ordinary white with blue patterns, after the Delft and other makes; and
in these early days no marks were used. The glaze, too, was somewhat
thick and clumsy, and unevenly laid on. A little later on, Oriental
patterns were copied very successfully, both in blue and white and in
mixed colours, and the potting became careful and less clumsy. Some
early specimens of cups and saucers copied from Oriental patterns,
which I have seen, are remarkably well potted, and bear a wonderfully
close resemblance to the originals, both in body and in ornamentation.
The best Oriental specimens which could be had were, however, used
as models, as were also those of France and Germany; and very soon
the articles produced at Chelsea most successfully rivalled the
best productions of Dresden and Sèvres, both in modelling, potting,
colouring, and glazing. The colours were remarkably fine and vivid; and
as only the best artists were employed as painters, the pieces produced
were extremely choice and good. Many of the landscapes, of which
Boreman (or Bowman) was for a long time the chief painter, are in most
exquisite taste, both in colouring and choice of subject. The groups of
figures, historical, mythological, or otherwise, are, too, remarkably
fine, and evince a correct taste and a high degree of manipulation on
the part of the artists employed. In modelling, Bacon, Nollekins, and
many other of the most eminent men were employed, and the figures they
produced were of the highest possible degree of beauty.
In flowers and insects, the Chelsea painters were particularly happy
and successful, and they had a peculiar “knack” in “accidental
arrangement” which produced a most pleasing effect. Thus, on a plate or
dish, the little groups or single sprigs of flowers were often thrown
on, as it were, “hap-hazard” along with butterflies, bees, lady-cows,
flies, moths, and other insects, and thus produced a pleasing, because
an apparently unstudied, effect. The raised flowers, arranged on vases
and other ornamental pieces, are usually of extremely good character,
and are well painted; and the birds and figures which are introduced
along with them are also very nicely and carefully modelled.
[Illustration: Figs. 374 and 375.--Figures in the Museum of
Practical Geology.]
Specimens of Chelsea china are to be found in most collections, both
public and private, and, being much sought after, usually produce high
prices when offered for sale. It may be well, as a guide to collectors,
to quote the prices which have been realised in some few instances. In
the Bernal collection were the following:--
A pair of oval Dishes, crimson borders, painted with birds,
butterflies, and fruit, sold for thirteen guineas.
A pair of beautiful globular scalloped Vases and covers, deep
blue, painted with exotic birds with pierced borders and covers
of the highest quality, were bought by Mr. Addington for £110
5_s._
An imperfect (chipped) Cup and Saucer, with festoons raised in
white, sold for a guinea.
Another Cup and Saucer, with flowers and crimson drapery edge,
sold for three guineas and a half.
A beautiful two-handled Cup and Saucer, with medallions of
Cupids in pink, and striped gold sides, realised twenty-one
pounds.
An Ecuelle, cover, and stand, with pink scalloped edges, and
delicately painted sprigs of flowers, sold for £27 6_s._
At the sale of the late Queen Charlotte’s collection, the Chelsea
porcelain realised in many instances very exorbitant prices. At the
Strawberry Hill sale a pair of cups of the famed claret colour, without
saucers, enriched with figures of gold, sold for 25 guineas. Another
pair, blue, with gold figures, sold for 17 guineas; and a similar
pair, with groups of flowers on a ground of gold, made £11 6_s._
At the sale of the Angerstein collection a pair of bleu-de-roi vases,
with paintings, were bought by Lord Kilmory for 100 guineas. Another
pair, pink and gold ground, with paintings, and with open-work lips,
realised 142 guineas. A single vase and cover, from Queen Charlotte’s
collection, sold for 106 guineas; and a pair of splendid globular vases
and covers, with paintings of Bathsheba and Susanna, realised 203
guineas.
[Illustration: Fig. 376.--Vase formerly in the Foundling
Hospital.]
In the British Museum are some good examples of Chelsea porcelain,
presented to that Institution in 1763; and in the Museum of Practical
Geology, in Jermyn Street, are also some excellent specimens, which can
be examined by the collector. The Foundling Hospital, until recently,
possessed a remarkably fine blue vase, richly gilt and painted, which
was presented to that excellent institution in 1763, during the time
the works were in the hands of Mr. Spremont, by Dr. Garnier.
_Foundling Hospital._--At a Meeting of the Committee, Wednesday,
20 April, 1763, the Treasurer acquainted the Committee that he
has received from Dr. Geo. Garnier a fine vase of porcelain,
made at Chelsea.
_Resolved_,--That the Treasurer be desired to direct that a
glass case be made for the safe keeping of the said vase, to be
placed in the Committee-room of this hospital.
The vase, which has been broken, has passed by purchase into the hands
of the Earl of Dudley, who, about the same time, became the purchaser,
for the sum of £2,000, of the famous vase belonging to the late Earl of
Chesterfield.
The earliest specimens of Chelsea ware have no mark, and can only be
judged by the body, the general style of workmanship, and the glaze.
But it is difficult correctly to appropriate many examples, especially
those in which the _painting_ alone was Chelsea work on foreign
bodies. In many of the old examples the marks produced by the triangle
or tripod are said to be indicative of the Chelsea works; but this is
by no means to be relied on, as the same appearances are frequently
found on the productions of other work.
[Illustration: Fig. 377.--Museum of Practical Geology.]
The general distinctive mark of Chelsea is an anchor--sometimes drawn
with the pencil, at others raised from a hollow mould; and this is
used either singly, two together, or in conjunction with one or more
daggers. It is usually said that the raised anchor is the oldest mark;
but this can scarcely be depended on, for instances are known where, on
the same set, the _raised_ anchor appears on some of the pieces,
while the anchor drawn with the pencil occurs on others.[62] This being
the case, it is difficult to decide which is the oldest; but, judging
from the workmanship of the specimens I have examined, I should feel
inclined to say that the earliest mark was the simple plain anchor,
drawn on the piece with the hair pencil, in the colour which the
workman happened to have in use at the time. It has been asserted that
the mark of the best kind of porcelain was an anchor in gold, and of
the inferior an anchor in red. This is, however, erroneous: the quality
of the body had nothing whatever to do with it, and I believe the
golden anchor is never found on pieces except where gold is used in the
ornamentation. The raised anchor appears on the cup and saucer.
[Illustration]
[Illustration: Fig. 378.]
One of the most, if not the most, interesting marks connected with
Chelsea occurs on a cream ewer formerly belonging to Dr. Wellesley,
and afterwards to Mr. W. Russell, the Accountant-General. One of the
marks usually ascribed to the Bow works is the triangle (Fig. 378);
and in the Museum of Practical Geology is a cream ewer bearing this
mark in the paste. This specimen was formerly in the Strawberry Hill
collection, and afterwards in Mr. Bandinell’s. The cream ewer which
belonged to Mr. Russell is moulded in the same mould, and is, in fact,
identically the same as the one in the Museum, but has, in addition to
the above mark, the word “Chelsea” and the date “1745” upon it. The
mark and the words “Chelsea, 1745,” are graved or scratched in the soft
paste before firing, and, of course, under the glazing (Fig. 379). This
mark is particularly interesting and curious, as being the earliest
_dated_ example of English porcelain known. This example, and the
occurrence of the triangle with the name of Chelsea, was first noticed
by me in my history of the Chelsea works in the _Art-Journal_ of
1863.
[Illustration: Fig. 379.]
[Illustration: Fig. 380.]
Fig. 380 is an engraving of an elegant little scent-bottle, formerly in
my own collection, which bears the embossed anchor. The bottle has a
continuous landscape running around it, which is beautifully pencilled,
and is evidently of early work. The plain anchor, drawn in red
([anchor]), I have copied from a leaf-shaped dessert dish of early
workmanship. The dish is beautifully painted in small groups and sprigs
of flowers, thrown indiscriminately on the surface, and intermixed with
well-painted insects. The form of the anchor varied, as is natural
to be supposed, according to the idea of the workman, and it was
occasionally drawn with the cable attached. Figs. 382 to 389 exhibit
some of the varieties; they are drawn in different colours, red, blue,
and brown, and in gold.
Two anchors, side by side, occasionally occur. Fig. 381 is from a
small vase in the Museum of Practical Geology, Jermyn Street. The vase
is of deep blue colour, with peacocks, and is painted in compartments
and richly gilt. An anchor and a sword, or an anchor and two swords,
are not unusual marks, and Fig. 391 is an elegant vase, with open-work
rim, on which it occurs. The raised flowers are beautiful in their
modelling, and the colouring is extremely good. Between the flowers,
leaves, &c., are painted on the vase, which is also decorated with
butterflies, caterpillars, and other insects. On either side is a
cherub’s head, surrounded by raised flowers. The mark on this vase
engraved (Fig. 392) is the usual anchor, preceded by a dagger, in red.
It is worthy of remark that on the inside of the cover of the centre
vase--a globular cover surmounted by a bird, and covered with raised
flowers of similar character to those on the vase here given--the mark
is reversed, the anchor preceding the dagger.
