Coalport.

One of the most flourishing, most important, and most successful in art-productions of any in the kingdom are the Coalport works, at one time also known as “Coalbrook Dale,” to whose history I now devote a few pages. The founder of these works was Mr. John Rose, a man of wondrous skill and enterprise, to whom the ceramic art is indebted for many important improvements. Mr. Rose, who was the son of a farmer in the neighbourhood of Caughley, was apprenticed to Mr. Thomas Turner, of the Caughley China Works, by whom he was taken into the house, and taught the art of china making in all its branches. Here he remained for several years; but ultimately, from causes which it is not necessary to enter upon, a difference arose between them, and Mr. Rose left Mr. Turner, and commenced a small business on his own account at Jackfield, in the immediate neighbourhood. Here he did not remain long, but removed his works to Coalport, on the opposite bank of the Severn, where he fixed himself in some buildings which had previously been a small pottery belonging to a Mr. Young, a mercer of Shrewsbury, and in these buildings in part they have continued to the present day. Mr. John Rose had not long established himself at Coalport, it appears, before he met with opposition; for other works were started on the opposite side of the canal, and only a few yards distant, by his brother, Mr. Thomas Rose, and partners, who commenced business under the style of “Anstice, Horton, and Rose.” These works, however, did not continue long, but passed into the hands of Mr. John Rose and his partners, who, with other additions, formed them into one establishment. In the space of three or four years from the establishment of the Coalport works by Mr. Rose, he had so successfully carried on his business that the Caughley works of Mr. Turner had become greatly reduced, and were gradually beaten out of the market. In 1799 Mr. Turner, of the Caughley works, gave up the business and sold the concern to Messrs. Rose & Co., who thus became proprietors of both works, as well as of those commenced by the brother of Mr. Rose. Both manufactories were then continued by them, thus giving a great increase to the establishment, and rendering it one of the most extensive in the kingdom.

In 1803 Messrs. Blakeway, Rose, and Horton having become bankrupt, a question as to the ownership of the remainder of the Caughley manufactory arose and was submitted to arbitration. The following is the award, for which I am indebted to my friend Mr. Hubert Smith:—

