A manual of marks on pottery and porcelain; a dictionary ...

[Pages:256]to

of Up Mrs. S.T. Blackwood

A MANUAl>-Or MARKS

POTTERY AND PORCELAIN

A DICTIONARY OF EASY REFERENCE

BY

W. H. HOOPER AND W. C. PHILLIPS

Uontion

MACMILLAN AND CO.

AND NEW YORK

1894

All Rights Reserved

First Edition, 1876; Second Edition, 1877; Reprinted iZ-]^, 1886; with corrections and additions, 1894.

P K E F A C E.

THIS edition has been carefully revised and enlarged

by the addition of many new marks.

When first issued none of the marks of Japan had

been published. At that time information was difficult

to obtain, and much of it has since been found to be un-

reliable ;

by the

kind

permission

of

Sir

A. W.

Franks

a large number of marks are now inserted, which will

be found to include all the factories of importance.

Being only intended for a pocket-volume, unimportant

factories and unknown marks are left out. For more

detailed information, the works of Brongniart, Chaffers, Demmin, Jacquemart (admirably translated by Mrs.

Bury Palliser), Marryat, Robinson and others may be

consulted.

The work is divided into four parts ; in the first, the Marks are classed under descriptive heads, as Anchor,

Animal, etc. ; in the second Majolica the factories of

Italy are arranged alphabetically; in the third, other factories of Europe on the same plan ; and in the fourth,

the Oriental Marks are arranged by the number of

characters inscribed.

IV

PREFACE.

The Marks on Pottery and Porcelain are of three kinds factory, workman, and pattern mark. The first is usually placed in a prominent position, sometimes accompanied by the mark of the maker or decorator. Sevres Porcelain, for instance, often having four or five workmen's marks, besides that of the factory. The pattern mark is usually a number ; this is seldom given,

being useless without a description of the pattern

itself.

The Marks, when pencilled or incised, vary very con-

siderably ; a different hand, a full brush, or a flaw in

the material, all tend to make them unrecognizable ; even when printed they are often blurred by the action of the fire or running of the enamel, and when im-

pressed, a shrinking of the wet clay will change or obliterate them.

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