The ceramic art of Great Britain from pre-historic times down to the present day, Volume 1 (of 2)

To this letter Mr. Duesbury, who bore a most excellent character for kindness and consideration towards his work-people and servants, evidently returned a satisfactory and pleasant reply, as is evidenced by the following letter from Boyer:—

In the former of these two letters it will have been observed that mention is made of a “mould of the large figure of Britannia;” this was one of the finest figures produced at Chelsea or Derby, and is now of great rarity.

The “hands” employed at Chelsea, so far as they are entered in these “weekly bills,” appear to have been as follows. I give their names and the rates of wages they were receiving:—

During the time the Chelsea and Derby works were carried on conjointly, the proprietor held periodical sales by Messrs. Christie and Ansell, “at their Great Room, next Cumberland House, Pall Mall,” and afterwards “by the Candle,” at his own warehouse, by Mr. William Hunter of New Bond Street. Of many of these sales (see “Derby” china works) I possess catalogues—some of them priced; and they are particularly valuable and interesting as describing the articles made at the period. The goods offered for sale were evidently the best that were produced, and many of them are of a most costly and magnificent character. From the catalogues of 1781 and 1782—three years before the Chelsea works were taken down—I have selected a few examples:—

• An elegant Etruscan-shape Vase, enamel’d in compartments with a figure of Shenston, and fine blue ground striped with gold.
• Six beautiful Caudle Cups, covers and stands enamel’d with festoons of green husks, garland of coloured flowers, and fine blue and gold.
• One large Flower Pot, green and gold, finely painted in compartments, with a landscape and figures.
• A beautiful large group of the three Virtues, in biscuit.
• One group, Jason and Medea before Diana.
• One superb and elegant Vase, with therms, beautifully enamel’d with figures, the three Graces on one side, and a landscape on the other, in compartments enriched with chased and burnished gold; and 2 ewer-shaped Vases to match, figure of Virtue on one side, and Prudence on the other.
• One pair of basket-work antique-handle Vases, enamel’d with figures, Pomona and Prudence on one side, and a landscape on the other, in compartments gilt to match.
• One beautiful large group of 2 Virgins awaking Cupid, in biscuit.
• One ditto of two Bacchants dressing Pan with a garland of flowers.
• One large perfume Vase, beautifully painted in figures in compartments, representing Eneas meeting Venus before he enters Carthage, richly gilt.
• One pair of large Beakers to match, enamel’d in compartments with figures, on one side Bacchus and Ariadne, and on the other Venus and Adonis, richly gilt.
• A very beautiful Seve pattern compleat Desert Service, enamel’d with roses, fine mosaic border, richly finished with chased and burnished gold; consisting of 24 plates, 3 large oblong compotiers, 2 heart-shaped, 4 round, 4 square, 4 small oblong ditto, and a pair of cream bowls, covers, stands, and spoons.
• One beautiful figure of Shakespear in biscuit, and fine blue and gold pedestal.
• One group of 3 Boys playing at Hazard, and 1 ditto of a galanter show, in biscuit.
• An elegant Stand for different cheeses and butter, enamel’d with vases and fine mazarine blue and gold (rivitted).
• A beautiful large group of 3 Graces and 2 Cupids, supposed to be crowning her Majesty with garland of flowers, in biscuit.
• A pair of uncommonly large octagon jars (near 2 feet high), decorated with natural flowers, and finely enamel’d with figures, landscapes, &c., richly ornamented with chased and burnished gold, the figures representing, a votaress of Bacchus, and Innocence washing her hands at an altar.
• An elegant Seve pattern complete Desert Service, enamel’d with roses, and a rich mosaic and gold border; consisting of three dozen plates, 2 large oblong compotiers, 4 round, 2 heart-shaped, 4 large square, 4 small oblong, and 1 large ditto, with a foot for the centre, and a pair of cream bowls, covers, stands, and spoons.
• One superb and elegant large Vase, with therms, enamel’d in compartments, with figures of the three Graces, enrich’d with chased burnish and gold.