“To all to whom these presents shall come we Ralph Wedgwood of Bransford in the county of Worcester Gentleman and William Horton of Coalport in the county of Salop Gentleman send greeting Whereas by articles of agreement in writing bearing date the Thirteenth day of December last past and made between Thomas Turner of Caughley in the county of Salop Esquire of the one part and Timothy Yate of Madeley in the county of Salop Charles Guest and Elias Prestwich of Broseley in the county of Salop Gentlemen of the other part Reciting that by a Memorandum of an Agreement bearing date the Twelfth day of October One thousand seven hundred and ninety nine and made between the said Thomas Turner of the one part and Edward Blakeway John Rose and Richard Rose of Coalport in the said county of Salop porcelain manufacturers of the other part The said Thomas Turner did agree to assign amongst other things all his interest in a Lease from Mr. Browne to him of the several works buildings and erections called Caughley China Works and also the colliery then held under lease by him from Mr. Browne to the said Edward Blakeway John Rose and Richard Rose The said Thomas Turner also agreed to assign to the said Edward Blakeway and Co. the unglazed stock of goods then in and about the said manufactory and all the materials implements fixtures moulds copper plates and machinery belonging to the said manufactory and colliery And it was agreed that the said Edward Blakeway and Company should have and be entitled to the same liberties and privileges so far as respected the said manufactory and colliery as the said Thomas Turner was entitled to and that the said colliery should be worked in a fair and workmanlike manner and that the clod and middle coals so far as they were getable together or separate to be got so that the best coals should not be got without the clod and middle coals The said Edward Blakeway and Company to pay Mr. Turner Five hundred pounds per annum for the residue of the term and interest in his lease by half-yearly payments as herein mentioned provided the said coals so to be got should not be sufficient for the use of the said manufactory and the best coals should be exhausted the said Edward Blakeway and Company should be at liberty to give up the said works and premises to the said Thomas Turner at the end of any half year during the remainder of the term by which the same premises were held upon giving him six months notice in writing for that purpose and leaving the materials implements fixtures moulds copper plates and machinery then employed thereat not diminishing the same in the mean time But if the said Edward Blakeway and Company should be desirous of continuing the said works and premises till the expiration of the said term the said Thomas Turner agreed to make an allowance of Two hundred pounds per annum out of the said sum of Five hundred pounds per annum from the time the said best coals should be exhausted if the quantity of best coals used had not exceeded upon the average eighteen tons per week, each ton containing forty eight hundred and it was thereby further agreed that in case any dispute or question should arise between the said parties touching any clause article matter or thing therein contained the same was to be referred to and settled by two indifferent persons one to be chosen by each party and in case they should not agree as to the same then by an umpire to be named by the said two persons whose determination should be final And further reciting that the said Edward Blakeway and John Rose together with Robert Winter their partner who then lately held the said works and premises had lately been declared Bankrupt and the said Timothy Yate Charles Guest and Elias Prestwich chosen assignees of their estate and effects and that they the same assignees had lately contracted to sell all their right title and interest to and in the said Caughley China Works Colliery and Premises unto Cuthbert Johnson and William Clarke Esquires And further reciting that a doubt or question had arisen whether the said materials implements fixtures moulds copper plates and machinery were to be the property of the said Thomas Turner at the end of the said term or whether they were to become his property in the event only of the said Agreement being determined before the expiration of the said term And that the same parties had therefore mutually agreed to refer the said doubt or question to the decision of the said Ralph Wedgwood and William Horton and in case they could not agree then to such person as they should name umpire in the premises And that the said Thomas Turner had agreed to sell and the said Timothy Yate Charles Guest and Elias Prestwich had agreed to purchase all the right and interest of the said Thomas Turner of and in the said materials implements fixtures moulds copper plates and machinery at such a price or sum of money as should be fixed thereon by the said Ralph Wedgwood and William Horton or their umpire to be named as aforesaid And further reciting that a dispute had arisen between the said Thomas Turner and the said Timothy Yate Charles Guest and Elias Prestwich respecting the manner in which the said colliery or coalwork had been managed and carried on which dispute or any other difference which might arise pending that reference as a consequence of the investigation of the claims of the respective parties the said parties had agreed should be adjusted and settled by the said Ralph Wedgwood and William Horton or their said umpire to be appointed by them in manner aforesaid It is by the Articles of Agreement now in recital witnessed that as well the said Thomas Turner as also the said Timothy Yate Charles Guest and Elias Prestwich did thereby for themselves severally and respectively and for their several and respective Heirs Executors and Administrators covenant promise and agree to and with each other and to and with his and their Executors and Administrators that they the said parties respectively their respective Executors and Administrators should and would well and truly stand to abide by perform fulfil and keep this award order or determination which the said Ralph Wedgwood and William Horton or their said umpire should make between them as well concerning the said doubt or question concerning the right and interest of the said Thomas Turner of and in the said materials implements fixtures moulds copper plates and machinery and the price or sum of money to be paid him for the same as also concerning the dispute which had arisen or which pending the said reference might arise between the said parties respecting the manner in which the said colliery or coalwork had been managed and carried on so as the award or umpirage be made in writing under the hands of the said Ralph Wedgwood and William Horton or their said umpire within twelve weeks from the date thereof But it was thereby agreed that that Agreement or any clause therein contained or the said award or umpirage to be made in pursuance thereof should not alter or extend to alter the rent and royalty reserved and made payable by the therein recited Agreement but that the same should remain payable upon the terms and conditions therein mentioned And for the true performance of that Agreement each of the said parties bound himself and themselves his and their Executors and Administrators to the other of them his Executors and Administrators mutually and reciprocally in the penalty of One thousand pounds As by the said recited Agreement reference being thereunto had will appear Now know ye that we the said Ralph Wedgwood and William Horton having duly examined and considered the said Agreement and the proofs and allegations of the said parties to the said reference and all such accounts documents and evidence as have been produced to us relating to the said materials implements fixtures moulds copper plates and machinery and also the said colliery coal-mines and premises do hereby award order decide and determine that the said materials implements fixtures copper plates moulds and machinery were by the said Agreement to be the property of the said Blakeway Rose and Rose at the end of the term mentioned in the said agreement and not the property of the said Thomas Turner but in the event only of the said Agreement being determined before the expiration thereof by six months notice being given in the manner in the said Agreement specified And we do further award order decide and determine that the said Timothy Yate Charles Guest and Elias Prestwich as such assignees as aforesaid shall pay unto the said Thomas Turner his Executors Administrators or Assigns for all his contingent or present right and interest of and in the said materials implements fixtures moulds copper plates and machinery the sum of One hundred pounds on or before the Twenty first day of May next And we do further award order decide and determine that the said colliery or coalwork hath been worked and carried on in a fair and workmanlike manner and according to the spirit of the said Agreement of the Twelfth day of October One thousand seven hundred and ninety nine and that therefore the said Thomas Turner not having been injured is not entitled to any compensation or damage from the said Blakeway Rose and Co. or their said Assignees in respect thereof Given under our hands this Sixth day of March One thousand eight hundred and four.

