1. Michelle Erickson and Robert Hunter, “Dots, Dashes, and Squiggles: English Slipware Technology,” in Ceramics in America, edited by Robert Hunter (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 2001).

2. One exception is Mireille De Reilhan’s Agateware Pottery Magic (London: Andre Deutsch Ltd., 1995), which demonstrates some general techniques of making agateware intended primarily for the contemporary studio potter.

3. Other writers have also used the term solid agate to make a distinction from surface slip marbling. We think a further distinction is necessary since both thrown and laid agates have a mixture of solid clays. The term press molded agate is also commonly used to refer to the class of wares that we term laid agate.

4. See the contemporary agateware by David Hewitt at his website: <http://www.dhpot. demon.co.uk/agate.htm>. This link includes his recipe for making agate and throwing agateware. Also Tony Bouchet of Bouchet Agateware Pottery, Jersey, France, at website: <http:// www.agateware.co.uk/index2.htm>. See also Robert Hunter, “The Stylized Works of Michelle Erickson,” Ceramics: Art and Perception, no. 46 (2002): 46–51.

5. Dennis Haselgrove and John Murray, “John Dwight’s Fulham Pottery: a Collection of Documentary Sources, Journal of Ceramic History 11 ( 1979): 80. This recipe was recorded in 1693 although Dwight was making agateware earlier.

6. Chris Green, John Dwight’s Fulham Pottery Excavations 1971–79 (London: English Heritage, 1999), p. 340.

7. These include a thrown gorge, bottles, and a press molded flask. Most notable is a large covered agate tankard with white clay sprigging over the agate body in the Burnap Collection at the Nelson-Atkins Museum. See Robin Hildyard, Browne Muggs, English Brown Stoneware (London: Victoria and Albert Museum, 1985), p. 29, and Julia E. Poole, English Pottery (Cambridge: Cambridge University Press, 1995), pp. 36–37. Ross E. Taggart, The Frank P. and Harriet C. Burnap Collection of the English Pottery in the William Rockhill Nelson Gallery (Kansas City, Mo.: Nelson Gallery/Atkins Museum, 1967).

8. Green, John Dwight’s Fulham Pottery, p. 127.

9. Patricia M. Korry,“Francis Place, Seventeenth-Century English Potter and Man of the Enlightenment,” Ars Ceramica, no. 16 (2000): 40–49, and Richard E. G. Tyler, “Francis Place’s Pottery,” English Ceramic Circle (1972): 203–12.

10. David Barker and Pat Halfpenny, Unearthing Staffordshire (Stoke-on-Trent, Eng.: City of Stoke-on-Trent Museum & Art Gallery, 1990); David Barker, A New Perspective of the Staffordshire Potteries (London: Jonathan Horne Publications, 1998); Paul Bemrose, “The Pomona Pot Works, Newcastle, Staffordshire, Part ii. Samuel Bell: His Red Earthenware Production, 1724–44,” English Ceramic Circle Transactions 9, pt. 3 (1975): 292–303. The citation for Samuel Bell’s patent is the 1729 Patent at the British Public Records Office C66/3577.

11. Barker and Halfpenny, Unearthing Staffordshire, p. 31.

12. Ivor Noël Hume, A Guide to Colonial Artifacts (New York: Alfred A. Knopf, 1976), pp. 134–35; Ivor Noël Hume, If These Pots Could Talk: Collecting 2000 Years of British Household Pottery (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 2001), p. 281; Leslie B. Grigsby, English Slip-Decorated Earthenware at Williamsburg (Williamsburg, Va.: The Colonial Williamsburg Foundation, 1993), pp. 62–63 and pp. 68–69.

13. Simeon Shaw, History of the Staffordshire Potteries (1829; reprint, New York: Praeger Publishers, 1970), pp. 211–15; J. C. Wedgwood, A History of the Wedgwood Family (London: St. Catherine Press, 1908). On pp. 149–51, he gives details of Dr. Thomas Wedgwood born June 25, 1695, died February 20, 1737. Much research is needed to clarify the development and products of this enigmatic potter.

