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* * * * *
COMPANION VOLUME BY THE SAME AUTHOR
CHATS ON
ENGLISH EARTHENWARE
_With Coloured Frontispiece and 150 Illustrations
and Tables of over 200 Illustrated Marks._
CONTENTS
CHAPTER
I. HOW TO COLLECT: A CHAPTER FOR BEGINNERS
II. EARLY WARE
III. ENGLISH DELFT
IV. STONEWARE
V. EARLY STAFFORDSHIRE WARE—THOMAS WHIELDON: HIS
CONTEMPORARIES AND SUCCESSORS
VI. SALT-GLAZED WARE, STAFFORDSHIRE
VII. JOSIAH WEDGWOOD
VIII. THE SCHOOL OF WEDGWOOD
IX. LEEDS AND OTHER FACTORIES
X. TRANSFER-PRINTED WARE
XI. STAFFORDSHIRE FIGURES
XII. SWANSEA AND OTHER FACTORIES
XIII. LUSTRE WARE
XIV. LATE STAFFORDSHIRE WARE
INDEX
CHATS ON
ENGLISH CHINA
BOOKS FOR COLLECTORS
_With Frontispieces and many Illustrations._
CHATS ON ENGLISH CHINA.
By ARTHUR HAYDEN.
CHATS ON OLD FURNITURE.
By ARTHUR HAYDEN.
CHATS ON OLD PRINTS.
(How to collect and value Old Engravings.)
By ARTHUR HAYDEN.
CHATS ON COSTUME.
By G. WOOLLISCROFT RHEAD.
CHATS ON OLD LACE AND NEEDLEWORK.
By E. L. LOWES.
CHATS ON ORIENTAL CHINA.
By J. F. BLACKER.
CHATS ON OLD MINIATURES.
By J. J. FOSTER, F.S.A.
CHATS ON ENGLISH EARTHENWARE.
(Companion volume to “Chats on English China.”)
By ARTHUR HAYDEN.
CHATS ON AUTOGRAPHS.
By A. M. BROADLEY.
CHATS ON PEWTER.
By H. J. L. J. MASSÉ, M.A.
CHATS ON POSTAGE STAMPS.
By FRED. J. MELVILLE.
CHATS ON OLD JEWELLERY AND TRINKETS
By MACIVER PERCIVAL.
CHATS ON COTTAGE AND FARMHOUSE FURNITURE.
(Companion volume to “Chats on Old Furniture.”)
By ARTHUR HAYDEN.
CHATS ON OLD COINS
By FRED. W. BURGESS.
CHATS ON OLD COPPER AND BRASS.
By FRED. W. BURGESS.
CHATS ON HOUSEHOLD CURIOS.
By FRED. W. BURGESS.
CHATS ON OLD SILVER.
By ARTHUR HAYDEN.
CHATS ON JAPANESE PRINTS.
By ARTHUR DAVISON FICKE.
CHATS ON MILITARY CURIOS.
By STANLEY C. JOHNSON.
CHATS ON OLD CLOCKS AND WATCHES.
By ARTHUR HAYDEN.
CHATS ON ROYAL COPENHAGEN PORCELAIN.
By ARTHUR HAYDEN.
CHATS ON OLD SHEFFIELD PLATE.
(Companion volume to “Chats on Old Silver.”)
By ARTHUR HAYDEN.
* * * * *
BYE PATHS OF CURIO COLLECTING.
By ARTHUR HAYDEN.
With Frontispiece and 72 Full page Illustrations. 21s. net.
LONDON: T. FISHER UNWIN, LTD.
NEW YORK: F. A. STOKES COMPANY.
* * * * *
[Illustration: WORCESTER VASE.
From the Collection of the late Lady Charlotte Schreiber
in the Victoria and Albert Museum.
_Reproduced by permission of the Board of Education._]
CHATS ON
ENGLISH CHINA
BY
ARTHUR HAYDEN
AUTHOR OF “CHATS ON ENGLISH EARTHENWARE,”
“CHATS ON OLD SILVER,” ETC.
[Illustration: _Bloor Derby Teapot_]
WITH 150 ILLUSTRATIONS
T. FISHER UNWIN LTD
LONDON: ADELPHI TERRACE
_First Edition_ 1904
_Second Edition_ 1906
_Third Impression_ 1907
_Third Edition_ 1909
_Fifth Impression_ 1910
_Sixth Impression_ 1912
_Seventh Impression_ 1917
_Eighth Impression_ 1919
_Fourth Edition_ 1920
(_All rights reserved_)
TO
JOSEPHINE HAMILTON
PREFACE TO FOURTH EDITION
A certain amount of necessary revision has been given to the volume.
The prices obtained at public auction for representative examples have
been brought up to date, and ten new illustrations have been added.
ARTHUR HAYDEN.
_September, 1920._
PREFACE TO SECOND EDITION
This edition has been slightly revised and corrected. Throughout
the volume many new illustrations appear in place of those in the
first edition, and their selection has been made in order to show
more clearly the characteristics of the china as dealt with in the
letterpress.
In addition to these, twenty new illustrations have been added, and
I have to acknowledge my indebtedness to Messrs. Wedgwood & Sons, by
whose courtesy I am enabled to reproduce examples from their museum
at Etruria, and fine examples after Flaxman, including specimens of
dinner-ware which are now being manufactured by the firm from the old
designs by that artist.
I have similarly to acknowledge my obligation to Messrs. W. T. Copeland
& Sons, of Stoke-upon-Trent (the successors of Spode), for several
illustrations of the ware from their factory, and to Messrs. Minton for
some fine specimens of their productions.
It is my hope that this improvement will make the volume more useful as
a practical working handbook for the collector.
To the great number of enthusiasts who have written to me in connection
with this volume and with the _Dilettante_ pages in the _Lady’s
Pictorial_, I tender a grateful and appreciative acknowledgment.
ARTHUR HAYDEN.
_March, 1906._
AUTHOR’S NOTE
In regard to English Earthenware, which appeals to a wide circle of
collectors, I have, in response to many readers who have written to me
on the subject, prepared a companion volume to this, entitled “Chats
on English Earthenware.” The subject is treated from a collecting
point of view, and a large number of carefully selected photographic
reproductions of typical examples illustrate the letterpress.
