RERAMIC STUDIO 
63 
Adams Jasper ware is valued as highly as the pieces bearing 
Wedgwood's name, and is considered more difficult to procure. 
Those who may be interested in Adams designs are referred 
to the KERAMIC Studio of June, 1901, which contains an 
illustrated article on this subject by the writer. 
Possessors of what may be considered old 
Wedgwood are frequently surprised to find, on 
careful inspection, examples of the produc- 
tions of other potters. Among these imitators 
were Edmund John Birch, who was potting in 
Hanley in 1802. Pieces of the black basaltes, 
closely simulating the celebrated ware of this 
variety produced by Wedgwood, are sometimes 
discovered bearing the impressed mark of 
BIRCH. At the Eastwood Pottery, operated 
by William Baddeley at Hanley, reproductions 
have come to light marked EASTWOOD, the first 
syllable of the name having been purposely 
blurred to deceive the purchaser by conveying 
the idea that the name was intended for 
WEDGWOOD. Another pottter, J. Voyez of 
Cobridge, who imitated the jasper ware, boldly 
used the Wedgwood mark. 
In the Pennsylvania Museum, Philadelphia, are several 
bears the mark of Neale & Co., who were clever imitators of 
the great potter between 1780 and t8oo. 
The fame of Wedgwood's productions, which had spread 
abroad, and the commercial success of his artistic inventions 
Jasper Ware, by John Turner.— In the Pennsylvania Museum. 
fine examples of imitation jasper ware. Among these are 
seven pieces of the best work of William Adams, which, 
unless the mark is examined, can only be distinguished from 
old Wedgwood by the expert who is familiar with the classical 
designs used on the original. Adams, while using the same 
body, colors and methods, originated new subject designs, 
which, however, were executed in the same painstaking and 
accurate manner, being mainly copies of the engraved de- 
vices on classical gems. 
In the same collection is an exquisitely modeled cup and 
saucer, with light blue ground and white bisque figures in 
relief, bearing the impressed mark of turner, who was a 
potter at Stoke-on-Trent from 1756 to 1786, in which latter 
year he died. He therefore re- 
produced the Jasper ware dur- 
ing Wedgwood's lifetime and 
was considered one of his best 
imitators. 
A small cream pitcher, of 
graceful, irregular shape, in the 
same collection, which at first 
sight might be taken for a fine 
Jasper Ware, by Neale & Co.— In tile . , 
Pennsylvania Museum example of old Wedgwood, 
Juan Retiro. " The Judgment of Paris."— In the Pennsylvania Museum. 
stimulated some of the foreign potters to follow in his foot- 
steps. The factory of Buen Retiro was established in 1759 or 
1760 near Madrid, Spain, by Charles III, who had previously 
been the patron of the Capo di Monte works in Italy. Among 
the many varieties of pottery and porcelain produced at various 
times here were beautifully executed imitations of the blue 
and white Jasper ware of Wedgwood. An exquisitely modeled 
panel, about a foot in length, with white figures in high relief, 
represents "The Judgment of Paris," and will compare favor- 
ably with the English potter's best works. This also belongs 
to the Pennsylvania Museum. 
Imitations of the Jasper ware have been attempted by 
potters of other countries in more recent times. The latest 
experiments in this direction have been carried on at Gustafs- 
berg, Sweden. A fine flower vase or jardiniere with three feet 
in the form of griffins, was purchased at the Paris Exposition 
for the Pennsylvania Museum. The relief figures are in white 
Imitation of Jasper Ware, (lustafsberg, Sweden, 1800. 
