20 
KXRAMIC STUDIO 
PASTIME PLATES 
relief work associated with his name was but one of many 
styles produced by this potter, and soon comes to regard the 
beautiful cream paste of Queen Caroline's period as un- 
rivaled now in this age of progressive art. Frederick Harrison 
in a recent lecture speaks of all art of the present day as lack- 
ing in originality and takes a pessimistic view of present art 
conditions. If it is true that art is entirely imitative then let 
us follow the best, and we can find nothing better than the 
spirit of Wedgwood to bring out of imitation, originality. It 
would be an advance step to-day if instead of much of the 
cheap and gaudy table furnishings we could find a substitute 
in the soft cream undecorated paste of Queen Caroline's day. 
I have often emphasized the fact that good decoration upon 
poor body is a waste of time and poor art. 
There has just come into my possession two hand 
modeled cream white hot water dishes of early Wedgwood. 
One of these dishes has a tiny brown band to emphasize its 
perfect lines. They are eight and ten inches in diameter ; 
are in one piece but hollow, and with a hole in the center into 
which hot water may be put, having a slight incision from 
which the water can be poured. Two simple but shapely 
handles adorn these pieces and their chief attraction is not in 
any decorative quality (which is entirely wanting,) but in the 
beauty of the paste and the perfection of form. 
In studying J. Wedgwood's life we are somewhat sorry 
to find that deserving as he is of our respect and admiration 
the human weakness shown in his persecution of Richard 
Champion casts a shadow over his career. In recalling the 
valuable work begun by Wm. Cookworthy and carried on by 
Champion in adopting and first using native clay, the student 
of art can but feel that a certain right and privilege for ex- 
tended patent belonged to Richard Champion. This Wedg- 
wood steadily opposed and with success; and without doubt 
brought on the overthrow and bankruptcy of the famous 
Bristol potter. It is but just to record that Wedgwood 
claimed that the progress of the potter's art would be ham- 
pered by any special grant to any worker, but even the most 
loyal of Wedgwood's admirers is obliged to regret his un- 
generous position in this matter. Inquiry often comes as to 
the marks upon the Burslem output and questions as to the 
spelling of the name of Wedgwood are as frequent as those of 
the literary student concerning the orthography of Shakes- 
peare's name. While "a rose by any other name may smell 
as sweet," the name of Wedgwood in any other spelling 
should be avoided by the collector. 
It is not strange that such a success as Wedgwood's 
should find many imitators, and since the world is never 
wanting in a commercial spirit, that many efforts should be 
made to pass off other work under the name of the Etrurian 
pottery. In the early part of the nineteenth century some 
ambitious potters at Stockton-on-Tees, in the county of Dur- 
ham, began to make porcelain after the style of that made by 
Wedgwood. In 1833 the firm was W. Smith & Co. North 
Shore Pottery was perhaps another firm working in Stockton 
at about the same time. In 1848 the firm at Etruria applied 
for an injunction against VV. Smith and others of Stockton 
for using their name stamped or printed on pottery made to 
imitate their productions. The stamp used at these eastern 
potteries was W. S. & Co., Wedgewood. We also find W. S. 
& Co., Queens Ware, Stockton. While it is easy to identify 
these pieces after attention has been called to them they are 
certainly misleading. I have a copy of this injunction which 
sets forth the case of the claimants and acknowledges the po- 
sition of the defendants. The document closes with these 
words : 
"On the 9th day of November, being the Second seal in 
Michaelmas Term, 1848, Mr. E. Yonnge as counsel for the 
above named plaintiffs moved for and obtained a perpetual 
injunction against the defendants in the terms of Mr. Bethell's 
motion substituting for the words, the month of December, 
1846, the words the month of July, 1847; the defendant con- 
senting to pay to the plaintiffs their costs, &c, &c." 
I have not quoted in detail from this document, the main 
thing of importance being the fact that pieces bearing the 
name spelled with an e must have been made before 1847. 
A set of cream plates with many colored prints in center are 
here represented. They are commonly known and stamped 
as the Pastimes. They also bear the mispelled name of the 
Burslem potter and the letters W. S. & Co. The landscape 
with figures in old-fashioned costume also emphasize the pe- 
riod of manufacture. They variously represent youth in rural 
sports or occupations, as hunting, reading, sketching or lunch- 
ing al fresco. One quaintly represents the maiden at the 
water trough with the broken pitcher. These are all espe- 
cially interesting because so intimately connected with the 
history of the Wedgwood pottery. One also needs to beware 
of imitations marked Wedgwood & Co. The earliest speci- 
mens of genuine character seem to have usually borne the 
impressed word Wedgwood in capital letters of various sizes. 
This stamp is upon the two hot water dishes previously 
mentioned. Carrie Stow Wait. 