Those who are interested in the outline sketch of English Earthenware
given in the concluding chapters of this volume, and desire greater
detail, will find a completer record in the companion volume.
A. H.
_January, 1909._
* * * * *
[Illustration: BOW TEAPOT.
With leaf as spout, and grape-vine handle.]
PREFACE
This little volume has been primarily written with a view to enable
the possessors of old china to determine the factories at which
their ware was produced. A modest attempt has been made to show that
the china-shelf is a record of men’s triumphs and failures, and the
fantastic shepherds and shepherdesses, lustrous bowls, queer printed
dishes, and bizarre decorated jugs, may be regarded by a reflective
mind as so many symbols representing something less perishable than the
clay of the potter.
These “Chats” originally appeared in the pages of _Our Home_. In
collecting them in volume form I trust that they will appeal to a wider
circle of readers.
Never was a greater interest taken in Art, and the growth of popular
literature has developed a taste for objects of art in the home. The
china-shelf is now regarded as worthy of keen and discriminating study.
Its treasures, often heirlooms, have been brought into the light of
day, and amateur collectors can now be numbered by thousands.
I am enabled to include a useful feature in the list of prices
obtained at recent sales, by kind permission of the proprietors of the
_Connoisseur_, whose “Sale Prices,” published monthly, is most valuable
to the collector.
It is hoped that the Bibliography of works on china and pottery may
be of use to those who wish to study the subject more deeply, and a
copious Index will prove useful for ready reference.
The “Chats” relating to Lustre Ware, Old English Mugs, and Wedgwood are
not upon English china, but deal with earthenware; they are included in
the volume in order to increase its scope and usefulness.
My thanks are due to Mr. W. G. Honey, of Cork, for kindly allowing me
to reproduce specimens from his collection which was exhibited at the
Cork Exhibition. I am indebted to Mr. A. Merrington Smith, Fine Art
Dealer, of Lowestoft, for information concerning the recent unearthing
of moulds and fragments of china on the site of the old factory at
Lowestoft, a discovery of very great value. By permission of the
Coalport Company I am giving specimens of their modern productions and
some of their marks not published before.
ARTHUR HAYDEN.
CONTENTS
PAGE
PREFACE xi
LIST OF ILLUSTRATIONS xv
BIBLIOGRAPHY xxi
GLOSSARY OF TERMS USED xxiii
CHAT
I. OLD DERBY 1
II. CHELSEA CHINA 27
III. THE BOW CHINA FACTORY 49
IV. OLD WORCESTER 67
V. PLYMOUTH AND BRISTOL CHINA 91
VI. THE LOWESTOFT FACTORY 111
VII. COALPORT 133
VIII. SPODE AND HIS SUCCESSORS 149
IX. NANTGARW AND SWANSEA 163
X. MINTON 179
XI. OLD ENGLISH EARTHENWARE 191
XII. LUSTRE WARE 219
XIII. LIVERPOOL WARE 235
XIV. WEDGWOOD 247
INDEX 279
LIST OF ILLUSTRATIONS
FRONTISPIECE.
Worcester Vase. From the Collection of the late Lady Charlotte
Schreiber in the Victoria and Albert Museum.
CHAT I.—OLD DERBY.
PAGE
Bloor Derby Teapot v
Early Crown Derby Cup and Saucer 3
Old Derby Marks 7
Derby Figure Group 9
Crown Derby Pastille-burner 11
Crown Derby Mug and Saucer 13
Bloor Derby Marks 16
Crown Derby Vase and Bloor Derby Pastille-burner 17
Later Derby Marks 20
CHAT II.—CHELSEA CHINA.
Chelsea Figure 27
Figure of Carpenter 29
Chelsea Vase in British Museum 31
Chelsea Marks 34
Chelsea Marks 35
“Foundling” Vase 38
Derby-Chelsea Marks 39
CHAT III.—THE BOW CHINA FACTORY.
Bow Vase, with Cover _Facing page_ 48
Bow Inkstand 49
Bow Figure 50
Bow Marks 53, 54
Bow Plate and Teapot 56
Bow Cups 57
Bow Marks 60
CHAT IV.—OLD WORCESTER.
Early Blue and White Worcester Plate _Facing page_ 66
Old Worcester Transfer-printed Group 67
Old Worcester Marks 70
Old Worcester, King of Prussia Mug 73
Worcester Dish 77
Flight and Barr Marks 78
Chamberlain Marks 78
Kerr and Binns Marks 79
Grainger, Lee and Co. Marks 79
Scent-bottle (Chamberlain) 80
Grainger, Lee and Co. Vases 81
CHAT V.—PLYMOUTH AND BRISTOL CHINA.
White Porcelain Goat _Facing page_ 90
Salt-cellar, Plymouth 91
White Porcelain Dish, Plymouth 94
Vase, Plymouth 95
Plymouth Marks 96
Bristol Porcelain 97
Bristol Vase and Cover _Facing page_ 98
Bristol Marks 100
Bristol Cup and Saucer from Edmund Burke’s Service 102
Bristol Vase 103
CHAT VI.—THE LOWESTOFT FACTORY.
Lowestoft, Panels of Dish (detail) 111
Lowestoft Sauce-boats, with Fragment of Mould 113
Blue and White Delft Marriage Plate 114
Old Lowestoft Cups and Saucers 117
Dated Lowestoft Mug 118
Interior of Old Lowestoft Factory (Digging for Moulds) 122
Toy Teapot and Cream Jug 123
Dated Lowestoft Mugs and Jug 125
Lowestoft Blue and White Jug 128
Inkstand 129
CHAT VII.—COALPORT.
Two-handled Cup, richly gilded 133
Old Coalport—Covered Cup and Saucer 135
Caughley, Old Blue Mug 137
Early Marks 139
Coalport Vase 141
Coalport Marks 142
Latest ditto 143
Old Coalport Vase 145
CHAT VIII.—SPODE AND HIS SUCCESSORS.
Copeland Vases 149
Spode Plates 151
Spode Pastille-burner 152
Spode Marks 154
Spode Plate 155
Copeland Marks 156
Copeland Plates 157
CHAT IX.—NANTGARW AND SWANSEA.
