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He traded under his own name from 1835, and is known to have produced relief moulded jugs in a similar style to this from c.1839.  He was known as a liberal patron of the arts and collector of painting and drawings, which included works by Poussin, Gainsborough and Van Dyck."},{"value":"Relief moulded jugs were popular in mid 19th Century homes, where they were used for water, beer milk and other liquids which might now be kept in bottles, cans or plastic jars. The smear-glazing makes the most of the way that, sometimes colour-stained, clays show off crisply-moulded ornament, whilst the stoneware is sufficiently durable for everyday use. There are several examples in the Fitzwilliam Collection. This jug was a popular design and was produced in large numbers, sometimes with a hinged metal lid, and later adapted for a mug; there were also buff stoneware and Parian versions. It was later adapted for a mug which won a Society of Arts medal, and for a covered drinking cup exhibited at the 1851 Great Exhibition."},{"value":"The Bacchanalian scenes are taken from works ny Poussin and Rubens. In Nicholas Poussin's 'Bacchanalian revel before a term', 1632-33 (National Gallery), arcadian revellers drink and dance before a pillar crowned with a torso and head, possibly Pan. It is thought that the modeller may have worked from an engraving by George Thomas Doo or by S.S. Smith of the Poussin image, since both were published in collections from the National Gallery c.1840. The other image is taken from Sir Peter Paul Rubens\u2019 'Drunken Silenus', a wise old drunkard who had the gift of prophesy. Minton also used this source for a jug. Rubens painted four versions, and Henrywood suggests that the source here was a print of the one that hung in the Gemaldegalerie, Berlin, until its destruction in 1945. There is another version, 1616-17, in the Alte Pinakothek, Munich. The imagery, together with the vines around the neck, suggest that the jug may have been intended for wine."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109672","uid":"adlib-term-109672","uuid":"a788e98b-c8a4-313c-9617-1a812228e864"},"summary_title":"19th Century, Mid"},{"@link":{"type":"reference"},"admin":{"id":"term-120127","uid":"adlib-term-120127","uuid":"ee2ddbd4-503c-30f5-8cf9-3c2d121bd315"},"summary_title":"Victoria 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See also Chapter 9 for information about the firm.","page":"106-19","type":"reference"},"admin":{"id":"publication-2707","uid":"adlib-publication-2707","uuid":"7930037b-b9e9-33ee-9c08-7542049d8e4e"},"summary_title":"Relief-Moulded Jugs 1820-1900"},{"@link":{"type":"reference"},"admin":{"id":"publication-200002936","uid":"adlib-publication-200002936","uuid":"f072001f-71a2-3c24-9beb-de68ba684af3"},"summary_title":"Meighs of Hanley, Newsletter of the Northern Ceramic Society"},{"@link":{"notes":"Cf. Fig.107, image of Charles Meigh \u2018Apostle\u2019 jug; also brief information about Charles Meigh and other producers of relief-moulded jugs.","page":"182-184","type":"reference"},"admin":{"id":"publication-5541","uid":"adlib-publication-5541","uuid":"5f1c299b-a6dd-3621-9e7b-128c00e539b3"},"summary_title":"English Pottery 1620-1840"},{"@link":{"notes":"Cf. 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The upper half and handle is shiny black."}],"identifier":[{"accession_number":"C.1107-1928","primary":true,"type":"accession number","value":"C.1107-1928"},{"priref":"71325","type":"priref","value":"71325"},{"date":[{"earliest":1926,"latest":1926,"value":"1926"}],"source":"Glaisher M\/S Vol. 33 No.4869","type":"old object number","value":"4869"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71325","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71325"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Dr. J.W.L. Glaisher Bequest, 1928"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-152564","uid":"adlib-agent-152564","uuid":"c20df94d-f096-3e0b-a9b5-6ddd12161fb7"},"summary_title":"Glaisher, J. W. 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Jackfield is also sometimes also known as jet ware, blackware or japanned ware (after Japanese black lacquer ware). 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Large jug decorated in green and copper lustre with raised medallions of Princess Charlotte and Prince Leopold. b. near Bournemouth September 18th 1919."}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Dr. J.W.L. Glaisher Bequest, 1928"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-152564","uid":"adlib-agent-152564","uuid":"c20df94d-f096-3e0b-a9b5-6ddd12161fb7"},"summary_title":"Glaisher, J. W. 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Round the middle are two scenes: the first shows a man lighting his pipe before a fire while his dog looks on and behind him companions are drinking in an ale house; in the other, Tam o\u2019Shanter rides though a wood, pursued by two flying figures, one of whom grasps  the horse\u2019s tail. The handle is moulded in the form of a hand clutching a horse\u2019s tail. Ornate patterns run around the neck and foot: a wreath of thistle between rhe body and the neck and a leaf scroll beneath the neck rim. The outside is smear-glazed, the interior fully glazed and shiny. 