Portmeirion Potteries

In 1960, Susan Williams-Ellis and her husband, Euan Cooper-Willis purchased a small pottery decorating company in Stoke-on-Trent called A.E.Gray Ltd. Susan had worked with A.E. Gray for some years, sending her designs there to be produced exclusively for the gift shop at the Portmeirion Village in North Wales, which had been created by her father, Sir Clough Williams-Ellis in 1925.

This was the first experience of the Pottery industry. Previously Susan had Fine Art training from Chelsea Polytechnic, where her tutors included Henry Moore and Graham Sutherland. Since graduating, Susan had had several different careers; she was a draughts woman at the Air Ministry during the war and then taught A level art for a while at Dartington. During the late 1940's and early 1950's, Susan and Euan lived almost self sufficient life on their farm in North Wales. To supplement their income Susan took on some book illustration commissions and Euan, who had studied Mathematics and Statistics at Cambridge worked part-time as a stockbroker in the City.

In 1961 Susan and Euan purchased a second pottery firm, called Kirkham's Ltd. This was equipped for actual pottery manufacture, whereas Gray's could only decorate. This allowed Susan to start designing shapes rather than surface pattern alone (in the 1960's it was considered quite unusual for a designer to do both). Her first set of shapes were based on some existing cylindrical moulds ('Porous Cells') found at the factory. They were of varying diameters, so by cutting the different sizes to different lengths, Susan was able to create a tall straight coffee set.

CHRONOLOGY

1953
Susan Williams-Ellis and Euan Cooper-Willis take responsibility for the retail outlet at the Portmeirion Village, Penrhyndeudraeth, North Wales.

1957Susan and Euan open a Portmeirion Shop in Pont Street, London, SW1.

1958
Susan's own designs, eg "Portmeirion Dolphin" are produced exclusively for Portmeirion by Gray's Pottery, Whieldon Road, Stoke-on-Trent.

Wares manufactured at this point bear Gray's pottery yellow ship backstamp.

1960
1st January Susan and Euan take over Gray's Pottery.

Backstamps read "PORTMEIRION WARE GRAY'S POTTERY MADE IN ENGLAND"

Frank Thrower is appointed as Sales Director. He also begins to import and design Swedish Glass to be sold alongside Susan's pottery design.

"Malachite" produced by Susan Williams-Ellis.

1961
1st January, Susan and Euan acquire Kirkham's Ltd, Kirkham Street, Stoke-on-Trent. This allows Susan to design shapes as well as surface pattern.

"Moss Agate", "Gold Diamond", "Talisman", "Tiger Lily", designed by Susan Williams-Ellis.

1962
1st January, the company is renamed "The Portmeirion Potteries Ltd".

Backstamps read "PORTMEIRION DESIGNED BY SUSAN WILLIAMS-ELLIS MADE IN ENGLAND".

The Gray's Pottery site if sold and factory staff are moved into the new premises.

The "cylinder" range introduced by Susan Williams-Ellis.

1963
"Totem" embossed range produced by Susan Williams-Ellis. Success of this design establishes Portmeirion as an innovative force in ceramic design.

The "serif" shape designed by Susan Williams-Ellis.

"Cypher" and "Jupiter" embossed ranges designed by Susan Williams-Ellis.

1965
George Hesp appointed as Managing Director of Potteries Ltd.

"Samarkand" embossed range, "Montesol" and "Greek Key" designed by Susan Williams-Ellis.

1966
"Magic City" designed by Susan Williams-Ellis and a range of black and white prints is introduced.

1967
Dartington Glass is established following a meeting with Euan Cooper-Willis and the Dartington Trustees. It is mostly designed by Frank Thrower and distributed by Portmeirion.

1968
Major reconstruction work at the factory including the installation of an electric roller hearth kiln.

"Gold Rule", "Gold Lion", "Gold Sun", "Coptic Brocade" and Aztec Brocade" coffee Sets designed by Susan Williams-Ellis and "Gold Phoenix" Coffee Set is designed by John Cuffley.

1969
Jim Pointon joins the company as distribution and Warehouse Director.

1970
"Meridian" range designed by Susan Williams-Ellis.

1972
Introduction of "Botanic Garden" by Susan Williams-Ellis. Design is immediately successful both on the home and the export markets.

