CHAPTER VII.

Chelsea—M. Spremont—Sale of the Works to Duesbury—Removal to Derby—Wages Bills—Simpson’s Works—Wedgwood’s Works—Ruhl’s Works—Bow—Heylin and Frye—Weatherby and Crowther—Craft—Sale of Works to Duesbury—Kentish Town—Giles and Duesbury—Euston Road—Mortlocks and others—Hoxton—Hammersmith.

“Chelsea buns,” “Chelsea pensioners,” and “Chelsea china” are surely three things, each one in itself sufficient to make a place famous, but when brought together, a three-fold fame must certainly attach to the locality which has given them a name. With the buns and the pensioners, however, I disclaim all connection in my present work. The former are not sufficiently works of Art-manufacture to entitle them to a place in our columns, and the latter are certainly not articles of virtù which can be collected together and stowed away under glass shades by the connoisseur. And yet the “Chelsea Bun-house” has its story—full of interest and of incident—and the “Hospital” has a history and a host of associations connected with it, which render these two places memorable, and give them an imperishable interest. It is with the “China”—the third of the matters I have named, and of whose story the least is known—that I have now to do. The establishment of the Bun-house, and its history to the latest time, is easily traced out and written; the foundation of the Hospital, and the events which have from time to time filled it with pensioners, are matters of record which are easily gathered together; but the formation of the china works, and many of the changes the establishment has undergone, are lost to us, and will be difficult to recover. It is my object here to attempt to get back so much as may be of the early history of the works, and to throw together the scraps I have collected, into the form of a narrative, which may become the nucleus of a larger and more extended history, as fresh facts are brought to light in the course of my own investigations or of those of others interested in the matter.

It is better to state at the outset that the history of the Chelsea China Works is very obscure. In fact, a London fog, such as is proverbial in the month in which I write (November), seems to have closed around, and enveloped the place in such a dense mass as to make it next to invisible. A little of this cloud of mist I have already removed, and I trust that in the course of future researches I may be able to almost entirely dispel it. At all events, every item of information is valuable, and in the following narrative a vast deal of new matter will be found, which will materially assist the collector in understanding the history of these, the most celebrated of any of the old china manufactories of the United Kingdom.

The south-western district of London, on both sides of the water, has, as I have already shown, for a long period, been the seat of fictile manufactories of an extensive and important character. Fulham, Chelsea, Battersea, Vauxhall, Pedler’s Acre, Lambeth—all had their potteries at an early date, and all, probably, had their origin from one common source. What that first source was—i.e., where the first pottery was founded—is, of course difficult to say, but from it others sprung up, in different directions, until quite a nest of manufactories was located in the suburban districts. The artisans of the seventeenth century were chiefly Dutchmen; indeed, the manufacture was of that kind of ware known as “Delft-ware”—originally made in Holland, and introduced into England by workmen from thence. The importation of “Delft-ware” in this (seventeenth) century was considerable, and at that period the manufacture of a kind of porcelain is said to have been achieved at Delft.

I have shown on another page that large quantities of ware were imported into England from Holland in the seventeenth century, and that Dutch workmen of skill and enterprise were induced, from the prospect of a good home trade here, to settle in England. These workmen, it is not too much to believe, were acquainted with the art of manufacturing porcelain as produced in Delft, as well as the ordinary kind of ware made in their native country; and thus the knowledge was brought into our kingdom, and carried on, to some little extent, by those who settled here. The first maker of china, as I have shown in my account of the Fulham Works, was Mr. Dwight, and to him I am inclined to award the honour of being the father of the Chelsea China Works, about whose origin so little is known. The probability is that after Dwight had succeeded in making porcelain, and abandoned it, some other potter started the works at Chelsea, and with good result.

When first commenced they were, of course, of a very small size, and were, it is said, principally confined to painting and finishing Oriental china, which was imported for that purpose. There is a tradition—but only tradition—that the origin of the Chelsea works took its rise from the fact of clay being brought as ballast in vessels from Chinese ports, which was found to be the veritable clay used by the Oriental potters. This clay is said to have been used both at Chelsea and at Bow, and to have enabled the workmen successfully to compete with their Eastern rivals. The tradition, however, goes on to recount that the Chinese, finding that the uses of this clay had been discovered, and perceiving that they were losing trade in consequence, wisely “stopped the supplies,” and peremptorily refused to allow any more to leave their ports. The workmen were then driven to seek elsewhere for material, and, as a matter of course, soon found enough to use in our country.

By whom the works were carried on in their early days is not recorded, but in the year 1745 the art had evidently attained a high continental as well as home celebrity. In this year the French company, in their petition for the exclusive privilege of establishing a porcelain manufactory at Vincennes, urged the benefit which France might be expected to derive by having a manufactory of porcelain which should counteract the reputation of English and German make, and stop their importation into France. There is nothing to show that Chelsea, any more than Bow, was intended by this; but as ten years later, according to Rouquet, “that of Chelsea is the most considerable” of the three or four china manufactories in the neighbourhood of London, it is probable it was then one of the seats of manufacture of which France was jealous.

George II. gave the Chelsea establishment his countenance and earnest support, and did much to encourage its works, and to ensure its success. He procured for it workmen, models, and materials from the State of Saxony, and thus enabled the factory to produce works of such high merit as to successfully rival the productions of Sèvres and Dresden. This royal patronage of course produced its results, in procuring the patronage of many of the leading men of the day. Thus, the Duke of Cumberland not only took it under his special care, but allowed a sum of money annually for its furtherance and support. In 1750 it belonged to M. Nicholas Spremont, or Sprimont, a foreigner of considerable taste and talent, who did much towards establishing its already acquired reputation. At this time the productions of the establishment must have been of a particularly high order. In Watkins’s “Life of Queen Charlotte,” it is stated that “there are several rooms in Buckingham Palace full of curiosities and valuable movables, but not ranged in proper order. Among other things I beheld with admiration a complete service of Chelsea china, rich and beautiful in fancy beyond expression. I really never saw any Dresden near so fine. Her Majesty made a present of this choice collection to the duke, her brother—a present worthy of so great a prince.” Horace Walpole, too, in 1763, wrote, “I saw yesterday (March 3, 1763) a magnificent service of Chelsea china, which the king and queen are sending to the Duke of Mecklenberg. There are dishes and plates without number, an epergne, candlestick, salt-cellars, sauce-boats, tea and coffee equipages, &c. In short it is complete, and cost £1,200.”