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Trained by their father Job, the brothers William and John had already gained a reputation for drab (coloured) stoneware  decorated with stoneware  crisply finished applied relief sprigs when William Ridgeway established Church Works, Hanley, in 1831. With his partner James Leonard Abington and (later) his son Edward, by 1843 he operated six separate pot-works in Hanley and Shelton. He was also a noted philanthropist, building alms houses and a school for local children \u2013 many of whom he employed in his potteries. William Ridgway & Co. (later Ridgway and Abington)  became particularly known for relief-moulded jugs, for which it is likely that Abington was the modeller. One of the first to offer such jugs, in the early 1830s, they produced some 26 designs over the next 30 years. Other potters followed, notably Minton and Charles Meigh, and relief moulded jugs (some with ceramic or metal lids) in a wide variety of design became a popular household mainstay for water, beer milk and other liquids which might now be kept in bottles, cans or plastic jars."},{"value":"The jug, one of several in the Fitzwilliam Collection, is an example of  the\u2018artistic\u2019 relief moulded jugs which were popular in mid 19th Century homes.  The scenes are taken from Robert Burns\u2019 narrative poem  \u2018Tam o\u2019Shanter\u2019; the story ends with Tam pursued by witches, who pull off his horse\u2019s tail just before his escape. The smear-glazing makes the most of the way that colour-stained clays show off crisply-moulded ornament, whilst the stoneware would be durable in an everyday setting. The modelling follows engravings by J.Thompson and by Slader of  Thomas Landseer\u2019s illustrations for Marsh & Miller\u2019s 1830 edition of Tam o\u2019Shanter. The poem, written in 1790, was widely known at this time and used as a source by other potters too: the British Museum holds a 1934 relief moulded jug by Machin & Potts of Burslem, which carries a similar but differently modelled design (Cat. 1887,0307,R.12).  \u2018Tam O\u2019Shanter\u2019 was also used as a brand name for products, such as pipe 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No 257, tea set comprising tea pot, sucrier & cream ewer in dark blue solid jasper;, notes teapot \u2018as No.146\u2019(a marked example, illustrated) has upright moulding to support the cover ground away; No 258 unhandled cup and saucer in pale blue surface jasper; and No 259 oval tray to match \u2018mark probably erased\u2019. All listed as owned by Mrs Piele and \u2018presented to Mrs Kitchener  of Bunhill Row, London (in 1799), grandmother of present owner and Viscount Kitchener of Khartoum\u2019. 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Oval with straight sides and flat, slightly concave shoulder with a narrow raised rim surrounding a round aperture for the cover, which is very slightly domed with a pierced ball knob. Straight sloping spout moulded in two halves and having sixteen holes forming a lozenge behind it in the wall of the pot. Ear-shaped handle, ridged on the outer side and decorated with moulded, stylised leaves. The lower edge is decorated with a turned design od narrow ridges above and below a wide band of vertical strips. Above on one side there is a white relief of a lion and a fox, among trees and on the other side a white relief of a fox and grapes growing in one of the trees. The top edge is decorated with a beaded white relief band. The cover has a pierced central knob with white horizontal white band, surrounded by alternating four-petalled flowers and acanthus leaves. The spout is reeded, the lower part moulded in relief with acanthus. The handle is reeded and has an acanthus leaf at the top and a smaller one at its base. 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Robert Wilson ran the practical side of the business, which continued under various names, including James Neale & Co. and Neale & Wilson until1792. It continued under Robert Wilson and his son David until 1818. The Hanley site produced fine white stonewares and, from the early 1780s, a limited range of jasper tea and ornamental wares, mainly in shades of blue."},{"value":"Jasper, an unglazed fine stoneware with an impervious surface sheen, was introduced by Wedgwood in the mid 1770s. Other factories, including Neale, soon produced their own versions. Jasper was made in white or solid colour, often blue, and later by dipping in coloured slip. The coloured body was then decorated with sprigs - designs formed in small plaster, clay or brass moulds \u2013 applied when the clay was leather hard."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106779","uid":"adlib-term-106779","uuid":"f0706fcd-d94c-3987-bcb5-f7f794332b6a"},"summary_title":"18th Century, Late"},{"@link":{"type":"reference"},"admin":{"id":"term-107437","uid":"adlib-term-107437","uuid":"96f4b0d1-fc11-39ff-ae91-1b23d888d479"},"summary_title":"George III"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-110443","uid":"adlib-term-110443","uuid":"8e41da15-698e-303b-ac89-c241a4e52efc"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Hanley"}]}]},"materials":[{"note":[{"value":"pale