• One pair of beautiful oval Jars to match; the figures represent Apollo and Agrippina lamenting over the ashes of Germanicus.
• A pair Neptune Head Drinking Mugs, enamel’d and gilt.
• A pair Salad Dishes, enamel’d with a group of coloured flowers, festoons of green husks, and pea-green and gold borders.
• Six Egg-Spoons, 6 Asparagus Skewers, and 6 Egg-Cups, blue and white.
• One pair Foxes Heads, for drinking-cups.
• A large and elegant Ink-Stand, enamel’d and richly finished with burnished gold.
• A pair of beautiful Caudle Cups, covers and stands peacock pattern, enamel’d with gold medallions, festoons of green husks, and richly gilt.
• One pair of figures, Shakespear and Milton, in biscuit.
• Six Finger Cups and stands, enamel’d with festoons of green flowers and gold edge.
• One pair of elegant small Ice-Pails, for pint bottles, enamel’d in compartments with figures, fine crimson ground, richly finished with chased and burnished gold.
• One pair of beautiful Cabinet Cups, enamel’d with natural flowers and gold stripes.
• An elegant Punch Jug, or Coffee Pot, enamel’d with flowers, and fine blue and gold border.
• One pair of beautiful Lamps, enamel’d, with vases, and fine blue and gold.
• One superbly elegant large Vase, with therms, beautifully enamelled in compartments with a landscape, and figures representing a Roman marriage; and a pair ewer-shape Vases, enamel’d with figures of Minerva and Juno, fine blue ground, richly finished with chased and burnished gold.
• One pair beautiful Tripods, fine blue and gold.
• A beautiful group of 4 Cupids, 1 pair figures, Mars and Venus, 1 pair Baccus and Ariadne, and 2 pair music figures.
• A set of 8 Views in Windsor Park, by Mr. Sandby; very fine impressions in elegant green and gold frames.
• A set of 5 superbly elegant Vauses, enamel’d in compartments with figures and landscapes, gold stripes, richly ornamented with fine blue and gold; the center vase is enamel’d with a figure of Mars, the two side pieces with figures of Damon and Delia, Paris and Œnone, and the two end pieces with a shepherd and lamb, and shepherdess with a birdcage.
• Two pair elegant Rummers, enamel’d with groups of coloured flowers, and fine blue and gold border.
• A beautiful large Vase, with therms, enamel’d in compartments with a landscape on one side, shepherd with a lamb and shepherdess with a birdcage on the other side, gold stripes, richly ornamented with green and gold.
• One pair of beautiful Vases to correspond, enamel’d in compartments with figures of Damon and Delia, Paris and Œnone.
• A round Cheese Stand, enamel’d with a vase, fine mazarine blue border, richly finished, with chased and burnished gold.
• A superb and elegant large Vause, with therms, beautifully enamel’d with figures of Wisdom and Vigilance on one side, and a landscape on the other; 2 ewer shape ditto to match, enamel’d with figures of Virtue and Fortitude, in compartments, fine blue ground, richly finished with chased and burnished gold.

The manufactory was situated in Lawrence Street, Chelsea, at the corner of Justice Walk, and was held by Mr. Spremont—or, at all events, one house was—at the yearly rental of £24.

Several of the adjoining houses are said to have been used as show and ware rooms; but the whole of the premises have been, of course, rebuilt many years. In a pleasant gossiping conversation between Nollekins, the sculptor, and Betew, a friend of Hogarth, related in Smith’s “Life of Nollekins,” the following allusion to the works and its situation is made:—“The factory stood just below the bridge, upon the site of Lord Dartery’s House. ‘My father worked for them at one time,’ said Nollekins. ‘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.[61] 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.’”

It is much to be regretted that no view of the works is known to be in existence; and their absolute site is not, as far as I am aware, marked on any plan of the locality.

The following relate to these works, and possess more than a passing interest:—

Work Done for the China house By John Sherman.

Recd. July 14th, 1770, the Contents and all Demands.

Exd. & Entd.    P^d John Sherman.

Mr. Dewsbury,    To J. Booth & Co.    Dr.

at Chelsea China house.

Recd. 5th Octor. the above Contents for J. Booth & Co.

