Fig. 458.
Figs. 459 and 460.
Specimens of the hard paste of the New Hall Works are rare. They are almost entirely without mark; but sometimes there is an incised letter N as here shown. Fig. [460] exhibits a beautifully painted teapot. On one side is a group of children playing at blind man’s buff. They are dressed in the characteristic costume of the latter part of last century, but what renders the group peculiarly interesting is that in the background is a view of a pot-works, with kiln, which may probably have been a representation of the works when this interesting piece was made. On the opposite side of this teapot is an equally well painted group of a boy riding on a dog, and on the lid are also two little figure vignettes. This piece was made for, and belonged to, one of the partners, Charles Bagnall, from whose family it passed more than half a century ago, by marriage, to a Mr. Sutton, from whose own octogenarian hands it passed into my own. It was painted by Duvivier, a French artist of celebrity, who, as well as Bone, was employed at these works. Fig. [459] is a cup and a saucer of excellent form and twisted fluting. Fig. [462] is a jug, carefully painted with birds, and bearing in front the initials S. D. This jug was made at New Hall for Sampson Daniel, a cousin of John Daniel, one of the partners, and is still in possession of his grandson, Mr. Daniel, of Hanley. The coffee cup and saucer (Fig. [464]) is a good and characteristic specimen; and Fig. [463] is one piece of a dessert service, belonging to Mr. Gray, which was made for Mr. Daniel, one of the partners. The porcelain made at New Hall principally consisted of tea, dinner, and dessert services, of various designs; but figures and busts, as well as vases, were also, to some extent produced there.
Fig. 461.
The later productions of the New Hall China Works, the soft paste, are also scarce, especially the marked pieces. The body is of good colour, and clear, and the decorations, especially the flowered examples, are remarkable for the brightness of their colours. The only mark used—and this was not, it appears, adopted until after 1820—is the one here shown.
Figs. 462 to 464.