The "Drum" shape designed by Susan Williams-Ellis.

"Kingdom of the sea" designed by Susan Williams-Ellis.

1973
Portmeirion potteries Ltd rent a factory in Penrhyndeudraeth, North Wales, close to the Portmeirion Village. the "Crochendy" site functions as a hand painting and decorating plant until the early 1980's.

1975
"Oranges and Lemons" designed by Susan Williams-Ellis.

1976
Major expansions and reconstruction of the Portmeirion Potteries Ltd factory, Stoke-on-Trent, including new machinery, warehouses, a new loading bay and new factory entrance.

"Rose and Passion Flower" designed by Susan Williams-Ellis.

1977
Fire at Portmeirion Potteries Ltd.

1978
"Birds of Britain" dsigned by Susan Williams-Ellis.

Botanic garden backstamp changes to include the words "DISHWASHER PROOF" and "FREEZER AND MICROWAVE SAFE".

1979
Philip White joins the company as Technical Director.

1980
"Summer Strawberries" designed by Angharad Menna.

Kami Farhadi joins the company as works Director.

1981
"Compleat Angler" designed by Susan Williams-Ellis.

Martin Gulliver joins the company as Sales and Marketing director.

1982
"Pomona" on the "Romantic" shape is introduced by Susan Williams-Ellis.

All "Botanic Garden" pottery (except cookware) made after 1982 has a small 82 hidden in the backstamp.

1983
"Spirit of Christmas" designed by Susan Williams-Ellis.

1984
A range of non-ceramic accessories is launched in "Botanic Garden" and "Pomona".

1985
"Flower of the Year" and new "tulip" Cup shape designed by Susan Williams-Ellis.

1986
Portmeirion USA is established as a joint venture.

New three storey extention at factory, Kirkham Street - London Road.

"Weeping Hearts" designed by Susan Williams-Ellis.

"Queens Hidden Garden" designed by Shahrzad Forouzan.

1987
"British Heritage Collection" launched, based on Nineteenth Century moulds.

1988
Portmeirion Potteries Ltd is floated on the stock market.

Brett Philips appointed as Finance Director

1989
Portmeirion Potteries (Holdings) PLC purchases the Crown Windsor site, formally Shaw and Copestake (SylvaC), Longton, Stoke-on-Trent and re-equips as a casting plant.

Portmeirion Potteries (Holdings) PLC is awarded the Queens Award for Export.

"Variations" designed by Susan Williams-Ellis.

1992
"Welsh Dresser" designed by Angharad Menna.

Princess Margaret visits Portmeirion potteries.

1993
Julian Teed appointed as Design Development Director of Portmeirion Potteries Ltd.

1994
Launch of Portmeirion China in four new designs; "Ladies Flower Garden" designed by Susan Williams-Ellis, "Welsh Wild Flowers" designed by Angharad Menna, "Ancestral Jewel" and "Summer Garland" designed by Anwyl Cooper-Willis.

George Hesp retires as Managing Director. Dr Mary Lorraine Hughes takes over as Chief Executive.

1995
Dr Anwyl Cooper-Willis appointed as Marketing and Design Director.

Chris Grocott appointed as Sales Director of Portmeirion Potteries Ltd.

"Harvest Blue" designed by Angharad Menna.

"Traditional" Cup shape designed by Susan Williams-Ellis.

Special Anniversary Jug designed to commemorate Portmeirion's 35th Anniversary.

1997
Botanic Garden celebrates its 25th Anniversary. A range of special anniversary products are made including a crafted miniature tea set which uses Susan Williams-Ellis' original shapes. Other items include "The Jardiniere" and limited edition framed prints of a painting by Angharad Menna.

Earthenware

Earthenware

 Pottery (i.e. made from clay) which has not been fired to the point of vitrification and is therefore slightly porous after the first firing.
 It is made waterproof by the application of slip (a liquid clay mixture applied before firing) before the second firing or the application of a tin or clear glaze. For both practical and decorative reasons, earthenware is usually glazed.

 Earthenware is lightly fired, readily absorbs water if not glazed, and does not allow light to pass through it. Coarse earthenware is made from clay and grog (ground up fired pots).

 It is the colour of the clay as it is dug from the ground - buff, brown and red.

