sons. 
 
 1122- Light Blue Printed Cup Plate, 4", “Richard Jordan’s 
 Residence.” 
 
 1123- Light Blue Printed Cup similar to small saucer, 4". 
 
 1124- Blue Printed Cup Plate, 4". Clews. 
 
 1125- Light Blue Printed Cup Plate, 4L2". 
 
 1126- Light Blue Printed Cup Plate, 4", Penn and the Indians. 
 
 1127- Light Blue Printed Cup Plate, 4", moss border. 
 
 1128- Light Blue Printed Cup Plate, 4", seaweed border. 
 
 1129- Three Light Blue Printed Cup Plates, 4", Oriental scene, 
 moss border. 
 
 1130- Two Blue Printed Cup Plates, 3^", plaid design with 
 flowers. 
 
 1131- Blue Printed Cup Plates, 3", flower design. 
 
 1132- Two Blue Printed Cup Plates, 2 
 
 1133- Blue Printed Cup Plate, 4". 
 
 1134- Five Dark Blue Printed Cup Plates, 4". 
 
 1135- Dark Blue Printed Cup Plate, 4 “Circassia,” J. & 
 G. Alcock, Cobridge. 
 
 1 136- Dark Blue Printed Cup Plate, 4% “E. Phillips, Burslem,” 
 incised . 
 
 1137- Dark Blue Printed Cup Plate, 5", “Wood”, incised. 
 
 1138- White Cup Plate, blue pie crust edge, 4L2", incised 
 “Davenport”. 
 
H39 - White Cup Plate, blue piecrust edge, 3 yi" . 
 
 1140- White Ten-sided Cup Plate, printed in black, incised 
 “Ironstone” . 
 
 1141- Two Blue Printed Cup Plates, 3^", fruit and flowers. 
 
 1142- Black Printed Cup Plate, 4". 
 
 1143- Black Printed Cup Plate, 4". 
 
 1144- Black Printed Cup Plate, 4". 
 
 1145- Black Printed Cup Plate, 5". 
 
 1146- Brown Printed Cup Plate, 3E2". 
 
 1147- Brown Printed Cup Plate, 4". 
 
 1148- Brown Printed Cup Plate, 5". 
 
 1149- Green Printed Cup Plate, 4". 
 
 1150- Maroon Printed Cup Plate, 5", Remains of Babylon. 
 T. Mayer, Longport. 
 
 1151- Maroon Printed Cup Plate, 4^". 
 
 1152- Pink Printed Cup Plate, 4". 
 
 1153- Maroon Printed Cup Plate, 4", large building and man 
 on horseback. 
 
 1154- White Cup Plate, printed in red and red band, 3 
 child and dog. 
 
 11 55- White Cup Plate, printed in red and red band, 3 
 medallions of Lafayette and Washington. Wood. 
 
 1156- White Cup Plate, printed in red and red band, 3^", 
 portrait of Jackson. 
 
 1157- Six White Cup Plates, printed with pink flowers, 4". 
 
 1158- Dark Blue Printed Cup Plate, 3^", playing at draughts. 
 
 1159- Dark Blue Printed Cup Plate, 4^". 
 
 1160- Chinese Hot Water Dish, printed in brown, 14L2". 
 
 1 161- Two Chinese Cups and Saucers, no handles, decorated 
 with red vine. 
 
 1162- Chinese Cup and Saucer, no handles, decorated in red 
 ribbon design. 
 
 1163- Soft porcelain English statuette, man’s figure, back- 
 ground vine and blue flowers, 10". 
 
 1164- English Soft Porcelain Statuette, 7", woman’s figure 
 with dog, painted. 
 
 1165- White 10" Plate, printed in black, Boston mails, gentle- 
 man’s cabin. 
 
 1166- White Fluted 10^2 " Plate, printed in black, Boston 
 mails, ladies’ cabin. 
 
 1167- Same as 1166, printed in light blue. 
 
1168- White Fluted Plate, 9P2", 8 medallions, printed in colors 
 on border. 
 
 1169- Cap Flower Design, White Teapot. 
 
 1170- Teapot printed in maroon. 
 
 1171- Teapot painted in flowers, several colors. 
 
 1172- Light Blue Printed Teapot. 
 
 1173- White Eight-sided Teapot. 
 
 1 174- Crackled Cream Teapot, painted morning-glories. 
 
 1175- White Teapot, printed in lavender. 
 
 1176- Twelve Light Blue Printed Plates, 11". 
 
 1177- Twelve Light Blue Printed Plates, 10". 
 
 1178- Seven Light Blue Printed Soap Plates, 9^". 
 
 1179- Platter, blue pie crust edge, 14". 
 
 1180- Two, same as 1179 but 16". 
 
 1181- Same as 1179 but 18". 
 
 1 182- Octagonal Light Blue Printed Vegetable Dish with 
 Cover, moss border. 
 
 1183- Another similar to 1182. 
 
 1184- Platter, 16", with flowers in color and dark blue bands. 
 
 1185- Two same as 1184 but 10". 
 
 1186- Sauceboat to match 1184, with cover. 
 
 1187- Light Blue Printed Tea Set with eagles, 35 pieces. 
 
 1 188- Fourteen Light Blue Printed Plates, 10". 
 
 1189- Ten Light Blue Printed Sauce Dishes, 5". 
 
 1190- Dark Blue Printed Platter, 18", “Lobelia, G. Phillips, 
 Longport”. 
 
 1191- Blue Willow Pattern Platter, 14". 
 
 1192- Light Blue Printed Platter, 14", Geneva. J. Heath. 
 
 1193- Cream Ware Octagonal Platter, beaded edge, 14".