In the Lansdowne MSS.[57] in the British Museum is a curious document relating to the Chelsea works, which, being particularly interesting, I here give in full. It is entitled “The case of the Undertaker of the Chelsea manufacture of Porcelain Ware.”

“Many attempts towards this art have been made in Europe for a long course of years past; the success which has been met with at Dresden has revived these pursuits in many parts of Europe.

“The Empress Queen has a manufacture of her own.

“The French King has one, and has patronised and encouraged several; the King of Naples has one; the late Duke of Orleans was, at the time of his death, and had been for many years, engaged very earnestly in this pursuit, but none have come up to the pattern they have been endeavouring to imitate.

“Several attempts have likewise been made here; few have made any progress, and the chief endeavours at Bow have been towards making a more ordinary sort of ware for common uses.

“This undertaker, a silversmith by profession, from a casual acquaintance with a chymist who had some knowledge this way, was tempted to make a trial, which, upon the progress he made, he was encouraged to pursue with great labour and expense; and as the town and some of the best judges expressed their approbation of the essays he produced of his skill, he found means to engage some assistance.

“The manufacture was then put upon a more extensive footing, and he had the encouragement of the public to a very great degree, so that the last winter he sold to the value of more than £3,500, which is a great deal, considering the thing is new, and is of so great extent that it has been beyond the reach of his industry to produce such complete assortments as are required in a variety of ways. This has been a great spur to his industry, so that, notwithstanding some discouragements, the ground-plot of his manufacture has gone on still increasing.

“The discouragements, besides the immense difficulties in every step towards the improvement of the art, have been the introduction of immense quantities of Dresden porcelain.

“It was known that, as the laws stand, painted earthenware, other than that from India, is not enterable at the Custom House, otherwise than for private use, and of course becomes forfeit when offered to sale, as well as lace from France, or any other unenterable commodity; and though it was publicly sold in a great many shops, and that there were even very frequent public sales of it, it was hoped that what was exposed to sale was chiefly the stock in hand, and when that should be got off, this grievance would cease. It has, nevertheless, happened quite otherwise, for not only the importations continue, and considerable parcels are allowed to pass at the Custom House, as for private use, by which means the shops abound with new stock, and public sales are advertised at the very beginning of the winter, and in large quantities; but there is reason to believe, from the diminution in the price of the Dresden china, that this is done on purpose to crush the manufactory established here, which was a project threatened last year.

“It is apprehended that if recourse is had to the Custom House books, it will be found that considerable quantities have been entered there for private use, besides what may have been allowed to pass as Furniture to foreign ministers.

“This earthenware pays eightpence by the pound when entered for private use; but a figure of very little weight may be worth five pounds, so that the real value of what is sold here will be found to be considerable; and, indeed, it must be so, as this ware makes an important article in a number of great shops, besides the number of public sales during the course of a winter, and the other private ways there are of carrying it about.

“It may be a motive to let it be entered at the Custom House, that great names are made use of there; but it is to be regretted, that either these names are often made use of without authority, or that names are often given for very mean purposes; and as nobody is named, it may be said that a certain foreign minister’s house has been, for a course of years, a warehouse for this commerce, and the large parcel, advertised for public sale on the seventh of next month, is come, or is to come from thence.

“Even the right of entering this ware at all is a doubtful point, and the affirmative is taken upon presumption, because the law says it shall not be entered for sale.

“The manufacture in England has been carried on so far by great labour, and at a large expense; it is in many points to the full as good as the Dresden, and the late Duke of Orleans told Colonel York that the metal or earth had been tried in his furnace, and was found to be the best made in Europe. It is now daily improving, and already employs at least one hundred hands, of which is a nursery of thirty lads, taken from the parishes and charity schools, and bred to designing and painting—arts very much wanted here, and which are of the greatest use in our silk and printed linen manufactures.

“Besides the advantage great honour accrues to the nation, from the progress made in so fine an art, without any of those aids by which it has been set on foot and supported abroad; nor has there even been any application for new laws or prohibitions in its favour, which has been a rule in every country upon the establishment of new manufactures.

“The execution of the laws which have all along been in force, and which can give no offence to anybody, it is apprehended will answer the purpose; all that is therefore requested is, that the Commissioners of the Customs may be cautioned with regard to the admission of this ware under the pretence of private use, and that the public sale of it may not be permitted any more than that of other prohibited goods. A few examples of seizures would put a stop to this, and which cannot be difficult, as all Dresden china has a sure mark to distinguish it by; but if this commerce is permitted to go on, the match between a crowned head and private people must be very unequal, and the possessors of the foreign manufactures will at any time, by the sacrifice of a few thousand pounds, have it in their power to ruin any undertaking of this kind here.

“This must be the case at present with the Chelsea manufacture, unless the administration will be pleased to interpose, and enjoin, in the proper place, a strict attention to the execution of the laws; for if, while the manufacture is filled with ware, these public sales of, and the several shops furnished with, what is prohibited, are to take off the ready money which should enable the manufacturer to go on, it must come to a stop, to the public detriment, and the ruin of the undertaker, as well as great loss to those who have engaged in his support.”

Who the “undertaker” of the works here referred to was, is not stated in the document, which, according to Mr. Franks, bears internal evidence of having been written after 1752 and before 1759. Whether the Customs acceded to his views or not does not appear; but certain it is that, despite the abuse of import privilege enjoyed by cabinet ministers and others, he was, by his own showing, carrying on a very extensive business, selling £3,500 worth of goods in one winter, and employing more than a hundred hands, including a nursery of about thirty lads, who were learning the arts of potting and painting.

