74 
KERAMIC STUDIO 
MARTIN STONE- WARE 
[From the Encyclopedia of Ceramics by W. P. Jervis.] 
THE firm of R. W. Martin & Brothers is composed of four 
brothers, who commenced making the ware which bears 
their name in 1872 at Fulham, their products being fired at 
the historic potteries made famous by the Dwights. In 1879 
the present kiln was built at Southall. But very few hands 
are employed, the work being practically all done by the four 
brothers, from the mixing of the clay to the firing of the 
ware. The ware is a salt glazed stone-ware and is disposed of 
principally to private individuals. The decorations are mostly 
engraved, carved or modeled. The treatment is very varied 
in form, decoration and color. The ware is not burned in 
saggars, so the fire plays with it very considerably and there- 
fore but little dependence can be placed on getting always 
the effect sought for. 
Such in effect is the modest statement of these four artist 
potters, who have achieved a success so great that their work 
stands absolutely alone. It is not possible in black and white 
to give any idea of the harmonies of color, always in subdued 
tones, of the sense of absolute repose and perfect satisfaction 
these pieces of stone-ware impress you with. To experience 
that, you must see and handle them, for no lover of ceramics 
would be satisfied with seeing them alone. An owl tobacco 
jar, the head forming the cover, instances two important 
characteristic points — workmanship and effective disposition, — 
as well as tone of color. It is true the latter consists of but 
greens and browns, but how cunningly blended, for when the 
cover is removed and replaced in a different position and you 
have the idea that the owl has turned its head around, it is a 
striking manifestation of the two points named. This same 
owl may be described as a grotesque, but it is a grotesque 
like the one in Field's poem, when "The barber kept on 
shaving." After the lavish use of ill applied and garish color- 
ing on pottery with which we have been surfeited it is a 
matter of congratulation that the Martin Bros, adopted salt 
glazed stone-ware as the medium to express their artistic 
thoughts worked out in the comparative seclusion of their 
little pottery, with nothing but nature around them. Some 
of these pieces we illustrate, including a portrait of Mr. E. B. 
Martin, by his brother R. W. Martin. The latter is the eldest 
of the family and was a student at the Royal Academy, 
where, to quote "Modern Artists," "he did work which 
marked him out as one who would even in England, where 
sculpture does not hold a favored place, in time achieve re- 
nown." Fortunately we think Mr. Martin preferred to ex- 
press his fancies in an art which appeals to a wider circle and 
this earnest effort to give us pottery true alike in shape, feel- 
ing and design has done much to re-establish the beauties of 
stone-ware. The Bohemian Club of San Francisco have a fine 
punch bowl in the shape of a monster owl and the Yale crew 
a fine set of cups of Martin ware. 
This tribute to their success is written with a strongly 
suppressed enthusiasm, an enthusiasm dangerous to give way 
to, for it could not but appear to savor of exaggeration. A 
lady critic on first seeing specimens of these wares could find 
no other word to express her admiration than "stunning." 
And that expresses it exactly. 