14. Bernard Hughes, English and Scottish Earthenware 1600–1860 (London: Abby Fine Arts, 1960), pp. 60–62. Other agateware potters cited by Hughes include Thomas Astbury, Daniel Bird, Ralph Wood, Josiah Spode, and Ralph Brown.

15. Taggart, The Frank P. and Harriet C. Burnap Collection, p. 101.

16. Ibid. Although Taggart illustrates several T’ang dynasty agate vessels in his discussion of English agateware, he concludes that “any suggestion of a direct connection is untenable,” p. 101.

17. Gertrude Z. Thomas, Richer Than Spices (New York: Alfred A. Knopf, 1965), p. 76.

18. Arnold Mountford, “Thomas Whieldon’s Manufactory at Fenton Vivian,” English Ceramic Circle (1972): 164–82.

19. Wedgwood’s experiment book on March 23, 1759.

20. Elizabeth Bryding Adams, The Dwight and Lucille Beeson Wedgwood Collection at the Birmingham Museum of Art (Birmingham, Ala.: Birmingham Museum of Art, 1992).

21. De Reilhan, Agateware Pottery Magic, p. 3.

22. Donald Carpentier and Jonathan Rickard, “Slip Decoration in the Age of Industrialization,” Ceramics in America, edited by Robert Hunter (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 2001), pp. 116–17.

23. Al Luckenbach, “The Swan Cove Kiln: Chesapeake Tobacco Pipe Production (ca. 1650– 1669),” forthcoming in Ceramics in America (2004).

24. John Spargo, The Potters & Potteries of Bennington (Boston: Houghton MiZin Company and Antiques Incorporated, 1926; reprint, Dover, N.Y.: Dover Publications, Inc., 1972). Spargo’s description of the scroddled technique is as follows: “A lump of clay, prepared much as for ordinary white body, was first thoroughly kneaded; upon this was pressed, or ‘wedged,’ a similar lump into which coloring matter derived from oxides of iron, manganese, and cobalt had been thoroughly mixed; upon this, again, was placed still another lump, colored in the same manner, and of the same materials, but lighter or darker in shade, as required. The entire mass was then pounded and hammered, so that, when it was flattened out, a cross-section of it presented the appearance of stratified rock. Pounded back into a single cake, the mixed clay was sliced by drawing a strong wire through it. These slices were ‘thrown’ upon the wheel and worked or moulded into the desired forms. Treated to a clear glaze composed mainly of flint and feldspar, it was subjected to great heat for a much longer time than most other ware.”

25. Pat Halfpenny, “Collector Beware” in Peter Williams and Pat Halfpenny, A Passion for Pottery: Further Selections from the Henry H. Weldon Collection (New York: Sotheby’s Publications, 2000), p. 339.

26. Louis Marc Solon, The Art of the Old English Potter (London: Bemrose & Sons, 1883), p. 212.

27. Halfpenny, “Collector Beware,” p. 337.

28. Leslie B. Grigbsy, The Henry H. Weldon Collection of English Pottery 1650–1800 (New York: Sotheby’s Publications, 1990), p. 36.

29. Nancy S. Dickinson, “‘Of Other Sorts of Ware, Too Tedious to Particularize’: The Rhinelanders as Ceramic Merchants in Eighteenth Century New York City” (report, Colonial Williamsburg Foundation, January 1988). An examination of orders placed between 1775 and 1781 suggests that agateware was higher than undecorated creamware but often the same price as “Cauliflower,” “Pineapple,” “Melon,” and other common wares of the period. Appendix 12a, p. 116.

30. Green, John Dwight’s Fulham Pottery, pp. 61–62 and 127–28.

31. Catherine Zusy, “Archaeology at the United States Pottery Company Site in Bennington, Vermont,” in Ceramics in America, edited by Robert Hunter (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 2002), pp. 221–23.

32. Robert Barth, personal communication, Portsmouth, New Hampshire, 2002.

33. The New Shorter Oxford-English Dictionary on Historical Principles, edited by Lesley Brown, 2 vols. (Oxford: Clarendon Press, 1993), 2:3157.

34. De Reilhan, Agateware Pottery Magic, back cover.