In 1754 the following advertisement, which is most important as showing the class of goods then made at Chelsea, appeared in the Public Advertiser of December 17th:—

“To be sold by auction, by Mr. Ford, at his Great Room, in St. James’s, Hay-Market, this and four following days. All the entire stock of Chelsea porcelain toys, brought from the proprietor’s warehouse in Pall Mall; consisting of snuff-boxes, smelling-bottles, and trinkets for watches (mounted in gold and unmounted) in various beautiful shapes, of an elegant design, and curiously painted in enamel, a large parcell of knife-hafts, &c. The said stock may be viewed till the time of sale, which will begin each day at half an hour after eleven o’clock. Note.—Most of the above things are in lots suitable for jewellers, goldsmiths, toyshops, china-shops, cutlers, and workmen in those branches of business. Catalogues may be had at Mr. Ford’s, at sixpence each, which will be allowed to those who are purchasers.”

In Mr. Franks’s possession, and in other collections, examples of these “toys” are preserved. Mr. Franks has a smelling-bottle in form of a group, being a boy seated and writing a letter, while a girl looks on: the letter is inscribed, “Fe: 1759, This is.” In that year a Mr. Hughes, an ironmonger in Pall Mall, in his advertisement of May 2nd—

“Begs leave to inform the nobility, gentry, and others, that he has a greater choice of the Chelsea Porcelain than any dealer in London, both useful and ornamental; and as they were bought cheap can be sold more reasonable than they can be made at the manufactory. He has compleat services of plates and dishes, tureens, sauce-boats, &c., which no one else has; several elegant epargnes for desarts, and one beautiful one bought at the last sale; several figures and greatest choice of branches with the best flowers, such as were on the chandelier at the last sale; and upwards of three thousand of those flowers to be sold by themselves, so that ladies or gentlemen may make use of them in grottos, branches, epargnes, flower-pots, &c., agreeable to their own taste.”

After much research I find that Mr. Spremont continued the works until 1768 or 1769, when he retired, principally through ill health,[58] after having amassed a comfortable fortune; his ledgers dating from 1759 to 1768. During the time of his carrying on the establishment the works were very flourishing—indeed, it was 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.”

Mr. Spremont’s managing man was Francis Thomas, of whom I shall have a few words to say presently. When Spremont retired from the concern, it was purchased by, or assigned over to, Mr. James Cox, who engaged Francis Thomas as overseer, at a salary of £100 a year, and this arrangement continued to the 6th of January, 1770, when Mr. Thomas died. Shortly afterwards the concern again, and for the last time, changed hands. Mr. Thomas was a man of good ability and of much practical skill, and to his energy in directing the works under Mr. Spremont much of their fame may be traced. He was buried in the south aisle of the parish church of Chelsea, where an inscription to his memory now remains.

I have in my possession a bill from Elizabeth, widow of Francis Thomas, which is somewhat interesting, as refuting the statements which have been made as to the position held by this gentleman, and which I therefore give entire:—

James Cox, Esq., to Eliz. Thomas, Dr.

£s.d.
To Keeping a Horse from ye 14 of Decm. 1769, to Friday, March ye 2, 1770, which is 11 Weacks, at 10s. 6d. pr. Weack5156
To 20 Trusses of Hay, at 18d. pr. Truss1100
To 11 Trusses of Straw, at 10d. pr. do.092
To 5 Pecks of Corn Remaining0210
To 1 Chaldren & ¾ of Coals2196
To Shuting the Coals010
1770.£10180
Jany. 27. To paid a weekly Bill326
Feb. 3. To paid ditto21410
 „ 10. To paid ditto3192
Carried forward£20146
Brought forward20146
Feb. 17. To paid a Weekly Bill4169
Mr. Thomas’s Sallery for Looking after the Manufactory—£100 pr. anam, which he enjoyed from Septm. 1769 to Jany. 6, 17702540
£50153
Received in part by Mourning Rings1700
£33153

The following announcements refer to the sales and proposed sales of the manufactory, and its models, plant, &c.:—

1764. “To be sold by auction, by Mr. Burnsall, on the premises, some time in March next (1764), at the Chelsea porcelane manufactory. Every thing in general belonging to it, and all the remaining unfinished peices, glazed and unglazed; some imperfect enamelled ditto of the useful and ornamental, all the meterials, the valuable and extensive variety of fine models in wax, in brass, and in lead; all the plaster molds and others, the mills, kilns, and iron presses; together with all the fixtures of the different warehouses; likewise all the outbuildings, &c., &c. And as Mr. Sprimont, the sole possessor of this rare porcelane secret, is advised to go to the German spaw, all his genuine household furniture, &c., will be sold at the same time.

“N.B.—Soon after, when every thing is sold belonging to the manufactory, &c., and the large warehouse cleared, there will be some most beautiful peices of the truly inimitable Marazine blus, crimson, and gold, that Mr. Sprimount has thought deserving finishing; that will be sold at Chelsea, as the whole remaining and the last produce of that once most magnificent porcelane manufactory.”

(April 1769) “To all proprietors of porcelane manufactories and others; there is to be sold at the Chelsea manufactory, by order of the proprietor (having recently left off making the same), every thing in general belonging to it, as all the plaster moulds, models in wax, lead and brass; kilns, mills, iron presses, and a large quantity of biscuit work, &c., &c., likewise all the buildings and many other articles. For further particulars, enquire of Mr. Thomas at the said manufactory.”