Swansea Vase 163
Nantgarw Plates 165
Nantgarw Dish 167
Fine Swansea Vase and Cover _Facing page_ 170
Swansea Marks 171
Swansea Plate 172
Swansea Vase (Dillwyn’s Etruscan Ware) 173
CHAT X.—MINTON.
Minton Vase _Facing page_ 178
Minton Dish 181
Minton Marks 182
Minton Vase 183
Later Minton Marks 184
Lion Ewer (Henri II. Ware) 185
Minton Candelabrum 186
Majolica Plaque 189
CHAT XI.—OLD ENGLISH EARTHENWARE.
Bust of Prince Rupert 191
Sunderland Jug 193
Old Jug—John Bull 198
The Vicar and Moses 199
Sunderland Frog Mug 203
Old Delft Mug (dated 1631) 206
Group of Old English dated Ware 209
Old Puzzle Jug 212
Marks on Mason’s Ware 216
Group of Mason’s Jugs 217
CHAT XII.—LUSTRE WARE.
Silver Lustre Jug 219
Copper Lustre Jugs 221
Group of Copper Lustre Ware 222
Copper Lustre Bust 223
Copper Lustre Jugs 225
Copper Lustre Jug 226
Silver Lustre Sugar-bowl 227
Silver Lustre Jugs 228
Silver Lustre Teapot 229
Silver Lustre Jug (White Decoration) 231
Gold Lustre Jug 232
CHAT XIII.—LIVERPOOL WARE.
Liverpool Delft Punch Bowl 235
Old Liverpool Tiles 237
Early Liverpool Marks 240
Liverpool Marks 241
Old Liverpool Mug 243
Old Liverpool Jug (two positions) 244
Liverpool Mug 245
CHAT XIV.—WEDGWOOD.
Wedgwood Dinner Plates 247
Wedgwood. Jasper Cup and Saucer 249
Whieldon Tortoiseshell Ware 251
Wedgwood Terra-cotta Vases 256
Wedgwood. Jasper Vase 258
Blue Jasper Vase and Pedestal 259
Plaque designed by Flaxman. Mercury uniting the
hands of England and France 260
Portland Vase 261
Wedgwood and Bentley Mark 269
Old Wedgwood Teapot 271
Wedgwood Plaque. Designed by Lady Diana
Beauclerk _Facing page_ 278
ADDITIONAL PLATES IN THIRD EDITION.
Bow Teapot _page_ xi
Derby Figure of Peacock _Facing page_ 20
Chelsea Figures of Birds ” ” 34
Chelsea Figure and Candlestick _Facing page_ 40
Pair of Bow Figures ” ” 54
Bow Cups ” ” 60
Worcester Plate ” ” 68
Pair of Worcester Vases ” ” 70
Rare Lowestoft Coffee-Pot ” ” 120
ADDITIONAL PLATES IN FOURTH EDITION. 1920.
Derby Cups and Saucers _Facing page_ 22
Chelsea Dishes ” ” 36
Chelsea. Pair of Groups, Dancing Figures ” ” 42
Bow. Figure of Britannia ” ” 52
Bow Teapot, Chinese Style, and Plate _page_ 56
Worcester Teapot _Facing page_ 68
Worcester Mug, Transfer printed ” ” 76
Lowestoft Jug (1772), Mug (1792) _page_ 125
BIBLIOGRAPHY
GENERAL.—Catalogue of Specimens of British Pottery and Porcelain in
the Museum of Practical Geology. 1876. (Out of print.)
(This Collection is now at the Bethnal Green Museum.)
Marks and Monograms on Pottery and Porcelain. William Chaffers.
(The last edition, 1901, contains over 3,500 Potters’ marks
of all the well-known European and Oriental factories.)
Ceramic Art of Great Britain. 2 vols. Llewellyn Jewitt. 1878.
The China Collector’s Pocket Companion. Mrs. Bury Palliser.
(Containing marks only—arranged in order.)
Old English Pottery. Mr. and Mrs. Frank Freeth. (Morgan, Thompson,
& Jamison.)
English Porcelain. A. H. Church. 1904.
English Earthenware. A. H. Church. 1884.
Art of the Old English Potter. By M. L. Solon.
History of Old English Porcelain. By M. L. Solon. 1903.
History and Description of English Porcelain. By Wm. Burton.
Cassell & Co. 1902.
History and Description of English Pottery. By Wm. Burton. 1906.
Examples of Early English Pottery. John Eliot Hodgkin, F.S.A., and
Edith Hodgkin. 1891.
Pre-Wedgwood English Pottery (Solon Collection). _Connoisseur_,
December, 1901; February, 1902.
Pottery and Porcelain, A Guide to Collectors. F. Litchfield. 1900.
Catalogue of English Porcelain at British Museum. R. L. Hobson.
1905.
Guide to English Pottery and Porcelain at British Museum. R. L.
Hobson. 1910.
Catalogue of Schreiber Collection at Victoria and Albert Museum. B.
Rackham. 1915.
* * * * *
PARTICULAR. Bow, Chelsea, and Derby Porcelain. William Bemrose.
1898.
Bristol, Two Centuries of Ceramic Art in. Hugh Owen. 1873.
Chelsea China. _Connoisseur_, March, 1903.
Bow Porcelain. _Burlington Magazine_, vol. xxv., 1914.
Bristol Porcelain. _Burlington Magazine_, vol. xx., 1912.
Old Derby China Factory. John Haslem. 1876.
Liverpool, The Art of Pottery in. Joseph Mayer. 1855.
Liverpool Catalogue of Pottery and Porcelain. P. Entwistle. 1907.
The Liverpool Potters. C. T. Gatty. 1882.
Lowestoft. _Connoisseur_, April, 1903; October, 1903. _Queen_,
Christmas number, 1903. _Lady’s Pictorial_, Dec. 30, 1905.
Lowestoft China. By W. W. R. Spelman. (Jarrold, Norwich.) 1906.
Lustre Ware. _Connoisseur_, November, 1902.
Saltglaze Teapots, Old English. _Connoisseur_, February, 1903.
Staffordshire Potteries, History of the. S. Shaw. 1829.
Swansea and Nantgarw, The Ceramics of. William Turner. 1897.
Toby Jugs and their Near Relatives. _Lady’s Pictorial_, Jan., 1906.