 A modern earthenware recipe would be: 25% ball clay, 25% china clay, 35% flint, 15% china stone. The first or biscuit firing temperature is 1100 C - 1150 C, glaze firing 1050 C - 1100 C.

 Nearly all ancient, medieval, Middle Eastern, and European painted ceramics are earthenware, as is a great deal of contemporary household dinnerware.

 To overcome its porosity (which makes it impracticable for storing liquids in its unglazed state, for example), the fired object is covered with finely ground glass powder suspended in water and is then fired a second time. During the firing, the fine particles covering the surface fuse into an amorphous, glass-like layer, sealing the pores of the clay body.

 There are two main types of glazed earthenware:

 One is covered with a transparent lead glaze; when the earthenware body to which this glaze is applied has a cream colour, the product is called cream ware.

The second type, covered with an opaque white tin glaze, is variously called tin-enamelled, or tin-glazed, earthenware, majolica, faïence, or delft.

A Brief History into Crown Devon Fieldings

1872. 
Simon Fielding (born 1827) was employed on the Trentham Hall estate in Staffordshire owned by the Duke of Sutherland where he was an authority on dogs and poultry. His son, Abraham (born 1855), was apprenticed as a colour maker at the Blythe Colour Works. This factory was acquired by Simon Fielding and his son Abraham was put in charge. The company now traded as S. Fielding.

1878. 
Simon Fielding provided finance to start three pottery men on a manufacturing career. The business was situated at the Railway Pottery at Sutherland Street, Stoke trading both as Hackney, Kirkham & Company and F.Hackney & Company (names of the principal potters). The colour pigments were supplied by the Blythe Colour Mill.

1879/83. 
The Railway Pottery ran into difficulties but Abraham Fielding paid off the debts and became a potter himself not only running the warehouse and office side but even firing the ovens. Needing to devote more time to this venture, the Blythe Colour Mill was eventually sold to Pigott and Scarratt. The business expanded and new warehouses, workshops and kilns were added and new machinery was installed.

1890. 
Modern equipment was installed and by 1891 the factory had seven of the largest kilns in the Potteries.

1905. 
Now five times the original size, S. Fielding & Co. became a limited company. Later this year, Simon Fielding died aged 78 and was succeeded by his son Abraham.

1911. 
Having used the name Crown Devon for a range of decorations for several years, the name of factory was changed from Railway Pottery to Devon Pottery in response to its popularity.

1913. 
In April, King George V and Queen Mary visited Stoke-on-Trent and visited a number of potteries including the Devon Pottery.

1917. 
A gas-fired Dressler tunnel enamelling kiln was installed which had a capacity equal to 34 intermittent kilns and the weekly capacity was increased almost threefold.

1927. 
Abraham Fielding suffered a heart attack but soon returned to work.

1932. 
On March 23rd, Abraham Fielding died. He was succeeded by his son, Alec Ross Fielding (born 1880).

1942. 
As part of the war effort, the Government placed restrictions on decorative wares intended for the home market.

1947. 
In February, Alec Ross Fielding died. He was succeeded by his son Reginald (born 1907).

1951. 
On May 16th, a fire destroyed 44,000 square feet of floor space with the decorating, aerographing and printing shops, glost and biscuit warehouses, showrooms and offices being completely gutted. Large stocks of earthenware including a significant quantity of musical novelties were destroyed and the factory was out of commission for five months but the re-building work was not completed until 1957.

1963. 
Further modernisation was undertaken with two Litherland gas-fired kilns being installed.

1964. 
Crown Devon took over rival earthenware manufacturer, Shorter & Sons Ltd. Part of the company was sold to Douglas Kitchener Bailey who became joint Managing Director with Reginald.

1967. 
Reginald Fielding retires and Douglas Bailey acquires the whole company.

1971. 
In March Douglas Bailey died and Mrs Bailey took over the company.

1976. 
Mrs Bailey sold the company to The Archibald Bathgate Group, a firm of Accountants based in Liverpool.

1982. 
December 17th. After losing nearly half a million pounds in the previous two years, the Devon Pottery closed its gates for the last time

Crown Devon Fielding (S. Fielding & Co. (Ltd)

c.1870–1967 (Inc. 1905)

Earthenware manufacturer at the Devon Pottery, Stoke. Simon Fielding established the business in about 1870. It met financial difficulties and in 1878 or 1879 Fielding’s son Abraham joined the business, becoming the driving force behind its expansion and phenomenal later success.