In the Gazetteer, or New Daily Advertiser, for May, 1769, is the following advertisement:—

“To be sold by auction, by Mr. Burnsall, at his auction room in Charles Street, Berkeley Square, on Wednesday, the 17th of May, and the following days, by order of Mr. Nicholas Sprimont, the proprietor of the Chelsea Porcelain Manufactory, he having entirely left off making the same, all the curious and truly matchless pieces of that valuable manufactory; consisting of beautiful vases, antique urns, perfume pots, table and dessart services, tea and coffee equipages, compatiers, leaves, &c., beautiful candlesticks of different shapes; variety of figures, very large and curious groups, particularly two groups of Roman charity, toilet boxes of various forms and sizes, and many other articles, most highly finished in the mazarine blue, crimson, pea-green, and gold, finely painted in figures, birds, fruit, and flowers, enriched with gold and curiously chased. To be viewed on Monday the 15th, and till the sale. N.B.—Likewise will be sold all the fine models, mills, kilns, presses, buildings, and all other articles belonging to this most distinguished manufactory. For further particulars apply to the said Mr. Burnsall.”

In reference to this last advertisement, Josiah Wedgwood thus wrote to Thomas Bentley:—“The Chelsea moulds, models, &c., are to be sold, but I’ll enclose you the advertisement—there’s an immense amount of fine things;” and about the same date, writing to his clerk, William Cox, he says:—“Pray enquire of Mr. Thomas whether they are determined to sell less than the whole of the models, &c., together: if so I do not think it would suit me to purchase. I should be glad if you could send me any further particulars of the things at Chelsea.”

About this time Dr. Johnson was busying himself in experimentalising in compositions for the manufacture of porcelain, and an interesting account of his progress at Chelsea, as given from the lips of the foreman of the works, is preserved by Faulkener. He says, in his “History of Chelsea:”—

“Mr. H. Stephens was told by the foreman of the Chelsea China Manufactory (then in the workhouse of St. Luke’s, Middlesex), that Dr. Johnson had conceived a notion that he was capable of improving on the manufacture. He even applied to the directors of the Chelsea China Works, and was allowed to bake his compositions in their ovens in Lawrence Street, Chelsea. He was accordingly accustomed to go down with his housekeeper about twice a week, and stayed the whole day, she carrying a basket of provisions with her. The Doctor, who was not allowed to enter the mixing-room, had access to every other part of the house, and formed his composition in a particular apartment, without being overlooked by anyone. He had also free access to the oven, and superintended the whole process, but completely failed, both as to composition and baking, for his materials always yielded to the intensity of the heat, while those of the Company came out of the furnace perfect and complete. The Doctor retired in disgust, though not in despair, for he afterwards gave a dissertation on this very subject in his works; but the overseer (he was still living in the spring of 1814) assured Mr. Stephens that he (the overseer) was still ignorant of the nature of the operation. He seemed to think that the Doctor imagined one single substance was sufficient, while he, on the other hand, asserted that he always used sixteen; and he must have had some practice, as he had nearly lost his eyesight by firing batches of china, both at Chelsea and at Derby, to which the manufacture was afterwards carried.”

Dr. Johnson certainly took much interest in the manufacture of porcelain, and after the discontinuance of the Chelsea works visited those at Derby. He does not, however, seem to have carried his researches on to any practical result.

In 1769 Mr. William Duesbury, the proprietor of the famous Derby China Works, became the purchaser of the Chelsea works, and for many years carried on the two establishments conjointly. The Derby works had at that time attained to a high degree of excellence and of celebrity, and Mr. Duesbury (who became the purchaser, not only of the Chelsea works, but those of Bow, Giles’s, Pedlar’s Acre, &c.) was doing more trade than was done at any other establishment in the kingdom. He had opened an extensive connection with London, and was rapidly increasing his concern, both in that and other markets, and had become more than a successful rivaller of the excellence of the Chelsea wares.

The purchase of the Chelsea works was arranged on the 17th of August, 1769, and completed on the 5th of February, 1770, when a payment of £400, in part of the purchase money, was made. The original document, now in my possession, is highly interesting, and is as follows:—

“Recd. London, 5th Feby. 1770, of Mr. Wm. Duesbury, four hundred pounds, in part of the purchase of the Chelsea Porcelain Manufactory and its apurtenances and lease thereof, which I promise to assign over to him on or before the 8th instant.

“James Cox.”

Thus the Chelsea works, which had been taken to by Mr. Duesbury in August, 1769, and had been, indeed, carried on at his cost from about that period, finally passed into his hands on the 8th of February, 1770. The purchase included not only the “Porcelain manufactory and its appurtenances and the lease thereof,” but the stock of finished and unfinished goods then on the premises; and this gave rise to a long and tedious lawsuit, of which I shall have to speak hereafter. Mr. Duesbury also, it would appear, covenanted to pay all liabilities on the estate, and of course to receive all moneys due to it. At the foot of the bill from Mrs. Thomas to Mr. Cox, printed above, there is this very significant foot-note:—“Mr. Cox sold Mr. Deusbury the whole, who was to pay the above, and every other matter.” Other bills, in my possession, including one from William Payne, the carpenter, for £19 15s. 5d., for repairs done at the works for Mr. Cox, are endorsed as paid by Mr. Duesbury. In this carpenters bill one item shows that the works were palisadoed:—“Dec. 9, 1769. To repairing the yard gates and palisades, setting on locks, 9s. 6d.” The accounts do not appear to have been quite cleared up until the year 1780, when, upon the winding up of the affairs of Mr. Cox, on his failure or death, a claim was made on Mr. Duesbury by the solicitor, Mr. Jasper Jay, for balance of account as then “standing open in the books of Mr. Cox.” The account is but short; but as all this is useful material towards the history of the Chelsea works, and is therefore of importance, I give it entire.

Messrs. Wm. Deusbury & Co.,

Dr. to the Estate of James Cox.