Transfer Printing on Pottery. _Burlington Magazine_, vol. vi.,
1904-5.
Wedgwood, Life of Josiah. Miss Meteyard. 1865.
—— Memorials of Miss Meteyard. 1874.
—— _Connoisseur_, May, 1903.
—— A. H. Church. (Portfolio Monograph.)
Worcester China. A Century of Potting in the City of Worcester. R.
W. Binns. 1877.
Worcester China. A Record of the Work of Forty-five Years
(1852-1897). R. W. Binns. 1898.
Old Worcester. _Connoisseur_, October, 1902.
Worcester Porcelain. R. L. Hobson. 1910.
GLOSSARY OF TERMS USED
_Biscuit._—The first stage of china after being fired. It is white
and porous, and ready for decoration. Its surface resembles that
of an ordinary clay pipe.
_China._—A term used to include all porcelains.
_Earthenware._—All ware that, in contradistinction to porcelain, is
not translucent.
_Glaze._—The glassy substance applied to the surface of pottery and
porcelain.
_Lead Glaze._—The porcelains of Bow, Chelsea, and other early
factories contained as much as 40 per cent. of oxide of lead.
Modern chinas contain less than half that, and some glazes are
“leadless.” As to the terrible results of the use of this glaze
on the health of the potters, see Report of Professors Thorpe
and Oliver to Home Office on subject (C. 9207, 1899).
_Over-Glaze Decoration._—Decoration after the surface has
received its transparent glaze. This decoration admits of a
wider range of colours. On hard paste, such as Plymouth, it
stands flat on the surface; on soft paste, such as Bow, it is
partly incorporated.
_Under-Glaze Decoration._—Decoration applied to the unglazed
surface when in biscuit state; the whole is then covered with
transparent glaze and refired.
_Ironstone China._—A term invented by Mason, who took out a
patent for his ware. It is not china, but is a heavy class of
earthenware highly decorated. It was generally adopted by other
Staffordshire makers.
_Moulds._—The models from which china is made. These are of plaster
of Paris.
_Opaque._—Incapable of transmitting light. This distinguishes pottery
from porcelain.
_Paste._—The body or material of which porcelain is made.
_Hard._—China which, on being broken, shows a sparkling surface
like that of a flint stone, and is impervious to any staining
by colour applied to it. Plymouth and Bristol and New Hall are
the only true hard-paste porcelains of this country.
_Soft._—China which, on being broken, shows a porous surface
capable of absorbing colour.
_Porcelain._—Commonly called china; is distinguished from pottery by
being translucent.
_True Porcelain_ is made from a mixture of two
minerals—_petuntse_, or “china stone,” and _kaolin_, or “china
clay,” with nothing artificially added; _e.g._, Chinese,
Dresden, Plymouth, and Bristol chinas.
_Glassy Porcelain_, containing an artificial admixture of glass
to give the paste translucency; _e.g._, Chelsea, Bow, Nantgarw,
Pinxton.
_Bone-ash Porcelain_, of which Spode’s china is an example.
_Pottery._—A term used to include all the earthenwares.
_Printing._—Formerly, in old chinas, all the coloured decorations
were painted. Now, by use of various mechanical devices, women
and girls are employed to transfer printed patterns on modern
china.
_Transfer-printing._—A process used at Liverpool by Sadler and Green,
and at Worcester, in which the design from an engraved copper
plate was transferred to specially prepared paper and applied
to the ware. Black and brown were the main colours used (see
Illustrations, pp. 244-5 and facing p. 76).
_Translucent._—Transparent. All porcelains, when held up to a strong
light, are translucent, in varying degree, according to thickness
of paste.
I
OLD
DERBY
[Illustration: EARLY CROWN DERBY CUP AND SAUCER.
_In Victoria and Albert Museum._]
CHATS ON ENGLISH CHINA
I
OLD DERBY
It is not too much to hope that the eyes of some reader will stray into
these pages as a wanderer in a strange land, one whose interest in
china has never been awakened. We hope to lure such a wight with sweet
cajolery. If perchance we can get him to examine one or two dainty
specimens of old blue china we shall have him enmeshed in our toils. If
he be an artist he will not escape from the enchantment of Derby and of
Worcester. If he be a mere business man, here is an item from Messrs.
Christie’s catalogue of a sale on January 14, 1902: “Coffee-pot and
cover, Worcester. Painted with figures, birds, and flowers, in colours
in Chinese taste, and with alternate dark-blue scale-pattern panels—£28
7s.” And this, mark you, is an ordinary item selected at random, a
business sample, if you will.
Mr. Andrew Lang, in one of his “Ballades in Blue China,” has cunningly
put into rhyme a poet’s reason for his love of china:—
“There’s a joy without canker or cark,
There’s a pleasure eternally new;
’Tis to gloat on the glaze and the mark
Of china that’s ancient and blue,
Unchipped all the centuries through,
It has passed, since the chime of it rang,
And they fashioned it, figure and hue,
In the reign of the Emperor Hwang.”
We should be less than human if we did not point the moral by quoting
the delicious sentences of a City man (one can hardly imagine Charles
Lamb a City man journeying daily to Leadenhall Street!) concerning—
“Those little, lawless, azure-tinctured grotesques that, under the
notion of men and women, float about, uncircumscribed by any element,
in that world before perspective—a china teacup.... Here is a young and
courtly mandarin handing tea to a lady from a salver—two miles off.
See how distance seems to set off respect. And here the same lady, or
another—for likeness is identity on teacups—is stepping into a little
fairy boat, moored on the hither side of this calm garden river, with a
dainty, mincing foot, which, in a right angle of incidence (as angles
go in our world), must infallibly land her in the midst of a flowery
mead—a furlong off on the other side of the same strange stream!”
And now, having brought you thus far, reader, will you not journey with
us and learn something of the magic and the mysteries of old china? We
are a goodly company, and if you have a fine eye, a pretty fancy for
your own taste, and a keen zest for a bargain, join hands with us.
Derby holds a high place in the history of British porcelain, inasmuch
as it was here that its manufacture was matured, and the ability and
perseverance of three generations of the Duesbury family raised the
productions to the level of those of the great European factories.
