The coffee-pot (Fig. [841]) formerly belonging to Mr. Norman is a good specimen of Lowestoft painting. It forms part of a service, evidently a marriage-service, originally made for Captain Walsh. The initials it bears are probably those of himself and his bride. They are enclosed in an oval within a wreath of roses and palm branches, tied with a true lover’s knot. On either side is a Cupid, who supports a human heart pierced with two arrows, and this is surmounted by a coronet. On reference to the delft plate just described and engraved (Robert and Ann Parrish), it will be seen how strongly the design of that early example of Lowestoft earthenware accords with this, perhaps one of the most highly finished of its productions in porcelain.
It is unnecessary to describe other services, although many of them are of the highest beauty. One tea service, with the crest (an owl) and the monogram of W. W. conjoined, is especially deserving of notice, however, as being one of the choicest examples of porcelain painting of its kind which have come under my notice. This service, until lately intact, has unfortunately been dispersed, and portions of it passed into the collections of Sir Henry Tyrwhit, Mr. Norman, Mr. Seago, and others.
It is worthy of remark that on much of the Lowestoft china the rose is plentifully introduced. The reason for this is probably two-fold: first, the arms of the borough is the Tudor (or full-blown) rose, crowned with an open arched crown; and this may probably have been the principal incentive in giving the rose so constant and so prominent a place in the ornamentation of the china. Second, during the period of the great Revolution, a French refugee of the name of Rose, one of the cleverest of the French porcelain painters, found his way to Lowestoft, and was engaged by the company. He became the principal, and by far the best, of the artists employed, and probably introduced the rose more generally, in allusion to his name, than would otherwise have been done. To him may probably be ascribed the finest and most minutely finished specimens of painting which the works produced, and it was his taste which gave that French character to the general style of ornamentation which is so discoverable on many of the services. It is well to remark that on some of the pieces painted by him he is said to have introduced a small rose under the handle as a special mark of his work. Like that of many another man of genius, the lot of this clever refugee artist was a sad one. He was an aged man when he came to Lowestoft, and he remained at the works till his eyesight failed him, and he became very poor. A subscription was entered into, and a couple of donkeys to help him to carry water in the town purchased, and thus he passed his last few years.
Fig. 842.
In the group (Fig. [842]), I have shown some very characteristic examples of the higher class make of the Lowestoft works. The saucer is an excellent specimen of floral decoration, and shows better than many the rose which was so plentifully introduced in decoration. The painting, however, of these bolder groups of flowers is not so good as in the more minute ones—the artists, as I have before said, excelling in minute, careful, and elaborate pencilling rather than in breadth of style and colour. The coffee-cup is a simple but very good specimen of heraldic decoration. It is part of a set made for the celebrated writer, the Rev. Robert Potter, Prebendary of Norwich and Vicar of Lowestoft, one of the most distinguished classical scholars of his time, and chiefly known for his excellent translations of Æschylus, Euripides, and Sophocles, and for other equally learned works. The cup bears the arms or, a chevron, sable, between three mullets, gules, pierced of the first; with crest, and motto, “In Deo Potero.” The tea-cup in the same group is a good example of the not unusual French style of ornamentation, in wreaths, monograms, and initials. The shield bears the initials “M.S.J.,” and is surrounded by a remarkably elegant wreath of flowers, and surmounted by a crest. The engraving (Fig. [843]) is a simple sketch from the saucer belonging to the cup just described, and is therefore not filled in with the elaborate detail of the original. The mug engraved in the group is of a form very usual in Lowestoft specimens. It is well decorated with groups and sprays of flowers, among which the rose is predominant. The borders on all these pieces are of elaborate and minutely pencilled character.
Fig. 843.
Transfer printing on china does not seem to have been practised to any extent at Lowestoft. One jug, however, which has been handed down from father to son in the family of the most active proprietor, is preserved, with a memorandum that the copper-plate from which it was printed was given to Mr. Browne by a Mr. Gamble, of Bungay, who, with his family, was in the habit of visiting Lowestoft. Probably the plate was given that the family might be supplied with ware printed from it. The design is a sportsman with dog and gun, and on the spout of the jug are the letters ‘S. A.’ the initials of Samuel Aldred. I have also seen a set of beakers, &c., printed in blue, which are said to have been bought at the factory, and to be attested as Lowestoft make.
The Lowestoft works did not excel in figures, which were usually simple in design, and of small size. They are usually single rustic figures, and possess no notable features; four examples, purchased at the factory just before its close, are in the possession of Lady Smith, and are highly interesting as being well authenticated. Among the principal artists employed at the works were Rose, the refugee of whom I have just spoken, whose beautiful floral patterns decorate most of the best specimens of the ware of these works; Powles, a very clever artist, whose name is well known as the draughtsman of the plates illustrating Gillingwater’s “History of Lowestoft;” Allen, of whom I have spoken, who painted the east window of the parish church, and was the mixer of the colours at the factory; Redgate, who also was a good flower-painter; Curtis, of whose productions I have already spoken; Abel, John, and Joseph Bly; James, John, and Margaret Redgrave; and others named Stevenson, Balls, Mottershed, and Simpson. Besides these, several women were employed in painting and gilding.