In vases, some of the finest which had ever been produced were made at these works. At Wentworth House, the magnificent seat of Earl Fitzwilliam, among other fine examples of Swinton Art, is one which is of surpassing beauty. It was the largest china vase produced at that time in a single piece in this country. It stands three feet nine inches in height, and is three feet one inch in circumference. The base, which is of tripod form, has a blue ground, with flowers in compartments, and is massively gilt. From it rises the vase, supported on three lions’ paws in white and gold. From between the feet on each side spring branches of oak, solidly gilt, which entwine their leaves around the paws, and form an elegant border to each of the large painted subjects on the sides. The neck of the vase is in honeycomb open-work, with raised bees upon it; and the handles are of massive coral in white and gold. On each of the three sides of the vase is a large subject from Don Quixote, exquisitely painted in enamel colours. The cover has a blue ground, on which are flowers and trophies in tablets, surrounded by oak leaves and acorns in gold. It is surmounted by a large and powerfully-modelled rhinoceros, gilt. The under side of the cover, quite out of sight except when lifted off the vase, is painted in a series of small landscapes, alternating with subjects taken from Bewick’s celebrated tail-pieces. Inside the cover is the mark of the crest, and the words “Rockingham Works, Brameld,” and the date 1826. This splendid vase was painted by John Wager Brameld. At Wentworth House, too, the Earl and Countess Fitzwilliam have, along with a large number of choice examples of Chelsea, Chelsea-Derby, and other rare makes of China (which I have examined), several other notable pieces of Rockingham china. Among these are a set of three “Canova-shape” vases, painted with groups of flowers; a dessert-service of white and gold “seaweed” pattern, each piece bearing the crest and the date 1838; three of the pattern-plates submitted to William IV. in competition for the royal service; a number of example-plates of different designs; a breakfast service painted in flowers, each flower named; an elegant tray with raised flowers and a view of Arundel Castle; a pair of “monkey” beakers, nineteen inches high; and a pair of fine biscuit scent bottles, sixteen inches high, decorated with exquisite raised flowers.
In the possession of the late Dr. Brameld, who had among other things, a remarkably beautiful ice pail and other pieces of note, was the fine vase engraved in Fig. [877], which is known as the “Dragon Vase,” and occasionally by the not very euphonious name of the “Infernal Vase.” It is 3 feet 4½ inches in height, and has dragons for handles, and also a dragon on the top of the cover. Another of these “Dragon” vases is in the possession of Mr. Henry Barker. In the late Mr. Bagshawe’s collection was a set of three vases, green and gold, with swans for handles, on which are beautifully painted “named” views of “Bellagio, Lago di Come,” “Verona,” and “Isola Bella, Lago Maggiore.” Mr. Reed had pieces bearing views of Newstead Abbey, &c., and in Mr. Hobson’s possession are vases, with views of Chatsworth and other places.
Fig. 877.
The chef-d’œuvre of the Rockingham China Works was, however, the truly gorgeous dessert service made for William IV., which is now preserved with the most scrupulous care at Buckingham Palace, and is, we are credibly informed, justly prized by her Majesty as among her more precious ceramic treasures. This service, which cost no less a sum than £5,000, consists of one hundred and forty-four plates, and fifty-six large pieces, and is one of the finest produced in this or any other country. The plates have raised oak borders in dead and burnished gold running over a raised laced pattern, also in gold, and the centres are splendidly painted with the royal arms, &c. The comports, which were all designed by Mr. Thomas Brameld, are emblematical of the use to which each piece has to be put. For instance, the comports for biscuit, are supported by ears of wheat; the fruit pieces have central open-work baskets of fruit; the ice pails are supported by holly berries and leaves; and in each case the landscapes are also in unison with the uses of the pieces, which are of exquisite design, and have also oak-leaf and lace decorations, so massively gilt in dead and burnished gold as to have the appearance of ormolu laid on the porcelain, and each piece is decorated with views of different seats, the sketches for which were taken expressly for the purpose, and by groups of figures, &c. This service is, as I have said, at Buckingham Palace. In Dr. Brameld’s possession was the specimen plate which was submitted to, and approved by, the king, and some portions of the comports, &c.; and in Mrs. Barker’s hands was one of the comports (with views of “Langthwait Bridge,” and “Kentmore Hall,” and a group of bird-catchers), which, for its extreme beauty and rarity, is an almost priceless treasure. She also possesses a cup and saucer of the breakfast service prepared for Her Majesty. In Mrs. Reed’s possession is an unique example, being one of the specimen plates submitted for royal approval in a competition with the principal china manufacturers of the kingdom for the royal order. In this competition, twelve plates of different patterns were specially prepared and submitted by the Rockingham Works. Of these plates, the examples in Mr. Reed’s, Dr. Brameld’s, the Earl Fitzwilliam’s, Mr. Hobson’s, and other hands, form a part. In the centre are the royal arms, and the rim is decorated with oak leaves and acorns. Another unique pattern-plate belonged to Dr. Brameld, and is of the most delicate and exquisitely beautiful character. In the centre are the royal arms, and on the rim are three compartments, two of which contain groups of flowers, and the third a view, while between these the “garter” is repeated. The cost at which in the estimate it was calculated these plates could be produced, was twelve guineas each.[121]
The dessert service made for William IV. was first used on occasion of the coronation of our beloved Queen, and has only, I am informed, been used on very special state occasions from that time to the present. Although so large a sum of money was paid for it the cost of its production was so great, that the actual outlay was, I am told by those who are in the best position to know, considerably more than was charged. This royal service had some little to do with the embarrassments that caused the final stoppage of the works.[122]
In “biscuit,” figures, busts, and groups, as well as vases, of which splendid examples belong to Earl Fitzwilliam, were produced. Among other specimens that have come under my notice are a Swiss boy and girl, a fine bust of Earl Fitzwilliam, Chantrey’s sleeping child, Chantrey’s full-length statue of Lady Russell, &c.
Among the artists employed at the Rockingham works it will only be necessary to name a few. These were Collinson, who painted flowers; Llandig, who was a charming fruit and flower painter; Bailey, who was the principal butterfly painter,[123] and who also painted landscapes and crests; Speight (father and son), the latter of whom painted many of the finest subjects, both landscapes and figures, on the royal service, and who also painted the heraldic decorations on the same; Brentnall, who was a clever flower-painter; Cordon, who executed landscapes and figures; Tilbury, who painted landscapes and figures; Mansfield, who was the principal embosser and chaser in gold; Aston, who was clever as a modeller of flowers; and Cowen, who was an artist of much repute, and for many years enjoyed the patronage of the Fitzwilliam family. William Eley, too, was employed as modeller, and executed some admirable works, including a fine bust of Earl Fitzwilliam.
The Marks used at the Swinton Works are not many, but have the advantage of being particularly clear and easily recognised. They are, so far as I have been able to ascertain, the following.
It should be premised that no mark was placed on the early productions of these works, and they are, therefore, only to be ascertained by a knowledge of the body, the glaze, and the style of ornamentation used.