I give on Shelf 1, Plate XLI, a charming specimen of some cups and saucers printed in maroon and gilt, and on Shelf 1, Plate XLII, a blue-and-white cup and saucer bearing a square imitation Chinese mark. On “Grandfather Phillips,” Plate III, there is an example of old Leeds pottery, hand painted in blue, with an early Oriental design. I was in doubt where this bowl emanated from, but I am now convinced it is Leeds, for I have just bought a perfect rich blue-and-white Leeds Queen’s ware coffee pot of similar design and glaze. It has a twin twisted handle with flower knob, and cost less than the price of this book. A basket-pattern dish in fine condition appears on Plate XV.
At the head of Plate XLII you will see a covered potpourri jar and a pair of 8-inch beakers, together with two mugs. I found four of these things at Folkestone, while one mug, with the coat-of-arms of the Earl of Arundel worked into the decoration, I got in Kendal. When I was in Folkestone in 1912 I was hopelessly puzzled as to what this stuff could be. In another shop I had examined a bowl of the same make bearing an imitation Chinese mark, and as up to then I had learnt that only English china was soft--which all these pieces were--I could not understand where it came from. After comparing notes with Mr. J. F. Blacker, who had previously written me very kindly when answering my queries, I felt satisfied it was made in France of a soft quality to suit the English market. The decoration is by hand, and is a mixture between Chelsea and Oriental design. Lots of this stuff has been called Lowestoft, and about that time in an up-to-date shop I saw something like it which I felt sure had not long come over from the Continent. Soon after this holiday I was asked to call at a house near home to look at two “Lowestoft” vases which had just been sent them, and I found they were similar modern Continental. I believe my specimens are about a hundred years old.
A Poor Start--Castings--Tips--Duplicates--Photographs--A Puzzle--My only Son--Our last Tour.
I have now reached a course which I am afraid I shall not find easy-going. My attention was first drawn to horse amulets or face brasses in an article in the _Connoisseur_ for October, 1911, but it was not until 1913, when I came in touch with the proprietor of an antique shop who had dabbled in these things for some time, and who obligingly talked to me about them, that I decided I would add a few to my collection, as they might be interesting and would occupy small space. My first purchases resulted in my bringing home on approval quite a number which I had obtained from a dealer, who informed me that the brasses were usually collected in pairs. I referred this find to the friendly antique proprietor, who, after looking them through, asked if I had paid for them, and he said it in such a way that I evaded the question by enquiring “Why?” His answer was, “Because there are several stamped pieces, and you should only buy cast ones; besides, what do you want pairs for?”