J. Prockter.

Rec^d 7 June 1770 of Mr. William Dewsbury the Sum of four pound Ten Shillings in full for paint Sent to Chelsea China Work. Charged to Mr. Cox.

£4—10—0.    Exd. & Entd.    Pd. Thos. Coles.

The body of the Chelsea china is very frequently uneven—i.e. it has often the appearance of being unequally mixed. One of its peculiarities is that it would bear no fresh exposure to the heat of the kiln, and consequently could not be re-painted and altered. The second application of heat would most probably end in the entire cracking and destruction of the piece. The body was not so compact as the Derby, and of very different general character from Worcester.

The earliest examples made at Chelsea I believe to have been the ordinary white with blue patterns, after the Delft and other makes; and in these early days no marks were used. The glaze, too, was somewhat thick and clumsy, and unevenly laid on. A little later on, Oriental patterns were copied very successfully, both in blue and white and in mixed colours, and the potting became careful and less clumsy. Some early specimens of cups and saucers copied from Oriental patterns, which I have seen, are remarkably well potted, and bear a wonderfully close resemblance to the originals, both in body and in ornamentation. The best Oriental specimens which could be had were, however, used as models, as were also those of France and Germany; and very soon the articles produced at Chelsea most successfully rivalled the best productions of Dresden and Sèvres, both in modelling, potting, colouring, and glazing. The colours were remarkably fine and vivid; and as only the best artists were employed as painters, the pieces produced were extremely choice and good. Many of the landscapes, of which Boreman (or Bowman) was for a long time the chief painter, are in most exquisite taste, both in colouring and choice of subject. The groups of figures, historical, mythological, or otherwise, are, too, remarkably fine, and evince a correct taste and a high degree of manipulation on the part of the artists employed. In modelling, Bacon, Nollekins, and many other of the most eminent men were employed, and the figures they produced were of the highest possible degree of beauty.

In flowers and insects, the Chelsea painters were particularly happy and successful, and they had a peculiar “knack” in “accidental arrangement” which produced a most pleasing effect. Thus, on a plate or dish, the little groups or single sprigs of flowers were often thrown on, as it were, “hap-hazard” along with butterflies, bees, lady-cows, flies, moths, and other insects, and thus produced a pleasing, because an apparently unstudied, effect. The raised flowers, arranged on vases and other ornamental pieces, are usually of extremely good character, and are well painted; and the birds and figures which are introduced along with them are also very nicely and carefully modelled.

Specimens of Chelsea china are to be found in most collections, both public and private, and, being much sought after, usually produce high prices when offered for sale. It may be well, as a guide to collectors, to quote the prices which have been realised in some few instances. In the Bernal collection were the following:—

• A pair of oval Dishes, crimson borders, painted with birds, butterflies, and fruit, sold for thirteen guineas.
• A pair of beautiful globular scalloped Vases and covers, deep blue, painted with exotic birds with pierced borders and covers of the highest quality, were bought by Mr. Addington for £110 5s.
• An imperfect (chipped) Cup and Saucer, with festoons raised in white, sold for a guinea.
• Another Cup and Saucer, with flowers and crimson drapery edge, sold for three guineas and a half.
• A beautiful two-handled Cup and Saucer, with medallions of Cupids in pink, and striped gold sides, realised twenty-one pounds.
• An Ecuelle, cover, and stand, with pink scalloped edges, and delicately painted sprigs of flowers, sold for £27 6s.

At the sale of the late Queen Charlotte’s collection, the Chelsea porcelain realised in many instances very exorbitant prices. At the Strawberry Hill sale a pair of cups of the famed claret colour, without saucers, enriched with figures of gold, sold for 25 guineas. Another pair, blue, with gold figures, sold for 17 guineas; and a similar pair, with groups of flowers on a ground of gold, made £11 6s. At the sale of the Angerstein collection a pair of bleu-de-roi vases, with paintings, were bought by Lord Kilmory for 100 guineas. Another pair, pink and gold ground, with paintings, and with open-work lips, realised 142 guineas. A single vase and cover, from Queen Charlotte’s collection, sold for 106 guineas; and a pair of splendid globular vases and covers, with paintings of Bathsheba and Susanna, realised 203 guineas.