blue"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32075","uid":"adlib-term-32075","uuid":"1d4d277d-a939-3dae-b92a-737d5a0ac95f"},"summary_title":"jasper"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"12.9"},{"dimension":"Width","units":"cm","value":"12.6"}]},"multimedia":[{"@link":{"type":"reference"},"admin":{"id":"media-33833","uid":"adlib-media-33833","uuid":"fc56c58e-588f-3e85-b1d9-bb60cf96af51"},"processed":{"large":{"format":"jpeg","location":"aa\/aa8\/C_1_20_26_20A_1908_281_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":550},{"dimension":"width","units":"pixels","value":760}]},"modified":1742582290719,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa8\/mid_C_1_20_26_20A_1908_281_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":362},{"dimension":"width","units":"pixels","value":500}]},"modified":1742582290719,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa8\/C_1_20_26_20A_1908_281_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":550},{"dimension":"width","units":"pixels","value":760}]},"modified":1742582290719,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa8\/preview_C_1_20_26_20A_1908_281_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":181},{"dimension":"width","units":"pixels","value":250}]},"modified":1742582290719,"resizable":true,"type":"image"}},"sort":"0","type":{"base":"media","type":"image"}},{"@link":{"type":"reference"},"admin":{"id":"media-33834","uid":"adlib-media-33834","uuid":"d3940c9e-6e02-3573-9886-97dcfb17284f"},"processed":{"large":{"format":"jpeg","location":"aa\/aa8\/C_1_20_26_20A_1908_282_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":550},{"dimension":"width","units":"pixels","value":760}]},"modified":1742582279205,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa8\/mid_C_1_20_26_20A_1908_282_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":362},{"dimension":"width","units":"pixels","value":500}]},"modified":1742582279205,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa8\/C_1_20_26_20A_1908_282_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":550},{"dimension":"width","units":"pixels","value":760}]},"modified":1742582279205,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa8\/preview_C_1_20_26_20A_1908_282_29.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":181},{"dimension":"width","units":"pixels","value":250}]},"modified":1742582279205,"resizable":true,"type":"image"}},"sort":"1","type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-91394","uid":"adlib-term-91394","uuid":"2bb189d3-6008-3a4e-abbb-eb2a240e0739"},"summary_title":"teapot"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-133761","uid":"adlib-term-133761","uuid":"2255bde3-8d2b-37b5-82e6-5e92ff5ad698"},"summary_title":"teapot & cover"}}],"note":[{"type":"history note","value":"Mrs T.T. 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Decorated with three sprigged classical scenes, one of which represents \u2018the Choice of Hercules\u2019, above a thin, continuous raised line. The neck has been turned to give horizontal ridges and a slight lip formed opposite the handle; it is covered on the outside with a thin dark brown wash, which continues over the top of the handle. Three incised lines run around the silver mount. The interior is glazed. The underside is very slightly recessed."}],"identifier":[{"accession_number":"C.863-1984","primary":true,"type":"accession number","value":"C.863-1984"},{"priref":"76245","type":"priref","value":"76245"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/76245","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/76245"}],"inscription":[{"location":"on the jug base","method":"impressed","transcription":[{"value":"ADAMS"}],"type":"factory mark"},{"description":[{"value":"maker's mark of Thomas Law;"}],"location":"on silver mount","method":"struck","transcription":[{"value":"TL"}],"type":"maker's mark"},{"location":"on silver mount","transcription":[{"value":"lion passant"}],"type":"hall mark"},{"description":[{"value":"indistinct"}],"location":"on silver mount","method":"struck","transcription":[{"value":"C"}],"type":"hall mark"},{"location":"on silver mount","method":"struck","transcription":[{"value":"crown"}],"type":"hallmark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Miss A.L. Wyatt"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-182696","uid":"adlib-agent-182696","uuid":"db71a892-2226-3157-87bd-5f369e922fa6"},"summary_title":"Wyatt, Agnes L., Miss"}],"date":[{"earliest":1984,"latest":1984,"value":"1984"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1984-10-22"}]}],"creation":[{"date":[{"earliest":1810,"from":{"earliest":1810,"era":["CE"],"latest":1810,"precision":"circa","value":"1810"},"latest":1812,"range":true,"to":{"earliest":1812,"era":["CE"],"latest":1812,"value":"1812"}}],"maker":[{"@link":{"role":[{"value":"pottery"}],"type":"reference"},"admin":{"id":"agent-160899","uid":"adlib-agent-160899","uuid":"cd48fc1e-0e7d-32f4-9e78-8694d9bd0615"},"summary_title":"Adams, William"},{"@link":{"role":[{"value":"silversmith"}],"type":"reference"},"admin":{"id":"agent-187774","uid":"adlib-agent-187774","uuid":"0886f042-3586-37b3-bb00-9cd1322d1750"},"summary_title":"Law, Thomas"}],"note":[{"value":"Stoneware jugs were a common domestic item, used for water, beer milk and other liquids which might now be kept in bottles, cans or plastic jars. The size and style of this example suggest it may be a milk jug or, perhaps, a mustard pot, though there are no obvious signs that it ever had a lid (see note below). Sprigging, the application of designs formed in small plaster, clay or brass moulds and applied to leather hard clay, was a common form of decoration from the late eighteenth century. From around the mid 1820s, such jugs were more often made in two-piece relief moulds. There are several examples in the Fitzwilliam Collection."