It is generally believed that the manufacture of china first sprang
into existence at Derby in 1750, about a year or so before the works at
Worcester were established. There is a tradition that the first maker
was a Frenchman, who lived in a small house in Lodge Lane, and who
modelled and made small articles in china, principally animals—cats,
dogs, lambs, sheep, &c.—which he fired in a pipemaker’s oven in the
neighbourhood.
About this time there were some pot works on Cockpit Hill belonging
to Alderman Heath, a banker, and the productions of the Frenchman,
probably a refugee, having attracted notice, an arrangement was
made between him and Heath and Duesbury by which the manufacture of
porcelain would be carried on jointly. This man’s name, to whom the
absolute honour of commencing the Derby China Works belongs, was Andrew
Planché. A deed exists by which a partnership for ten years was entered
into by the three above named. Planché found the skill and secret
knowledge, Heath the money (£1,000), and Duesbury the ability to carry
out the scheme.
Besides this deed there is no other record of the Frenchman, as the
firm became known as “Duesbury and Heath,” and apparently the usual
fate of the poor inventor overtook Planché.
William Duesbury was of Longton Hall, in Staffordshire, and was the
son of a currier. By trade he was an enameller. Entries in the family
Bible, in the possession of the Duesburys, prove that in 1755 he
removed to Derby to carry on the newly-acquired business “in ye art of
making English china, as also in buying and selling all sorts of wares
belonging to ye art of making china.”
Records of the kinds of china manufactured and sent to London are
interesting. There were blue fluted boats, mosaic boats, sage-leaf
boats, fig-leaf sauce-boats, octagon fruit plates, vine-leaf plates,
coffee cups, flower vases, blue strawberry pots, standing sheep, cats,
honeycomb jars, coffee-pots, butter-tubs, Chelsea jars, teapots,
figures of Mars, Minerva, &c., Spanish shepherds, candlesticks, and, of
course, many varieties of plates and dishes, and cups and saucers.
Once or twice the name of the firm appears as “Duesbury and Co.,” but
it is more usually “Duesbury and Heath.” Finally, it became Duesbury
only.
[Illustration:
1750.
Earliest Mark
(In gold).
Under Royal Patronage.
1773.
Marked in blue.
1782-1830.
Early—marked in puce.
Later—blue, red, green, & black.
OLD DERBY MARKS.]
Coming to the marks which were used, in our illustration we have
arranged them in chronological order, the earliest being at the top.
The mark used in the earliest days is not certain, but in all
probability the letter D, when in gold, is one of the first used. It
is, however, exceedingly rare to find a piece thus marked. This letter
D may equally stand for Derby or for Duesbury.
From 1770 to 1773, the script initial [Illustration: D] and the anchor
known as the Derby-Chelsea or the Duesbury-Chelsea mark was introduced,
as William Duesbury had purchased “the Chelsea Porcelain Manufactory,
and its appurtenances and lease thereof,” on February 5, 1770, and made
this addition to the Chelsea anchor. This mark of the Derby-Chelsea
period is usually in gold, and was used both at the factory at Chelsea
and at Derby. Examples of this period are of comparative rarity, and
are eagerly sought after by collectors.
The Derby-Chelsea marks are given in the “Chat” on Chelsea (p. 39).
The works at Chelsea were not finally discontinued till 1784, when they
were destroyed by Duesbury, the kilns and every part of the factory
pulled down, and what was available sent off to Derby. About the year
1773, a [Illustration: D] and a crown were used. This mark is mostly in
blue, but sometimes in puce, light red, or green. This crown was added
by Royal permission, because the factory had been honoured by Royal
patronage.
Will my readers note that in the earlier pieces of Derby and
Crown-Derby china the crown is carefully jewelled; in the later
productions of the Duesbury period the mark was rudely executed, and
the crown was hastily pencilled.
[Illustration: DERBY FIGURE GROUP.
Lady and gentleman dancing. Decorated in rich colours and gilded.]
Of the introduction of the cross daggers and six spots, about
the year 1782, there is the tradition that it was a defiance to all
manufactories except three, viz., those of Sèvres, Dresden, and Berlin.
[Illustration: CROWN DERBY PASTILLE-BURNER (4 IN. HIGH).
_In the Collection of the Author._]
We give as a headpiece a typical example of early Crown-Derby. It
represents a two-handled covered cup and saucer decorated with the
well-known rich blue and gold border and festoons in pink. It is marked
in puce with jewelled crown. This specimen is from the national
collection now at the Bethnal Green Museum.
The vase we reproduce is 6-1/2 in. high and has the crown and crossed
batons and dots, which mark has been photographed and appears in the
illustration (p. 17). It is richly decorated and a good specimen, as is
the smaller vase, or pastille-burner, with masks, and similarly marked
(p. 11).
These two specimens, together with the Crown-Derby mug and saucer,
decorated in tomato red and gold, are from the collection of Mr. W. G.
Honey, which was on view at the Cork Exhibition.
The first William Duesbury died in 1785. His son, William, who had
for the last few years been in partnership with him under the firm of
Duesbury and Son, succeeded him. This second William Duesbury increased
the fortunes of Derby china with astonishing rapidity. The King and
Queen, and the Prince of Wales (afterwards George IV.), and the leaders
of fashionable society were among his customers. There was a craze for
a time, and titled ladies painted flowers and other pictures on the
porcelain supplied to them by the Derby factory. It was afterwards
fired and finished for their own special use.
Of these ladies, Lady Margaret Fordyce, Lady Plymouth, and Lady Aubrey
executed some beautiful drawings, which probably still remain in their
families. Lord Lonsdale had twenty-four plates painted with landscapes
in Cumberland after his own sketches, and many other noblemen and
gentlemen did the same.
[Illustration:
_W. G. Honey._] [_Cork._
CROWN DERBY MUG AND SAUCER.
(Tomato red and heavy gold decoration.)]
[Illustration: MARK ON ABOVE MUG (IN RED).]
On the death of Duesbury the second, his widow married his late
partner, a Mr. Michael Kean, an Irishman, and clever artist. This was
in 1798. But Kean hastily withdrew from the concern when the third
William Duesbury came of age, who for a time carried on the factory
under the firm of “Duesbury and Sheffield.” In 1815 the premises passed
into the hands of Mr. Robert Bloor.