In the British Museum are some good examples of Chelsea porcelain, presented to that Institution in 1763; and in the Museum of Practical Geology, in Jermyn Street, are also some excellent specimens, which can be examined by the collector. The Foundling Hospital, until recently, possessed a remarkably fine blue vase, richly gilt and painted, which was presented to that excellent institution in 1763, during the time the works were in the hands of Mr. Spremont, by Dr. Garnier.

The vase, which has been broken, has passed by purchase into the hands of the Earl of Dudley, who, about the same time, became the purchaser, for the sum of £2,000, of the famous vase belonging to the late Earl of Chesterfield.

The earliest specimens of Chelsea ware have no mark, and can only be judged by the body, the general style of workmanship, and the glaze. But it is difficult correctly to appropriate many examples, especially those in which the painting alone was Chelsea work on foreign bodies. In many of the old examples the marks produced by the triangle or tripod are said to be indicative of the Chelsea works; but this is by no means to be relied on, as the same appearances are frequently found on the productions of other work.

The general distinctive mark of Chelsea is an anchor—sometimes drawn with the pencil, at others raised from a hollow mould; and this is used either singly, two together, or in conjunction with one or more daggers. It is usually said that the raised anchor is the oldest mark; but this can scarcely be depended on, for instances are known where, on the same set, the raised anchor appears on some of the pieces, while the anchor drawn with the pencil occurs on others.[62] This being the case, it is difficult to decide which is the oldest; but, judging from the workmanship of the specimens I have examined, I should feel inclined to say that the earliest mark was the simple plain anchor, drawn on the piece with the hair pencil, in the colour which the workman happened to have in use at the time. It has been asserted that the mark of the best kind of porcelain was an anchor in gold, and of the inferior an anchor in red. This is, however, erroneous: the quality of the body had nothing whatever to do with it, and I believe the golden anchor is never found on pieces except where gold is used in the ornamentation. The raised anchor appears on the cup and saucer.

One of the most, if not the most, interesting marks connected with Chelsea occurs on a cream ewer formerly belonging to Dr. Wellesley, and afterwards to Mr. W. Russell, the Accountant-General. One of the marks usually ascribed to the Bow works is the triangle (Fig. 378); and in the Museum of Practical Geology is a cream ewer bearing this mark in the paste. This specimen was formerly in the Strawberry Hill collection, and afterwards in Mr. Bandinell’s. The cream ewer which belonged to Mr. Russell is moulded in the same mould, and is, in fact, identically the same as the one in the Museum, but has, in addition to the above mark, the word “Chelsea” and the date “1745” upon it. The mark and the words “Chelsea, 1745,” are graved or scratched in the soft paste before firing, and, of course, under the glazing (Fig. 379). This mark is particularly interesting and curious, as being the earliest dated example of English porcelain known. This example, and the occurrence of the triangle with the name of Chelsea, was first noticed by me in my history of the Chelsea works in the Art-Journal of 1863.

Fig. 380 is an engraving of an elegant little scent-bottle, formerly in my own collection, which bears the embossed anchor. The bottle has a continuous landscape running around it, which is beautifully pencilled, and is evidently of early work. The plain anchor, drawn in red , I have copied from a leaf-shaped dessert dish of early workmanship. The dish is beautifully painted in small groups and sprigs of flowers, thrown indiscriminately on the surface, and intermixed with well-painted insects. The form of the anchor varied, as is natural to be supposed, according to the idea of the workman, and it was occasionally drawn with the cable attached. Figs. 382 to 389 exhibit some of the varieties; they are drawn in different colours, red, blue, and brown, and in gold.

Two anchors, side by side, occasionally occur. Fig. 381 is from a small vase in the Museum of Practical Geology, Jermyn Street. The vase is of deep blue colour, with peacocks, and is painted in compartments and richly gilt. An anchor and a sword, or an anchor and two swords, are not unusual marks, and Fig. 391 is an elegant vase, with open-work rim, on which it occurs. The raised flowers are beautiful in their modelling, and the colouring is extremely good. Between the flowers, leaves, &c., are painted on the vase, which is also decorated with butterflies, caterpillars, and other insects. On either side is a cherub’s head, surrounded by raised flowers. The mark on this vase engraved (Fig. 392) is the usual anchor, preceded by a dagger, in red. It is worthy of remark that on the inside of the cover of the centre vase—a globular cover surmounted by a bird, and covered with raised flowers of similar character to those on the vase here given—the mark is reversed, the anchor preceding the dagger.