1770.£s.d.
Feby. 6. To cash paid 2 small Bills5174
 „ 9. To ditto pd. Haskins1280
 „ 20. To Interest J. Cox note to N. Sprimont, 6 mo. £3007100
1774.
June 15. To 40 Museum Lottery Tickets4200
1771.£67154
Oct. 8. Cr. By net produce goods per Capt. Peirce5240
£15114

The lawsuit to which I have alluded was commenced the same year that the works finally passed into the hands of Mr. Duesbury, and was brought by that gentleman against Burnsall (I presume the auctioneer named above), to recover a quantity of goods said to have been unlawfully sold to him by Francis Thomas, and which in reality belonged to Duesbury, as a part of his purchase. The goods, which appear to have been made by Spremont, and of his own materials, were alleged by Thomas to have been sold to him by Spremont; but although the books of the concern were kept by Thomas himself, no entry of such sale and purchase was to be found. There were also cross actions. The action was first heard in Michaelmas Term, 1770, and lasted until Hilary Term, 1772. Evidence was given that the articles demanded of Burnsall were made of Mr. Spremont’s materials, and at his manufactory; that Mr. Spremont never sold them to Thomas, and that they were found in rooms lately belonging to the factory, and were therefore included in Mr. Duesbury’s purchase by the formal words. Mr. Spremont, whose health had been gradually failing, died while the action was going on, in June, 1771, and in the end the defendant Burnsall’s counsel, representing to the court “Mrs. Thomas’s situation in a madhouse, and four small children, and the attorney swearing that there was nothing else for to support them, the court would not let us keep the action at law any longer in court, so we must pay the costs.” The action thus came to an end, and Burnsall immediately announced a sale of china, “in which are some capital pieces of Chelsea porcelain”—a part, doubtless, of the disputed goods.

Under Mr. Duesbury, the manager of the Chelsea works, was Richard Barton (a modeller and general workman); and the “weekly bills” of wages and disbursements, now in my possession, as made out by him, are highly interesting and valuable, as showing the kind of articles then made at Chelsea, the names of the workmen and painters, and the amounts earned by each from week to week. These bills commence in March, 1770, and run over the next three or more years. The final destruction of the works is carefully described in some excellent letters, also in my possession, to which I shall refer later on.

From these “weekly bills” I have selected some items which are of more than passing interest, and which tend, more materially than other information can, to throw light on the Chelsea works at this particular period—a period, it must be borne in mind, later than that at which the works are generally said to have been discontinued. It must be remembered that, until my account of the “Derby China Works” appeared in the columns of the Art-Journal, in 1862, nothing had ever been known of the connection of Duesbury with the concern. The information I there gave of his purchase of the Chelsea factory was new; and upon what I then wrote every later account of the Chelsea works has been founded. The works were till then generally believed to have been discontinued in 1765, but I have been enabled to show that they were not finally given up until 1784, when the kilns were taken down.

In June, 1776, her Majesty Queen Charlotte paid a visit to Duesbury’s London Show Rooms in Bedford Street, Covent Garden, and was shown through by his agent, Mr. Wood. The following is an account of the event:—

“On Friday last her Majesty accompany’d with the Dutchess of Ancaster was pleased to honor with her presence Mr. Duesburys Ware Rooms in Bedford Street, Covent Garden, condescended to express great approbation at those beautiful articles of Derby and Chelsea porcelain, and patronize and encourage the same by making some purchases.”

The “weekly bills” of the Chelsea China Works, in my own possession, are very carefully prepared, and give the names and salaries of the workmen employed, as well as the kinds of goods they were engaged in making. They are thus particularly interesting and important, and are calculated to throw no little light on the history of the works. I quote two weeks in full, May 12th to 19th, 1770; and March 16th to 23rd, 1771, as examples of the style of these “weekly bills;” and I have added to these some few extracts, to show the kind of ware then being made, and the prices which the workmen received for painting, &c.

1770. A Weekly Bill at Chelsea from May the 12 to the 19.

£s.d.
Barton, 6 days at 3s. 6d.110
Boyer, 6 days at 3s. 6d.110
Seals, made overtime, 6 cocks007
3 Dozen Cupid crying by a Urn036
1 Dozen and 6 fine Gentle Man with a Muff019
1 Dozen and 6 Shephard Sheering of Sheep019
6 Arliquens007
Roberts, 6¾ days at 2s. 6d.01610½
Piggot, 7 days at 1s. 9d.0123
Ditto, Taking Care of the horse on Sunday[59]016
Inglefield, 7 days at 1s. 8d.0118
Bleeding of the horse, and a Broom and Soap010
Exd. and Entd.£4135½

Recd. of Mr. Duesbury in full of all Demands for Self and the a Bove.

Richd. Barton.

Work done this Week (May 12 to 19, 1770) at Chelsea, by Barton, Boyer, &cc.

Reparing 4 figures in Clay to go to Darby.

Making 1 Ornament Beaker.

Dry rubbing the 2 Large Jarrs, helping at the Kiln, &cc.

Making Jarr for Perfume on 4 feet. Mending the 2 Large Quarters of the World, and helping at the Kiln, &cc. Roberts at Case making, and working in the Kiln, &cc. Piggot working in the Mill and helping at the Kiln, &cc.

Inglefield Cutting Wood, Case making, and helping at the Kiln.

1771. A Weekly Bill at Chelsea from March the 16 to the 23.

£ s. d.
Boarman, 6 days at 5s. 3d. 1 11 6
Wollams, 6 days at 4s. 6d. 1 7 0
Snowden, 6 days at 3s. 6d. 1 1 0
Jinks, 6 days at 3s. 6d. 1 1 0
Boyer, 6 days at 3s. 6d. 1 1 0
Barton, 6 days at 3s. 6d. 1 1 0
Piggot, 6 days at 1s. 9d. 0 10 6
Ditto Sunday, Teaking care of the Horse 0 1 6
Chasing and Polishing:
2 Double handle Cups and Covers at 1s. 4d. each 0 2 8
3 Ditto and Ditto at 1s. 2d. each 0 3 6
2 four Scallop’d Jarrs at 2s. 3d. each 0 4 6
3 Large Pieces of the Crimson Service at 2s. 3d. each 0 6 9
Polishing only:
4 Row Waggons at 0s. 9d. each 0 3 0
2 Small Perfume Potts at 1s. 6d. each 0 3 0
3 Ornamental Perfume Potts at 1s. 0d. each 0 3 0
2 Jonquill Jarrs at 1s. 9d. each 0 3 6
1 Egg shaped Jarr 0 2 0
1 Small Jarr 0 0 4
Exd. and Entd. £9 6 9

Recd. of Mr. Duesbury in full of all Demands for Self and the a Bove.

