GREAT BRITAIN
PORCELAIN
The manufacture of porcelain in England began much earlier than has been generally supposed, and the invention was patented in England by John Dwight of Fulham in 1671, while that at St. Cloud was not patented until 1702, thirty years afterwards.
Worcester. Although this manufactory originated more than a century and a half ago, and has always been carried on by private enterprise, it is still in a flourishing state. It was established in 1751, chiefly through the exertions of Dr. Wall, a physician and a good practical chemist, who in conjunction with others formed the “Worcester Porcelain Company.” The early productions were principally of the useful description, and were sold at a cheaper rate than the wares of Bow and Chelsea. About the year 1757, the important method of multiplying designs upon the biscuit ware by means of transferring impressions of engraved copper plates to the surface, was adopted at Worcester almost at the same time as at Liverpool, the invention being in fact claimed by both; but specimens are found bearing the names of Sadler and Green of Liverpool, and Richard Holdship and Robert Hancock of Worcester, dated in the same year. Bat printing succeeded the printing from engraved or etched plates. This new style was accomplished thus: instead of the design being first printed upon paper and then transferred, the plate was stippled with a fine point by London artists after designs of landscapes, shells, fruit, and flowers by Cipriani, Bartolozzi, Cosway, and Angelica Kauffmann, who were so fashionable about the end of the 18th century. The copper plate being carefully cleaned, a thin coating of linseed oil was laid upon it, and removed by the palm of the hand from the surface, leaving the oil in the engraved spots; instead of paper, bats of glue were used, cut into squares of the size of the engraving; one of these bats was pressed on to the plate, so as to receive the oil out of the engraved holes, and laid on to the china, transferring the oil to the surface; it was then dusted with the colour required, the superfluous colour being removed carefully with cotton wool, and the china was then placed in the kiln.
Fig. 283.—Cup and Saucer.
In 1783 the Worcester porcelain works were purchased by Mr. Thomas Flight, from whom they afterwards passed to Messrs. Flight and Barr; the principal painters at this time were: J. Pennington, who painted figures; S. Astles, flowers; G. Davis, exotic birds in the Chelsea style; Webster, landscapes and flowers; J. Barker, shells; Brewer of Derby, landscapes; while Thomas Baxter, an accomplished artist, painted figure subjects.
The Worcester works remained with Messrs. Flight & Barr until 1840, when the two principal manufactories of Worcester—that of Flight & Barr, and that of the Messrs. Chamberlain, were amalgamated; the plant and stock were removed to the premises of the latter, and the new firm was styled Chamberlain & Co. The last-named works were established by Robert Chamberlain in 1786; he was the first apprentice at the Old Worcester Porcelain Company, and he and his brother Humphrey took premises in High Street. At first they only decorated porcelain, which they bought of Turner of Caughley; but they afterwards manufactured largely on their own account, and their business increased to a great extent, being patronised by the royal family.
Fig. 284.—Portion of a Tea Service.
Japanese pattern, blue, red, and gold.
Fig. 285.—Portion of a Tea Service.
Transfer coloured, and partly gilt.
These two works which were united in 1840, remained so until 1852, when Messrs. Kerr & Binns became the ostensible proprietors. In 1862 another Joint Stock Company was formed, Mr. R. W. Binns having the direction of the artistic department and Mr. Edward Phillips being general superintendent.
Swinton, near Rotherham. The manufacture of porcelain at the Rockingham Works was introduced, under the patronage of the Earl Fitzwilliam, about the year 1823 by Thomas Brameld, who spared no expense in endeavouring to bring it to perfection. The china was of a superior description, and the painting and decoration were of a high character. In 1832 royal patronage was obtained and a magnificent service was ordered by King William IV.; instead, however, of placing the firm in a flourishing condition, it was actually the cause of its ruin, for the expense incurred by the engagement of first-class artists, and the super-abundance of gold employed in decorating the service, resulted in so great a loss that the manufacture was totally discontinued a few years after.
