44 
KERAMIC STUDIO 
turers of cream-coloured ware and china-glazed ware painted.' 
'This jasper,' says Shaw, 'would have been more highly 
esteemed had it been alone before the public, but in this, as 
well as most other instances, the imitation very rarely equals 
the original. There are, however, some examples quite equal, 
if not superior, to anything produced at Etruria, notably a 
blue and white jasper placque with Diana reclining after the 
chase, holding up her bow, a greyhound in front; signed W. 
Adams & Co.; in Mr. John J. Bagshawe's collection." 
Mr. Frederick Litchfield, in his " Pottery and Porcelain," 
says "It was, perhaps, not until after Wedgwood's death that 
Adams commenced making jasper ware, in connection with 
which his name is best known. Some of his productions are 
quite equal to Wedgwood's, particularly the drum-shaped 
pieces for the bases of candelabra, which Adams made a 
specialty. These are, however, seldom marked, and therefore 
are generally classed as Wedgwood's jasper ware, which they 
so closely resemble." 
This William Adams, who was born in 1745 and died in 
1805, was a cousin of the William Adams of Stoke-upon- 
Trent and Greenfield, Tunstall. Examples of his jasper ware 
which survive are distinguished by great delicacy of modeling 
and beauty of form and design. They are quite scarce and 
consequently command as high prices as original Wedgwood 
pieces. Several groups and pieces of the Adams ware are here 
reproduced. 
NO. 3— ADAMS JASPER VASE REPRESENTING THE FOUR SEASONS. 
Illustration No. 1 shows some fine pieces from the Cole 
collection, — a group of white ware with designs in relief, con- 
sisting of sugar bowls, tea pots, jugs and candlesticks. The 
sugar bowls are four-sided or lozenge shaped, the forms being 
suggestive of some of the old Bristol and Leeds shapes, in- 
cluding the modeled swans which form the knobs to the lids. 
Illustration No. 2 shows a collection of this ware which 
was presented to the Liverpool Museum by Mr. Samuel Mayer. 
The pieces include a candelabrum, vases and a portion of a 
tea service, decorated with white reliefs on a blue ground. 
No. 3 represents a large blue jasper vase with raised 
figures in white, representing the Four Seasons. In the Mu- 
seum of Practical Geology, London, is a similar example,— a 
large jug,— decorated with the same figures. 
No. 4 shows a fine vase, over sixteen inches in height. 
In the Tunstall Museum there are a few of the Adams 
pieces, and the Hulme collection at Burslem includes about six. 
Six specimens are owned by the Pennsylvania Museum, 
Philadelphia, — three candelabrum bases, a teapot, sugar bowl 
and creamer,— beautiful specimens, all marked "Adams." 
There is probably only one museum in England that has a 
greater number of pieces. All of these were produced be- 
tween the years 1787 and 1820. 
A careful study of the accompanying illustrations will 
reveal the marked similarity of the Adams and Wedgwood 
No. 4— ADAMS JASPER VASE 16% INCHES HKU1. 
productions. It is not safe, therefore, to assume the origin of 
jasper ware until the marks have been thoroughly examined, 
for it is said that the Adams products were shipped to Amer- 
ica in considerable quantities about one hundred years ago. 
True Wedgwood ware is comparatively abundant in this 
country, but for some unknown reason marked pieces of the 
Adams jasper ware seldom turn up. The collector who secures 
an undoubted piece may feel certain that he possesses a most 
desirable rarity. It is probable that a close inspection of 
supposed Wedgwood pieces, however, will show some of them 
to be the productions of Adams. 
Edwin Atlee Barber. 
© e © 
ANSWERS TO INQUIRERS 
Mrs. K.— Your two sketches show your plate and dish to be Stafford- 
shire. The plate is what is called the flow blue ware. The mark Clementson 
is very often found on these flow blue plates. They are not specially valu- 
able, although interesting specimens of this odd decoration, and are worth 
from 50 cents to $1.50. The dish is light blue Staffordshire, landscape decora- 
tion, worth about 50 cents, We have had a few inquiries lately in regard to 
the value of these late Staffordshire pieces in light colors, blue, mulberry, 
pink, brown, &c, Unless they have an historical subject for decoration they 
are of very little value. In fact most collectors would not have them if given 
to them. They are only from 40 to 60 years old and for this reason are neg- 
lected, unless historical. They may acquire more value some day. 