Abraham Fielding died in 1932 and his son Arthur Ross Fielding took control of the pottery. Arthur Fielding died in 1947 and control of the company passed to his son Reginald Ross Fielding. In 1963 Donald Kitchener Bailey purchased a share in the Fielding business and joined Reginald Fielding as a joint managing director. The company acquired Shorter & Son Ltd in 1964 when the A. J. Wilkinson companies were dispersed. Reginald Fielding retired in 1967 and his interest in the business was purchased by Donald Bailey. Bailey died in 1971 and his widow sold the business in 1976 to a Liverpool-based accounting firm, however mounting losses caused the closure of the business in 1982.

The Fielding name, the Crown Devon Pottery, and other assets were purchased by Caverswall China Co. Ltd in May 1983. It was sold to the industrial ceramics manufacturer Bullers plc in 1986 who auctioned the treasure trove of historic moulds from both the Fielding and Shorter businesses in 1987. The historic Crown Devon Pottery was demolished in the same year.

S. Fielding & Co. Ltd produced an enormous quantity and range of domestic and ornamental earthenware over the life of the business.  The Crown Devon name came into general use in the early 1900s although first use of the name may date from the 1880s. It was first associated with vellum-coloured earthenware painted in the ‘Worcester’ floral decorating style. Jugs, vases, plaques and a host of other items were produced. Much of this ware was exported to the Dominions and the United States in the period up to the First World War.

The designer Enoch Bolton joined Fielding in 1929 and Boulton was responsible for the enormous output of striking Art Deco style wares from the Devon Pottery in the 1930s. The best of Boulton’s Art Deco and modernist designs rival and often exceed in impact those of Clarice Cliff and Susie Cooper. Well-modelled, contemporary figures designed by Kathleen Parsons were also produced from the mid-1930.

Fielding’s used the trade name ‘Crown Devon’ and from the early 1930s the Crown Devon mark—a crown over the words Crown Devon—became the emblem of the company and may appear without the Fielding name.

John Astbury

John Astbury (b. 1688, England--d. 1743, Shelton, Staffordshire),

pioneer of English potting technology and earliest of the great Staffordshire potters.

Although from 1720 several Astburys were working in Staffordshire, it is John who is credited with the important Astbury discoveries and creations. He allegedly masqueraded as an idiot in order to learn the craft from the potting brothers John Philip and David Elers, who in 1688 had emigrated from Holland.

 Establishing a factory at Shelton in the early 18th century, he succeeded in producing yellowish-glazed red earthenware decorated with bits of white pipe clay (which he was the first to import from Devonshire); his mode of decorating with such appliqus is called sprigging. Thus, some of the earliest Staffordshire figures in brown and white clay covered with a lead glaze have been attributed to him

 Astbury is credited with being the first (1720) Staffordshire potter to use flint for improving the quality of earthenware mixture by making it whiter.
Figures now attributed to him reveal variously toned clays, as well as colours clouded to enrich them. He quite possibly originated the popular pew groups; i.e., two or more rigidly posed, salt-glazed stoneware figures, some engaged in such activities as playing bagpipes, wearing stylized costumes and seated on stiff pews. Similar groups of musicians only have also been attributed to him. His other typical figure groups are soldiers and equestrians, rather crude in appearance, modelled by hand after being cast in simple molds. His utilitarian products include mugs, variously shaped bowls, and teapots. He also made agate and marbled wares.

 Astbury's son Thomas experimented with the lead-glazed earthenware that was later called creamware and, improved by the great Josiah Wedgwood, eventually renamed Queen's ware. It was developed from the earlier white stoneware body and covered with a lead glaze

Type of ware produced:
Figures with variously toned clays, as well as colours clouded to enrich them.
The popular pew groups; i.e., two or more rigidly posed, salt-glazed stoneware figures:
Engaged in such activities as playing bagpipes.
Wearing stylized costumes and seated on stiff pews.
Groups of musicians.
Other figure groups are crude in appearance, modelled by hand after being cast in simple molds and include soldiers and equestrians.
Functional products include mugs, variously shaped bowls, and teapots.
Also agate and marbled wares.