It was in the year of Waterloo that the third William Duesbury, and
last of the great family of potters who had established the factory,
leased the premises to Mr. Robert Bloor, who had been a clerk to his
father, and had carried on the business during Mr. Duesbury’s minority.
Ultimately the entire business passed into the hands of Mr. Bloor, and
the name of Duesbury disappears from Derby records.
For some years up till about 1825 or 1830, Mr. Bloor used the Old Derby
mark, the crown, cross daggers with dots, and D beneath, but about that
period he discontinued it, and adopted instead a mark with his own
name. It is well for readers to note that down to the discontinuance
of the old mark, it had invariably been done with a pencil, but those
adopted by Mr. Bloor were printed.
In our illustrations of the other marks used at Derby we place them in
chronological order. The first printed mark used under the Bloor régime
was the circle enclosing the crown, and the words “Bloor, Derby,”
printed around. In some specimens, of a little later date, the mark is
a trifle larger, and the crown more carefully designed. Another mark
used occasionally about the year 1830 was the word “Derby” enclosed in
a scroll; while on some other specimens of about the same date, or a
little later an old English D, surmounted by a crown, is marked, or the
word “Derby” in Roman capitals on a ribbon, appears beneath the usual
crown.
[Illustration: BLOOR DERBY MARKS.]
We now come to a rather painful chapter in the history of the Old
Derby, practically a series of misdoings, which terminated the glorious
career of so famous a manufactory. It is interesting to see when trade,
with its somewhat ruthless methods, comes into conflict with art, with
her finer susceptibilities, how art has to go to the wall. It was the
same story at Derby.
[Illustration: CROWN DERBY VASE.
With panels, and painted with floral design in colours.
(Height 6-1/2 ins.)
Mark illustrated showing Crown, crossed batons and dots and letter D.]
[Illustration: BLOOR-DERBY PASTILLE-BURNER.
Having perforated lid. Decorated in colours and richly gilded.
(Height 5 ins.)
With mark illustrated below.]
Before Bloor’s time it had been the unvarying plan of the Duesburys—so
particularly jealous were they of their reputation, and of maintaining
the highest possible character of the Derby ware—to allow only perfect
goods to leave the premises. However trivial the fault, the articles
were not considered good enough to send out in the name of Derby.
These damaged wares had accumulated to a very large extent at the
manufactory. Mr. Bloor, who was not a rich man, and who was filled with
the very laudable desire to make the Derby concern successful, and who,
moreover, had to pay off his purchase money by instalments, caught at
the chance of disposing of this accumulation of Old Derby stock. Here
it was that his trade instincts overcame his love of the fine arts.
Better far had it been if the whole buildings had been consumed by
fire, and the old stock destroyed, than that the damaged goods should
have been foisted upon the public. But it fell about otherwise, and Mr.
Bloor disposed of the Derby failures by auction at the different large
towns. By this means he amassed great sums of money, which brought
him immediate capital, but which was the death-blow to Derby ware.
The old Derby was eagerly bought, but this temporary success resulted
in permanent and never-to-be-remedied evil. Seeing how readily the
public bought up the Derby ware, the temptation arose to produce large
quantities of the ware specially for the auction rooms. The Duesburys
would have risen in their graves had they known of these proceedings;
but Fate avenged them, for the decline of the Derby factory commenced
from this moment.
We give, also from Mr. W. G. Honey’s collection, a fine example of
Bloor Derby china; it is five inches in height, and is marked with a
crown and the words “Bloor, Derby,” in circle around (p. 17).
In 1845 Mr. Robert Bloor died, followed in the next year by his brother
Joseph, who had assisted him for many years. For a little while the
works were in the hands of a Mr. Clarke, who finally discontinued them
and sold most of the models to the Staffordshire manufacturers. The
end came in 1848, when a number of the workmen left Derby for ever and
migrated into Staffordshire and Worcester. Here, then, is the end of
the Old Derby works.
Old Derby china will, therefore, be seen to be divided into two
periods—the great Duesbury period and the declining period when Bloor
became a factor.
[Illustration: LATER DERBY MARKS.]
A word or two to readers who possess specimens of later Derby may be of
interest. Among our marks will be seen several other names connected
with Derby. In 1848, when the works were closed, a number of the old
hands were actuated by the desire to continue the making of china at
Derby They, therefore, under the name of Locker and Co., started a
little manufactory, and adopted the design we give.
[Illustration: DERBY FIGURE OF PEACOCK.
Richly painted and gilded. Tail in natural colours. Marked D in red.]
Mr. Locker died in 1859, and the works were then carried on in the
name of Stevenson and Co. Finally we have the name of Courtney, who
appears to have been one of Bloor’s agents. Messrs. Stevenson and
Hancock adopted the last mark for their wares, after persuasion by
connoisseurs, who objected to the use on modern Derby of the old mark
of the crown, cross daggers, and [Illustration: D]. The legacy which
the Bloors and some of the modern successors left to the name of Derby
is not a very happy one. The tampering with the marks, or the bartering
of modern as old, or the disposal of damaged stock, all go to lessen
the faith of the public. As the years go on, the china buyer becomes
more discerning, and is not that blind monster which manufacturers too
often imagine him to be.
In the hurried sketch we have given of the decline of Old Derby we
have little to say of the wonderful biscuit ware which was one of the
secrets of Derby, which secret has now been lost. The biscuit figures
produced in the best days of Derby are unsurpassed for fineness of
modelling and beauty of finish. It was in experimenting to find how
Derby produced this biscuit that Copeland discovered his celebrated
Parian ware.
There is a peculiar pleasure to the lover of things old and things
true in the unravelling of the complicated chain which environs an old
factory such as Derby. The lives and ambitions of men, fathers, sons,
and grandsons, are bound up with the traditions of the firm. Then trade
had somewhat the air about it of the old mediæval guilds. There were
secrets which no money could buy. All this lies on the china shelf for
you to read, if you care to. Perhaps when your erring maid drops your
Derby cup and saucer you will philosophically remember that it is not a
cup and saucer, but only as the autumn leaves that are strewn on the
grave of Duesbury, the potter—just a symbol to remind you that man’s
creations, after all, turn to dust and ashes. But all that is very
mournful, and mayhap one shall find you later busy with fish-glue and
brush, at which pastime you will need to be a philosopher too.
