Chapter XIV: Wedgwood 247 (3)

His patent right was sold by Champion to a company of Staffordshire potters who continued the manufacture at New Hall for some little time until the ordinary soft paste was allowed to supersede Champion’s hard paste. So ended the triumphs of Bristol and Plymouth. It appears that from November, 1781, to April, 1782, Champion left his native city to superintend the works of the china company who had purchased his rights. But Edmund Burke came to his rescue, and, conjointly with Burke’s son Richard, Champion was appointed deputy paymaster-general. Champion occupied official apartments in Chelsea Hospital. In July a change of ministry lost him his post, but in April, 1783, he regained it, only to resign on the fall of the famous Coalition Ministry in January, 1784. In October, 1784, he left England for South Carolina, where he became a planter. Seven years after leaving England he died of fever, and lies buried in the New World.

There is nothing to be said—his fate was the fate of so many enthusiasts and workers in the field of art. Nobody has ever unveiled a monument to Champion’s memory or to Cookworthy’s memory. Nobody has designed a stained-glass window to record their ceramic triumphs.[1] Their monument—and it is a lasting one—lies on the china shelf; the votaries of Plymouth and of Bristol porcelain need no spark to quicken their fire.

We know Browning’s “Waring” and his unfulfilled promise of greatness, and how the friend who has lost him, “like a ghost at break of day,” wishes him back—

“Oh, could I have him back once more,
This Waring, but one half-day more!
Back, with the quiet face of yore,
So hungry for acknowledgment
Like mine, I’d fool him to his bent.
Feed, should not he, to heart’s content?
I’d say, ‘To only have conceived,
Planned your great works, apart from progress,
Surpasses little works achieved.’”

And the world would call back its neglected and unrequited men of genius if it could, and herein lies the principle that makes china command high prices—these conscience-prickings are the tribute posterity pays.

CHARACTERISTICS OF PLYMOUTH AND BRISTOL PORCELAIN.

Among special features of Plymouth and Bristol china, spiral ridges are to be seen, though often barely noticeable, running from the base transversely around the body of piece, more noticeable in basins and teapots, at an angle of 45°. The china of these factories is often untrue owing to imperfect firing, and is frequently cracked at base. The Bristol decorators had a partiality for wreaths and festoons of laurel in green, interspersed with detached bouquets of flowers. The Bristol glaze is rich and creamy white, and upon examination a series of minute depressions, somewhat similar to the bubbles on Oriental glaze, may be discovered.

SALE PRICES.

PLYMOUTH. £ s. d.

Bowls and covers, pair, formed as doves
on their nests. Christie, February 5,
1902 7 7 0

Shell sweetmeat-dishes, two, painted
with flowers in colours in the Chinese
taste, and encrusted with coloured
shells and seaweed; and a smaller
white ditto. Christie, February 5,
1902 5 5 0

Tankards, pair, painted with birds, trees
and flowers in colours. Christie,
February 5, 1902 46 4 0

Mug, bell-shaped, 5-1/2 in. high, painted
exotic birds and continuous landscape
in brilliant colours (marked
with Plymouth mark). Edwards,
Son & Bigwood, Birmingham, May
13, 1902 12 0 0

Plymouth shaped Mug, painted with
exotic birds and branches, and with
gilt border, marked, 4-1/4 in. high.
Puttick & Simpson, July 9, 1920 13 13 0

Plymouth Mug, painted with birds and
branches, 5-1/4 in. high; and a Plymouth
Sauce-boat, painted with
flowers in the Oriental taste. Christie,
July 5, 1920 19 19 0

BRISTOL.

Teacups and saucers, two, and a small
tray, painted with medallion heads
in gilt borders and festoons of green
laurel-wreaths between; and a
bowl and cream-jug nearly similar.
Christie, February 4, 1902 168 0 0

Teapot and cover and bowl, painted
with bouquets of flowers. Christie,
February 28, 1902 7 15 0

Dishes, oval-shaped pair, painted with
festoons and sprays of flowers, in
colours, gilt edges. Christie, February
28, 1902 16 16 0

Bowls, pair, fluted, painted with bouquets
of flowers, 11-1/4 in. diameter.
Christie, July 2, 1902 28 7 0

Cabaret, decorated with festoons of
foliage in green and horizontal gilt
lines, consisting of oval plateau, teapot,
sucrier and covers, milk-jug,
and cup and saucer; mark, Dresden
crossed swords. Christie, July 2, 1902 27 6 0

