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Grigsby, Leslie B. (Leslie Brown) / The Longridge collection of English slipware and delftware. Volume 2: delftware
Volume 2 (2000)

Other tiles, plaques, and a wall niche,   pp. [465]-[488]


Page 484

 
DELFTWARE Other Tiles, Plaques. 
              D and a Wall Niche 
D431, D432, D433. TILES 
(D431) Liverpool 
(D432, D433) Bristol 
Possibly Richard Frank at Redcliff Back 
(All) 1760-1775 
(D431, each) L: 5" (12.7 cm); 
W.: 5" (12.7 cm) 
(D432, D433, each) L.: 5 1/8" (13 cm); 
W.: 5 1/8" (13 cm) 
BODY CLAY: (D431) Fine-grained buff, 
(D432, D433) Medium-grained buff. 
TIN GLAZE: (D431) Milky white. 
(D432, D433) Slightly bluish white. 
(All) Sides and reverses unglazed. 
SHAPE: (Each) Shaped in tile frame. 
(Modern wooden frames.) 
DECORATION: Painted. Animals and 
bird. (D431) Borders composed of scale- 
and-flower ogee-curved panels with 
circle-and-flower corners. 
MD 
M     obert Sayer's Ladies Amusement, or Whole Art ofJapanning Made Easy
(London) 
was first issued around 1760 and included two hundred plates, many of them
with multiple scenes and some of them with images plagiarized from earlier
pub- 
lications.' The plates provided inspiration to a broad variety of amateur
and 
professional craftsmen, including potters, and became the sources of many
ceram- 
ic designs. In the four-tile set shown here (D431), the elephant is extricated
from a 
group in Amusement plate 110; the dogs-and-doghouse scene derives from plate
112; 
and the scene with two animals by a tree stump (perhaps a reference to Aesop's
"The 
Fox and the Sheep," "The Wolf and the Lamb," or "The
Dog and the Sheep" fable) is 
from plate 109. The two cows scene does not exactly match any in the Amusement
but may be a reworking of beasts in plates 111, 150, or 153. The horse on
the single 
tile (D433) comes firom a group in plate 111. Several owls are depicted in
the Amuse- 
ment, but none is obviously related to the one on the Longridge tile (D432).
The same 
figure, sometimes with different details, is known on polychrome tiles and
occa- 
sionally is shown within a bianco-sopra-bianco border. 
   The size and border of the polychrome Longridge tiles (D431) helps to
associ- 
ate them with Liverpool. Though the painting of the border superficially
resem- 
bles enameling, it was fired with, rather than after, the glaze. (The poor
mixing of 
the pigments with the glaze during firing resulted in a slightly textured,
"dry" sur- 
face.) Several other similarly bordered Amusement tiles also are recorded
and bear 
a variety of scenes: the Longridge dogs-and-doghouse (D431, top right) scene
is 
duplicated; a monkey eating a nut by a tree with a squirrel is derived from
plate 
109; a bull also comes from plate 109; horses (different from D433) are from
plate 
111; and sheep probably are a rearrangement of animals in plate 108. The
border 
also is found on at least one tile depicting Chinese figures.' 
    At least two of the Longridge tile scenes also occur on tiles with different
edge treatments: the elephant (D431) appears in manganese with different
details on borderless Bristol tiles; the horse (D433) occurs in blue within
an 
ogee-curved ("barbed medallion") border with floral corners on
a Liverpool tile 
with a manganese 8 mark. The Longridge horse and owl tiles are attributed
to 
Bristol based on their glaze, size (larger than London and Liverpool types),
very 
smooth backs, and sharp, well-cut edges. 
1. See Sayer, Ladies Amusement. For plagiarism 
in the Amusement, see Grigsby, Edwards and 
Darly, pp. 303, 305, rig. 6 n. 26. For ceramics 
(not delft tiles) afier the Amusement, see Grigsby, 
Fables, p. 877 n. 25; Grigsby, Weldon, nos. 198, 
216, 223, 225. 
2. For some Amusement and other animal tiles, 
see Ray, Tiles, pls. 34-36; Horne, Tiles, 
nos. 243-274. 
3. For a borderless polychrome example, see 
Ray, Tiles, no. 374, and col, pl. opp, p. 61. A 
bianco-sopra-bianco bordered tile (for matching 
border, see Horne, Tiles, no. 286) with the same 
manganese owl on a ground picked out in poly- 
chrome was in the possession ofJonathan 
Horne in 1999. The tile's bold, thick decoration 
is typical of Swedish-market pieces associated 
with Richard Frank's Redcliff Back Pottery, Bris- 
tol (Houme comments [lanuary 1999]). 
4. Horne comments [lanuary 1999). 
5. Grigsby, Chipstone, no. 87 (doghouse, monkey 
and squirrel); Ray, Tiles, nos. 360 (bull), 361 
(horses, see also Archer, V&A, col. pl. 311, 
no. N.391); Horne, Tiles, no. 262 (sheep). 
6. Archer, V&A, no. N.390. Though the dancing 
figure's pose resembles that of one in Amuse- 
ment pl. 57, some other publication probably 
inspired the figure group. For a Liverpool tile 
with a similarly posed figure in much the same 
costume and a border matching the Longridge 
no. D427 type, see Ray, Tiles, no. 570. 
7. Ray, Tiles, nos. 353 (horse), 357 (elephant); 
Home, Tiles, no. 250 (elephant). 
8. Home comments (January 1999). 
484 The Longridge Collection 


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