The usual mark of Bristol was a plain cross, sometimes in blue, sometimes in red, and often in neutral tint, or slatey-grey. The crossed swords of Dresden, accompanied by the Bristol cross and the figures 10, appear on one specimen.
Some of the following marks which we give have been assigned to Bristol. Figures sometimes occur as well as the cross; these are believed to denote the painters engaged on the piece, and are often marked in red. On one known Bristol piece, a date occurs. But to collectors of Bristol porcelain there is one test which also applies in more marked degree to the Plymouth ware; this is the series of spiral ridges which may often be observed on the surface of the ware when held in reflected light.
We have alluded to the somewhat heated controversy between Josiah Wedgwood and Richard Champion, who had transferred the plant from Plymouth and had applied for an extension of Cookworthy’s patent to himself. Josiah Wedgwood, we think somewhat unfairly, alleged that both Plymouth and Bristol factories were still in an experimental stage; he belittles their art, which “neither the ingenious discoverer nor the purchaser, for want, perhaps, of skill and experience in this particular business, have been able, during the space of seven years already elapsed, to bring to any useful degree of perfection.”
This is not the place to enter into the merits of a dead conflict between Staffordshire and Bristol. That Bristol was not merely an experimental factory is more than proved by the specimens which have come down to us, specimens, be it said, that are more eagerly sought after than many of Wedgwood’s productions, since they are of hard porcelain which Staffordshire never made, and which hard paste has never again been made in England, either before or since.
One of the choicest examples of the highest art of Bristol is preserved in the national collection at the Victoria and Albert Museum. It is stated to have been “the best that the manufactory could produce.” It was made in 1774-5, within a few months of the establishment of the works at Bristol. This example is interesting too, as being one of the few examples of the Bristol works, of which the exact date can be ascertained.
In the year 1774 Edmund Burke was nominated for Bristol, the capital and richest city of the west. A fierce election contest followed, in which Burke was returned as one of the members. During this election he was the guest of Mr. and Mrs. Smith, of Bristol, and it was then that Burke ordered a splendid set of china from Champion. We reproduce the cup and saucer of this service. It is profusedly and massively gilt in dead and burnished gold, the wreaths of laurel being in green, which was Burke’s electioneering colour.
CUP AND SAUCER, BRISTOL.
From service ordered by Edmund Burke.
Each piece, as will be seen, bears the monogram of Mrs. Smith, “S. S.” interlaced, formed of wreaths of roses in pink and gold, and also the arms of the family. This service is marked with the usual Bristol cross.