THE SWANSEA WORKS.
The introduction of porcelain manufacture into the earthenware factory
of Swansea was due to Messrs. Hains & Co. towards the close of the last
century; but it was of an inferior kind. In 1802 Mr. Dillwyn purchased
the works, and in 1814 they had arrived at great perfection under the
management of Billingsley. The former retired in 1813 and was succeeded
by his son. The next year the porcelain manufacture was revived
and carried on for about seven years very successfully; Baxter, an
accomplished figure painter, having entered the service of Mr. Dillwyn,
junior, and continuing with him for three years, but returning to the
Worcester works in 1819.
Dillwyn's china seems to have been, as a rule, distinguished by the
impressed or stencilled name (in red) "Swansea," also the tridents, as
illustrated.
[Illustration]
The factory was closed about the year 1820, John Rose of Coalport
having purchased the plant and removed it to his own works.
Sometimes the name "Swansea" is stencilled in red and sometimes
impressed only. A very scarce mark is "Dillwyn & Co."; also the two
words stamped in capitals are enclosed in lines all round.
DERBYSHIRE WORKS.
[Illustration]
Derbyshire porcelain represents four different periods, the manufactory
having been founded by William Duesbury, of Longton, Staffordshire,
in 1781. It was formed from the Bow and Chelsea china, the founder
having purchased part of the plant of the former factory and the whole
of the works of the latter, carrying on the Chelsea and Derby works
simultaneously. His son succeeded him in 1788, taking Michael Kean into
partnership; who ultimately disposed of the works to Robert Bloor (in
1815), at whose death they were closed. But a small factory was opened
by Locker, Bloor's manager, which afterwards passed into the management
of Messrs. Stevenson, Sharp, & Co., and then Stevenson & Hancock. In
the hands of Robert Bloor the manufacture declined in excellence.
The earliest mark is a "D" or the name "Derby" incised or painted in
red. On the union of the works with those of Chelsea and Bow there
was an indication of the combination as seen in the second and third
illustrations given (a "D" crossed horizontally by an anchor), and the
crown was added above the anchor after the Royal visit in 1737, the
mark being, as a general rule, painted in blue. The crown, crossed
batons, dots, and letter "D" were painted diversely, sometimes in gold,
blue, or puce, and subsequently in vermilion. Later on three Chinese
marks were employed, known as "the potter's stool," the Sèvres mark
(a "D" in the centre and crown above), and the crossed swords of the
Meissen factory. The batons in early use are now transformed into the
swords by the present manufacturers, Stevenson & Hancock, and they
have added their own initials; the whole device (crown, swords, dots,
and initials) surmounting the letter "D," as will be seen in the last
illustration.
[Illustration]
It was in the third epoch of the manufacture of what is distinguished
as the "Crown Derby," that porcelain works were established in the
same county by John Coke at Pinxton (near Alfreton), 1793-5. Fine
transparent, soft paste was used there; but the factory was closed
in 1812. The patterns distinguishing this ware was a small sprig
copied from the Angouleme porcelain--such as a blue forget-me-not, or
cornflower, and a gold sprig. At Church-Gresley and at Winksworth (in
the same country) there were other factories connected with the name of
Gill, but undistinguished by any special marks.
The counterfeit mark employed at times on the Worcester china was
likewise used on genuine Derby work, a sign borrowed from the Meissen
factory to which reference has been made. The Duke of Cumberland, Sir
F. Fawkner, and Nicholas Sprimont (a Frenchman) were amongst the first
proprietors, and were succeeded by the latter (Sprimont).
As I observed, the Derby china manufacture passed through four periods
or states of artistic development, the Duesbury being the first and
best (1749), and then the younger Duesbury and Kean. Under the Bloor
direction--lasting from 1815 to 1849--for some reason or other the
artistic excellence declined.
Bloor's agent, Locker & Co., Stevenson, Sharp & Co., and Courtsay
marked their work with their own names. The proprietors at the present
time are Messrs. Stevenson & Hancock, and they have ceased to use the
old mark as regards the batons, and now employ hilted swords, and have
added their initials ("S" and "H") one on either side, as will be seen
in the illustration. It may be well to observe that a six-pointed star,
stamped in the centre, at the bottom of any article may be accepted as
a Crown Derby mark. The porcelain produced by Mr. Duesbury resembled
the Venetian in the Cozzi period.