The Adams Family of Potters

The Adams family had potteries in Staffordshire as early as 1650. At that date two brothers, William and Thomas had separate ventures in Burslem.

Such family activity continued for many years. William Adams and Company, with large potteries in Tunstall was managed by members who were the 11th and 12th generations in direct descent from the original 17th century Adams of Burslem.
Whilst there is no longer an Adams pottery, some of their designs are still produced with their backstamp under the Wedgwood Group name. Adams joined the Wedgwood Group in 1966.

Attributing examples of china marked Adams to a particular man can be complicated and confusing because so many of them bore the same given name, William.
This is particularly true with collectible Adams china. In the latter part of the 18th-century and continuing into the 19th, there were three William Adams.

All were cousins and operated their own large potteries independent of the others. Further, with one exception, they were succeeded by sons of the same given name who, in the main, continued making the same kinds of wares. They were:

1) William Adams  1745-1805, of Greengate, Tunstall.

2) William Adams  1748-1831, of Brickhouse, Burslem and later Cobridge Hall, Cobridge.

3) William Adams  1772-1829, of Stoke-on-Trent.

Important also was:

4) William Adams  1798-1865, of Greenfield.

 The three cousins made the standard kinds of Staffordshire pottery from Queensware to ordinary earthenware, transfer decorated in blue and other colours. William Adams (1) of Greengate and William Adams (4) are a special interest to collectors. The former made jasperware that equalled that of Wedgwood. William Adams (4) produced 30 different designs of American scenic and history china.


1) William Adams  1745-1805, of Greengate, Tunstall.
He outshone his cousins in artistic ability and was reputed to be Josiah Wedgwood's favourite pupil. He established his own pottery in 1789 where he made Queensware, "painted china glaze ware," transfer, basalt and Jasper until his death in 1805.

Under his control Jasper ware was made in quantity, included table sets, plaques for furniture and mantelpiece mounts, cylinders for candlestick bases and jewellery medallions.

He also perfected a special shade for his ware, known as "Adams blue" for its distinctive colour which approached violet.

William (1) was succeeded by his son Benjamin who was not too successful commercially. Benjamin sold the Greengate pottery in 1820. It then passed from family control until repurchased by William Adams (4) to expand his production. It became a unit of William Adams and Company, Tunstall.


2) William Adams  1748-1831, of Brickhouse, Burslem and later Cobridge Hall, Cobridge.
His father, John Adams was also a potter, and died when his son was seven.

During William's minority Brickhouse pottery, established in 1657 by an earlier John Adams, was leased to Josiah Wedgwood.

This continued until about 1772 when Wedgwood moved to his newly built Etruria pottery and William Adams (2) established his own business at Brickhouse. He was so successful with the usual Queensware and other Staffordshire wares that in a few years he moved to Cobridge Hall which he had built in nearby Cobridge.

His important in achievement was the introduction to Staffordshire of the transfer printed method of decoration. During his latter years, his specialties were spatterware and Red Rose, a cottage tableware so named for its bold painted decoration of roses and foliage.

3) William Adams  1772-1829, of Stoke-on-Trent

Was the son of Richard Adams, maker of unmarked salt glaze and white stoneware.

Toward the close of the 18th-century, William (3) was operating four potteries in Stoke-on-Trent including one at at Cliffbank. He produced Queensware and transfer decorated earthenware, including one of the early American scenic designs, brought out about 1827. It appeared on dark blue plates in two sizes titled on the reverse "Mitchell & Freeman China and Glass Warehouse, Chatham Street, Boston." Obviously the plates with this view were ordered by the partners for business promotion.

 In 1819 his son, William Adams (4), became a partner and the company name was changed to William Adams & Son. Later three other sons were made partners, the firm name then becoming William Adams & Sons.

Thomas Wolfe had occupied the Big Works by 1781 it was on the north-east side of the Newcastle canal - opposite  Spode's pottery works.
In 1818 Thomas Wolfe's widow Rachel let the two works to William Adams. The famous Adams family continued to work the old Wolfe factories until c.1862.

4) William Adams  1798-1865, of Greenfield, Tunstall

This son and first partner of William Adams (3) was a prolific producer of American scenic and historic china. On his father's death he became managing director of the family business. About 1834 he built the Greenfield pottery in Tunstall, the first important one there, to which the firms offices, styled Adams & Sons, were moved.