Richd. Barton.

From these “weekly bills,” of different dates from 1770 to 1773, I make the following extracts for the purpose of showing collectors the period to which they may safely attribute the manufacture of such specimens as may be in their possession. The extracts are from the “overtime” made by the hands, and are taken hap-hazard, and without any attempt whatever at classification.

£s.d.
Seals, 2 dozen of Tom-tits024
3 dozen of Ouls Crests036
2 dozen of Indian Boys with Handscreen024
Seals, 3 dozen Bull finches036
2 dozen of Parrotts024
1 dozen fine Gentle Man with a Muff012
2 dozen and 6 Cocks0211
2 Vincent Perfume Potts030
Jarr, with Globe Cover010
1 Junquill Beaker, with ornament handles026
3 Hart Shape Perfume Potts, with handles039
2 Perfume Potts, Royhal Pattern016
1 dozen Seals, Cupid as a Letter Carrear012
1 dozen and 6 Boys a drumming019
1 dozen and 6 Cupid as Doctor019
3 dozen Perimeds036
1 dozen and 6 Chinease Men a smoking019
1 dozen and 6 Cupids with a Nett019
3 dozen Seals, Chinease Men with a Burd036
3 dozen Cupid as a Backus036
Seals, 5 dozen Swallows0510
Seals, 3 dozen Arliquens024
1 dozen and 6 Shepherds Shearing of Sheep016
1 dozen and 6 Cupids Booted and Spur’d019
1 dozen and 6 Harts on a Cushion019
1 dozen and 6 Turks a Smoakin019
Seals, 6 dozen Birds070
Jinks overtime for painting 3 dozen of Tom tits, at 1½d. each046
5 Sweet Meat Basins, at 1s. each050
30 Seals painted in Mottowes, by Boarman and Wollams031½
34 Figure Seals, painted by Jinks, at 2d. each058
Paid (carriage) for the plaster Mould from Darby006
Painting Smelling bottles, overwork, viz:—
2 boys catching a Squrel, at 1s. 3d.026
2 ditto with a Birds nest, at 1s. each020
1 ditto piping with a Dog, at 1s.010
1 ditto Double Dove010
Modling of a Pedestol0140
21 Snuff boxes of Cupid and Lamb146
1 Cupid forgin Harts013
12 Tooth picks, with Head of Turk, and companions0180
23 Seals painted, overtime, by Jinks0210½
10 Plates, at 1s. 6d. each0150
6 Large Pieces, at 2s. 3d. each0136
A Junquill Beaker, overtime, by Barton020
Overtime, by Boyer & Barton, 2 Junquills Beakers040
Pollishing and Cheasing 24 Pleats and 20 Compots, at 3d. each, Boyer, Jinks, &c.0110
To Modling of a Pedestol0140
Overwork, by Boyer & Barton, 8 Sweet Meat Basons050
Mottoing 60 Seals, at 1¼d. each063
18 figuar Seals, painted by Jinks030
Paid (Carriage) for the Plaister Mould from Darby, the 9 of August006
1 Vincent pattern Perfume Pot (painting)016
33 Cocks, painted, overtime, by Jinks, at 1½d. each041½
Wolliams, Painting Mottows to 46 Seals050
18 Doves painted, overtime, at 1s. and 2d. each110
5 Royal Pattern Perfume Pots033
49 Painted Seals, Overtime, by Jinks060½
Cheasing and Pollishing of 20 Pleats at 1s. 6d. each1100
Polishing 6 Perfume Pots at 1s. 6d.090
Mr. Woolams & Boremans Expenses on Saturday the 9 of March, 1771. Taking pattrons at Mr. Morgans020
84 Seals, Painted, Overtime, by Boyer & Co.0140
96 Thimbles, Painted, Overtime, by Boarman & Co.0120
Over Work by Jinks, Boyer, Snowdon & Co., Pollishing and Chasing 2 Three turnd Vauses, 1s. 4d. 6 Crimson & Gould Tea Saucers, 4s. 0d. 5 Cups & Saucers with Medalions, 6s. 3d.
2 Large Jars French Pattern, Pollishing & Cheasing090
2 Less ditto036
2 small Goat head Vauses ditto034
4 Butter Tubs and Stands054
16 Cupid & Lamb Snuff Boxes, Painted 1s. 2d. each110
To painting of Mottos to 90 Seals, by Wollams & Co.094½
Painting 1 Cupid forgin Harts at 1s. 3d.013
1 Ditto Booted & Spurd010
2 Bird Catchers at 1s. 3d. each026
12 Tooth Picks, with head of turk and Companions
with Emblamatick
ditto		0180
Plaister0311
Barton, Modling 2 Small Antiquit Vauses110
Seals made, overtime, 6 Cocks007
3 Dozen Cupid Crying by a Urn036
1 Dozen & 6 fine Gentle Man with a muff019
1 Dozen & 6 Shephard Shearing of Sheep019
6 Arliquens007
4 Liqer Bottles at 1s. each040
4 Globe Cover Jarrs att 1s. each040
31 Seals, Indian, Painted by Jinks052
The Mottoes don to 36 Seals, By Boardman & Wolliams039
8 Hart Shape Perfume Pots with handles at 1s. 3d. each (overwork by Barton & Boyer)0100
3 Dozen of Seals of the Lambs, made overtime036
3 Dozen of Lyons, ditto036
24 Double Doves Snuff Boxis, Painted overtime, at 1s. and 2d. each180
Pd for Siver (silver) paper for Chelsea046
Pd Porterage of Wt Lead026
Pd Coach Hire with the Attorney to Mr. Spremont and Chelsea076
Gold Writing Peaper008
Gum for the Gold003
a Almanack006
Modling Clay006
Bone Ashes to Derby456
2 Tons of fine Clay Shipping to Darby270
Plaster to Mould the Jarr018
Cord for the Kilns (cord wood)1174
3 baggs of Plaister030
100 Loads of Billet at 7s. 9d. per Load38150
(“Billets” i.e. Wood, for firing the kilns.)
Painting 96 Thimbles0120
2 Three-turn Vauses—
2 Row Wagon in figures1100
Mr. O’Neil, on account, a Painter110

I give entire some few other of the weekly statements of “Work Don at Chelsea by Barton, Boyer, &c.,” the painters, Boreman, Wollams, Snowden, and Jinks, not being included.