},{"value":"William Adams ran a pot works in Tunstall from 1779 until his death in 1805; the business then continued under his son Benjamin until 1821. The business produced a wide range of products, but particularly stoneware and jasper jugs and mugs featuring neo-classical, hunting or contemporary scenes. Pots with ribbed, brown-glazed necks and sharply modelled sprigs, like this example, were a speciality. Turner, of Lane End, Longton had popularised this type of design in the late 18th Century (see C.1264-1928).  Adams is known to have bought sprig moulds in the Turner bankrupcy sale of 1806, so it is possible that the designs used here came from that source.  Thomas Law and Co. were cutlers and general silversmiths, and provided the mounts for many such Adams products. The Law business continued under subsequent generations until 1829, then as Atkin Brothers until 1925."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106498","uid":"adlib-term-106498","uuid":"272179a1-524b-3f36-aab7-bf342ce484d6"},"summary_title":"19th Century, 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examples of similar jugs by Adams, Spode and Davenport, often lidded, some of which appear to be mustard pots (with aperture for a spoon). Fig.123 (left) appears to be very similar to the Fitzwilliam example, with the same shape and sprig design, though with domed silver lid (without aperture) and thumbpiece.","page":"110,123,124","type":"reference"},"admin":{"id":"publication-5760","uid":"adlib-publication-5760","uuid":"ccb7d59b-ac1b-3fdd-b187-71ef789671d4"},"summary_title":"English Dry-bodied Stoneware, Wedgwood and Contemporary Manufacturers 1774-1830"},{"@link":{"notes":"Cf. Fig.73, jug with brown-washed ribbed neck, applied sprigs, silver mount and lid, by John & William Turner, c.1796-7; notes Adams\u2019 purchase of Turner\u2019s sprig moulds.","page":"140","type":"reference"},"admin":{"id":"publication-5541","uid":"adlib-publication-5541","uuid":"5f1c299b-a6dd-3621-9e7b-128c00e539b3"},"summary_title":"English Pottery 1620-1840"},{"@link":{"notes":"Cf. Plates XII and XIII, four examples similarly styled mug, wine coolers and jugs (two lidded), all with silver or Sheffield Plate mounts. 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Oval with straight sides, flat shoulder with a circular scalloped gallery surrounding the almost flat cover which has a pierced ball knob; straight sloping spout moulded in two halves and having sixteen holes forming a lozenge behind it in the wall of the pot; ear-shaped handle with a cusp on the lower side. The lower edge is decorated with a white 'rope' over which there is a zone of engine-turned basket weave. Above on one side there is a white relief of Elizabeth Inchbald as Lady Abbess in the 'Comedy of Errors', flanked by two plants and two small trees, and on the other side a white relief of Charles Macklin as Shylock in the 'Merchant of Venice', flanked by two plants and two small trees. The top edge is decorated with pierced white overlapping circles. The cover has a central knob with white horizontal white band, surrounded by alternating four-petalled flowers and addorsed leaves. The lower part of the spout is moulded in relief with acanthus and the handle is reeded and has an acanthus leaf at the top and a smaller one at its base. The underside is flat, with a slight, wide foot-rim."}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-3931","uid":"adlib-exhibition-3931","uuid":"e90e135b-e057-36db-ace7-fdff59bc4f33"},"summary_title":"Glenn Ligon: All Over The Place"}],"identifier":[{"accession_number":"C.109 & A-1992","primary":true,"type":"accession number","value":"C.109 & A-1992"},{"priref":"71295","type":"priref","value":"71295"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71295","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71295"}],"inscription":[{"description":[{"value":"faded ink"}],"location":"undersied of base","method":"rectangular paper label inscribed in black ink (faded)","transcription":[{"value":"Mrs Siddons\/as"}],"type":"label"},{"location":"underside of base","method":"rectangular paper label inscribed in black ink (faded)","transcription":[{"value":"Garrick as Shylock\/Mert. Venice"}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Purchased with the J.R.V. Smyth Fund."},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-160966","uid":"adlib-agent-160966","uuid":"647ab8eb-80b5-38ad-8cb4-a800216d90f3"},"summary_title":"Manning, Derek"}],"date":[{"earliest":1992,"latest":1992,"value":"1992"}],"method":{"value":"bought"},"note":[{"value":"Entry date: 1992-11-23"}]}],"creation":[{"date":[{"earliest":1785,"from":{"earliest":1785,"era":["CE"],"latest":1785,"precision":"circa","value":"1785"},"latest":1790,"range":true,"to":{"earliest":1790,"era":["CE"],"latest":1790,"value":"1790"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-160963","uid":"adlib-agent-160963","uuid":"5271d11e-7dea-3c63-8674-502ffecb921e"},"summary_title":"Neale & Co."},{"@link":{"qualifier":"(alternative name)","type":"reference"},"admin":{"id":"agent-166118","uid":"adlib-agent-166118","uuid":"ff9cdbf8-35dc-39bd-971b-743f1a69c098"},"summary_title":"James Neale & Co."