Active in the American trade, he visited the United States in 1821 and in 1825. Then or later, he secured prints of American scenes done after paintings by Thomas Cole, W. G. Wall and others. From the prints he copied his 15 scenic designs. There was also the Log Cabin plate for William Henry Harrison's presidential election in 1840. All the patterns were transfer printed in the, brown, light blue and black but no dark blue. Each piece in these patterns has on the reverse, title of the particular view in the same colour and the mark of W. Adams & Sons, impressed.

About 1830 Adams & Sons also produced its Columbus series of 14 designs based on events in the discoverer's career. Transfer printing for these was in light colours, ranging through pink, brown, green and purple as well as black. A special printed mark was used. An anchor and a shield lettered Columbus and, on a scarf below, W. A.& S.

After William (4) died in 1865, the potteries in Stoke-on-Trent were sold and everything moved Tunstall where the business was conducted by his sons, William and Percy W. L. Adams. They added porcelain tableware's to their other products. In turn they were succeeded by their sons and grandsons who came to direct their potteries.

Elijah Cotton/Lord Nelson

Elijah Cotton best known as Lord Nelson were the manufacturers of earthenwares at Hanley, Staffordshire and operated the Nelson & Victoria Potteries using the trade name 'Nelson Ware' from 1885 to 1981.

According to a journal in 1893 the business was built on the site of a previous works founded in 1758.

Elijah Cotton opened a new factory in Hanley, Stoke on Trent named 'Nelson Pottery' in 1885 and also took over the local  Victoria Works.

Here is some of their pottery marks.

Please also note that earlier Nelson Ware was not marked.

To be continued........

Lord Nelson Ware

Lord Nelson Ware started life in Hanley,Staffordshire with the name Elijah Cotton (Ltd) of which can be dated to 1880 but can be dated back to 1758 if you speak with the right people.

They invented the brand "Nelson Ware" in about 1913 and then the term 'Lord Nelson Ware' appeared around the 1950's of which also could be earlier.

With Lord Nelson Pottery a crown was added to some of their marks in 1956.

Marks such as: 8-70 probably means it was produced in August 1970.

Marks such as: #82 may well be the shape number.

The best keywords to use when searching for info on nelson pottery is Nelson Ware, Lord Nelson Ware & of coarse Elijah Cotton.

Wade, Heath and Co. Ltd., Royal Victoria Pottery, Burslem

This article originally appeared in a 1956 book 'British Potters and Pottery Today' and is based mainly upon accounts provided mainly by the firms themselves.

  Among the factories in Burslem producing high grade earthenware that of Wade, Heath and Co., Ltd., of the Royal Victoria Pottery, is by no means the least in repute. It is one of three works in the High Street area which (since 1935) comprise the Wade group and its productions include fancy, ornamental and domestic table ware.

 For at least a century and a half there has been a factory upon the spot, the earliest occupants, judging by certain dated shards unearthed upon the site, having been John and Richard Riley in the year 1814. It was then known as Hill Works and had been founded in that year, for the name and date are still to be seen over the old archway of the factory. After them came Samuel Alcock and Co. This was in 1830; and later Dunn and Bennett occupied the premises from 1888 until 1838. They were then taken over by Wade, Heath and Co., Ltd.

This firm was founded towards the end of the eighteenth century and had occupied Flaxman's Tile Works (still in the hands of Wades), but was only formed into a limited liability company in 1927.

 At the time when the firm took over the Royal Victoria Pottery they were chiefly occupied in making teapots, vases, flower jugs and 'fancies', but, during the War period tea and dinner wares were added, as well as heavy white ware for the forces. In the ensuing period, when the export drive was concentrated upon, opportunity was yet found to develop an important line of small animal and nursery-rhyme figures, Toby-jugs, etc. They also acquired a reputation for their copper lustre wares. The most popular of their nursery series is perhaps the 'Quack-quack' set and among the ornamental ware 'Empress' ware ranks highly.

 Since 1945 a programme of modernisation has been inaugurated, including the all-important decorating shop, a new enamel kiln, a continuous glost oven and new dipping shops. These were already completed by 1951 and have been followed by still further improvements, until, at the present day, the factory is equipped in a fashion well able to cope with its ever-increasing output.