The early bits of Chelsea were, almost entirely, copies of Oriental wares and mainly decorated with Chinese designs. Queen Anne does not appear to have bothered her head particularly about the Chelsea porcelain. The Hanoverian Georges paid more attention to it. In their minds porcelain was too intimately connected with the table to escape royal patronage. George II especially encouraged the manufactory at Chelsea. Frederick II had early borrowed and taken from France the art of porcelain-making and had initiated his several hundred princes in the mysteries of its allurements. Naturally the Hanoverians were interested and George II had everything, from models to workmen, brought over in the hope of rivaling the wares of Sèvres and of Dresden. The Duke of Cumberland took an especial interest in the Chelsea factory and made it an annual allowance.
Soon the fame of Chelsea porcelain had become so great that the demand was far in excess of the supply and the prices soared accordingly. In 1765 contemporary reference informs us that the china of Chelsea 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. Watkins in his “Life of Queen Charlotte” writes:
There are several rooms in Buckingham Palace full of curiosities and valuable moveables, 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.
Indeed, Horace Walpole, in writing to Sir Horace Mann in 1763, had said:
I saw yesterday a magnificent service of Chelsea china, which the King and Queen are sending to the Duke of Mecklenburg. There are dishes and plates without number, an epergne, candlestick, saltcellars, sauceboats, tea and coffee equipage. In short, it is complete, and cost £1,200.
After the death of the Duke of Cumberland and that of the director of the works, Nicholas Sprimont, the porcelain of Chelsea declined. Grosley’s “Tour to London,” as we have it in Nugent’s translation, noted this. Apropos of earthenware he wrote:
The manufacturers of this sort lately set on foot in the neighborhood of London have not been able to stand their ground. That at Chelsea, the most important of all, was just fallen when I arrived at that capital.
The last proprietors had pleaded in vain for further state protection, but it was not forthcoming. It closed its doors, while the models, materials, etc., were carted off to Derby, followed by the forlorn workmen who witnessed the dissolution.
In Smith’s “Life of Nollekens” we find the following reference to the porcelain of Chelsea:
The factory stood just below the bridge upon the sight of Lord Dartery’s house. “My father worked for them at one time,” said Nollekens. “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. 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.”