A singular mark (Fig. 394), communicated to me by Mr. Octavius Morgan, M.P., occurring on some small groups of figures belonging to Lady Mary Long, is an anchor, with cable, in red; on one side is an upright dagger, point upwards, in red; while on the other is a horizontal dagger, point outwards, in blue. This mark occurs on each piece. Another mark is the anchor with cable, and dagger sometimes on its right, and at others on its left side. It has been surmised that the cabled anchor and dagger, or sword, may be Bow; but there is no reason for supposing this to be the case, and I am inclined to believe they are really what I have named them—Chelsea. In reference to this remark I give the following marks, which are considered by Mrs. Palliser to belong to Bow; but of course there is no proof either way. Those collectors whose affections mainly centre in Chelsea ascribe pieces having these marks to that locality, while those whose loves direct them to the attractions of Bow, with equally as little hesitation pronounce them to belong to those works. It seems in fact to be, in the instance of these marks, that the collector has to act on the showman’s advice—he “pays his money” for the rare piece of china and “takes his choice” whether he appropriates it to Chelsea or to Bow! I am disposed to think the anchor really is, as has always been considered, the true Chelsea mark, and that most of the varieties belong to those works, but that it was also used by other manufacturers, either separately or in combination with other devices.

It would leave my notice of the marks of the Chelsea works incomplete, were I not to introduce the mark which was, for a time, used to denote the fusion of these works into those of Derby. When Mr. Duesbury purchased the Chelsea works, and carried on the two together, he added the letter D to the Chelsea anchor (Fig. 403): and this is the mark which denotes what is known to collectors as “Chelsea Derby” or “Derby Chelsea” ware, and which, being of comparative rarity, is eagerly sought after.

It may be well, perhaps, to notice a curious mark which I have described in my account of “Salopian China,” for the purpose of suggesting that it may have been engraved for marking on porcelain made at Caughley, and intended to pass as “Chelsea Derby.” This mark I reproduce. It occurs on a copper plate (for a mug), and represents a landscape—a river, with swans sailing, trees on either side, boat with fishermen, sailing boat, &c.; and in the background a bridge, a church with ruins to the left, and a tall, gabled building, over which are the words “Sutton Hall” to the right, above which are the words “English Hospitality.” It is also well to hint that all china bearing the well-known red or golden anchor must not be taken to be Chelsea, for examples which are undoubtedly the production of other works are constantly occurring.

Second China Works.—Another small china manufactory was commenced, according to Lysons, at an old mansion by the water side. This would probably be the works started by a party of workmen from Staffordshire, thus spoken of by Shaw:—“Carlos Simpson was born at Chelsea, to which place his father, Aaron Simpson, went in 1747 along with Thomas Lawton, slip maker; Samuel Parr, turner; Richard Meir, fire-man; and John Astbury, painter, all of Hot Lane; Carlos Wedgwood, of the Stocks, a good thrower; Thomas Ward, and several others, from Burslem, to work at the Chelsea manufactory. They soon ascertained that they were the principal workmen, on whose exertions all the excellence of the porcelain must depend; they then resolved to commence business on their own account at Chelsea, and were in some degree successful; but at length, owing to some disagreement among themselves, they abandoned it and returned to Burslem.” The fact may be as Shaw stated it, so far as regards the workmen going to Chelsea, for some reason leaving it again and commencing for themselves; but his remark as to their being “the principal workmen on whose exertions all the excellence of the porcelain must depend” is sheer nonsense, as at that time (1747) the Staffordshire workmen did not make porcelain at all.