“Witness

Jn. Pritchard

On the 23rd October, 1799, an event occurred in connection with the works at Coalport which was most sad in its results. At that time a considerable number of the work-people and painters employed at the works resided at Broseley, and were in the habit of passing backwards and forwards across a ferry near the works. On this night, thirty-two persons, including the best artists, went on board the ferry-boat, which, about midwater, owing to the intoxicated state of the ferryman, was capsized, and twenty-nine were drowned. The principal painter at this time was an artist named Walker, and an unfinished piece of work of his—the piece he left in progress only a few minutes before he lost his life—is still preserved, with almost religious care, in the factory.

Soon after this time considerable additions were made at Coalport, and since then the manufactory has been constantly and considerably enlarged, and now occupies, I am told, considerably more ground than any other porcelain works in the kingdom.

Figs. 614 to 617.—Coalport Vases.

Painted by Hartshorne.

Painted by Cook.

Painted by Randall.

Painted by Cook.

Figs. 618 to 621.—Coalport Vases.

The view of the Coalport China Works given on page 274 will show its extensive character in the early part of the present century, and its pleasant situation on the banks of the Severn. The view is copied from an interesting painting by Muss, who, before his successful artistic career in London, was employed as one of the painters at this establishment. Since the period when Muss made this painting, the works have been constantly increased, and at the present time are about doubled in extent.

Fig. 622.

Fig. 623.

The commercial style of the firm has been, ever since its establishment at Coalport, and still is, “Messrs. John Rose and Company,” although many changes in the proprietary have taken place. These changes have been as follows:—“Rose and Blakeway;” “Rose, Blakeway, and Rose;” “Rose, Johnson, and Winter;” “Rose, Johnson, Clarke, and Winter;” “Rose, Winter, and Clarke;” “Rose, Clarke, and Maddison;” “Maddison, Pugh, Rose, and Rose;” “W. Pugh and W. F. Rose;” and the present sole proprietor is “William Pugh;” but the firm is still known by its old style of “John Rose and Co.” Mr. John Rose died in 1841, and was buried at Barrow. He was succeeded by his nephew, Mr. W. F. Rose, of Rock House, Coalport, who retired from the firm in the autumn of 1862, and died in London in 1864, having in the meantime started some small works at Hanley, where he shortly afterwards failed, and unsuccessfully attempted to commence others in Derbyshire. He was a man of the most generous disposition and kindly nature, and his losses were a subject of deep sorrow to myself and his other many friends.

Fig. 624.

Fig. 625.

It will be seen from what I have said, that the Coalport works had already, before the commencement of the present century, absorbed those of Caughley, of Jackfield, and of the opposition establishment of Messrs. Anstice, Horton, and Rose. Some years later, the Swansea Porcelain Works, which had risen somewhat into repute, were discontinued, and the moulds, &c, bought by Mr. Rose, who removed them, along with the workmen, to Coalport, about the year 1820. Another famed manufactory, though small, that of Nantgarw, established by Billingsley, the famous flower painter, of Derby, and his son-in-law, Walker, also of Derby, in 1816 (under the assumed name of Beeley and Walker), and which produced, perhaps, the finest examples of porcelain with granulated fracture ever made, also soon afterwards was merged into the Coalport establishment. Billingsley and Walker, on discontinuing the works at Nantgarw, removed to Coalport, with all their moulds and processes, and continued employed there until Billingsley’s death, which took place in 1828. Walker was a remarkably clever workman, and did much during the time of his continuance at Coalport to improve the art of china-making. He removed thence to America, where he established a pottery, which, I believe, he still continues to work. The Nantgarw porcelain was very expensive to make, but was remarkably fine in its body and texture. The original recipes for this peculiar body are in the possession of Messrs. Rose & Co.; and it can be made at Coalport of as fine a quality as ever. I have carefully examined specimens made at Nantgarw with others made by Billingsley and Walker when they first came to Coalport, and these again with examples made by Messrs. Rose in 1860, and they appear all to be of equal excellence of body. It is, however, too expensive a process to be followed to any extent, and is never manufactured there now.

