The two principal manufactories, those of “Flight, Barr, and Barr,” and “Chamberlain and Co.,” continued until 1840, when they amalgamated, and the two firms formed one joint-stock company. The plant and stock were removed from Warmstry House to Messrs. Chamberlain’s premises, and the works were there carried on under the style of “Chamberlain and Co.” The mark used by Chamberlain and Co. was as follows:—
From 1840 to 1847 the managing directors were Walter Chamberlain, John Lilly, and Martin and George Barr, and Fleming St. John; from 1848 to 1850 the proprietors were Walter Chamberlain and John Lilly; in 1850, Walter Chamberlain and Edward Lilly. In 1850 Mr. W. H. Kerr joined the concern, which was for a short time carried on under the style of “Chamberlain, Lilly, and Kerr;” but on the 1st of January, 1852, another change took place in the proprietary. On this occasion Mr. Chamberlain and Mr. Lilly retired, and Mr. R. W. Binns entered into partnership with Mr. Kerr, and the firm was carried on under the style of “Kerr and Binns,” and “W. H. Kerr and Co.” In 1852 the works were considerably increased, in fact they may almost be said to have been then rebuilt, by Mr. Kerr, whose great desire was to make them the best constructed, and most roomy and convenient, of any porcelain works in the kingdom. In 1862 Mr. Kerr retired from the concern, and it is now carried on by a company of shareholders, Mr. R. W. Binns, F.S.A., who is one of them, holding the proud position of “Art Director,” a post for which no man is better qualified than he is. The total number of hands employed at the present time is between five and six hundred.
Fig. 546.
Figs. 547 and 548.—Ewer and Stand, painted by Bott.
The productions of the Worcester works have been brought to a wondrous state of perfection, both as to body, glaze, form, and decoration. Certainly neither in ancient nor in modern specimens of ceramic art have such exquisitely beautiful works been produced as some of the enamels which, under the fostering hand of Mr. Binns, have of late years been made here. The body, unlike the works of Limoges or the Sèvres imitations, is pure porcelain, not a coating of porcelain over sheets of metal; and the effect is produced by the partial transparency of the white laid on the blue ground, instead of by heightening. The tone produced in these enamels is peculiarly soft and delicate, and the colours are pure and intense; they will bear—and bear well—a close and critical comparison with those of the fifteenth and sixteenth centuries.[83] Examples consisting of an ewer and stand, a vase, a pastile-burner, a plate, a tazza, and other articles, are given on Figs. [547 to 553]. The late Mr. Bott, an artist of the very highest eminence, was brought up by Mr. Binns specially for the production of these enamels, and his early death has been a great loss to Art. Through his death examples have become very scarce, and realise high prices. At the present time a pair of vases—still in the hands of the Worcester Company—are valued at 1,500 guineas, and an ewer and basin at 350 guineas, and the probability is that they will still increase rapidly in value. To Mr. Binns is entirely due the introduction and carrying out of the Worcester enamels in the style of Limoges; the ivory porcelain, a soft-glaze body of an ivory tint; the Raphaelesque porcelain; jewelled porcelain, of a totally different and far higher character than that of Sèvres; and Japanese decoration on porcelain and pottery. Besides these, to his taste, skill, and judgment are due the great varieties of styles and improvements in form and decoration which now characterize these works.
In parian, the Worcester works produce a large variety of figures, busts, groups, and ornamental articles of every kind, and of a remarkably clean and pure body.
The ivory porcelain—an improvement upon parian, and capable of greater development—is one of the specialities of these works. Besides being used for busts, figures, and ornamental pieces, in its simple state, when it has all the softness, beauty, and natural tint of ivory itself, it forms the basis of many of the ornamental decorations, especially the Raphaelesque ware, which is the colouring of the surface in relief in the style of the old Capo di Monte ware and the Buen Retiro porcelain. This style was first introduced by Mr. Binns for the Exhibition of 1862, and has retained its popularity to the present hour.
