New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1890-11-24
A TALK ON POTTERY.
Mr.. WILLARDS KNOWLEDGE OF WONDER
Full ART.
HE TELLS OF RARE SPECIMENS AND BEAUTIFUL
ASTIoUEs-rHE SEARCH FOR
LOST SKILL.

ANTIoUES-THE SEARCH FOR
LOST SKILL.
1t was reasonable TO believe that some talk about
pottery worth hearing to be had from the young
English actor who In The Mddleman" at Palmers
nightly wrests from the jaws OF fiery furnace tech
meal secret that brings about poetic justice and esab
fishes the fortunes Of Gyms Blenkarn
The writer found Mr. Willard at his rooms In the
San Carlo, young man who has yet TO come before
this public in his engaging personality, freed from
the guise OF the dreamy old potter lie has the classic
type of face, honest eyes, thorough simplicity OF man
and the expression in conversation OF man with
definite and abundant views and knowledge. lie mas
In short the marks Of promise about him beyond the
stamp what he has achieved ct the outset OF his self
reliant career.
something about pottery is itlr he said, in cheer
full way, II 1t were matter of and pleasure to
say something. ave will have to begin with Blenkarn,
then, for his search after lost process Oh getthg
certain hardness for the will not take us too far
afeld, and i can I'm that way and incidentally PROB
ably be able to get at the subject better In the
play Of The Middleman' the Tatlow factory had
been celebrated in years past for the peculiar
briancy Of the glaze On the china in addition to the
peculiar hardness Of tho ware The secret had been
lost as frequently happens In this branch OF artistic
industry Blenkarn had rediscovered the glaze, winch
discovery he had sold unadvisedly and without due
profit, to the owner OF the works, but he had not
euccee1cd IN getting at the olo ndruness, tne I"O
qualities being totally different things, and although
the Is useful without the other, when the two
unite the value is enormous Before the glaze You
make the bisquc-which must stand second firing
at tremendous heat, the glaze being dependent on IT,
SO you the old potter in the third act Of the play
besecch heaven to reveal to him the secret In order
TO humble his oppressor and betrayer lie had tried
it over and over again. Again and again he had
mixed clay in different proportions and with different
ingredients. For hours he had toed at the furnace
had the glow expand, then kept for days at an
temperature and then die away at last so that
the ovens could be opened only to find the seggars-
crates containing the waTc-flled with broken heaps
magnificent forms from his hands, srveed mp. shape
less Remember that each one OF these hundreds OF
articles represented in the mixing separate expert
ment differing In some slight particular. some
chemical used in had been excluded from another
Each one marked in way TO distinguish it.
seeing that they have not stood the fire, he dsmsscs
them from further attempt. In this particular case
Blcnkarn. throwing some aside, finds piece,
little lug that is perfect. He looks again. feels it
again and has to exut lie holds his future in
his hands!"
Does any history attach asked OF him, /" to
any of the ware you handle, that is displayed in
scenes OF THE Mddleman'; as. for instance. where
you take vase from the cupboard saying that you
have baked il for weeks without affecting 1t"
"Ycs, each article happens to be Characteristic OF
what Benkarn says about it. The big piece on the
table which he fondly takes In his arms as he says,
1T is easy TO make money; anybody can do that; but
there is not In the world to-day who can make
this vase, is from the old LOwesto factory In Nor
folk, which long ago ceased to exist III Is OF con
siderable value. l brought it over with me. Its
is lost and that alone gives 1t special worth
The ware is a favorite with collectors pale
blush gray runs through all the glazing The
decoration is beautiful generally composed Of minute
tracings and small flowers. The forms turned out
from the old works also strkingy graceful There
Is charm in the peculiar softness of the touch. Now
this he felt between his thumb and finger the cup
belonging TO the breakfast service Of the san Carlo
that was before him. does not feel bit like it. They
are very scarce. Occasionally You find an old tea
service in some parts of England where 1t is preserved
behind the glass Of corner cupboard, perhaps
wedding gift and not used. has so survived
"What is the scarcest English pottery:"
al Imagine that the old Chelsea Is One such piece
Is in my collection. The original factory was in
little suburb Of London, and known the Royal and
has ceased to exist Some pieces resemble the deep
blue sevres In color but not in the decoration 1t is
usually ornanented with birds OF paradise; sometimes
the figures grotesque. Good specimens fetch enor-
sums that forgeries are common AFTER copy
Ing the mark of the anchor they even go SO far as to
initiate the three little ndentaons made by "A tripod
upon which the rested in the peculiar process OF
baking In that portion Of London known as THE
city, | know OF wholesale house that makes d
feature Of these limitations, such as Crown Derby,
Crescent marked Worcester, Chelsea, etc. In gen
eral appearance they perfect copies and they WI"
tell you If You ask with knowledge Of processes.
how they made but they reserve one secret ana
that is how they produce that slight discoloration of
age a kind OF stain that slightly penetrates the
glaze This house supplies Wardourst., which con
slsts almost wholly Of shops devoted to the sale OF
old china and old oak, with many Of It's choicest speci
mems"
"Now, Mr. Willard, to return to old Blenksrn'
"Blenkarn is type Of the old English potter who
has dreamy satisfaction In his life of labor 50 mixed
with art. | devoted some time to visiting various
pottcrle and received special facilities and couteses
from Sir Henry Doulton at Lambeth, London In
his work the potter sits with revolving slab before
him. This slab is varously worked, but it would not
he Of interest to into technical differences In the
processes. lie throws the rough lump OF wet clay
on the slab wheel, that it remains firmly Affixed
and with his hands pressing against 1t the mass runs
ND into some desired outline. 1t Is wonderful to see
him fashion IL. Putting his finger into the centre of
il at the top he Is working perhaps with both
hands in 1t as 1t revolves During all this time he
occasionally dips his hands in the water SO that the clay
does not get dry. This drps on his clothes and he
gets into the habit Of finally wipng his palms on his
hps This explains the marks that you see on
Blenkan When the potter has finished his Jugs
and vases they put aside until certain degree OF
moisture has evaporated. There two firings.
The second determines the hardness united with the
glaze but ii is the first the hardness OF the blsque
alone that BlenRaIn IS working at when you see him
at the kilns."
Are the kns seen in the play exact nproduc-
lions ~
"They are exactly in the matter OF sze but 1t Is
possible to exhibit only onehalf Of the round fur
naces II IS as realistic it be made for tho
heat is something inconcevabe to one who has had
TO battle with the fiery element out OF when come
the perfect FORMS The Martin Brothers. at Southll,
near Tatlow, are among our greatest living potters
After produced The Middleman,' reporter OF tho
Pail Mall Gazette sent to their works to COM
pare the kiln scene with the reality. Here Is what no
wrote: The heat was terrific that the atmosphere
appeared to be CLASSY and wavy. Two men stripped
10 tne shirt and with barred arms and threats were
,oring against the wall; the one resting long
iron rod and the other on coal