ion between England's northeast Hampshire and western Surrey counties. The pottery being made in this region gave way, in the 14th century, to a type known as 'Coarse Border ware,' which represented a refinement of earlier ceramic traditions. The development of this Coarse Border ware was most likely influenced by migrations from the European continent, as well as burgeoning trade networks.||
Source: Pearce 1992
Coarse Border ware developed briefly in the late 15th century into a tradition termed 'Tudor Green,' the name paying homage to England's then-enthroned noble lineage. Tudor Green (examples of which are shown opposite), while distinct from what was to become classic Border ware, was likely a direct precursor, since historic and archaeological evidence has shown that both were produced in the same kilns.
During the second half of the 16th century, the Surrey-Hampshire pottery industry consolidated its hold on the London ceramics market with its fully developed Border ware, which is characterized by distinctive yellow and green glazes. It was made from local white firing clays, and its paste was coarser than the earlier fine, thin-walled Tudor Green types. It quickly became the main source of domestic pottery for the inhabitants of London and remained as such until the end of the 17th century.
|There are two distinct classes of Border ware: White Border ware is characterized by a hard paste with moderate to abundant inclusions of quartz sand particles. It may also exhibit moderate amounts of reddish quartz, minor and infrequent amounts of red and/or black ironstone, and white (Muscovite) mica. Red Border ware is, as the name implies, characterized by a red or reddish brown fabric. Inclusions are similar to those found in white Border ware, except for quartz particles, which are relatively infrequent. White streaks typically found within red Border ware may provide evidence for a blending of materials. Red inclusions in white Border wares are, however, not common.||
Source: Pearce 1992
Throughout the 16th and most of the 17th centuries, white Border ware production outpaced that of red by a substantial margin. In a study of early 17th-century London assemblages, white outnumbered red by approximately 6 to 1 (Pearce 1992). While it was noted that red ware quantities increased as the century progressed, the numbers remained below that of the white variety. Red Border ware only begins to dominate London Border ware assemblages in the 18th century.
Border ware production reached its peak in the 17th century.
Throughout the 17th century, and into the early 18th century, Border ware was one of the principle sources of good-quality
household pottery used in London. The waning popularity of the ware, an issue inextricably entwined in the
socio-economic apparatuses of the period, can be principally linked to the rise of the various Staffordshire potteries,
which inspired the market collapse of white earthenware in general. Staffordshire quickly established a foothold
in the London pottery market; by the mid 18th century, it was the dominant domestic ceramic producer for the city.
BORDER WARE PRODUCTION TECHNIQUES
All Border ware vessels were wheel-thrown, and some forms exhibit evidence of knife-trimming on their bases. Yellow, green, or mottled brown glaze was usually applied to one surface of the vessel. Toward the end of the 17th century, some vessel types, such as chamber pots and mugs, were glazed on both the interior and exterior surfaces.
Coarser cooking and storage vessels tended to be made of unmixed red-firing clay. Examples can be best seen in 17th-century chamber pots, as well as a select few costrels. Mixed clay was more often used for finer tablewares, such as dishes and porringers (which vary widely in their fabric matrix), and tended toward a pale fabric color.
Standard Border ware base forms generally are either flat or slightly
kicked. Some forms exhibit wheel-impressed concave bases, which may have been to serve the utilitarian purpose
of decreasing the amount of surface area likely to come into contact wit