In 1820 Mr. John Rose received the gold medal of the Society of Arts for his improvements in the manufacture of china. The prize, which was offered for the best porcelain glaze produced without lead, was competed for by Copelands, Davenports, and all the principal manufacturers, as well as by Mr. Rose, but was honourably gained by him. It bears the inscription—“To Mr. John Rose, MDCCCXX., for his improved glaze for porcelain.”

The history of the works has been one of complete success from their first establishment to the present day; and this success has been attained by untiring and unflagging energy on the part of the proprietary, and by a determination to make their manufactory second to none in existence in extent and in beauty and purity of work. The porcelain trade owes much to the ability and energy of Mr. John Rose; and this skill, ability, and energy is equally the characteristic of the present proprietor, Mr. Pugh.

Both at the Great Exhibition in 1851 and that of 1862, as well as at the French Exhibition in 1855, Messrs. Rose & Co. carried off medals for their productions; and these recognitions of excellence have been continued at the later International Exhibitions. At the first a magnificent dessert service in the difficult but truly beautiful Rose du Barry colour, which the firm had succeeded in restoring in all its beauty to the ceramic art, was exhibited, and excited considerable interest. This service, considered by competent judges to equal the original Sèvres in evenness of colour, was purchased by Lord Ashburton. At the second, Messrs. Rose exhibited a large number of exquisite examples of their make; and services were purchased by the Emperor of the French, by M. Fould, and by the principal savans of Paris. At the third, the selection of vases and other decorative pieces was of the finest possible character.

Figs. 626 to 628.

At the present hour the productions of the Coalport works take a foremost rank among the best porcelain of the kingdom; many of the specialities of this firm being marvels of beauty; the colours pure and full, and of extreme richness. Sardinian green—a colour for the extreme depth and richness of which these works are celebrated—is introduced with remarkable effect both in services and otherwise. One of the finest pieces of this colour is a tripod wine goblet, with flowers in tablets, and raised and jewelled gold borders. A lighter shade of this fine green is introduced, with tablets of flowers and Westbourne birds, with great effect on two-handled goblets, &c. Rose du Barry has always been a speciality of the Coalport works, and a colour on the excellence of which its proprietors, especially the late clever and enlightened Mr. W. F. Rose, have always prided themselves. This is used as a ground in every conceivable variety of decoration, and when enriched with raised dead and burnished gold, and with the exquisite painting by which it is usually accompanied, has a remarkably rich and chaste effect. A new jardinière, with pierced key top and Sèvres fruit and flowers, is one of the prettiest examples of this colour, combined with raised gold and flowers, which has been produced. One of the finest and most massive pieces in this colour is a claret jug, with raised gold vine-leaves and grapes and other decorations, and splendidly painted on one side with the head of a bacchante and on the other a bunch of grapes. A pink, or light Rose du Barry, is also much used as a ground for pilgrims’ bottles, vases, services, &c., where, for some kinds of decoration, it harmonizes better than the full colour would. A blue with a slightly purplish cast, which gives it an additional richness and fulness, has been introduced, and forms a splendid ground for Japanese decoration in vases, pilgrims’ bottles, &c., in which style of now very fashionable decoration the Coalport artists excel. In these Japanese patterns some of the designs are unusually elaborate and intricate, and the workmanship is characterized by extreme precision and regularity, while the gilding and colour, especially the deep reds and blues, are rich and full in the extreme. Some of the vases in this style vie with those of the native art of the Japanese, and are not excelled by any other house. The principal artists employed at the present time at the works are Mr. Charles Palmere, Mr. Cooke, Mr. John Randall, Mr. Birbeck, Mr. A. Bowdler, Mr. J. Hartshorne, and Mr. Jabez Aston; and among those formerly engaged here was Mr. R. F. Abraham, a student of Antwerp and Paris and a successful follower of the school of Etty. Modellers of a very high class in their respective branches are also employed, and the excellence of their work is apparent in all the higher class productions of this establishment.

C C’ C C C S S Sx Sx So S S

Figs. 629 to 640.

The marks used by the Caughley works have already been fully described.[84] After the removal of these works to Coalport, the same letters, both C and S, for many years were used. At Coalport, however, marks have been adopted, perhaps, more sparingly than at any other works; and the great bulk of the goods have been manufactured, from the first down to the present time, without any mark at all. On some examples of the early part of the present century, the written name of “Coalport,” thus—Coalport

—appears; but these are of very rare occurrence. Another mark, adopted somewhat later, though only used very sparingly, was simply the letters

for Coalbrookdale, or the same two letters conjoined thus—

sometimes also Coalbrookdale appears in full, and at others the contraction “C Dale,” in similar writing letters.