[Illustration: Fig. 381.]
[Illustration: Figs. 382 to 389.]
[Illustration: Fig. 390.]
[Illustration: Fig. 391.]
A singular mark (Fig. 394), communicated to me by Mr. Octavius Morgan,
M.P., occurring on some small groups of figures belonging to Lady Mary
Long, is an anchor, with cable, in red; on one side is an upright
dagger, point upwards, in red; while on the other is a horizontal
dagger, point outwards, in _blue_. This mark occurs on each piece.
Another mark is the anchor with cable, and dagger sometimes on its
right, and at others on its left side. It has been surmised that the
cabled anchor and dagger, or sword, may be Bow; but there is no reason
for supposing this to be the case, and I am inclined to believe they
are really what I have named them--Chelsea. In reference to this remark
I give the following marks, which are considered by Mrs. Palliser
to belong to Bow; but of course there is no proof either way. Those
collectors whose affections mainly centre in Chelsea ascribe pieces
having these marks to that locality, while those whose loves direct
them to the attractions of Bow, with equally as little hesitation
pronounce them to belong to those works. It seems in fact to be, in the
instance of these marks, that the collector has to act on the showman’s
advice--he “pays his money” for the rare piece of china and “takes his
choice” whether he appropriates it to Chelsea or to Bow! I am disposed
to think the anchor really is, as has always been considered, the true
Chelsea mark, and that most of the varieties belong to those works, but
that it was also used by other manufacturers, either separately or in
combination with other devices.
[Illustration: Figs. 392 to 395.]
[Illustration: Figs. 396 to 402.]
[Illustration: Fig. 403.]
It would leave my notice of the marks of the Chelsea works incomplete,
were I not to introduce the mark which was, for a time, used to denote
the fusion of these works into those of Derby. When Mr. Duesbury
purchased the Chelsea works, and carried on the two together, he added
the letter D to the Chelsea anchor (Fig. 403): and this is the mark
which denotes what is known to collectors as “Chelsea Derby” or “Derby
Chelsea” ware, and which, being of comparative rarity, is eagerly
sought after.
[Illustration: Fig. 404.]
It may be well, perhaps, to notice a curious mark which I have
described in my account of “Salopian China,” for the purpose of
suggesting that it _may_ have been engraved for marking on
porcelain made at Caughley, and intended to pass as “Chelsea Derby.”
This mark I reproduce. It occurs on a copper plate (for a mug), and
represents a landscape--a river, with swans sailing, trees on either
side, boat with fishermen, sailing boat, &c.; and in the background a
bridge, a church with ruins to the left, and a tall, gabled building,
over which are the words “Sutton Hall” to the right, above which are
the words “English Hospitality.” It is also well to hint that all china
bearing the well-known red or golden anchor must not be taken to be
Chelsea, for examples which are undoubtedly the production of other
works are constantly occurring.
* * * * *
_Second China Works._--Another small china manufactory was
commenced, according to Lysons, at an old mansion by the water side.
This would probably be the works started by a party of workmen from
Staffordshire, thus spoken of by Shaw:--“Carlos Simpson was born at
Chelsea, to which place his father, Aaron Simpson, went in 1747 along
with Thomas Lawton, slip maker; Samuel Parr, turner; Richard Meir,
fire-man; and John Astbury, painter, all of Hot Lane; Carlos Wedgwood,
of the Stocks, a good thrower; Thomas Ward, and several others, from
Burslem, to work at the Chelsea manufactory. They soon ascertained
that they were the principal workmen, on whose exertions all the
excellence of the porcelain must depend; they then resolved to commence
business on their own account at Chelsea, and were in some degree
successful; but at length, owing to some disagreement among themselves,
they abandoned it and returned to Burslem.” The fact may be as Shaw
stated it, so far as regards the workmen going to Chelsea, for some
reason leaving it again and commencing for themselves; but his remark
as to their being “the principal workmen on whose exertions all the
excellence of the porcelain must depend” is sheer nonsense, as at that
time (1747) the Staffordshire workmen did not make porcelain at all.
* * * * *
_Wedgwood’s Chelsea Works._--In 1769 or 1770 Josiah Wedgwood
established a branch of his manufactory at Chelsea. This was for the
decoration of his vases by his “peculiar species of encaustic painting
in various colours, in imitation of the ancient Etruscan and Roman
earthenware.” The reason for the founding of this branch was that it
was judged better to have this peculiar style of ornamentation carried
on near London, where suitable artists could easily be got together,
and where the operations could be conducted under the personal
superintendence of Mr. Bentley, who there resided, and for whom in 1769
a house was taken at Chelsea. The partnership between Wedgwood and
Bentley had reference only to the _ornamented_, not to the _useful_
ware; but both kinds were decorated at Chelsea, the two being kept
separate in the accounts. The workmen at Chelsea were thus employed
on both branches, the amounts paid them in wages being distinguished
as on “Josiah Wedgwood’s account” and as on “Wedgwood and Bentley’s
account.” Thus, for instance, in the following document, John Lawrence,
for the week ending October 6th, is paid for six days’ work, at 1_s._
9_d._ a day, of which 5_s._ 3_d._ is charged to “J. W.,” and the other
5_s._ 3_d._ to “W. & B.” I am enabled, from the following document in
my possession, to show the names of a portion, at all events, of the
artists who were employed there in the month of October, 1770. The
document is very fragmentary and imperfect, but, so far as remains, is
as follows. The year 1770, it must be borne in mind, was the very year
when the Chelsea China Works finally passed by purchase into the hands
of Duesbury, the owner of the Derby China Works:--
On On
_Cash paid at Chelsea for Wages_ J. W.’s W. & B.’s
Acct. Acct.
1770. £ _s._ _d._ £ _s._ _d._
Oct. 6. John Lawrence, 6 days 0 5 3 0 5 3
Timothy Roberts, 6 days 0 12 0
„ 5. James Bakewell, 6 days 0 16 0
Thos. Blomeley’s Bill 1 0 5
Thos. Hutchings, 6 days 1 6 0
William Roberts, 4 days 0 4 4
Nathl. Cooper, 6 days 0 16 0
William Shuter’s Bill 0 8 0
Thomas Simcock, 6 days 0 16 0
Ralph Wilcocks, 6 days
Mrs. ditto 6 days
John Winstanley, 6 days 0 13 0
„ 6. Thomas Barrett,[63] 5 days 0 7 0
Thomas Green, 6 days.
Miss Edwards, 6 days.
Miss Parkes,[64] 6 days.
Mr. Rhodes.[65]
Ditto for Joe.
Ditto for Will.
Ditto for Unwin.
How long the establishment at Chelsea was continued, I do not know;
but painting was done in London for Wedgwood to a late date. A letter,
dated February 27th, 1795--the month following Josiah Wedgwood’s
death--while speaking of painters and enamellers on porcelain, says,
“I believe Wedgwood’s men here do not get less than 26s. or 28s. per
week,” and the presumption is that these men might be employed at his
Chelsea establishment.
* * * * *
_Chelsea Pottery._--About 1774 a pottery was established in Upper
Cheyne Row, Chelsea, for the manufacture of crucibles and melting pots.
It was established by a person named Ruhl, or Ruelle, who was succeeded
by his son-in-law, C. F. Hempel. It had the reputation of producing the
best made crucibles in this country. After the death of Mr. Hempel,
his widow, Johanna Hempel, on the expiration of the lease, removed
the works from Cheyne Row to the King’s Road, where she not only made
crucibles, but table services, being patronised by Queen Charlotte. In
1790 she took out a patent for “a certain composition made of earth and
other materials, and the means of manufacturing the same into basins
and other vessels, which, so manufactured, hath the power of filtering
water and other liquids in a more cheap, easy, and convenient manner
than water or other liquids could then be filtered.” In 1797 Mrs.
Hempel became bankrupt, and the plant and stock-in-trade, including
table services, vases, crucibles, stoves, &c., and a carved sign of
the Queen’s Arms, were sold by auction. The manufactory was afterwards
carried on by Messrs. Ludwig and Warner.
Near this pottery, in 1795, was a manufactory of artificial stone,
carried on by a Mr. Triquet.
BOW.
Nothing is known definitely as to the date of the first establishment
of this very important china manufactory situated at Stratford-le-Bow.
It must, however, have been in existence some little time prior
to 1744, for in that year it was carried on by “Edward Heylyn, in
the parish of Bow, in the county of Middlesex, merchant,” who, in
conjunction with “Thomas Frye, of the parish of West Ham, in the
county of Essex, painter,” took out a patent for “a new method of
manufacturing a certain material, whereby a ware might be made of the
same nature or kind, and equal to, if not exceeding in goodness and
beauty, china or porcelain ware imported from abroad.” The patent,
which was for fourteen years, bore date the 6th of December, 1744,
and the specification was duly enrolled on the 5th of April, 1745.