},{"@link":{"qualifier":"(alternative name)","type":"reference"},"admin":{"id":"agent-190729","uid":"adlib-agent-190729","uuid":"77e57a68-a211-316f-ba63-441edfd9c27f"},"summary_title":"Neale & Wilson"}],"note":[{"value":"James Neale, a London pottery and glass merchant, took over Church Works, Hanley in 1778, including the stoneware business set up by Humphrey Palmer c.1759. Robert Wilson ran the practical side of the business, which continued under various names, including James Neale & Co. and Neale & Wilson until1792. It continued under Robert Wilson and his son David until 1818. The Hanley site produced fine white stonewares and, from the early 1780s, a limited range of jasper tea and ornamental wares, mainly in shades of blue."},{"value":"Jasper, an unglazed fine stoneware with an impervious surface sheen, was introduced by Wedgwood in the mid 1770s. Other factories, including Neale, soon produced their own versions. Jasper was made in white or solid colour, often blue, and later by dipping in coloured slip. The coloured body was then decorated with sprigs - designs formed in small plaster, clay or brass moulds \u2013 applied when the clay was leather hard."},{"value":"The sprigs of theatrical characters on the sides of the teapot were modelled after prints dated 1785 of 'Mrs Inchbald in the Character of Lady Abbess' in Shakespeare's 'Comedy of Errors' and of 'Mr Macklin in Shylock' in the 'Merchant of Venice', after J.H. Ramberg, which appeared in John Bell's 'The Dramatick Writings of Will. Shakspere: With the Notes of all the various Commentators complete from the best editions of Sam. Johnson and Geo. Steevens', Printed for and under the direction of, John Bell, British Library, Stand,  20 vols., London, 1785 or a later edition. 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Also, prints from John Bell's The Dramatick Writings of Will. Shakspere, London, 1786, of which p. 22, fig. 3 is Mrs Inchbald as Lady Abbess in the Comedy of Errors and fig. 4 Mr Macklin as Shylock in the Merchant of Venice.","page":"19-28","type":"reference"},"admin":{"id":"publication-200002966","uid":"adlib-publication-200002966","uuid":"4534ba65-83cc-3ac9-a013-46550ef7bd94"},"summary_title":"Mr. Bell and Mr. Neale: The Source of The Neale & Co Theatrical Sprigs"},{"@link":{"notes":"Cf. 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The neck is shaped in a rough hexagon, with the rim shaped to match the sections. The exterior is decorated with naturalistic bulrushes, in relief, the leaves running from foot to shoulder or rim. The handle is also shaped as a bulrush and leaves. The outside is smear-glazed, the interior fully glazed and shiny. The underside is recessed and smear-glazed."}],"identifier":[{"accession_number":"C.47-1981","primary":true,"type":"accession number","value":"C.47-1981"},{"priref":"75217","type":"priref","value":"75217"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75217","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75217"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Countess Shelagh S. 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The smear-glazing makes the most of the way that colour-stained clays show off crisply-moulded ornament, whilst the stoneware would be durable in an everyday setting. There are several examples in the Fitzwilliam Collection. This jug\u2019s bulrush design indicates its function, as a water jug."},{"value":"The Ridgway family produced stoneware and porcelain in Staffordshire from the 1790s until the 20th Century. Trained by their father, Job, the brothers William and John already had a reputation for drab (coloured) stoneware  decorated with applied relief sprigs when William Ridgway established Church Works, Hanley, in 1831. He was also a noted philanthropist, building alms houses and a school for local children \u2013 many of whom he employed in his potteries. With his partner James Leonard Abington and (later) his son Edward, by 1843 he operated six pot-works in Hanley and Shelton. The business  became known for its relief-moulded jugs, for which it is likely that Abington was the modeller, and was re-named Ridgway & Abington in 1845. One of the first to offer such jugs, in the early 1830s, they produced some 26 designs over the next 30 years. Other potters followed, notably Minton and Charles Meigh, and relief moulded jugs (some with ceramic or metal lids) in a wide variety of design became a popular household mainstay for water, beer milk and other liquids which might now be kept in bottles, cans or plastic jars."},{"value":"The decoration is unusual. However, an 1849 review in The Journal of Design and Manufactures commends it over the more common use of narrative or classical designs: 'The bulrush jug is calculated for a large sale, by reason, as it seems, of its demanding probably little labour to finish it, and its consequent cheapness\u2026 we presume [it] is for tee-totallers, from the watery character of its ornament\u2019. The same design was used on a mustard pot and a sugar box, both with metal lids, and some jugs have \u2018BULRUSH\u2019 impressed on the base; only two Ridgway jug designs were named in this way. The design seems to have instigated a new fashion, as several other potteries, notably Dudson, produced naturalistic relief moulded jugs from the 1850s.   