Another mark, adopted in 1820, was of large size, and will, perhaps, be as well understood by description as engraving. It is a circle of nearly two inches diameter, in which is a wreath of laurel encircling the words, “Coalport Improved Felt Spar Porcelain,” in four lines across. Surrounding the wreath are the words, “Patronised by the Society of Arts. The Gold Medal awarded May 30, 1820;” while beneath, and outside the circle, is the name “I. Rose and Co.” This mark was adopted consequent on Mr. John Rose obtaining the Society of Arts’ gold medal for “his improved glaze for porcelain” to which I have before alluded, and the articles on which it appears are of extremely good material and very perfect glaze.

Other marks adopted by this firm, although but seldom used (the great bulk of the goods, as I have said before, being sent out without any mark at all), are the following:—

The first of these is a monogram of the letters C B D, for Coalbrookdale, so joined together as to produce a very characteristic and distinctive mark. The second, the same monogram, surrounded by a garter bearing the name of “Daniell, London”—a firm for many years, like Mortlocks and other leading houses, connected with Coalport or Coalbrookdale, who have had that mark used for some especial orders. The third and last is the most recent mark, and is almost the only one now used by the Coalport works: it embraces the initials of the various manufactories which have from time to time been incorporated with, or merged into, the Coalport establishment. Thus the scroll—which at first sight may, to the uninitiated, look like a short “and” (&)—will, on examination, be seen to be a combination of the writing letters, C and S, for Coalport and Salopian, enclosing within its bows the three letters, C, S, and N, denoting respectively Caughley, Swansea, and Nantgarw.

Having now passed through the history of these famed works, and shown their connection with others, both in manufacture and in printing, it only remains to say a few words on the varieties of goods for which the Salopian works have been famed, both in times past and at present. First and foremost, then, of course, come the blue painted and printed wares copied from Chinese patterns, for which both it and the early Worcester works were remarkable. The first painted, as well as printed, wares were close imitations of the foreign; but groups of flowers of original design, &c., were also introduced, and designs based, perhaps, on foreign models were adopted. Groups of figures, in the characteristic costume of the period, were also executed with great taste and ability. Of the Chinese patterns, the two most famous—the well-known “willow pattern” (known generally among the trade as the “Broseley pattern”) and the “blue dragon” (also known as the “Broseley blue dragon”)—owe their first introduction to the Caughley works; and this fact alone is sufficient to entitle them to more than ordinary notice. The willow pattern has undoubtedly been the most popular, and had the most extensive sale of any pattern ever introduced. It has, of course, been made by most houses, but the credit of its first introduction belongs to Caughley; and early examples, bearing the Caughley mark—the cups without handles, and ribbed and finished precisely like the foreign—are rare. The dragon, known still as “the Broseley blue dragon” or “Broseley blue Canton,” was also a most successful imitation of the Chinese, and almost rivalled the “willow” in popularity. A special form of jug, considered in those days to be very far advanced in art, known technically as the “cabbage-leaf jug,” was also first made at the Caughley works.

Later on, the “worm sprig” pattern, the “tournay sprig,” and other equally successful patterns were here introduced from the Dresden, as were also the celebrated Dresden raised flowers and the “Berlin chain edge” pattern. About 1821 a peculiar marone-coloured ground, which is much sought after, was introduced at Coalport, by Walker, of Nantgarw, of whom I have before spoken; and at this time many marked improvements were made in the different processes of manufacture.

Fig. 641.—Willow Pattern.

Fig. 642.

Fig. 643.—Broseley Blue Dragon.

The copies, both in embossing, in body, in colour, and oiliness of the glaze, and in style of painting of birds and flowers, of the Dresden at this period were perfect, and, as the Dresden mark was (perhaps injudiciously) introduced as well, were capable of deceiving even the most knowing connoisseur. It may be well to note that at this period an impressed anchor was sometimes used. This must not be taken to be anything more than a workman’s mark. Very successful copies of the Sèvres and Chelsea have also been at one time or other produced, and on these the marks of those makers have been also copied. Collectors of “old Chelsea,” especially of the famous green examples, must be careful, therefore, not to take everything for granted as belonging to that place on which the gold anchor is found.

Fig. 644.

The egg-shell china produced at Coalport is much finer than any other which has come under my notice, from the fact that the body is pure porcelain, being composed of one stone and one clay alone, unmixed with bone or any other material whatever.