This specification I have printed in full on page 112, and it will be
found of the highest interest and totally different from what is put
forth by Chaffers as a copy of it. On the 17th of November, 1748, the
same “Thomas Frye, of the parish of West Ham, in the county of Essex,
painter,” took out another patent, by which he “lawfully might make,
use, exercise, and vend my new method of making a certain ware, which
is not inferior in beauty and fineness, and is rather superior in
strength, than the earthenware that is brought from the East Indies,
and is commonly known by the name of China, Japan, or Porcelain ware.”
The specification was duly enrolled on the 17th of March, 1749, and is
highly interesting. This will be found printed entire on page 113.
[Illustration: Fig. 405.--Inkstand in possession of Mr. R. W.
Binns.]
There is nothing, it will be seen, in these patents or specifications
to show that the works at Bow were carried on by Heylin and Frye--the
one being simply described as of the “parish of Bow, _merchant_” (not
potter), and the other “of the parish of West Ham, _painter_;” nor
has anything yet been found, to my knowledge, to prove that they were
actual proprietors of the manufactory. Indeed, Frye is stated, in more
than one work, to have been engaged to _superintend_ the manufactory.
He was an artist of considerable skill, who is said to have come to
London in 1738, and soon afterwards to have painted a portrait of
Frederick, Prince of Wales, for the Saddlers’ Company. He was also a
mezzo-tint engraver of considerable note. To his skill as an artist
no doubt he was in the main indebted for the position he held at Bow;
and here it would appear he remained some fifteen years, to the great
injury of his health, and then returned to his previous occupation;
he died in 1763. His daughters are stated to have assisted him in the
painting of china at Bow.
In 1750 the works appear, from the original account-books in the
possession of Lady Charlotte Schrieber, to have come into the hands of
Messrs. Weatherby and Crowther, who, I may add, were potters at St.
Catherine’s, near the Tower. At this time the manufactory was evidently
called “New Canton,” by which name it continued to be known for some
years. It was thus named because, as Thomas Craft wrote in 1790, “the
model of the building was taken from that at Canton in China.” With
reference to this name of “New Canton” a remarkably curious and very
interesting example is in existence, and belongs to my friend, Mr.
Binns F.S.A. It is an inkstand of flat circular form, and is decorated
in blue with flowers, etc. On the top it bears the words, “MADE
AT NEW CANTON, 1750.” In the centre of the well for the ink,
and around it, are five pen-holes. It is shown on the accompanying
engraving (Fig. 405). The date, 1750, would show that it was made in
the year when the works first passed, as is supposed, into the hands
of Crowther and Weatherby. Another similar inkstand, deposited in the
Museum of Practical Geology by Mr. Brooks, is dated one year later, its
inscription being, “MADE AT NEW CANTON, 1751.”
On the 7th of February, 1753, the Bow manufactory opened a wholesale
and retail warehouse in Cornhill, London; as shown in the following
advertisement which I copy from the _Derby Mercury_ of Friday,
March 9th, in that year:--
“BOW CHINA WAREHOUSE
“Was opened on _Wednesday_, the 7th of _February_, near the
_Royal Exchange_, in _Cornhill, London_, with a Back Door facing
the _Bank_, in _Threadneedle-street_, for the convenience of all
Customers, both in Town and Country; where it will continue to
be sold in the same manner as formerly, at _BOW_, with Allowance
made to Wholesale dealers.”
In November of the same year an advertisement for painters appeared in
_Aris’s Birmingham Gazette_, as follows:--
“This is to give notice to all painters in the blue and white
potting way and enamellers on china ware, that by applying, at
the counting house at the China-house, near Bow, they may meet
with employment and proper encouragement according to their
merit; likewise painters brought up in the snuff-box way,
japanning, fan painting, &c., may have an opportunity of trial,
wherein if they succeed they shall have due encouragement.
N.B.--At the same house a person is wanted who can model small
figures in clay neatly.”
In 1760, among the many clever artists employed was one Thomas Craft,
who has left a most interesting souvenir of his connection with these
works in the shape of a fine punch-bowl, measuring nearly nine inches
in diameter, which is accompanied by the following note in his own
handwriting:--
“This Bowl was made at the Bow China Manufactory at
Stratford-le-Bow, Essex, about the year 1760, and painted there
by me, Thomas Craft: my cipher is in the bottom. It is painted
in what we used to call the old Japan taste, a taste at that
time much esteemed by the then Duke of Argyle; there is nearly
two pennyweight of gold--about 15 shillings; I had it in hand,
at different times, about three months; about two weeks’ time
was bestowd upon it; it could not have been manufactured, &c.,
for less than £4. There is not its similitude. I took it in a
box to Kentish Town, and had it burned there in Mr. Gyles’s
kiln,[66] cost me 3s; it was cracked the first time of using it.
Miss Nancy Sha, a daughter of the late Sir Patrick Blake,[67]
was christened with it. I never used it but in particular
respect to my company, and I desire my legatee (as mentioned in
my will) may do the same. Perhaps it may be thought I have said
too much about this trifling toy; a reflection steals in upon
my mind, that this said bowl may meet with the same fate that
the manufactory where it was made has done, and like the famous
cities of Troy, Carthage, &c., and similar to Shakespear’s Cloud
Cap’t Towers, &c.
“The above manufactory was carried on many years under the
firm of Messrs. Crowther and Weatherby, whose names were known
almost over the world; they employed 300 persons; about 90
Painters (of whom I was one), and about 200 turners; throwers,
&c., were employed under one roof. The model of the building
was taken from that at Canton in China; the whole was heated by
two stoves on the outside of the building, and conveyed through
flues or pipes and warmed the whole, sometimes to an intense
heat, unbearable in winter. It now wears a miserable aspect,
being a manufactory for turpentine and small tenements, and like
Shakespeare’s baseless fabric, &c. Mr. Weatherby has been dead
many years; Mr. Crowther is in Morden College, Blackheath, and
I am the only Person of all those employed there who annually
visit him.
T. CRAFT, 1790.”
And the allusion to the works, a little later on--perhaps about
1780--will be found in “Nollekins and his Times,” as follows:--
“_Nollekins_ (to Betew, a dealer in curiosities in Old Compton
Street). Do you still buy broken silver? I have some odd sleeve
buttons, and Mrs. Nollekins wants to get rid of a chased
watch-case by old Moser, one that he made when he used to model
for the Bow manufactory.
“_Betew._ Ay, I know there were many very clever things
produced there; what curious heads for canes they made at
that manufactory; I think Crowther was the proprietor’s name.
He has a very beautiful daughter who is married to Sir James
Lake.[68] Nat Hone painted a portrait of her in the character
of Diana, and it was one of his best pictures. There were some
clever men who modelled for the Bow concern, and they produced
several spirited figures--Quin in Falstaff; Garrick in Richard;
Frederick Duke of Cumberland striding triumphantly over the
Pretender, who is begging quarter of him; John Wilkes, and so
forth.
“_Nollekins._ Mr. Moser, who was keeper of our Academy, modelled
several things for them; he was a chaser originally.”
It will be perceived that Betew and Nollekins both speak of the Bow
works as a thing of the past. And so they were; for in October,
1762, says the _London Chronicle_, “Mr. Weatherby, one of the
proprietors of the Bow china warehouse in Cornhill, died at his house
on Tower Hill, on the 15th October, 1762;” and, in the following
year, 1763, his partner, “John Crowther, of Cornhill, china-man,” was
gazetted a bankrupt. This bankruptcy, however (which was followed by
that of “Benjamin Weatherby, of St. Catherine’s, merchant,” probably
son of the above), appears only to have had reference to the London
warehouse and business, and not to the manufactory at Bow. The stock
was sold by auction, by order of the assignees of John Crowther, on
March 12 and following days, and on May 19th and 30th, the two first
at the Bow warehouse in Cornhill, and the last at the great exhibition
room in Spring Gardens, and consisting, among other things, of “curious
figures,” “girandoles,” “branches for chimney-pieces finely decorated
with figures and flowers,” “dishes,” “compotiers,” “beautiful desserts
of the fine old partridge and wheatsheaf patterns,” “knife and fork
handles,” &c. John Crowther, however, it seems, retained and still, in
his own name alone, carried on the manufactory at Bow, and after a time
opened a warehouse in St. Paul’s Churchyard, which he continued to hold
from 1770 to 1775, when he sold his entire concern--the works, moulds,
tools, &c.--to Mr. William Duesbury, the proprietor of the Derby China
Works.
Mr. Duesbury, who not only held the Derby China Works, but had
purchased those of Chelsea, Giles’s, and one at Vauxhall, thus became
proprietor of the Bow works as well, and was therefore the largest
holder either in those or later days. Mr. Duesbury, as he did with
those of Chelsea, removed the moulds, models, implements, &c., to
Derby, and the Bow manufactory was brought to a close. The next year,
1777, John Crowther became an inmate of Morden College, Blackheath,
being elected on the foundation on the 17th of March, and here he was
still residing in 1790, “and,” says Thomas Craft, “I am the only person
of all those employed there (at Bow) who annually visit him.” On the
site of the works some small tenements and a turpentine manufactory
soon sprang up, and their exact site was forgotten, having been later
on converted into chemical works by Mr. Macmurdo, the calico printer.