It may have been influenced by Richard Redgrave\u2019s 1847 \u2018Well Spring\u2019 carafe, is decorated with water weeds and flower heads, which is also in the Fitzwilliam Collection (C.50-1972)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106851","uid":"adlib-term-106851","uuid":"e155f998-1e0b-3f2a-851c-24f44d05dd59"},"summary_title":"19th Century, Mid"},{"@link":{"type":"reference"},"admin":{"id":"term-15214","uid":"adlib-term-15214","uuid":"744af2c4-a2f2-37ad-bbf4-2cd00e91ed9b"},"summary_title":"Victorian"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-110443","uid":"adlib-term-110443","uuid":"8e41da15-698e-303b-ac89-c241a4e52efc"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Hanley"}]}]},"materials":[{"note":[{"value":"pale 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The sides of the jug spread out towards a high shoulder and a cylindrical neck, which flares towards the rim and spout. The sides are decorated with six oval strapwork panels, each containing, in turn, the leaves and fruit of vines, hops and barley or corn. Below each panel is an oval shield flanked by foliate scrolls. A strapwork border runs around the neck. The handle is angular, with scrollwork decoration. The outside is smear glazed; the interior is fully glazed and shiny. The underside is recessed and smear-glazed."}],"identifier":[{"accession_number":"C.46-1981","primary":true,"type":"accession number","value":"C.46-1981"},{"priref":"75185","type":"priref","value":"75185"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75185","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75185"}],"inscription":[{"description":[{"value":"Diamond shape with 'Rd' in the centre, 'w' in the left corner, 'u' in the top corner, '7' in the right corner, and 'I' in the bottom corner. Above the diamond a small circle with 'IV'."}],"location":"underside of base","method":"moulded with the body","type":"mark"},{"location":"underside of base","method":"impressed","transcription":[{"value":"21"}],"type":"mark"},{"description":[{"value":"two small parallel lines"}],"location":"underside of base","method":"incised","transcription":[{"value":"'ll'"}],"type":"mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Countess Shelagh S. Rietberg, Cambridge, 1981"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-166432","uid":"adlib-agent-166432","uuid":"46431f0b-ebf0-3857-9a9c-c73542adfde6"},"summary_title":"Rietberg, Shelagh, Countess"}],"date":[{"earliest":1981,"latest":1981,"value":"1981"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1981-10-12"}]}],"creation":[{"date":[{"earliest":1848,"from":{"earliest":1848,"era":["CE"],"latest":1848,"precision":"circa","value":"1848"},"latest":1850,"range":true,"to":{"earliest":1850,"era":["CE"],"latest":1850,"value":"1850"}}],"maker":[{"@link":{"role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-160980","uid":"adlib-agent-160980","uuid":"7a83d9b5-7352-3ae3-9950-be68d6de8d1c"},"summary_title":"Ridgway & Abington"},{"@link":{"type":"reference"},"admin":{"id":"agent-190601","uid":"adlib-agent-190601","uuid":"8a43a61b-26ec-3dfe-978f-290165b4d453"},"summary_title":"William Ridgway & Co"}],"note":[{"value":"In October 1849 the Art Journal noted that Ridgway & Abington \u2018are famous for their manufacture of water and beer jugs, which are, in almost all cases, admirable examples of design and execution\u2019. However, a reviewer in the March-August 1849 Journal of Design and Manufactures was less complimentary about this jug\u2019s design, writing: 'The principal defects of form are, that the curve of the lower portion is rather high shouldered, and that the handle is surprisingly ugly. The whole surface is a little too uniformly covered with enrichment, and in some places the lines are rather too crowded and huddled together. The ornament, consisting of hop, vine, and barley, is, however, prettily modelled\u2019. He also felt the architectural regularity of the panels was at odds with  \u2018the artistic mode of production\u2019 on the potter\u2019s wheel."},{"value":"Relief moulded jugs were popular in mid 19th Century homes. The smear-glazing makes the most of the way that colour-stained clays show off crisply-moulded ornament, whilst the stoneware would be durable in an everyday setting. There are several examples in the Fitzwilliam Collection. Here, the jug\u2019s vine and hop design indicates its function as a jug for a jug for beer or wine. The same jug was made in buff and white stoneware."},{"value":"The Ridgway family produced stoneware and porcelain in Staffordshire from the 1790s until the 20th Century. Trained by their father, Job, the brothers William and John already had a reputation for drab (coloured) stoneware  decorated with applied relief sprigs when William Ridgway established Church Works, Hanley, in 1831. He was also a noted philanthropist, building alms houses and a school for local children \u2013 many of whom he employed in his potteries. With his partner James Leonard Abington and (later) his son Edward, by 1843 he operated six pot-works in Hanley and Shelton. The business  became known for its relief-moulded jugs, for which it is likely that Abington was the modeller, and was re-named Ridgway & Abington in 1845. One of the first to offer such jugs, in the early 1830s, they produced some 26 designs over the next 30 years. 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Each is made in four parts (including cover), and fixed with an internal metal bolt onto a small raised foot and a square pedestal. The vases are urn shaped, with concave shoulder and a pronounced neck-rim, formed to support a small domed cover. The cover has a central spherical knob.  