The Potter’s Art in Devonshire

Trans. Devon Assoc. vol. XIII, (1881), pp. 214-217.

J. Phillips

Transcribed by Michael Steer

This Paper by was presented at the Association’s July 1881, Dawlish meeting. In it the author suggests that local raw materials appear to have shaped Devon pottery’s distinctiveness, principally its plain earthenware and decorative scraffito (scratched through the surface) characteristics. For the genealogist, the paper is a useful source of names and places associated with the earliest research into this particular aspect of our county’s unique history. The Paper, from a copy of a rare journal can be downloaded from the Internet Archive. Google has sponsored the digitisation of books from several libraries. These books, on which copyright has expired, are available for free educational and research use, both as individual books and as full collections to aid researchers.

At the Ashburton meeting of this Association I called attention, in a paper on "The Ashburton Urn," to the evidence which the pottery found in the parish church afforded of skilled potters having worked in Devonshire during the Roman occupation.
There is in the possession of the Messrs. Watts, of Newton, a very unique piece of Anglo-Roman pottery, with a " twist" handle, which demonstrates the great plasticity of the clay of which it was made; for it is improbable that the artificial method of amalgamating the clay with gum was applied during that period, and the local clays, or some of them, have sufficient plasticity to admit of this twist.
Numerous specimens of pottery exhumed in Devonshire, being of well-known types, are certified by antiquaries as coming from the chief site where that type of pottery has been found. Thus, much is classed as Durobrivian most illegitimately; good pottery having been made in Devonshire at the same period as at Castor. And while the best specimens of the so-called Samian, were no doubt imported, and are probably Gallo-Romaine, numerous specimens, which may easily be distinguished, and which were made on the wheel, are unquestionably of Devonshire manufacture, and clay.
The next evidences - chronologically - of uncommon pottery which we find in the county are in the form of tiles used in church floors; and, so far as can be traced, the chief seat of this manufacture was in the Bideford district. An unpleasant feature of many of these tiles is the unevenness of the surface. The pattern on them is sometimes in considerable relief as notably the fleur-de-lis on the tiles of Down St. Mary Church; while some in the collection of Mr. Harry Hems - fourteenth century - are as good encaustic as those which are now made.
Coming to later times, it is interesting to find the date of 1609 on the top of the chimney of the Bideford Pottery; and in this North Devon district, specimens of pottery are often turning up, much of it good, in its quaint simplicity of form and decoration. Only in North Devon do we find that, until quite recent times, the usual mode of obtaining artificial light was by burning oil in pottery lamps quite similar to those in modern use in Algeria. Many persons living, remember no other light being used in the country cottages, and have a keen remembrance of the "smitch" which they emitted. " Bideford ovens" have been known all through the West of England and South Wales from time immemorial.
A simple method of sgraffito decoration appears to have been practiced in this county from very early times, and specimens of this abound in North Devon (1) and of a more advanced type at Bovey Tracey, where also domestic pottery (ordinary earthenware) has been made for over 150 years. Originally, only local clays and local fuel - lignite - were used.
A few years since, a new direction was given to the sgraffito pottery of North Devon by Mr. Fishley, of Fremington (2), whose acquaintance I then made, and subsequently, on his application, had the pleasure of accompanying him through some of the best collections of pottery in London, which were likely to be useful to him, including Dr. Schlieman's, many pieces of which he sketched, and very cleverly reproduced.
The late Mr. Brannam, of Barnstaple, exhibited some of his pottery in this style in the Great Exhibition of 1851, where it was classed as stoneware - obviously in error - and now his son is producing some most excellent work in this true Devon style of pottery decoration.
Mr. Webber, of Honiton, has also, in this same style, produced highly-decorated and quaint pottery.
With some examples of the Barnstaple pottery before him, Professor Church, in his recent lectures at the Society of Arts, thus speaks of this style of pottery:
"The productions of this old Barnstaple pot-work stand quite alone in the material, decoration, and manner of their execution. They are decorated with washes of white clay,with incised patterns and coloured glazes of flowing and pulsating lines. This 'Barum ware’ reminds one at once of the rare Italian sgraffito ware, and of some of the quaintest English work of the 17th century."