Fig. 286.—Plate.
Fig. 287.—Vase.
Centre-piece of the service made for King William IV.
Height 14 in.
Derby. The earliest manufactory was called “The Derby Pot Works,” and was carried on at Cock Pit Hill by Messrs. John and Christopher Heath for pottery and porcelain. It is said to have been on an extensive scale, but little is known of its operations. The proprietors, who were bankers in Full Street, became bankrupt in 1780, when the stock was sold and the works discontinued.
Fig. 288.—Group.
Chelsea Derby.
Fig. 289.—Pair of Vases.
Chelsea Derby.
Fig. 290.—Plate.
With flowers by Billingsley.
The “Derby Porcelain Manufactory” was founded in 1751 by William Duesbury; the first productions were chimney ornaments, lambs, sheep, and services for the table, but it was probably not until he purchased the Chelsea works in 1769 that any great reputation was acquired, and few if any of the early specimens can be identified. Some beautiful examples of porcelain painted in the Chinese style were produced about this time, but as the rage for oriental ware seemed so prevalent, the proprietor, to insure the sale of his china, copied the Chinese marks as well as the style of decoration. Crown Derby was produced from 1780, and was continued by Bloor, the successor of Duesbury, as late as 1830. After the purchase of the Chelsea and Bow works, the Derby porcelain manufactory rose to great importance, the proprietors having of course retained the best workmen who had been engaged there. In fact, with all the models and moulds, the mixers, throwers, and painters of those two great establishments, the manufactory may be considered as the Chelsea and Bow works continued in another locality. Upon the death of William Duesbury, in 1785, his son William continued the business, and a third William Duesbury succeeded in the beginning of the last century. About 1815, Robert Bloor took over the works, which were altogether closed in 1848. An offshoot, however, is still carried on.
Fig. 291.—Cup, Cover, and Saucer.
Crown Derby.
Fig. 292.—Scent Vase.
Crown Derby.
Fig. 293.—Cup, Cover, and Saucer.
Crown Derby.
Burton-on-Trent. A manufactory of earthenware was established here early in the last century, and from about 1839 porcelain was made for seven years.
Fig. 294.—Comport.
Wirksworth. A manufactory of china as well as pottery, established by a Mr. Gill, existed here about 1770, and continued for about twenty years.
Fig. 295.—Cup.
Pinxton in Derbyshire. Established about 1795, by Billingsley in partnership with John Coke; the former was a practical potter, having been engaged at the Derby works as a flower painter, in which capacity he excelled; he brought with him a staff of workmen and their families, and the factory went on successfully for about five or six years, when Billingsley left; it was continued by Coke, and afterwards by Cutts the foreman, but was altogether discontinued about 1812. The ware made here by Billingsley was of a peculiar transparent character; and a favourite pattern was the French sprig or “Chantilly,” being an imitation of the Angoulême china.
Fig. 296.—Jardinière.
Fig. 297.—Sugar Bowl and Cover.
Lowestoft. According to Gillingham’s History of Lowestoft, written in 1790, an attempt was made to manufacture porcelain there in 1756 by Mr. Hewlin Luson of Gunton Hall, he having found some fine clay on his estate suitable for the purpose, and in the following year Messrs. Gillingwater, Walker, Browne, Aldred, and Richman, established the Lowestoft porcelain works, which existed until 1802. The porcelain was of soft paste, and in 1902 fragments of it and moulds were found on the site of the factory. The theory that hard paste was made at Lowestoft or that Chinese porcelain was painted there has now been abandoned.
Plymouth. About the year 1755 William Cookworthy commenced his experiments to ascertain the nature of true porcelain of hard paste, and searched with great perseverance throughout England for the materials which were the constituent parts of Chinese porcelain. At length a friend of his discovered on the estate of Lord Camelford, in the parish of St. Stephen’s, Cornwall, “a certain white saponaceous clay, and close by it a species of granite or moorstone, white with greenish spots, which he immediately perceived to be the two long sought-for ingredients, the one giving whiteness and body to the paste, the other vitrification and transparency.”