1770. April 7 to 14. Work Don at Chelsea by Barton & Boyer.

1770. June 16 to 23.

July 7 to 14.

July 21 to 28.

August 11 to 18.

1770. Augt. 25 to Sep. 1.

In the “weekly bill” on the same paper are the following entries relating to the “bust.” It would be highly interesting to know what bust is meant.

£s.d.
Oil for the Mould of the Burst007
for a Pedistol to ditto016
Plaister to Cast ditto076

Sep. 8 to 15.

Sep. 22 to 29.

1770. Sep. 15 to 22. Work Don this Week by Barton, Boyer, &cc.

From these weekly lists of “work don by Barton, Boyer,” and others, I add, for the same purpose, the following highly interesting extracts:—

Mr. Duesbury continued working the manufactory at Chelsea, together with his large and important works at Derby, until the year 1784, when he pulled down the buildings, removed all that was useful to Derby, and so totally put an end to the manufacture of “Chelsea China.” For some years he had been gradually drafting off the workmen, models, &c., to Derby, and in the end finally gave up the manufacture at Chelsea, and continued his works, entire, at their original place, Derby.

It has been said, and generally believed, that the excellence of the Derby works dates from the time when the Chelsea workmen and the Chelsea models were brought to it; but this is, undoubtedly, a great and a grave error. The truth is, the Derby works had risen to such extreme eminence, and had attained to so high a degree of excellence, as to more than rival Chelsea, which, in consequence, began to decline. The successful owner of the Derby establishment was thus enabled to purchase the Chelsea works, as he also did those of Bow, and to carry them on, as long as he considered advisable, conjointly.

I am enabled to give copies of two letters now in my possession, describing the taking down of the buildings, the removal of some of the kilns to Derby, and the arrangement made with the old and faithful workman, Robert Boyer, whose name appears so regularly on the “weekly bills.” The letters are much decayed and mutilated, but fortunately are decipherable. They will be read with much gratification by all who take an interest in the history of Chelsea and its China works.

“Laurence Strt., Chelsea, Feby. 18th, 1784.

“Sir,—I Wright to Inform yow how we are pretty forward in the pulling Down of the buildings at Chelsea. I think a little better than a fortnight they will be all down to the ground and Cleared of the primeses, wich I shall be glad to my hart, for I am tired of it. Mr. Lygo[60] says yow would wish to have the Ion Kiln Cum to Derby. Its hardley worth sending, for the Corners are a good deail burnt at the Bottom, and the sides are opend or Drawd so much as 4 or 5 Inches on each side. But if yow chuse to have it Cum, say how it shall be sent—by Land or Water, and I will send it. I wish yow will Lett me no if yow will have the mold of the Large figur of Brittannia sent to the warehous or Broake. Now, sir, as my time at Chelsea draws nigh to a conclution, I should beg of yow to Informe me by letter what yow mean to Imploy me abought at your manufactory, In case yow & myself should settle on Tirms agreable. Yow now allow me one Ginue pr Week, house Rent, and fire; and I dont make aney Doubght But I shall be found a very Uceful servant to yow if I Cum, & must beg of Yow to say if 25/- pr week will be to much to Give me, and house rent free, as I have always had of yow. I make no Dought but yow will please to say what yow will allow me for the Removall of my Famaley. We have 4 children, my wife and self, wich will Cost a deal of money—and thats an articall wich is scarce wth mee. I have had severall offers of places’s since the manufactory has bin pulling Down, but Refus’d them all, Becaus it would have been Wicked in me to have Left yow in such a [  ] till I had seen your property Cleared off. If I am [  ] Constant at the kilns, I must begg Leaf to [  ] at all; But I have no Objection to fire [  ] aney Rich ware in such a kiln as I have at [  ]; and if Tirms are such as yow may approve, pleas to say; but I Due not like to Cum so maney miles from London on an Uncertinty, therefore it will be nesesary to have articals drawd for 3, five, or 7 years, as is agreable to yow. I have carrid Mr. Lygo a bove sixty-six pounds this week, wich I found to be very seasonable. I was very much shock’d, sir, when I heard yow had been so Dangeresly Ill, But am happy to find yow are so much better than yow was, & God send yow may Continue to Gett mending for the Best. Should I Cum to Derby, I shall bring nothing with me but my Beds—Land Carridge Cums to a Deal of Money; in short, my Goods are But old, therefore they shall all be sold.

“I am, with Respects, your Obt. Humble Servt.,

“Robt. Boyer.

“Mr. Lygo desir’d me to wright to yow a bought my Cuming down, wich I should have Done if he had not Desired me.”

To this letter Mr. Duesbury, who bore a most excellent character for kindness and consideration towards his work-people and servants, evidently returned a satisfactory and pleasant reply, as is evidenced by the following letter from Boyer:—

“Chelsea, March 28th, 1784.