Wedgwood’s Chelsea Works.—In 1769 or 1770 Josiah Wedgwood established a branch of his manufactory at Chelsea. This was for the decoration of his vases by his “peculiar species of encaustic painting in various colours, in imitation of the ancient Etruscan and Roman earthenware.” The reason for the founding of this branch was that it was judged better to have this peculiar style of ornamentation carried on near London, where suitable artists could easily be got together, and where the operations could be conducted under the personal superintendence of Mr. Bentley, who there resided, and for whom in 1769 a house was taken at Chelsea. The partnership between Wedgwood and Bentley had reference only to the ornamented, not to the useful ware; but both kinds were decorated at Chelsea, the two being kept separate in the accounts. The workmen at Chelsea were thus employed on both branches, the amounts paid them in wages being distinguished as on “Josiah Wedgwood’s account” and as on “Wedgwood and Bentley’s account.” Thus, for instance, in the following document, John Lawrence, for the week ending October 6th, is paid for six days’ work, at 1s. 9d. a day, of which 5s. 3d. is charged to “J. W.,” and the other 5s. 3d. to “W. & B.” I am enabled, from the following document in my possession, to show the names of a portion, at all events, of the artists who were employed there in the month of October, 1770. The document is very fragmentary and imperfect, but, so far as remains, is as follows. The year 1770, it must be borne in mind, was the very year when the Chelsea China Works finally passed by purchase into the hands of Duesbury, the owner of the Derby China Works:—

How long the establishment at Chelsea was continued, I do not know; but painting was done in London for Wedgwood to a late date. A letter, dated February 27th, 1795—the month following Josiah Wedgwood’s death—while speaking of painters and enamellers on porcelain, says, “I believe Wedgwood’s men here do not get less than 26s. or 28s. per week,” and the presumption is that these men might be employed at his Chelsea establishment.

Chelsea Pottery.—About 1774 a pottery was established in Upper Cheyne Row, Chelsea, for the manufacture of crucibles and melting pots. It was established by a person named Ruhl, or Ruelle, who was succeeded by his son-in-law, C. F. Hempel. It had the reputation of producing the best made crucibles in this country. After the death of Mr. Hempel, his widow, Johanna Hempel, on the expiration of the lease, removed the works from Cheyne Row to the King’s Road, where she not only made crucibles, but table services, being patronised by Queen Charlotte. In 1790 she took out a patent for “a certain composition made of earth and other materials, and the means of manufacturing the same into basins and other vessels, which, so manufactured, hath the power of filtering water and other liquids in a more cheap, easy, and convenient manner than water or other liquids could then be filtered.” In 1797 Mrs. Hempel became bankrupt, and the plant and stock-in-trade, including table services, vases, crucibles, stoves, &c., and a carved sign of the Queen’s Arms, were sold by auction. The manufactory was afterwards carried on by Messrs. Ludwig and Warner.

Near this pottery, in 1795, was a manufactory of artificial stone, carried on by a Mr. Triquet.

Bow.

Nothing is known definitely as to the date of the first establishment of this very important china manufactory situated at Stratford-le-Bow. It must, however, have been in existence some little time prior to 1744, for in that year it was carried on by “Edward Heylyn, in the parish of Bow, in the county of Middlesex, merchant,” who, in conjunction with “Thomas Frye, of the parish of West Ham, in the county of Essex, painter,” took out a patent for “a new method of manufacturing a certain material, whereby a ware might be made of the same nature or kind, and equal to, if not exceeding in goodness and beauty, china or porcelain ware imported from abroad.” The patent, which was for fourteen years, bore date the 6th of December, 1744, and the specification was duly enrolled on the 5th of April, 1745. This specification I have printed in full on page 112, and it will be found of the highest interest and totally different from what is put forth by Chaffers as a copy of it. On the 17th of November, 1748, the same “Thomas Frye, of the parish of West Ham, in the county of Essex, painter,” took out another patent, by which he “lawfully might make, use, exercise, and vend my new method of making a certain ware, which is not inferior in beauty and fineness, and is rather superior in strength, than the earthenware that is brought from the East Indies, and is commonly known by the name of China, Japan, or Porcelain ware.” The specification was duly enrolled on the 17th of March, 1749, and is highly interesting. This will be found printed entire on page 113.