Afterwards a portion of the place was used as emery mills by Mr.
Marshall, and, since then, as a manufactory of lucifer matches, vesta
lights, &c., by Messrs. Bell and Black. In 1867, during some sewering
operations at these works, a considerable number of fragments of Bow
china--probably on the site of one of the old kilns--was discovered. Of
this discovery the following interesting account appeared in the _Art
Journal_ for 1869:--
“In trenching a drain from the manufactory into the sewer, the workmen,
at about eight or ten feet from the surface, came upon the débris of
the old Bow China Works.
“Mr. Higgins, jun., who is attached to the match-manufactory, received
his first intimation of the _trouvaille_ from perceiving fragments
of delicate biscuit china in the hands of some children, who had picked
them up as playthings. This led him to keep strict watch over the
excavation, and, by permission of the proprietors, the ground remained
open for a few months, and, as leisure permitted, he examined the earth
for some distance immediately round the spot. Limited as the space
was, he found a great quantity of specimens, which he and his sister,
Miss Higgins, have taken the pains to arrange carefully in trays, and
through their kindness we are enabled to describe some of the more
interesting examples.
“Although fragmentary, they are particularly interesting, as showing us
the various descriptions of ware made at Bow, verifying its products,
and enabling us to identify not only the paste and glaze, but the
methods of ornamentation.
“The spot where the excavations were made is supposed to have been
where one of the kilns formerly stood; this is borne out to a certain
extent by the presence of a quantity of bricks cemented together, the
inner surface having become vitrified by the heat of the kiln; and also
by a vast number of broken saggers, or cases of baked earthenware,
used to contain the china, and protect it from the flame and ashes
in the kiln. One of these saggers, of cylindrical form, measures 10
inches in diameter by 8½ inches in height; it had three rows of holes
pierced through the sides, at equal distances from top to bottom, into
which clay pegs (like large clout nails) were inserted, to support the
circular platforms within, at convenient distances, on which the china
articles rested while baking. The cockspur, or point, used to separate
the china is a simple cone of baked clay, not the usual form, which
is like the _caltrop_, having always three points below and one
only uppermost. Large pieces of china clay were found, some in a soft,
soapy state, others hardened; bones of animals, which entered into
the composition of the paste, as well as calcined flints and pieces
of quartz, used in making the frit or glaze; a number of circular
medallions of baked clay, from two to six inches in diameter--one was
marked on each side with H and M cut into the clay. All the fragments
of vessels discovered are of porcelain biscuit: not a piece of Delft or
common earthenware was found among them: some few are glazed, but these
form the exceptions.
“The first we shall notice, and probably the earliest manufacture, are
the pieces decorated with blue painting: the designs are painted, in
mineral colour, on the biscuit, and have not been glazed or burnt in.
These designs are principally of Chinese landscapes, flowers, figures,
and birds. A few examples are given on the next page, to show their
general character.
“A very frequent pattern of simple character in the blue ware is three
hanging branches of willow leaves. Among the rest is a mottled ground
plate with white angular medallions of light blue scenery. The only
variations in colour are a cup with green leaves and lake flowers,
and a fragment painted in lake _camaïeu_, with a castellated
mansion, of high finish: these two are glazed. Not a single specimen of
blue-_printed_ china was discovered: all are _painted_ with
a brush. This is not at all surprising, for it must be remembered they
are all unfinished pieces, which have never been out of the factory;
and, when this decoration was required, they were sent to Liverpool to
be printed.
“The next division consists of biscuit china, fragments of services
ornamented in relief, the favourite pattern being the Mayflower. The
hawthorn is represented quite after nature, with its thorny branches
and blossom. About a dozen of the moulds for stamping these flowers
were also found quite perfect; they are of biscuit, three inches by two
and a half in diameter. Fig. 408 is interesting, being the original
mould of a biscuit cup which has its exact counterpart glazed. These
pieces form a history in themselves.
“Another mould is of two roses and leaves on a stalk (Fig. 409). The
raised figures on the biscuit are remarkably sharp; but the application
of the glaze fills up the spaces.
[Illustration: Figs. 406 to 415.]
“The other decorations in relief are the basket pattern, overlapping
leaves, vertical bands overlaid with scrolls, ribbed cups and
basins, a biscuit candlestick in form of a vine-leaf, another of
different pattern painted blue. In this extensive collection we
find milk-pots, cups, cans, and saucers, open-work baskets, octagon
plates, cup-handles, lion’s-paw feet, small pots for colour or rouge;
but not a single piece has any mark which can be assigned to the
_fabrique_. One of the cups has the name of ‘Norman’ written on it
in pencil--perhaps the name of one of the painters. Among other relics
are pieces which have been injured in the kiln by falling into ugly and
distorted shapes, plates and saucers that have inadvertently gone in
contact with each other and could not be separated.
“There is a great variety of china biscuit knife-handles, some plain,
others with rococo scrolls in relief, heightened with blue; two
specimens are here given (Figs. 414 and 415).
[Illustration: Fig. 416.]
“Some few pieces of an ornamental character are among the débris. The
foot of a salt-cellar beautifully modelled in biscuit, formed of three
shells, with smaller shells and seaweed between; the upper shell, to
hold the salt, is wanting. A sketch of it is here given (Fig. 413).
To these may be added the foot of a large centre ornament of the same
character as the last, to hold sweetmeats, also modelled by hand in
shells of all sorts, rock-work, coral, seaweed, &c., with three escalop
shells: this has had one or more tiers above, but broken off at stem.
Some natural shells were found which served as copies. There are two
pug-dogs nearly perfect, with collars, on which are roses. Two handles,
in form of female heads, in high relief, for tureens and other large
bowls (Fig. 416); and a man’s head, with a high cap and feather, nicely
modelled (Fig. 417); also the body of a female figure in biscuit, with
laced bodice.
“The Bow paste is exceedingly hard, and the fracture very close and
compact; consequently the pieces, as a rule, are very heavy for
their size, but many of the cups and saucers are almost of egg-shell
thickness. The colour is a milky white.”
[Illustration: Fig. 417.]
In the _Art-Journal_ for 1869 a notice of the account-books of the
Bow works, now belonging to Lady Charlotte Schrieber, is given; and
this I here quote, as it contains some highly interesting matter:--
“The first contains the accounts from January, 1750.--1. O.S.,
in which year the partnership of Messrs. Crowther and Weatherby
commenced, up to December, 1755. From these it appears that a branch
establishment was opened in London in 1753, which, no doubt, was that
of St. Catherine’s, near the Tower,[69] although the place is not
mentioned. An account is given in separate columns of the value of the
_bisket_ and _glazed-ware_ taken into the warehouse at Bow,
and sold out of the warehouses at London and Bow, in each year.
“A statement for the year 1754 is here given, to show the extent of the
business transacted.
A WEEKLY ACCOUNT OF TRADE, &C., AT LONDON AND BOW.
+-------+-------------+---------+------------+----------+----------+---------+
| 1754. | Goods | Credit |Retail Cash,|Cash, per | Cash | Goods |
|Jan. 5.|Credited with| without | London. | Journal. | Recd. at |Returned.|
| | Discount. |Discount.| | | Bow. | |
+-------+-------------+---------+------------+----------+----------+---------+
| 5| 134 15 5 | 1 1 0| 20 4 3 | 11 1 6| 28 17 9½| 9 15 0|
| 12| 174 6 1 | 25 5 6| 29 4 8 | 138 9 3| 16 14 8 | 4 13 0|
| 19| 192 13 6 | 24 16 10| 50 16 0 | 153 18 9| 28 15 10½| 15 5 0|
| 26| 115 14 4 | 1 0 0| 59 6 2 | 94 13 0| 20 8 9 | 16 16 3|
|Feby. 2| 50 16 11 | 15 19 3| 26 2 6 | 86 15 0| 30 9 6½| 1 6 6|
| 9| 69 8 7 | 9 14 7| 42 3 9 | 40 5 4| 21 6 1 | 62 1 5|
| 16| 51 16 8 | 3 7 6| 32 17 5 | 71 18 5| 24 14 7½| 7 16 6|
| 23| 48 9 11 | 71 1 8| 38 12 8 | 58 17 7| 22 10 7½| 2 19 3|
|Mar. 2| 67 1 3 | 13 9 6| 56 4 3 | 83 2 5| 26 3 10 | 17 14 6|
| 9| 89 12 7½ | 8 9 4| 44 11 9 | 145 14 2| 35 5 1½| |
| 16| 136 17 0½ | 9 5 6| 27 11 5 | 70 12 6| 33 16 4 | 2 0 6|
| 23| 41 7 5 | 13 6 0| 36 8 10 | 55 9 6| 14 7 0 | 1 9 0|
| 30| 104 11 0 | 14 10 6| 41 18 3 | 90 16 2| 21 9 9 | |
+-------+-------------+---------+------------+----------+----------+---------+
| | 1277 10 9 |211 7 2| 506 1 11 |1101 13 7|325 0 0 |141 16 11|
+-------+-------------+---------+------------+----------+----------+---------+
ANNUAL ACCOUNT OF THE PORCELAIN COMPANY’S TRADE FOR THE YEAR 1754.