Figures, pair, of a lady with tambourine,
and a gentleman with a lyre, 11 in.
high. Christie, June 10, 1902 5 10 0

Figures, Mars and Minerva, 13-1/2 in. high.
Christie, June 20, 1902 19 19 0

Figure of a Nymph, allegorical of
“Water,” 10-1/2 in. high. Christie,
July 2, 1902 10 10 0

Teacup and saucer, painted with portrait
medallions, green laurel festoons,
gilt lines, and the interlaced
initials R. S. Part of service made
by Champion for Sir Robert Smyth.
From the Edkins Collection. Christie,
June 16, 1903 37 16 0

Bristol china Teapot and cover, decorated
with birds on branches and
insects, inscribed Mary Cowling,
1771. Sotheby, May 17, 1920 29 0 0

Bristol china deep Dish, octagonal, with
floral festoons, deep blue edge and
centre, 8-3/4 in. Sotheby, May 17,
1920 3 6 0

Two Bristol Plates, painted with
festoons of flowers in colours on
white ground, 8 in. diameter. Christie,
July 5, 1920 9 9 0

Bristol Plaque, painted with a bouquet
of flowers, inscribed “J. Pardoe,
Bristol,” 9-3/4 in. by 5-1/2 in. Christie,
July 20, 1920 18 18 0

Bristol figure of a girl, carrying a basket
of flowers, 4-1/2 in. high. Christie,
July 12, 1920 10 10 0

FOOTNOTES:

[1] A Cookworthy Window was placed in the Guildhall, Plymouth, about 1840, during the mayoralty of Dr. Cookworthy, grandson of the potter.

VI

THE LOWESTOFT FACTORY

(Marked with imitation Chinese mark in blue.)]

(With fragment of Mould from which they were made.)]

VI

THE LOWESTOFT FACTORY

We have dealt with Worcester and with Derby, with Chelsea and with Bow. Of the latter, we told of the difficulty of determining the marks, and of accurately naming the china; but what are we to think of a factory, which we may term the “Mrs. Harris” among china factories, inasmuch as some people with no less scepticism than Sairey Gamp’s friend, believe it did not exist at all. The legends of Lowestoft are many and varied, but we think we shall succeed in presenting some sort of rational account of the factory to our readers, which may dispel many notions, perhaps wrongly, held by those to whom “Lowestoft” is a myth and the collecting of it a snare and a delusion.

(Dated 1755.)]

It is stated that a Dutch sailor, wrecked on the coast, in return for the hospitality of a gentleman who brought him to his house, was instrumental in pointing out the value of the white earth which he discovered on the gentleman’s estate. It is certain that the sand on the coast of Suffolk at Lowestoft is of great purity, as compared with that of other parts of the country, and, when the Lowestoft works were closed, the Worcester factory availed themselves of it in making their best porcelain.

There are certain plates of reputed Lowestoft manufacture, dated 1752 and thereabouts, bearing the names of Quinton, of Yarmouth, Parrish, of Norwich, and other local families. These plates are of earthenware body, with coarse decorations in blue, and having a yellow rim. They were made to celebrate the marriage of the persons named on them. In the one we reproduce, specially photographed for this volume, the inscription runs: “Henrÿ and Marÿ Qu̓inton, Yarmou̓th, nor f f: olk. 1755.” This lettering, with the two dots over the letters y, and the peculiar placing of the commas over the letters u, is conclusive evidence that it was written by a foreigner, and presumably plates such as these were made in Holland to order of some shipmaster.

One of the owners of the original factory was Robert Browne, who died in 1771, when the management was undertaken by his son—also Robert Browne—who made great experiments in pastes. There is a story of how Robert Browne the second paid a visit to London disguised as a workman, and by secreting himself in a barrel, was enabled to watch the mixing of the ingredients forming the paste of Chelsea or of Bow.

The presence of coats of arms upon genuine known pieces of Lowestoft may have caused some confusion, which has continued to the present day. At the end of the last century a great deal of Oriental china was made having coats of arms of English families upon it. Although Lowestoft bore no resemblance in its body to Oriental ware, people came to suppose that, in some way or another, the ware was brought in its unfinished state from the East, and then decorated and re-fired at Lowestoft. With the exception of Plymouth and Bristol, Lowestoft is the only factory in England which is credited with producing the true hard-paste porcelain, as made in the East; all other old English chinas are of soft paste, and a great deal of our wares are earthenware, for instance, Wedgwood. But the claim that Lowestoft made hard paste has never been substantiated by facts.