[Illustration]
[Illustration]
It would be impossible to enter into a detailed account of all the
various marks that distinguish the Derby china; but I may observe, as
regards the last given (in a square form), that it appears on a plate
of Oriental pattern, the crown and letter "D" painted in red. The
square is not always surmounted by the crown. The capital "D" in italic
lettering surmounting the written name "Derby" is the early mark used
before 1769, and is found on very old china. The "N" is an incised mark
and is probably an indication that the porcelain was produced in the
old works in Nottingham Road; and when in 1769 the Chelsea works were
united to those of Derby, the union was indicated by the anchor of
Chelsea crossing an italic capital of the letter "D." Derby figures are
generally very roughly marked with three round blotches underneath them
and the number scratched on the clay.
THE LIVERPOOL WORKS.
To Mr. Richard Chaffers--contemporary of Josiah Wedgwood--we owe the
introduction of porcelain ware into the pottery factory in Liverpool
in 1769. Of him, the latter said, "Mr. Chaffers beats us in all his
colours." After ten years' work, having caught a fever from his manager
Podmore, he died.
Philip Christian became the leading potter after that, and he produced
large china vases equal to Oriental work and of great perfection. His
china is marked "Christian" in capital letters.
John Pennington was specially celebrated for beautiful punch-bowls and
for a very fine blue, for the recipe for making which he refused 1,000
guineas from a Staffordshire house. His business began in 1760 and
lasted for thirty years. His mark was "P" "p" or his name in capital
letters. He had been apprenticed to Josiah Wedgwood, thence he went
to Worcester as foreman and chief artist to Flight & Barr, before he
conducted the works at Liverpool.
Pennington carried on the china manufacture in Liverpool from 1760
to 1790. And, prior to him, I may name the factory of W. Reid & Co.,
of Castle Street, Liverpool, whose principal manufactures were in
all descriptions of blue and white said to have been as good as any
produced elsewhere in England.
Chaffers was drawing soap-rock from Mullion (Cornwall) in 1756 in
preparation for the manufacture, even before Cookworthy of Plymouth had
produced his hard-paste porcelain.
Besides the Penningtons and Philip Christian, Barnes, Abbey, Mort, Case
and Simpson are all names celebrated in the Liverpool factory and in
the neighbourhood.
THE LOWESTOFT PORCELAIN.
The Lowestoft manufactory in Suffolk was founded by Hewlin Luson, Esq.,
in 1756 and erected on his own estate in the first instance at Gunton
Hall.
In 1775 the Lowestoft porcelain had attained great perfection. Hard
paste was then introduced, after a period of twenty years of the use
of the soft, which was of fine quality. The hard was of very thick
substance, but with a fine glaze.
So close was the resemblance acquired to Oriental porcelain at
this factory that it was difficult for the general observer to
distinguish between them, which difficulty was enhanced by the fact
that no mark was ever used as it was an object with the proprietors
to make their work pass for genuine Oriental ware. Yet there were
certain peculiarities in style and colouring which were sufficient to
betray their origin. Amongst these the prevalence of the rose in the
declaration of a very large proportion of the china often served to
identify it, being painted by Thomas Rose. The flower was generally
pink and represented as having fallen from the stem. The most difficult
of recognition amongst the varieties of Lowestoft china are the
examples in white and blue.
Amongst other designs, the "fan and feather" pattern was striking in
character in imitation of the Capo di Monte; painted in blue, purple,
and red, and often in diaper work in gold and colours. Here also a very
fine egg-shell china was produced bearing delicately-painted ciphers,
coats of arms, crests and scrolls, and designs in pink camaieu, with
highly-finished gold borders, pearled with colours; also dessert
services with raised mayflowers on blue and white grounds and pierced
sides; transfer-painting being also in use.
As every description of device taken from nature, including Oriental
figures and other designs, was produced at this factory, it is
impossible to describe them all. I may here observe that a china teapot
of the distinctive "owl service" pattern was recently sold for upwards
of £50.
The revival of the works after the opposition raised to them in Luson's
time by the London manufacturers was due to Messrs. Walker, Browne,
senior and junior, Aldred, and Richman, and Allen, who carried on a
large trade with Holland.
The ultimate closure of the works was due to a disastrous combination
of circumstances, which took place about 1803-4. There was a decline in
the art some few years previously. It became too showy and over-gilded.
I said that the Lowestoft manufactory had no distinctive mark,
nevertheless some pieces may be found bearing the painted initials "F.
R." in capital letters, standing for "Frederick Rex" (the Great), and
two other examples of marking are those of a head of Christ, which is
inscribed "R. Allen, Lowestoft, aged 88, 1832," and a teapot (in hard
paste) of Oriental design has the name "Allen" surmounting "Lowestoft,"
painted in red underneath it.
(_To be continued._)
ABOUT PEGGY SAVILLE.
BY JESSIE MANSERGH (Mrs. G. de Horne Vaizey), Author of "A Girl in
Springtime," "Sisters Three," etc.