+-----------+----------+------------+--------------+--------------+------------+
| |Sold with |Sold without|Cash received,|Cash received,| Debts |
| |Discount. | Discount. | London. | Bow. | come in. |
+-----------+----------+------------+--------------+--------------+------------+
|1st Quarter|1277 10 9| 211 7 2 | 506 1 11 | 325 0 0 | 1101 13 7|
|2nd Quarter|2222 11 8| 200 0 3 | 569 3 11 | 299 10 4 | 1434 10 1|
|3rd Quarter|2647 18 1| 385 2 2 | 381 18 11 | 150 4 0 | 2184 6 11|
|4th Quarter|1982 3 8| 189 0 0 | 353 5 8 | 77 8 11 | 2429 10 9|
| +----------+------------+--------------+--------------+------------+
| Total |8130 4 2| 985 9 7 | 1810 10 5 | 852 3 3 | 7150 1 4|
|Disct. 10% | 813 0 0+------------+--------------+--------------+ |
| +----------+ Cash received Bow | 852 3 3|
| |7317 4 2| „ „ London | 1810 10 5|
| +----------+ Sold without Discount | 985 9 7|
| Sold with Discount | 7317 4 2|
| +------------+
| Total |18,115 8 9|
+-----------------------------------------------------------------+------------+
“The following extract will show the actual cash receipts at Bow and
London, 1751 to 1755, exclusive of the book debts received during
the year, which, as will be seen in the preceding account for 1754,
amounted to upwards of £7,000.
“This statement gives us an idea of the steady increase of the
business, which had nearly doubled itself in five years.
O.S. 1750–1 £6,573 0 8
N.S. 1752 7,747 4 8
„ 1753 10,114 11 6
„ 1754 10,965 6 3
„ 1755 11,229 15 2
“The next entry gives us the weekly account of biscuit china made at
Bow in 1754, and is interesting, as it distinctly informs us that the
name of the Bow factory was _New Canton_; the China works being,
as Thomas Craft says, on the same plan as that of Canton.”
A WEEKLY ACCOUNT OF BISKET WARE MADE AT NEW CANTON.
1754.
Jan. 5 No Kilns
12 Do.
19 Do.
29 Do.
Feb. 2 Do.
9 Do.
16 Do.
23 2 Kilns 128 15 2
Mar. 2 2 Do. 126 8 11
9 2 Do. 134 9 10
16 2 Do. 147 18 6
23 2 Do. 129 0 6
30 2 Do. 132 14 10
---------
799 7 9
1754.
Apr. 6 2 Kilns 109 4 3
13 2 Do. 140 13 3
20 2 Do. 128 8 6
27 2 Do. 115 3 6
May 4 2 Do. 121 13 3
11 2 Do. 115 16 6
18 2 Do. 128 5 0
25 3 Do. 184 13 8
June 1 3 Do. 177 0 8
8 3 Do. 177 17 6
15 3 Do. 181 14 5
22 3 Do. 177 3 0
29 3 Do. 169 9 1
-----------
1,927 2 7
799 7 9
-----------
Amount one week with another for 19 weeks
is £143 10 0 each week £2,726 10 4
“There is a cash-account book for 1757 and 1758, of receipts and
payments of a London branch of the Bow factory, either at St.
Catherine’s or in Cornhill: it is balanced weekly. The moneys received
are principally from customers, whose names are given, and ready money
taken daily, cash received from St. James Street, &c., averaging about
£120 per week. The bulk of the money was paid to Mr. Crowther every
week, occasionally to Mr. Weatherby.
“Mr. Frye frequently received sums varying from £15 to £30, possibly
for expenses at Bow; Mr. Heylin’s name occurs once or twice only for
small sums. Other payments are for powder gold and for grain gold
for Bow; freight of clay; weekly wages--to Mr. Brown, 18_s._; Mr.
Sandys, 12_s._; Hugh Williams, 12_s._; Stephenson, 12_s._; Burnett,
10_s._,--which average about 60_s._ per week.
“The book we now refer to contains memoranda made by John Bowcocke, in
1756; he was one of the managers, or perhaps traveller, for the Bow
works. In it we find orders from customers, and many interesting notes
relating to the business. We shall have occasion to quote largely from
this manuscript, as the items throw considerable light upon the various
descriptions of ware made there, among which many will be identified by
the curious reader.
“‘1756. Insure £450 on board the _Antilope_: John Cowling.
Mr. Crowther paid Thos. Osborne for an anchor for the ship
_Antilope_ £12 1_s._ 0_d._
2 doz. crimson buttons for Mr. Frye.
_Jany. 29._ Mr. Fogg: a sprig’d sallad vessel, 12_s._; 1 pair
sprig’d boats, 6_s._; 16 cooks, 2_s._ each, abated; a swan; two
harlequins (returned), 7_s._
_March._ Mr. Fahy: 9 gentlemen and ladies, at 9_s._, £4 1_s._
0_d._
Mr. White: 1 small fluter white: 3 pair boys and girls; 1 pair
small fidler and companion; 1 pair tamberines; 1 cook.
Mr. Fogg: 2 doz. odd cups and 2 doz. imag’d small; 2 pair image
ewers; 6 swans; 6 white boars; 6 sprig’d handled cups and 6
cans; 1 pair sauce boats, Mr. Vere’s pattern, 4_s._; 1 pair
large ribbed boats, 4_s._; 1 large dragon milk-pot; 12 dragon
breakfast cups and saucers with good deep colour; 1 sprig’d
upright teapot, 3_s._; 1 sprig’d cream ewer; 24 octagon nappy
plates, partridge pattern; 1 vine-leaf milk-pot.
_March 27._ Mrs. Ann Howard, the Lamb, in Broad Mead, Bristol.
10 round dishes; 2 of each size from the smallest to the
largest, both included; 1 largest octogon dish; 1 next less size
dish; 36 table plates; 12 soup plates; 2 pair rib’d boats; 3
pair flatt salts, without feet; they must all be the bordered
image, blue and pale, as you please.
She has it greatly in her power to serve the factory. I hope
they will be very neat and charged reasonable; I have not told
her any price. Add 1 soup dish, 13, or not above 14 inches over;
12 table plates. Imaged pale blue.
Quy. What’s to be done with white bud sprigs; what quy. of
Cupids and B is wanted white; white floras, &c.
_March 30._ Lent Mr. Frye, cash £8.
_April 22._ Colol. Griffin, Brook Street; 4 small upright pint
mugs to be painted to the very fine landskip pattern, as soon as
possible.
_April 22._ 4 doz. blue plates, Newark pattern; 8 doz. mosaic do.
_April 28._ Lord Southwell: Mr. Heylin has promised him to make
an oval tureen, the image pattern, and to be done in 6 weeks
without fail. Think of the Chinese head for Mr. Weatherby.
_May 4._ Mr. Vanderkist: an enamelled partridge coffee-pot,
9_s._ Mr. White: 1 imag’d cup and 7 sprig’d chocolates. What
is meant by 36 white men with salt-boxes? Mr. Hunter desires
to have some mustard ladles as the cream ladles, only small
boles and long handles; 6 enamelled roses; 2 pr. green leaf
candlesticks; 4 white leaf candlesticks.
Mr. Kentish: mandrill coffee-pot.
Mr. Fogg: 2 swans, wings open.
Mrs. Whitfield to have 1 pr. white branch candlesticks. Mr.
Williams, 1 pr. sporters; 1 enamelled pero, 6_s._ 1 shepherd,
imperial, 7_s._; 1 shepherdess, 9_s._
_May 7._ Quy. whether any Windsor bricks were received at the
glass house, which is charged to the porcelain compy.
Paid Mr. Heylin, Minshull’s draft, £10 10_s._ 0_d._ J. B. paid
Sir Joseph Hankey for Messrs. Weatherby and Crowther, £348
18_s._ 0_d._
Mr. Fahy: 1 pr. of the new shepherd and compn.; 1 pr. Dutch
dancers, 9_s._; 1 gentleman and lady, 18_s._; 1 cook, 7_s._;
1 boy and girl, 12_s._; 1 Paris cries, 6_s._; 1 woman with
chicken, 7_s._
Whether any _bucks_ is wanted? There was 5 pair sent down, and
only 1 pair came back.
Send down what _does_ there is in town, and send down the Bow
books.
_May 28._ Patterns received from Lady Cavendish: a Japan octogon
cup and saucer, lady pattern; a rib’d and scollop’d cup and
saucer, image pattern; a basket bordered dysart plate; a Japan
bread and butter plate.
Mr. Williams: 12 setts blue teas, at 2_s._ 10_d._; a sett
compleat of the second _printed_ teas.
_May 15._ Recd. a pair of birds on pedestals, to be painted for
Mr. Legg, corner of Birchen lane.