“Sir,—I have your letter of the 24th inst., and am much oblig’d to yow for all past favours, and am happy in finding that yow are satisfide with my past Conduct. Now, sir, as yow due agree to the terms which my letter expresses, and as yow have alway’s behav’d with a Deal of kindness towards me, I therefore Due asure yow that while I am with yow, yow shall ever find me a faithful and honest sarvant, and I further do asure yow that, I will make my self as sarvicable as it Lays in my power, so that yow shall have no Reason to find aney fault with me. I make no doubght but yow will find me very servicable, & will Due every thing in my power to forward your Bisness. I hope we shall gett done hear in a short time: the peopl are all busey in getting their things of the primeses as fast as they possibley Can. I hope to be Down at Derby with yow in a short Time, as soon as I can gett my matters a Little to gather. Yow shall have the Ion Kiln down by the waggon next week wth ought faile. I could not Lett it Cum this week on account of things I had by me wich wanted firing that I never had time to fire till this week. The Lapaderys wheel is packed in a hogshead now at sea, No. 16. Mr. Lygo has been Taulking wth me a bought the Burnishing: he complains of its being full of scratches, wich will ever be the Consequense if your burnishing tools are not kept in good order; that is to say, Lett them always be kept with a good polish on them, and then they never will have aney scratches to be seen on the gold. I wish you will let me no what I shall due with your 4 Chears, Table, Looking Glass, and Sofee, that is in the Dining Room at Chelsea. I sopose they may go to the warehouse. The Liqurs &ca. ought of the seller is gone there ever since a Little after Christmas.

“I Remain, with Respect, your Obt. Sarvt.,

“R. Boyer.”

In the former of these two letters it will have been observed that mention is made of a “mould of the large figure of Britannia;” this was one of the finest figures produced at Chelsea or Derby, and is now of great rarity.

The “hands” employed at Chelsea, so far as they are entered in these “weekly bills,” appear to have been as follows. I give their names and the rates of wages they were receiving:—

Boarman, or Boreman5s. 3d. per day.
Wolliams, or Wollams4s. 6d.  „
Askew4s. 2d.  „
Jenks, or Jinks3s. 6d.  „
Snowden3s. 6d.  „
R. Boyer3s. 6d.  „
Gauron8s. 9d.  „
Barton3s. 6d.  „
Richard Roberts2s. 6d.  „
Piggot1s. 9d.  „
And 1/6 for Sunday, for taking care of the horse.
Thomas1s. 6d.  „
(Turning the wheel for a Thrower.)
Inglefield1s. 8d.  „

During the time the Chelsea and Derby works were carried on conjointly, the proprietor held periodical sales by Messrs. Christie and Ansell, “at their Great Room, next Cumberland House, Pall Mall,” and afterwards “by the Candle,” at his own warehouse, by Mr. William Hunter of New Bond Street. Of many of these sales (see “Derby” china works) I possess catalogues—some of them priced; and they are particularly valuable and interesting as describing the articles made at the period. The goods offered for sale were evidently the best that were produced, and many of them are of a most costly and magnificent character. From the catalogues of 1781 and 1782—three years before the Chelsea works were taken down—I have selected a few examples:—

The manufactory was situated in Lawrence Street, Chelsea, at the corner of Justice Walk, and was held by Mr. Spremont—or, at all events, one house was—at the yearly rental of £24.

Sept. 5th, 1770. Recd. of Mr. Sproemont, by the Hands of Mr. Morgan, Twelve Pound for Half a Years Rent, Due for a House at Chalsa at Lady Day, 1770. I say Recd. by Me, Thos. Bush, Executor to the late Mr. Chas. Ross, £12.

Several of the adjoining houses are said to have been used as show and ware rooms; but the whole of the premises have been, of course, rebuilt many years. In a pleasant gossiping conversation between Nollekins, the sculptor, and Betew, a friend of Hogarth, related in Smith’s “Life of Nollekins,” the following allusion to the works and its situation is made:—“The factory stood just below the bridge, upon the site of Lord Dartery’s House. ‘My father worked for them at one time,’ said Nollekins. ‘Yes,’ replied Betew, ‘and Sir James Thornhill designed for them. Mr. Walpole has at Strawberry Hill half-a-dozen china plates by Sir James, which he bought at Mr. Hogarth’s sale.[61] Paul Ferg painted for them. 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.’”

It is much to be regretted that no view of the works is known to be in existence; and their absolute site is not, as far as I am aware, marked on any plan of the locality.

The following relate to these works, and possess more than a passing interest:—

Work Done for the China house By John Sherman.

£s.d.
To a Strong Double Waterpot056
Lighting the Lamp two Quarters110
£166

Recd. July 14th, 1770, the Contents and all Demands.

Exd. & Entd.    Pd John Sherman.

Mr. Dewsbury,    To J. Booth & Co.    Dr.

at Chelsea China house.

1771.
May 3d To 2 Tons Clay and Shipping off£1150

Recd. 5th Octor. the above Contents for J. Booth & Co.

J. Prockter.

1770. (Carriage.)s.d.
To 10 Bags of Boneash from London30
To 2 Tuns of Clay from ditto50
To 2 Tuns of Clay from London50

Recd 7 June 1770 of Mr. William Dewsbury the Sum of four pound Ten Shillings in full for paint Sent to Chelsea China Work. Charged to Mr. Cox.

£4—10—0.    Exd. & Entd.    Pd. Thos. Coles.

The body of the Chelsea china is very frequently uneven—i.e. it has often the appearance of being unequally mixed. One of its peculiarities is that it would bear no fresh exposure to the heat of the kiln, and consequently could not be re-painted and altered. The second application of heat would most probably end in the entire cracking and destruction of the piece. The body was not so compact as the Derby, and of very different general character from Worcester.

The earliest examples made at Chelsea I believe to have been the 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.

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:—

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 6s. 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.

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.

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.

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.

Fig. 379.

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

, 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.

Fig. 381.

Figs. 382 to 389.

Fig. 390.

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.

Figs. 392 to 395.

Figs. 396 to 402.

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.

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 1s. 9d. a day, of which 5s. 3d. is charged to “J. W.,” and the other 5s. 3d. 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:—

Cash paid at Chelsea for Wages On
J. W.’s
Acct.		 On
W. & B.’s
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.