CHARACTERISTICS OF OLD DERBY CHINA.
With a history such as that of Derby, general characteristics cannot be
laid down, but certain typical patterns were made at Derby. A favourite
pattern was the “French sprig” or “Chantilly,” technically termed “129
sprig” at the Derby works, being an imitation of the Angoulême china,
painted with a forget-me-not or small blue cornflower, and a gold sprig
laid on the white. This is of frequent occurrence on fluted cups.
Deep blue borders with gold leafage and simple festoons in pink was a
characteristic decoration of early Crown Derby. The “Japan” patterns of
Derby during the last years of the eighteenth century and early years
of the nineteenth, were profusely decorated with blue and red, and
often richly gilded.
[Illustration: OLD DERBY CUP AND SAUCER.
Japan pattern.]
[Illustration: OLD DERBY CUP AND SAUCER.
Japan pattern.]
SALE PRICES.
CROWN DERBY.
£ s. d.
Bowl, circular and pierced cover, gilt
ram’s head handles, on tripod, decorated
with flowers in Oriental taste
on alternate red and green panels,
10 in. high. Christie, January 30,
1902 9 9 0
Pastille-burners and covers, pair, gilt
claw feet and with masks round the
rims, painted with flowers in the
Oriental taste and with dark blue
and gold panels. Christie, January
30, 1902 7 17 6
Figure, a girl with a basket of fruit
carrying a bunch of grapes, 7-1/4 in.
high. Christie, February 5, 1902 11 11 0
Peacock, with flowers in relief, on
plinth, decorated, 6 in. high. Foster,
February 13, 1902 11 11 0
Cup, cover and saucer, two-handled
(from Nelson service). Debenham,
Storr & Sons, April 14, 1902 7 0 0
Vases, set of three, with beaker-shaped
necks, painted with landscapes in
panels on dark blue ground richly
gilt with arabesque foliage, and with
white and gold handles, 10-1/2 in. and
12-1/2 in high. Christie, April 6, 1903 30 9 0
Figures, pair, shepherd and shepherdess.
Sotheby, May 4, 1903 63 0 0
Vases, pair, campana-shaped, with
Satyr’s mask handles, painted with
roses, poppies and other flowers in
colours on a gold ground, 18 in. high.
Christie, May 28, 1903 38 17 0
Dessert service with centre with sprays
and bouquets of flowers, painted by
Billingsley. Two tureen covers and
stands, seven dishes and twelve
plates, marked. Sotheby, June 11,
1920 20 0 0
Pair of figures of a boy and girl, with dog
and goat, 6-1/4 in. high; and a Derby
figure of Neptune, with a dolphin,
7-1/2 in. high. Christie, July 5, 1920 12 12 0
Biscuit group, of Nymphs festooning a
bust of a Satyr, 13 in. high. Christie,
July 5, 1920 8 18 6
Six Plates, painted with rosebuds in the
centres. Christie, July 5, 1920 6 6 0
Cylindrical mug, painted with a view,
“On the River Trent,” in panel,
and gilt with foliage, 5 in. high.
Puttick & Simpson, July 16, 1920 3 13 6
BLOOR DERBY.
Vases, pair, shaped, decorated in gold
and painted continuous landscapes,
scroll handles and gilt mask terminals,
11-1/2 in. high (marked “Bloor,
Derby”). Edwards, Son & Bigwood,
Birmingham, May 13, 1902 9 19 6
Dessert service, painted with flowers in
the Oriental taste, in red, blue, and
gold, by Bloor, consisting of centre-dish,
on foot, sugar-tureen, cover
and stand, and nine shaped dishes.
Christie, July 21, 1902 65 2 0
Vase, large, by Bloor, painted with a
view of Temple Bar and a group of
flowers, in two large panels, on dark
blue and gold ground, 21 in. high.
Christie, December 5, 1902 21 0 0
Dessert service, painted with bouquets
of flowers on white ground, and
the borders gilt with vases and arabesques,
consisting of an ice-pail,
cover and liner, centre-dish on foot,
eight dishes and six plates. Christie,
July 5, 1920 17 17 0
Set of three vases, painted with flowers
in the Chinese taste in dark blue
panels, gilt snake handles, 6-3/4 in. to
8-1/4 in. high. Puttick & Simpson,
July 16, 1920 8 18 6
Set of four vases of flowers, on scroll
bases, with gilt paw feet, 6-3/4 in. high.
Puttick & Simpson, July 16, 1920 12 12 0
II
CHELSEA
CHINA
[Illustration: CHELSEA FIGURE.
With candelabrum.]
[Illustration: CHELSEA FIGURE OF CARPENTER WITH BAG OF TOOLS.
_In Victoria and Albert Museum._]
II
CHELSEA CHINA
The origin of Chelsea china is like that of the celebrated Charles
James Harrington Fitzroy Yellowplush, “wropped in mystry.” The
southwestern corner of London has always been connected with the making
of pottery in some form or another. To-day Messrs. Doulton carry on
the tradition of Lambeth and Vauxhall. Battersea was famed for its
enamelled ware, and Fulham had a factory established by John Dwight,
M.A., of Christ Church, Oxford, the inventor of porcelain in England,
to whom a patent was granted in 1671 for his manufacture of porcelain
and stone ware.
Tradition, with a light heart, circulated the fable that the origin of
the Chelsea works was owing to the clay that was brought as ballast in
ships from Chinese ports. In a “Life of Nollekens” this absurdity finds
its way into print, but for all that it is utterly without foundation.
“The cunning rogues produced very white and delicate ware, but then
they had their clay from China, which, when the Chinese found out,
they would not let the captains have any more for ballast, and the
consequence was that the whole concern failed.”
Equally foolish and erroneous statements have been made about other of
the English factories, and the difficulty of sifting real facts from a
mass of chaff in such factories as Bow or Lowestoft is very great.