Lady Stairs: a compleat sett Dresden sprig, the canister top;
parteridge octogon plates.
Mrs. Whitfield to have 1 pr. white biscuit candlesticks.
_May 20._ Duchess of Leeds: 2 square enamd. and sprig’d desst.
15_s._; 1 blue dolphin-pickle stand, 5_s._; 1 white basin and
cover, 3_s._; the Duke of Argyle’s acct., £20 5_s._ 0_d._
The Duchess of Portland’s acct. to be made out, and wait on the
steward, Mr. Guidon, in Privy Gardens, Whitehall, and will be
paid when her ladyship returns.
_June 18._ Mr. Fogg: 1 pint _printed_ mug, 5_s._; 1 half-pint
do., 3_s._ 6_d._; 1 fine plate, 4_s._; 1 partridge handd. cup
and saucer, 3_s._ 6_d._ Allowed Mr. Fogg. In a Pero’s broken
hat, 1_s._ (Pierrot); in two Turks 3_s._; octogon dysart
partridge plate, 3_s._ 6_d._ Mr. Fogg to know the price of the
best cock plates; 4 pair rib’d boats, at 4_s._, good; 2 pr.
small imaged boats and plates; 6 squirrels; butter tubs; 2 small
dragon milk-pots; 2 do., a little larger; 1 dragon sugar dish.
Mr. Morgan lent me a leaf for the roses; 4 vauses; 1 pair
Minervas of each size.
2 double dozn. of lase and 2 double doz. dysart rose pattern
knife handles; to be mounted and sent in Baxter’s parcel.
_July 24._ Mr. Fogg to have 1 pair of coloured squirrels.
The knife-handles; how many sold of Dresden flowers; and to have
a double dozn. mounted.
Has Mrs. Bernardeau had what she ordered of the wheatsheaf?
To buy a partridge either alive or dead.
To bring down the Chelsea cabbage leaves and bason.
Recd. and gave Mr. Beswick receipt for £107 12_s._ 0_d._ in full
to Sept. 1755, for Weatherby and Crowther. J. B.
Mr. Coleman: harliquin, columbine, and Pero (Pierrot). 1 small
sprig’d round teapot.
Goats, swans, and every other sorts of toys to be sent in
Baxter’s order, flatt drawers to be made on purpose, and each
kept separate.
A plate of the Princess Wales’ pattern, good.
_Aug. 30._ Paid Mr. Heylin’s draft on Mr. Crowther for £13,
and charged Mr. Crowther’s cash acct. with it: quy. how is Mr.
Heylin made Dr. and J. C. Creditor?
_Nov. 29._ J. Bowcocke borrowed of Mr. Crowther for Bow £30.
Mr. Fogg: caudle-cups, white sprig’d and saucers; 3 pr. image
cream ewers, full blue; 4 white leaf candlesticks, 2_s._ 3_d._;
1 set large sprig’d teas, handled; 2 pr. rib’d boats, at 4_s._
6_d._; 1 sprig’d tea pot, 4_s._, good.
Patterns received from Lady Cavendish; a Japan octogon cup and
saucer, lady pattern; a rib’d and scollop’d cup and saucer; a
basket bordered dysart plate; a Japan bread and butter plate. To
be returned in a month, May 28th, 1756.’
“On analyzing these memoranda, although they are but imperfect and
necessarily curt, being written only for the writer’s guidance, we are
made acquainted with many facts not before disclosed; for example--it
has never been suggested that _printed_ china was produced at Bow,
yet it is evident that china was decorated with transfer engravings as
early as the year 1756, as appears from the following entries:--
“‘One pint _printed_ mug,
One half-pint, do.,
A sett compleat of the second _printed_ teas.’
“The patent which Messrs. Sadler and Green, of Liverpool, proposed
taking out as inventors of the process is dated 1756, but they had
brought the art to perfection several years before, and had kept it a
profound secret. Transfer printing on enamel was in vogue at Battersea
before 1755, and the process would be the same on china as enamel.
Horace Walpole, writing to Richard Bentley in Sept. 1755, says, ‘I send
you a trifling snuff-box, only as a sample of the new manufacture at
Battersea, which is done with copper-plates.’ Mr. Binns, of Worcester,
has a Battersea enamel watch-case with the tea-party from the same
plate as the impressions on china. The _Liverpool Guide_ of 1799
says ‘copper-plate printing upon china and earthenware originated here
in 1752, and remained some time a secret with the inventors, Messrs.
Sadler and Green. The manner in which this continues to be done here,
remains still unrivalled in perfection. As late as 1783, Wedgwood
constantly sent his ware to Liverpool to be printed.’
“The proprietors of the Bow works availed themselves of assistance
by occasionally sending their china to Liverpool to be printed.[70]
All the pieces decorated with transfer engravings, have, without
discrimination, been erroneously assigned to Worcester, owing to the
want of a thorough investigation of the quality of the body.
“Lady Charlotte Schreiber has a teapot with a transfer portrait of the
‘Prussian Hero,’ the handle and spout ornamented in relief with the
enamelled flowers peculiar to Bow; a bowl with prints of the well-known
tea-party, and garden-scenes; and two plates, part of ‘a sett of the
second _printed_ teas,’ before alluded to, with poultry and leaves. All
these are undoubtedly of Bow body, probably decorated at Liverpool.
“Large quantities of blue-painted ware issued from the Bow works, and
there are frequent allusions to them in the order-book, for cheap
services. On examining the blue pieces, which can be safely assigned to
Bow from the nature of the body, there is a peculiarity in the glaze
which arises in this way: blue being at that time the only colour that
would bear the intense heat of the kiln (_au grand feu_), it is always
painted on the biscuit before being dipped in the glaze; consequently
portions, however slight, are apt, while the glaze is in a fluid state,
to spread over the surface, giving it a blue tinge, especially on
large surfaces; the other colours, as well as the gold, are painted
_over the glaze_, and set in a kiln of lower temperature, called the
reverberatory or muffle kiln. Hence the blue, being _under the glaze_,
is imperishable, but the other colours, from frequent use, get rubbed
off.
“We find in the order-book the blue Newark pattern; blue dolphin
pickle-stand; ‘setts of blue teas.’ A dinner-service was ordered to be
‘blue and pale as you please,’ &c.
“Among the patterns noticed in the same book are white bud sprigs,
sprigged tea sets, and Dresden sprigs; partridge services, imaged
services, and dragon services, were in great demand; Chelsea cabbage
leaf, the lady pattern, and the Princess of Wales’s pattern, white men
with salt boxes, mugs painted to the fine landscape pattern, &c.
“Of the figures and groups, only a few are mentioned, such as
Minerva of two sizes, Flora, imperial shepherd and shepherdess, the
new shepherd and its companion, Cupid, gentleman and lady, boy and
girl, fluter, fiddler, harlequin, columbine, and pierrot or clown,
tambourine-player, sportsman, cook, Dutch dancer, woman with chicken,
Turk and companion, female figure, birds on pedestals, swans, boars,
squirrels, buck and doe, goat, and toys of all sorts.
“These short notices of Bow figures, although far from being important
examples, will remind many of our readers of similar pieces which have
been classed as Chelsea.
“We may also refer to the pair of white china figures of Woodward the
actor, and Mrs. Clive, in the costumes as given in Bell’s ‘Collection
of Plays.’ A pair of these in the white Bow china, exquisitely modelled
and finished, bear the date 1758 stamped in the clay: they are in the
possession of a lady whose family has retained them ever since they
came from the factory.
* * * * *
“Memorandum-book of John Bowcocke for 1758.
“There is very little to interest us in this book. Bowcocke was at
Dublin for the first eight months, receiving consignments of glass and
china from the works, which were sold principally by auction. The money
taken was remitted weekly to the company.
“‘_Feb. 9, 1758._ Dublin. I went to see Sheridan, in Hamlet.
_April 19._ Lady Freik shew’d me two tureens she brought from
France, moulded from a full-grown cabbage. (A sketch is given.)
_Aug. 22._ At Nottingham. Called on Mr. Rigley; he says he was
used ill about some figure Thorpe sent, not to order, and has
done.
_Sept. 24._ At Bow. Went to hear Mr. John Crowther preach his
first sermon.
_Oct. 16._ Bought a china figure for Mrs. McNally, 4_s._
Painting do., 1_s._ 3_d._
Treating Mrs. McNally, wine, 1_s._
Went to see her home from the play, 1_s._; purl, 2_d._
(This lady was a good customer of the firm: on
referring to the cash-book, we find she paid, on Oct.
16th, £18 13_s._ 9_d._)
_Nov. 27._ At Bow. Observed in the burning of the bisquit ware
that dishes and plates should be burnt in new cases, and only
one in each case, as when two are burnt in one another it is
certain that one is always bad.
All handled chocolates and coffees and handled teas to be burnt
with covers.
_Dec. 26._ Dined with Mr. H. Frye and family at Stratford.’
“In the front of this book is a note in pencil, written in 1866,
stating that--
“‘One hundred years since, John Bowcocke died, Tuesday, Feb.