The foot rises to a short, thin column at the urn\u2019s base. The exterior is covered in blue jasper, except for two white ledges above and below the pedestal panels and three thin lines encircling the vase. The blue of the covers is slightly paler than that on the urns and pedestals, although the knobs are a similar colour.  The pedestal base is decorated with round palmettes, four to each side; the centre panels each have a figure personifying one of the four seasons, surrounded by a square border of segmented circles. The vase has four small classical figure designs, each enclosed by a medallion frame and stylised, scrolling foliage; there are further foliate designs on the base and shoulder, and radiating around the cover. The interior is white. The underside is recessed, with a central aperture for the bolt."},{"value":"The neck aperture and cover of C.1267.2 & A-1928 is slightly wider than those of its pair."}],"identifier":[{"accession_number":"C.1267.2 & A-1928","primary":true,"type":"accession number","value":"C.1267.2 & A-1928"},{"priref":"71699","type":"priref","value":"71699"},{"date":[{"earliest":1918,"latest":1918,"value":"1918"}],"source":"Glaisher MS notebooks, Volume 23","type":"old object number","value":"4141a and 4141b"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71699","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71699"}],"inscription":[{"description":[{"value":"on 1267.1, a small 'c' impressed above"}],"location":"underside of base","method":"impressed","transcription":[{"value":"ADAMS"}],"type":"mark"},{"location":"underside of cover (1267.2 & A-1928 only)","method":"Rectangular paper label, inscribed in black ink","transcription":[{"value":"4141b Urn shaped blue jasper vase and cover with white applied decoration came from Southampton, b. Sept. 14 1918.One of a pair the other [indecipherable]."}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Dr J.W.L. Glaisher Bequest, 1928"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-152564","uid":"adlib-agent-152564","uuid":"c20df94d-f096-3e0b-a9b5-6ddd12161fb7"},"summary_title":"Glaisher, J. W. 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He continues: \u2018in general I do not care for jasper ware [\u2026] but I was struck by these vases, and made them an exception [\u2026] they so much impressed me by their colour and delicacy\u2019"},{"value":"Jasper, an unglazed fine stoneware  with an impervious surface sheen, was introduced by Wedgwood in the mid 1770s. Other factories soon produced their own versions. Jasper was made in white or solid colour, often blue, and later by dipping in coloured slip. The coloured body was often decorated with sprigs - designs formed in small plaster, clay or brass moulds \u2013 applied when the clay was leather hard. The Four Seasons sprigs for these vases may have been modelled by William Adams himself (see Furniss)."},{"value":"William Adams (1746-1805) ran a pot works in Tunstall from 1779 until his death in 1805; the business then continued under his son Benjamin until 1821. 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The underside is very slightly recessed and bears the impressed mark 'TURNER'."}],"identifier":[{"accession_number":"C.1264-1928","primary":true,"type":"accession number","value":"C.1264-1928"},{"priref":"71690","type":"priref","value":"71690"},{"source":"Glaisher MS Catalogue, vol. 14","type":"old object number","value":"3340"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71690","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71690"}],"inscription":[{"location":"underside of base","method":"impressed","transcription":[{"value":"TURNER"}],"type":"mark"},{"location":"outside of silver rim","method":"struck","transcription":[{"value":"IT"}],"type":"mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Dr. J.W.L. 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In the 1780s, the Turners introduced jugs and mugs like this example, with ribbed, brown-glazed necks and sharply modelled sprigs - designs formed in small plaster, clay or brass moulds and applied to leather hard clay. The jugs were made with and without a silver mount, and sometimes with a hinged lid.The style was soon imitated by other businesses, and other businesses, notably Adams and Spode, are known to have bought up moulds in the 1806 Turner bankrupcy sale. From around the mid 1820s, however, such jugs were more often made in two-piece relief moulds. There are several examples in the Fitzwilliam Collection."},{"value":"The Turner factory was founded  in Stoke about 1760 by John Turner and was initially known as Turner & Banks. In 1762 Turner moved to Lane End, Longton, and from 1762 to 1781 John Turner was the sole proprietor. From 1781 to 1787 it was known as Turner and Abbot. John Turner died in 1787 and was succeeded by his two sons, William and John. The firm was known as Turners, Abbott & Newbury from 1788 to 1792, and  from 1792 to 1803 as William and John Turner. From 1803 until their bankruptcy in 1806 the firm continued as Turner(s), Glover & Simpson. The Turners ran various smaller potworks until 1829. John Turner died in 1824, and William in 1835. During the 1780s and 1790s the brothers experimented widely and their firm became one of the largest manufacturers of dry-bodied stoneware, making jasper, white stoneware and caneware, including a range of lidded pie dishes which mimic pastry in the shape of pies or animals (see C.29-2013)."},{"value":"The mark on the silver mount may be that registered by a Sheffield silversmith , J.Tibbitts, in 1778. 