Fig. 298.—Coffee-pot.
Fig. 299.—Beaker and Cover.
Fig. 300.—Centrepiece.
The patent was obtained in 1768, and the materials were described as growan stone and growan clay. The works were carried on for nearly six years, and consequently a considerable quantity of ware was made. Cookworthy engaged the services of a French artist, M. Soqui, whose ornamental delineations on the articles produced here were very beautiful. Some elegant salt-cellars and table ornaments in the form of open conch shells resting on a bed of coral, &c., all well modelled in hard paste, were favourites for the table.
Fig. 301.—A Shepherdess.
Fig. 302.—A Shepherd.
Cookworthy and Lord Camelford continued to work this manufactory until 1774, when the patent right was sold and transferred to Richard Champion.
Bristol. A manufactory of soft paste porcelain was founded at Bristol about 1750. Later Richard Champion, having in 1774 purchased Cookworthy’s patent, opened a manufactory for hard paste. The ware was brought to great perfection, but the large outlay prevented its being remunerative, and in three or four years he sold his interest in the patent to a company of Staffordshire potters.
Fig. 303.—Bowl and Cover.
Fig. 304.—Dish.
Caughley, near Broseley, Salop. Established in 1751 by a Mr. Brown, and afterwards carried on by a Mr. Gallimore. It was not until 1772 that it rose to any importance, when Thomas Turner commenced operations. He came from the Worcester porcelain manufactory; he was an engraver, and probably learnt his art from Robert Hancock.
Fig. 305.—Mug.
Painted in blue.
Fig. 306.—Plate.
Blue willow pattern.
The excellence of Turner’s porcelain gained him great patronage. In 1780 he produced the celebrated “willow pattern,” and completed the first blue printed table service made in England. Thomas Minton of Stoke assisted in the completion of it, being articled as an engraver at Caughley.
In 1799 Turner retired and John Rose became proprietor; the latter removed the works to Coalport about 1814 or 1815.
Coalport, in Shropshire. The porcelain works here were established about 1780 by John Rose, who had removed his manufactory from Jackfield. He carried on this and the Caughley works simultaneously. In 1820, both the Swansea and the Nantgarw manufactories having been purchased, they were incorporated with Coalport, and Billingsley of Nantgarw was engaged as mixer of the clays; he remained at Coalport until his death in 1828. The “worm sprig” and the “Tournay sprig” were much made at Coalport.
Fig. 307.—Dish.
Marked “Coalport improved Feltspar (sic) Porcelain.”
Colebrook Dale is another name for the Coalport works.
Stoke-on-Trent. The first Josiah Spode had a factory here in 1784 for the production of earthenware. He died in 1797 and was succeeded by his son Josiah, who commenced the manufacture of porcelain about 1800. He was a most successful man of business and was appointed potter to the Prince of Wales. Josiah Spode took William Copeland into partnership, and the works are still carried on by Messrs. Copeland & Sons.
Fig. 308.—Cup, Cover, and Saucer.
Fig. 309.—Vase.
Herbert Minton when he succeeded to the business at Stoke-on-Trent (see page 236), greatly developed the manufacture of hard and soft porcelain, and copies were made of Sèvres porcelain vases.
Fig. 310.—Bowl.
Blue and gold, painted with flowers.
Longton Hall. A porcelain factory was established here about 1752 by William Littler. The ware appears to have been rather vitreous in character, and somewhat resembles Chelsea and Bow porcelain. The works closed about 1759, and the moulds, &c., are believed to have been purchased by Duesbury of Derby.
LONGTON HALL
Fig. 311.—Vase.