26th, 1765, at 6 o’clock in the evening, of lockjaw. He was
brother to William Bowcocke, of Chester, painter, my mother’s
father.--THOS. BAILEY.’
“In the same collection are two books of pencil sketches by a French
artist named De la Cour, of plants, trees, festoons of flowers, rococo
scrolls, cane handles, frames, chimney-pieces, landscapes (among which
is a view of London), figures, single figures for statuettes, &c.
Another book contains coloured engravings by Martin Engelbrecht, of
Nuremberg, of a great variety of subjects suitable for painting on
china: costumes of various nations, ladies and gentlemen splendidly
attired, shepherds and shepherdesses, garden scenes and summer-houses,
palaces, birds, animals and insects, hunting scenes, musicians, Chinese
figures and scenery, interlaced ornaments, &c. A fourth book, published
by Edwards and Darley, 1754, consists of engraved subjects,--Chinese
interiors, vases, figures, pagodas, bridges, animals, exotic birds,
insects, &c. The Chinese designs are mixed up with _rococo_ scrolls and
other ornamental work.”
Enough will have been gleaned from the foregoing regarding the various
productions of the Bow Works. One or two noted examples, however,
require to be specially named, as being usually associated in the minds
of collectors with this manufactory. One of these is a well-known small
goat milk-jug which was formerly always attributed to Bow. It bears a
bee in relief under the spout which was supposed to be allegorical of
the initial B of Bow. Some examples, however, are without the bee. They
are occasionally marked with a simple triangle, which, however, has
been shown to have been occasionally used at Chelsea; and that the goat
jugs were also there made.[71]
The marks attributed to the Bow factory are numerous and varied;
and some which are so ascribed have not, I believe, the slightest
connection with those works. The following are among the marks, said
by one writer or other to belong to Bow, but some of them are very
doubtful. Indeed, there is almost an absolute certainty that some of
those ascribed to Bow, in reality belong to Chelsea and other places.
Some of these marks are incised.
[Illustration: Figs. 418 to 450.]
STRATFORD.
The _London Chronicle_ of 1755 contains the following paragraph:
“Yesterday four persons, well skilled in the making of British china,
were engaged for Scotland, where a new porcelain manufacture is going
to be established in the manner of that now carried on at Chelsea,
Stratford, and Bow.” From this it is evident that in 1755 a china
manufactory, distinct from that at Bow, was carried on at this place.
Nothing, however, is at present known as to its history.
KENTISH TOWN.
In the middle of last century John Giles had a small establishment
and kiln at Kentish Town, where he finished and burned china, &c.,
procured in the white from other manufactories. He advertised “to
procure and paint, for any person, Worcester porcelain to any or in any
pattern;” and here vases and other articles, decorated by himself and
by other artists and amateurs, were burned. An interesting reference
to this kiln will be found in my account of the Bow china works on
another page, where Thomas Craft, speaking of a bowl he had made,
writing from memory in 1790, says “about the year 1760:” “I took it in
a box to Kentish Town, and had it burned there in Mr. Gyles’s kiln,
cost me 3_s._” In 1771 Giles took premises in Cockspur Street,
as a sale-room, &c. On the 9th of July in that year the lease of
these premises was granted from “George Stubbs, of the parish of St.
Margaret, Westmr., in the county of Middx., Esq.,” “to James Giles, of
the parish of St. James, within the liberty of Westmr., in the said
county of Middlx., china-man,” of “all that messuage or tenement and
premises, lately called or known by the name of the Gun Tavern, in
the parish of St. Martin-in-the-Fields, in the said county of Middx.,
situate and being on the north side of a street called Cockspur Street,
leading from Pall Mall to Charing Cross, and lately in the tenure or
occupation of Susannah Cannon, deceased, together with all ways,”
&c., &c., for a term of 21 years, at an annual rental of £110. These
premises were held from the Crown, on a longer lease, by Stubbs, so
that this was a sub-letting to Giles, who had power to enter upon them
on the above date, but to be free from rent until September 29th in
consideration of any sums he might lay out in repairs, he covenanting
to lay out in improvements and repairs £300, if requisite. The deed, in
my own possession, bears the signature and seal of “Geo. Stubbs,” and
the attesting signatures of “G. Stubbs. Jos. Mead, his Clerk.”
Giles appears to have become involved soon after this, and was assisted
with loans and money and in other ways, by Duesbury, of the Derby china
works. This is proved by papers in my own possession, amongst which are
several notes of hand, as “Borrowed of Mr. Duesbury five guineas, which
I promise to repay on demand. James Giles.” “Paid Mr. Heath a Bill on
Mr. Giles, dated Feb. 20, at two months, value £120.” “April 1, James
Giles’s note due 4th June, 1777, £50.” “May 29, Jas. Giles’s note due
July 12, £50,” etc., etc. Ultimately Mr. Duesbury, on the failure of
Giles, took to his stock and entire concern, and the original accounts,
&c., connected with this are in my own possession. One of these, the
balance-sheet of the estate for 1776–77, is very curious as showing
some of the fashionable people with whom he did business:--
JAS. GILES’S ESTATE, CR.
1776. £ _s._ _d._
May 4. By Miss Clarkson’s Bill received 3 8 6
„ Lord Palmerstone’s do. 0 14 6
13. „ Coll. Twisleton’s do. 0 10 6
15. „ Lady Nuneham do. 2 14 6
„ „ Lady Ailesford do. 0 15 0
„ 28. „ Mrs. Nesbitt do. 0 10 6
June 14. „ Duke of Bolton do. 3 4 0
„ 17. „ Mr. Robt. Child do. 2 15 0
„ 10. „ Mr. Duesbury borrow’d 5 5 0
July 23. „ Ditto do. 5 5 0
Aug. 17. „ Ditto do. 3 13 0
1777.
May 17. „ Mr. Buller his Bill 8 19 0
„ 30. „ Dutchess of Ancaster do. 10 1 0
June 14. „ Mrs. Stevens do. 0 11 6
„ „ Mr. Cooper do. 0 9 0
„ „ Mr. Kent do. 2 10 6
July 12. „ Mr. Sheridan, on Acct. 20 0 0
Sept. 8. „ Ditto, in full 3 12 6
-------------
£74 19 0
=============
JAS. GILES’S ESTATE, DR.
1776. £ _s._ _d._
May 11. Jas. Steventon, assisting before, at and
after the Auction at Squibs, 17 days
at 3_s._ 2 11 0
„ Saml. Sanders do., 10 days at 3_s._ 1 10 0
„ Paid Cartage from Berwick Street 0 4 0
„ Hay, paper, nails, &c. 0 3 7
13. Pd. ½ year’s rent to Mrs. Becket 15 0 0
June 5. Steventon and Sanders, 14 days each at
Sale King’s Head, Butcher Row, at 3_s._
each 4 4 0
„ Paid Porterage 0 2 0
July 5. Paid Mrs. Becket ½ year’s Rent in full 15 0 0
Aug. 28. Bill for enamelling sundries to compleat
Stock 25 2 10
1778.
April 30. Paid Debt to Flight & Co. 12 6 2
„ Cost of arrest to do. 2 2 0
„ Paid Debt to Mr. Maiden 0 7 6
-------------
£78 13 1
=============
The £25 2_s._ 10_d._ “for enamelling sundries to complete stock” was
thus expended:--
Acct. of Goods Enamel’d to compleat the Stock, and Deld. to Mr.
Duesbury, Augt. 28th, 1776, by Js. Giles.
£ _s._ _d._
48 Shank’d Tea Cups and Saucers, blue edge, at 8_d._ 1 12 0
2 Teapots 4_s._; 2 Milkpots, 3_s._; 2 Slop Basons,
3_s._; do. 0 10 0
2 Sugar Boxes, 4_s._; 2 large Plates, 4_s._; 2 less
do., 3_s._ 0 11 0
2 Teapot Stands, 2 Spoon Trays do. at 1_s._ 0 4 0
12 Plain Handle Teas, 12 Saucers do. at 8_d._ 0 16 0
6 Coffee Cups, 4_s._; 2 Slop Basons, 4_s._; 2 Sugar
Boxes, 4_s._; do. 0 12 0
2 Bread and Butter Plates, 3_s._; 2 Teapots, 4_s._ 0 7 0
12 Handle Teas, 12 Saucers, 6 Coffee Cups, green edge,
at 8_d._ 1 0 0
1 Slop Bason and 1 Sugar Box, do., at 2_s._ 0 4 0
17 Fluted Teas, 1 Coffee Cup, 1 Slop Bason, 1 Sugar
Box, 1 Milk Pot, blue wreath 1 11 6
24 Handle Cups and Saucers, 6 Coffee Cups, and 1
Sugar Box, fruit and flowers and pea-green ground 4 16 0
7 Twig Handle Teas, 6 Coffee Cups, gold Dontell,
at 1_s._ 0 13 0
1 Teapot, 1 Milkpot, do. 0 5 0
12 Plain Handle Cups and Saucers, for Breakfast, do. 0 15 0
1 Slop Bason, 1 Sugar Box, do. 0 5 0
2 Saucers, 1_s._; and 1 Coffee Can, do. 0 2 6
24 New Ribb’d Handle Teas and Saucers, do., at 1_s._ 1 4 0
1 Teapot, 3_s._; 1 Milkpot, 2_s._; 1 Slop Bason,
2_s._ 6_d._; 1 Sugar Box, 2_s._ 6_d._ 0 10 0
1 Stand, 1 Boat, 2_s._ 6_d._; 1 large Plate, 2_s._
6_d._; 1 less, 2_s._ 0 7 0
24 Shank’d Handle Teas and Saucers, 1 Sugar Box,
1 Milkpot, green flower, &c. 1 10 0
2 Chocolates, 2 Saucers, flowers and brown edge 0 4 0
1 Coffee Cup, pink sprigs 0 0 10
1 Table Plate, French blue ring 0 3 0
12 Handle Teas, 12 Saucers, sky-blue and gold 3 0 0
2 Slop Basons, 9_s._; 1 Teapot, 6_s._; 1 Butter Tub
and Cover do., 5_s._ 1 0 0
18 Desert Plates in large birds 3 0 0
-----------
£25 2 10
The “Debt to Flight & Co.,” and “Cost of Arrest to do.,” as entered
under the date of April 30th, is thus explained:--
Thomas Flight and Robert Tabor
Against
James Giles.
