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