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The handle is in the form of a greyhound with its front paws resting on the rim and supporting its head and its hind legs and tail resting on the body below the shoulder. The body is decorated in relief with hunting scenes: on one side, hounds attack a boar; on the other, hounds attack a stag. Above, there is a scalloped border and round the neck there is a wavy hop stem. The interior is fully glazed and glossy. The underside is recessed and smear-glazed."}],"identifier":[{"accession_number":"C.48-1981","primary":true,"type":"accession number","value":"C.48-1981"},{"priref":"75252","type":"priref","value":"75252"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75252","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75252"}],"inscription":[{"location":"underside of base, on rim","method":"impressed","transcription":[{"value":"18"}],"type":"mark"},{"description":[{"value":"indistinct"}],"location":"handle, on dog's collar","method":"impressed","transcription":[{"value":"PHILLIPS BAGSTER"}],"type":"mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Countess Shelagh Rietberg"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-166432","uid":"adlib-agent-166432","uuid":"46431f0b-ebf0-3857-9a9c-c73542adfde6"},"summary_title":"Rietberg, Shelagh, Countess"}],"date":[{"earliest":1981,"latest":1981,"value":"1981-10-12"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1981-10-12"}]}],"creation":[{"date":[{"earliest":1819,"from":{"earliest":1819,"era":["CE"],"latest":1819,"precision":"circa","value":"1819"},"latest":1823,"range":true,"to":{"earliest":1823,"era":["CE"],"latest":1823,"value":"1823"}}],"maker":[{"@link":{"role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-160972","uid":"adlib-agent-160972","uuid":"67c96763-9ed4-39b2-a7f5-374096d48f48"},"summary_title":"Phillips & Bagster"},{"@link":{"qualifier":"perhaps","role":[{"value":"modeller"}],"type":"reference"},"admin":{"id":"agent-190602","uid":"adlib-agent-190602","uuid":"4f60526f-486b-3bab-89ad-b25d52d53a3f"},"summary_title":"Abington, James Leonard"}],"note":[{"value":"Relief moulded jugs (some with ceramic or metal lids), in a wide variety of design, were popular in mid-19th Century homes, where they were used for water, beer, milk and other liquids which might now be kept in bottles, cans or plastic jars. The smear-glazing makes the most of the way that colour-stained clays show off crisply-moulded ornament, whilst the stoneware would be durable in an everyday setting. There are several examples in the Fitzwilliam Collection. The hops around the neck of this jug suggest that it was intended for beer."},{"value":"This is one of the very earliest designs of this type of jug. On other surviving examples, the makers\u2019 name is impressed on the collars of the dogs hunting the boar, as well as on that of the dog-handle. Phillips and Bagster was a partnership formed in 1818, the partners being Jacob Phillips and John Denton Bagster. From c.1823-28, the business continued under the latter\u2019s sole name and produced, inter alia, more examples of this jug. A version with some variations to the hunting scenes and moulding was also made by William Ridgway & Co, which took over Church Works in 1831. James Leonard Abington (also recorded as Leonard James Abington), who joined Phillips & Bagster in 1819 and worked as designer and modeller for all three businesses, perhaps produced this design. Abington was also a Baptist  minister, editor of the Pottery Mercury and helped found the local Pottery Philosophical Society, where he lectured on a wide variety of science topics. 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This suggests the mug was made in Shropshire, where there was strong support for the Jacobite call to restore the heirs of the Roman Catholic Stuart King James II to the throne. It was bought by Dr Glaisher, in 1915, along with a 4 inch piece of stained and painted glass with the initials I.W. and date 1653 (C.1106-1928), the two pieces were linked in the catalogue and the initials attributed to \u2018Wainwright family\u2019."},{"value":"The lustrous black lead glaze identifies this as Jackfield ware. Named for Richard Thursfield and his son Maurice who produced such wares at their pottery in Jackfield, Shropshire, c.1713-1772, Jackfield was also produced by other potters in Shropshire and in Staffordshire. Thomas Whieldon, of Fenton, Stoke-on-Trent is credited producing an exceptionally shiny black glaze.  Jackfield is also sometimes also known as jet ware, blackware or japanned ware (after Japanese black lacquer ware). 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[Prince Charles] and down with the rump\u2019 (see Rackham and Read).  This suggests the jug was made in Shropshire, where there was strong support for the Jacobite cause, which sought to restore the heirs of the Roman Catholic Stuart King James II to the throne."},{"value":"The lustrous black lead glaze identifies this as Jackfield ware. Named for Richard Thursfield and his son Maurice who produced such wares at their pottery in Jackfield, Shropshire, c.1713-1772, Jackfield was also produced by other potters in Shropshire and Staffordshire. Thomas Whieldon, of Fenton, Stoke-on-Trent is credited producing an exceptionally shiny black glaze.  Jackfield is also sometimes also known as jet ware, blackware or japanned ware (after Japanese black lacquer ware). 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