Thomas Whieldon

The attribution of actual pieces to his factory has long been uncertain, and terms such as "Whieldon-type" are now often used for a variety of different types of wares.

Other terms reflecting the lack of certainty are "Whieldon ware" as a type, and "Astbury-Whieldon", used for early Staffordshire figures, where the two were pioneers.

He continued to live there after his retirement in 1780, when he demolished his factory and planted an ornamental garden on the site, as none of his children wished to take on the business.

Whieldon's high reputation enabled him to attract into his employment some of the most important figures in the early history of Staffordshire pottery.

[8] Thomas Whieldon was recognised by his contemporaries as one of the most successful potters in Britain and one author has suggested that, aside from Wedgwood's family members who were already established in business, "there was probably no one who could have taught him so much about the innovative techniques that were already changing an ancient craft into a substantial industry.

"[9] Other writers have pointed to a possible lack of innovation, on the contrary: according to Brian Dolan, Whieldon's production appears to have altered little between 1759, when Wedgwood left him, and 1780 when he retired.

[10] Robin Hildyard has said, less generously, that Whieldon lacked creative ambition and "was content to mass-produce unadventurous wares for general consumption", providing Wedgwood only with "an object-lesson in how to acquire wealth with a minimum of risk.

[12] Whieldon's pottery production is described by Josiah Wedgwood in his contemporary Experiment Book where there is a wealth of manuscript material on the partnership.

[13] Here Wedgwood explains that by 1759 there was an urgent need to improve the quality of lead-glazed creamware which was the principle ware being produced by Whieldon at the time.

Even after Wedgwood had established his own business, he continued to buy-in wares from Whieldon, usually biscuitware for later decoration and glazing, to meet demand, when needed.

[17] Archaeological excavations at the Fenton Vivian site conducted by Arnold Mountford on behalf of Stoke City Museum between 1968 and 1970[18] found evidence of salt-glazed stoneware, tortoiseshell ware, agateware, red stoneware, glazed red earthenware, blackware and a small amount of plain creamware, all dating from the time of Whieldon's partnership with Wedgwood.

[19] Whieldon kept an Account and Memorandum Book[20] and his records for 1749–53 show a wide range of pottery goods produced, including coffeepots, teapots, punch pots, bowls, ewers, sugar dishes, plates, tureens and ‘toys’ or trinkets.

[20] In his Experiment Book,[13] Josiah Wedgwood states that in 1759 tortoiseshell ware was the second most important ware at the Whieldon factory, but the market was declining:“[…] But as no improvement had been made in this branch for several years, the country was grown weary of it; and though the price had been lowered from time to time, in order to increase the sale, the expedient did not answer, and something new was wanted, to give a little spirit to the business.

Whieldon had an exceptionally large workforce for the period and expected ‘scrupulous obedience, respectful behaviour and strict punctuality’.

Because roads were in a poor state before the introduction of turnpikes, many of the finished goods were broken in transit, substantially reducing the profitability of pottery production.

Because of the popularity of Whieldon-style tortoiseshell wares and of historic Staffordshire pottery in general, and the high prices they fetch on the market, there has long been a problem of forgery.

In more modern times, forgery of Whieldon wares dates back at least until the 1920s when his work commanded high prices.

[39] Thomas Whieldon's works have long been treasured by collectors and have realised high prices for at least the past century.