Turning into an altogether different direction, we have the highly-finished and completely artistic work of the Torquay Art Potteries, on which neither time nor expense is spared.
The great revival which has of late taken place in the potter's art in Devonshire, is so fresh in everyone's mind that it is needless here to say much.
The two potteries at Torquay have performed a work far beyond the mere fabricating of things of beauty in red earth. They have created, and, by the facilities which they afford, have fostered, a keen appreciation of ceramic art
In 1868 there were some good pieces of terra-cotta work, and of amateur pottery painting, in the Art Exhibition held that year in the townhall at Bovey Tracey. But amateur work in that direction did not fairly take root and become general in the county (and specially in South Devon) till some years after, when it became first extensively practiced in Torquay and neighbourhood, and then both in Plymouth and Exeter.
Since the Bovey Exhibition of 1868, four other potteries have sprung into existence in the same district, and now are in full and extensive work.
Elsewhere in the county, extensive pottery work has been, and is being, largely practiced.
In 1835 fire-bricks were first made in the West of England at the Morley Clay Works, and subsequently stoneware socket pipes. Some years later, the manufacture of stoneware pipes was commenced at Annery, near Bideford, the clay being had from Peter's Marland, where now that a light railway has been constructed, very extensive pottery works exist, producing glazed bricks and tiles of excellent quality.
By this recital it will be seen that the natural advantages which Devonshire possesses over every other county, by her geological formations in respect of clays, are more highly appreciated, and turned to much more practical account, than is generally supposed, or than Devonshire people themselves have allowed.
Opportunities have been presented in the county, during this year, for those who are interested in any way in the potter's art to study some of the most rare and beautiful specimens which exist; and the very considerable show of amateurs' work seen at the recent exhibitions in Exeter, Newton, and Plymouth, speaks for the widespread interest in this art, and the widespread practice of pottery decoration in Devonshire.
If any apology were needed - which I am sure is not the case - for bringing this art work before the notice of the Association, it would be found in the large number of persons who are interested in and now practicing it in Devon.
The exhibition held during Easter week of this year at Newton has given an impetus to amateur ceramic art work in the county, and much is looked for as resulting from it, and from the work of the Art School at Newton. The Princess Louise (Marchioness of Lorne), in granting her patronage to the Newton Exhibition, was pleased to express her interest in it, and the hope that it might be instrumental in giving an impetus to ceramic art work in Devonshire.
There are in the county numerous and most valuable collections of art pottery in the possession of private persons, containing rare examples of the most perfect work of the potter's art; also numerous choice pieces of simple decoration from the South of France and elsewhere. A very great service indeed may be rendered to Devonshire art by the loan of such, for specified periods, to responsible bodies, such as art school committees, for the purposes of study by the students of the schools.
If in the past Devonshire, groping in the dark, and oblivious to what was doing elsewhere, has yet produced meritorious work, and in fact developed a special school of pottery decoration, what may not be anticipated for the future, with all the aids and opportunities now at command, not for a moment overlooking the fostering care which associations of this nature are designed to afford?
Looking through the catalogues of the painted pottery exhibitions in London, the eye meets on every page familiar Devonshire names; and last year, one of the best pieces of design and decorated vases so exhibited was by a Devonshire lady, and both in design, adaptation, and execution, was in all ways excellent Painting on the biscuit is a more advanced stage of pottery decoration than on the enamel, and we find it largely practiced in this county.
It surely will be a most legitimate work, for this Association to take full cognizance of the special development of the potter's art which claims Devonshire for its home, and which is becoming so worthily represented by the North Devon potters and is taken up in a higher degree by the Art potteries of Torquay.

Footnotes
(1) Mr. Rock, of Boutport Street, Barum, has a jug with this decoration, bearing date 1733.
(2) Fremington appears to be the source of the clay for all the North Devon Potteries.