In the early days of Chelsea, and, by the way, the exact date of the
establishment of the factory is not known, the clay was obtained from
Cornwall. Dr. Martin Lister, in a work published in 1699, mentions the
fact that an inferior kind of porcelain was made at Chelsea, probably
little better than opaque glass. It is known that a manufactory of
glass was set up at Chelsea by some Venetians under the auspices of
the Duke of Buckingham. It is interesting to note that the Chelsea
mark of an anchor is identical with that of Venice. In 1745 the
works at Chelsea had attained a Continental fame, inasmuch as the
French company, in petitioning for the establishment of a factory at
Vincennes, urged that its aim was to counteract the importation of
English and German ware.
[Illustration: CHELSEA VASE. 24 IN. HIGH. (DATE 1762.)
Representing the Death of Cleopatra.
_In British Museum._]
1745 is a very convenient date, as we then come on surer ground.
The earliest dated example of English porcelain known has the word,
“Chelsea, 1745,” scratched on it under the glaze, and is also marked
with a triangle. We reproduce this mark in our list of Chelsea marks.
Life was given to the Chelsea factory by the patronage of George II.,
who did much to encourage its work. He procured workmen, models, and
materials from Saxony and Brunswick, and thus enabled Chelsea to enter
into competition with the best designs and productions of Dresden and
Sèvres. The Duke of Cumberland took a warm interest in the factory, and
contributed an annual sum to its revenue. In 1750 we find the Chelsea
works in the hands of Nicholas Sprimont, a foreigner of considerable
artistic taste, who established the reputation of Chelsea. The best
period of Chelsea ware is from this date till the year 1765. Porcelain
made between these two dates is always much sought after, and brings
considerable sums under the hammer. For instance, in February, 1902, at
Christie’s, a Chelsea teapot, painted with birds and trees in colours,
in spiral panels, with borders of gilt flowers, fetched £96 12s., and a
pair of vases, 11-1/4 inches in height, square shaped, the four panels
painted with male and female Chinese figures, sold for £588. In July,
1902, a figure of a Chelsea shepherdess, brought £33 12s.
There is little doubt that at this time there were being manufactured
at Chelsea some very fine specimens of porcelain. Horace Walpole
writes, in 1763, “I saw yesterday a magnificent service of Chelsea
china, which the King and Queen are sending to the Duke of Mecklenburg.
There are dishes and plates without number, an epergne, candlestick,
salt-cellars, sauce-boats, tea and coffee equipages, _et cetera_. In
short, it is complete, and cost £1,200.”
[Illustration:
(Embossed oval).
(In gold or red).
(Later marks).
(Anchor & cable).
[Chelsea Marks].]
One pleasing feature is the fact that Mr. Sprimont made a handsome
fortune by his skill and industry as a director. During his time, it
is said that “the china was in such repute as to be sold by auction,
and as a set was purchased as soon as baked, dealers were surrounding
the doors for that purpose.” This fanciful scene of competing dealers
striving to secure a specimen of Chelsea almost before it was cooled
from the furnace is too picturesque to be literally true.
We reproduce a figure of a carpenter, eight inches high, coloured,
marked with anchor in red (p. 29). This specimen of Chelsea is now at
the Bethnal Green Museum. We give an illustration of a beautifully
decorated vase in the collection at the British Museum, representing
the Death of Cleopatra. The French style of design is singularly
evident in this example (p. 31).
[Illustration: CHELSEA FIGURE.
Aquatic bird preening his plumage.]
[Illustration: CHELSEA FIGURE.
Marked with anchor in red.
(Height, 8 inches.)]
[Illustration: CHELSEA FIGURE.
Marked with raised anchor painted red.
(Height, 6-1/2 inches.)]
Of the marks on Chelsea china, it may be observed that the earlier
specimens, in the days when they imitated blue and white Oriental
models, are unmarked. Later the anchor appears, embossed in a raised
oval, impressed on the bottom of the piece, and bearing the anchor in
relief. Various forms of the anchor are used, and in varying colours,
apparently according to the caprice of the workman, who drew it with
his hair-pencil. Red is the colour most commonly used, and the best
pieces are mostly marked in gold, with the anchor more carefully drawn.
[Illustration:
(In gold on best pieces).
(Mark on milk jugs in form of goat).
Chelsea 1745
(Earliest dated example)
[Chelsea Marks].]
Specimens with the double anchors are very valuable, as this was a mark
only used on very high-class pieces.
The triangle is one of the marks of Bow, and the little milk-jugs in
the form of a goat, decorated with raised flowers, were attributed to
Bow, on account of this mark, but the last mark we give shows beyond
dispute that the triangle was also used as a Chelsea mark.
Having told of the rise and progress of Chelsea, we have regretfully
to chronicle its fall. The following contemporary advertisement is
mournful reading: “To be sold by auction, by Mr. Burnsall, on the
premises, some time in March next (1764), at the Chelsea Porcelain
Factory, everything in general belonging to it, and all the remaining
unfinished pieces, glazed and unglazed; some imperfect enamelled ditto,
of the useful and ornamental; all the materials; the valuable and
extensive variety of fine models in wax, in brass, and in lead; all
the plaster moulds, and others; the mills, kilns, and iron presses;
together with all the fixtures of the different warehouses; likewise
all the outbuildings, etc., etc. And, as Mr. Sprimont, the sole
possessor of this rare porcelain secret, is advised to go to the German
spaw, all his genuine houshold furniture, etc., will be sold at the
same time.
“N.B.—Soon after, when everything is sold belonging to the manufactory
and the large warehouse cleared, there will be some most beautiful
pieces of the truly inimitable Mazarine blue, crimson, and gold, that
Mr. Sprimont has thought deserving finishing; that will be sold at
Chelsea, as the whole remaining and the last produce of that once most
magnificent porcelain manufactory.”
This was in 1764, but no purchaser came forward, and the factory
lingered on till 1769, when again we find it advertised, and the end
of Chelsea china is very near, Mr. Sprimont having entirely left off
making the same. Josiah Wedgwood had some idea of purchasing some of
the Chelsea china: “There’s an immense amount of fine things,” he
writes to Bentley. But at this date, Mr. William Duesbury, of the Derby
manufactory, took over the Chelsea works as he had previously taken
over those of Bow, and carried them on for some years until 1784,
when he pulled down the buildings, and removed all that was useful to
his factory at Derby, and thus the manufacture of Chelsea china came to
an end.
[Illustration: CHELSEA DISHES.
Painted with tropical birds in brilliant colours.
(Width, 12-1/2 in.).]