Bow. The manufactory of porcelain at Stratford-le-Bow was established about the middle of the 18th century. Thomas Frye, an eminent painter, appears to have been instrumental in bringing the china to that perfection for which the manufactory was celebrated. He took out two patents for the improvement of porcelain; the first in 1744 was in conjunction with Edward Heylyn, the second in 1749. In 1750 the works were disposed of to Messrs. Weatherby & Crowther.
Fig. 312.—Teapot.
Printed with King of Prussia.
Fig. 313.—Bowl.
Fig. 314.—Plate.
Printed with Æneas and Anchises.
Fig. 315.—Statuette, “Flora.”
Fig. 316.—Bust of George II.
The interesting bowl (now in the British Museum), made at the Bow works in the year 1760, and painted by Thomas Craft, is accompanied by a short history of the works, which informs us that the names of the proprietors were known all over the world, that they employed 300 persons, about 90 painters, and 200 turners, throwers, &c., all under one roof. (See Fig. 313.) In 1775 or 1776 the works were sold to Duesbury, and all the moulds and implements were transferred to Derby.
Fig. 317.—Group: “A Tea Party.”
For a more detailed account of the Bow porcelain manufactory, the reader is referred to Marks and Monograms on Pottery and Porcelain, by W. Chaffers.
Chelsea. This celebrated porcelain manufactory was established about 1740, shortly after that of Bow, and the early productions of the two are frequently mistaken one for the other; but, fortunately, the Chelsea wares, especially the finest pieces, were subsequently marked with an anchor in gold or red. The period of its greatest excellence was from 1750 to 1765.
The early pieces were copied principally from the Oriental, being decorated with Chinese patterns, and these were marked with an embossed anchor.
Fig. 318.—Marshal Conway.
Fig. 319.—Shepherd.
The beautiful vases in the French style, in imitation of Sèvres, with gros bleu, crimson, turquoise, and apple-green grounds were made from 1760 to 1765.
In 1769, by order of M. Sprimont, the proprietor, the Chelsea porcelain manufactory was sold by auction.
Fig. 320.—Vase. “Death of Cleopatra.”
The works were purchased by W. Duesbury of Derby, and carried on by him at Chelsea until 1784. The later pieces made here under his direction are easily distinguished; these vessels are of simple elegant forms, with the frequent recurrence of gold stripes, and the same forms and style were adopted simultaneously at Derby, but they are inferior to the vases made when M. Sprimont had the works under his direction.
WALES
Swansea. The manufacture of porcelain was revived at Swansea in 1814 by L. L. Dillwyn. At that time Billingsley had commenced making his porcelain at Nantgarw; it naturally attracted Dillwyn’s attention, and conceiving that the kilns used by Billingsley & Walker might be considerably improved, he made arrangements with them to carry on their process at Swansea. Hence the origin of the Swansea porcelain, which obtained great repute, and was continued for six or seven years. Baxter, a clever painter of figure subjects, left Worcester and entered Dillwyn’s service in 1816 and continued there for three years, returning to Worcester in 1819. In the year 1820 the manufactory was discontinued, and all the moulds and appliances were purchased by John Rose, who removed them to Coalport about the same time as those of Nantgarw.
Fig. 321.—Plate.
Fig. 322.—Plate.
Nantgarw. Established in 1813 by Billingsley, the celebrated flower painter of Derby, with Walker, after they left Worcester. They produced some very fine porcelain, of the same peculiar character as that of Pinxton, with a sort of vitreous appearance and a granulated fracture like that of lump sugar. Being very soft the paste would not in all cases stand the heat of the kiln; some of the early pieces are consequently found cracked on the glaze, or slightly warped and bent.
Fig. 323.—Plate.
Fig. 324.—Cup and Saucer.
The Nantgarw porcelain was of remarkably fine body and texture, but its production was expensive. About the year 1820 the manufacture was discontinued; Billingsley and Walker having disposed of their interest in the concern to J. Rose, the moulds and everything connected with the works were removed to Coalport.
Fig. 325.—Vase.