In the Common Pleas. Hilary Vacation, 1778.
To Debt as pr. Warrant £12 6 2
To Cost of Suit, &c. 2 2 0
-----------
£14 8 2
Received 30th April, 1778, of Mr. James Giles, the above-named
Defendant, Fourteen Pounds, eight Shillings and 2_d._, for the
purposes above mentioned.
Pr. Thomas Vere,
£14 8_s._ 2_d._ No. 15, Southampton Buildings.
One of the assignees of James Giles was Mr. Wm. Randall, who died
before Dec. 23, 1779. In the balance-sheet of his accounts, from May 7,
1776 (the date of assignment), to that date, are frequent entries of
postage of letters from Worcester; and among the receipts are accounts
from Lady Melbourne, Lady Warren, Paul Orchard, Esq., Mrs. Powis, --
Kent, Esq., Lady Jersey, Dutchess Dowager of Leinster, etc. The account
is as follows:--
THE ACCOUNT OF THE LATE MR. WILLIAM RANDALL, AS ONE OF THE
ASSIGNEES OF THE EFFECTS OF THE LATE MR. GILES, FROM MAY Y^E 7TH, 1776,
TO DECEMBER Y^E 23RD, 1779.
WILL^M. RANDALL, CRED^R.
1776. £ _s._ _d._
May 7. For a year’s rent of Mr. Giles’ House, due at
Xmas 1775, & paid to Mr. Stubbs 110 0 0
„ For a Bill to Mr. Stubbs, Attorney 5 13 9
„ 31. For a Quarter’s Rent paid to Do., due at
Ladyday 27 10 0
June 26. For a Letter from Worcester 0 0 4
„ 29. For an half-year’s Interest of £200, due April
ye 4th, upon Bond, to Mrs. Twiss 5 0 0
Aug. 21. For a Bill to Mr. Sheppard, Attorney 21 18 6
„ For a Letter f^m Worcester 0 0 4
„ 23. For a Quarter’s Rent, due at Midsummer, paid to
Mr. Stubbs 27 10 0
Nov. 16. For Do. „ due at Michaelmas 27 10 0
1777.
Jan. 15. For an half-year’s Interest, due Oct. 4th,
1776, to Mrs. Twiss 5 0 0
„ 29. For a Letter f^m Worcester 0 0 4
Dec. 13. For a Year’s Rent, due at Michaelmas, and
paid to Mr. Stubbs 110 0 0
1778.
Dec. 28. For Do. „ due at Do. 110 0 0
1779.
For a Letter from Worcester 0 0 4
Dec. 23. For a Year’s Rent, due at Michaelmas, to
Mr. Stubbs 110 0 0
PER CON: D^R.
1776. £ _s._ _d._
May 7. For cash recd. of Messrs. Stubbs--Shop
Account 42 6 6
„ 8. For Do. „ of Lady Warren Do. 11 7 0
„ 9. For Do. „ of Paul Orchard, Esq. Do.
10 10 0
Deducted for China
broken 0 10 6
------ 9 19 6
„ 20. For Do. „ of Mrs. Powis Do. 15 4 0
„ 23. For Do. „ of -- Kent, Esq. Do. 2 10 0
„ -- For Do. „ of Lady Melbourne Do. 15 1 0
„ 31. For Do. „ of Mr. Harris, for a Quarter’s
Rent of the House late Mr.
Giles’, due at Ladyday 35 0 0
June 11. For Do. „ of Lady Jersey--Shop Account 2 14 0
Nov. 16. For Do. „ of Mr. Harris, for an
half-year’s Rent due at
Michaelmas 70 0 0
Dec. 7. For Do. „ of the Dutchess Dowager of
Leinster, Shop Account 32 13 6
1777.
June 17. For Do. „ of Mr. Tho: Jones Do. 0 8 6
Dec. 13. For Do. „ of Mr. Harris, for a Year’s
Rent, due at Michaelmas 140 0 0
1778.
Dec. 28. For Do. „ of Do. „ „ due at Do. 140 0 0
1779.
Dec. 23. For Do. „ of Do. „ „ due at Do. 140 0 0
EUSTON ROAD.
In 1860 Messrs. W. and T. Wills, sculptors, having turned their
attention to the production of works of art in terra-cotta, commenced
the manufacture at this place. The works produced consist of vases,
figures and groups of figures, busts, &c., of a size and character for
drawing-room use. The subjects are principally mythological, and are
admirably modelled--each piece sent out receiving its finishing touches
from the artist’s own hands. In colour, Messrs. Wills’ terra-cottas are
a delicate pink and deep rich red. Their names are marked on each piece.
OXFORD STREET.
Among London establishments who, from a long and intimate connection
with some of the more eminent of our porcelain works, may almost be
considered to be manufacturers, are the following. To these firms
the world owes many of the most striking and beautiful of ceramic
productions. These have been designed by the firms themselves, and made
specially for them; they thus become literally their own productions.
* * * * *
_Mortlocks_; Oxford Street.--This house was established in 1746, by
John Mortlock, and has been uninterruptedly continued since that date
through five generations, in direct line, of the same family; its head
at the present time being, as it was more than one hundred and fifty
years ago, a John Mortlock. In the palmy days of the old Rockingham
works, John Mortlock was London agent for the goods made there. One
speciality of these works, the “Cadogan” teapot, formed on the model
of an example of Indian green ware brought from abroad by the Marquess
and Marchioness of Rockingham, or the Hon. Mrs. Cadogan, was the means
of adding largely to his connection with these works. The first of
these was made for the Marchioness of Rockingham; and when the Prince
Regent, afterwards George IV., visited Wentworth House, the seat
of Earl Fitzwilliam, these teapots were then in use, and were much
admired; the prince, who was a great connoisseur in tea, I believe,
bringing one of them away with him. On the return of the prince and
his suite to town, inquiries were made for them of John Mortlock, who
supplied the palace with china, &c. He at once saw that they would come
into great repute, and ordered a large quantity, stipulating that his
name, MORTLOCK, should be stamped upon them. This was done in place of
the word ROCKINGHAM, and they thus passed as Mortlock’s own make; he
ordered at one time as much as £900 worth for one season’s consumption.
(See “Rockingham Works.”)
When the Nantgarw works were first started, Mr. Mortlock became a large
purchaser as well as agent. He regularly took a large quantity of the
ware in the white; this he had painted in London, by Webster, Randall,
and various other artists, and fired at the enamel kiln of Messrs.
Robins and Randall, in Spa Fields. At this time Mortlock was also agent
to the Coalport and Swansea works; and Mr. Nore, of Coalport, feeling
a jealousy, and finding that the sale of the Swansea and Nantgarw
productions interfered with his own, bought up those two concerns,
removed their models, &c., to Coalport, and closed them. The firm
still retain an agency for Coalport, and also for Messrs. Minton & Co.
Mr. Mortlock has special marks for some of the Coalport productions
prepared from his designs.
HOXTON.
In 1693 there was “a famous brick-moulder at Hoxton.” Some very
interesting particulars are given by Houghton, in his “Husbandry and
Trade Improved,” 1693.
HAMMERSMITH.
Houghton, in 1693, thus alludes to the brick works at this place:
“Some can make fourteen or 15,000 in a day, some 18,000; but _Nicholas
Gooding_, of _Hammersmith_, for a wager of 10_l._, made in one day
22,000 bricks, upon which _Sir Nicholas Crisp_ assisted him to set
up, and he is now living at _Hammersmith_, and worth several thousand
pounds. His master’s name was _Gosling_, who had three men whom he
often encouraged to wagers.”