Lowestoft may be divided into two parts, the first dealing with the early period when blue and white ware was made, and the second period, when a finer and higher class of goods, with heraldic designs and floral intricacies, were introduced. At one period of its history the paste of Lowestoft appears to have been harder than that of Bow or Chelsea. Roughly, just a half of a century saw the rise and fall of Lowestoft. It was established from 1756, and in 1802 the factory had ceased.

Many families in the Eastern Counties to this day possess specimens of the Lowestoft china with names and dates painted on them. This china with names or initials upon it, or bearing a date, in addition to its personal value is of historic interest in determining periods of manufacture. We give a highly interesting and very rare pair of dated cups and saucers, with unusual decorations, vine leaves in gold, clusters of grapes in red, and tablet in centre with inscription, “M. and E. Calder, Norwich, 1776,” rich blue glaze and gold bands.

Among other dated specimens of Lowestoft white and blue ware is a fine bowl, with Chinese figures of mandarins painted in blue, and inscribed at the bottom with the name, “Elizabeth Buckle, 1768.” This Elizabeth Buckle is known to have been an eccentric old dame, and the service, of which this bowl is a remnant, was made for her by her nephew, Robert Allen. This Allen was one of the worthies of Lowestoft. In 1819, in his seventy-fourth year, he executed a design for the East window of the Parish Church (we know not whether it is still in existence at Lowestoft). In acknowledgment of this service, a silver cup was presented to him, with the inscription: “A token of respect to Mr. Robert Allen from his fellow-townsmen of Lowestoft, for having, at the advanced age of seventy-four, gratuitously and elegantly ornamented the East window of their Parish Church. Ann. Dom. 1819.”

_By courtesy of Mr. F. U. Yallop, Lowestoft._

OLD LOWESTOFT CUPS AND SAUCERS.

Red and gold decoration. (Dated 1776.)]

After the closing of the Lowestoft works, Allen put up a small kiln at his own house, where he carried on operations on a limited scale. He bought the unfinished ware from Mr. Brameld, of the Rockingham factory, and painted it and refired it, selling it himself afterwards.

We reproduce a design of a mug painted by Thomas Curtis for his father and mother, whose names appear on it. It is said that Curtis was formerly employed at Dresden, and that he was a “silent partner” in the Lowestoft works. Many other examples of blue and white exist with dates and names upon them, and there is more than enough evidence to show that, short as was the history of the Lowestoft factory, it did good work.

We shall now proceed to give an account of the wonderful decorative qualities of a great artist in Lowestoft china, whose works now are worth many pounds, but whose latter days, when he was blind, were spent in poverty.

We have dealt with the earlier ware made there—of the blue and white porcelain and of the delft ware probably made in Holland; we now come to the higher and finer products of Lowestoft, over which so many debates have taken place. It has been held that this ware was decorated at Lowestoft, but that it was real Oriental body imported in its half-finished state from the East, and only painted and re-fired in this country. However, on the signed testimony of one of the workmen, it is positively stated that no Oriental porcelain ever came into the factory at Lowestoft to be decorated. “No manufactured articles were brought there to be painted, and every article painted in the factory had been previously made there.”

The question, too, of hard paste being made at Lowestoft is now disproved; among all the recently discovered fragments is nothing of hard paste.

The theory that porcelain came over from China through Holland to Lowestoft, if it be examined, does not hold water. First, it would not have paid, especially as then a large duty existed on china imported, whereas Lowestoft china was produced at a fairly cheap cost, and supplied to the public to compete with Worcester, and Derby, and the Staffordshire makers. Again, when the Lowestoft factory broke up, there would naturally have been a lot of unfinished Oriental porcelain in its white state, prior to the decoration, thrown on the market. What became of it all in 1802? Nobody ever seems to have seen any white china bowls, or white tea services, or white vases.

But there is a certain amount of mystery about Lowestoft, and a great quantity of ware exists both in this country and abroad, which is classed as Lowestoft china, but which is really Oriental porcelain with British armorial bearings.

In fact, the little factory has provided a considerable field for speculation as to what it did and what it did not produce. For so small a factory there is quite a literature in magazine articles, and one volume has been written upon it. The factory started about 1765, and closed down in 1802. When it closed its kilns and heaps of shards were hurriedly buried, it extinguished the hope of an art that promised to be greater. The abandonment of an art industry always breaks some hearts. There is just one fleeting glimpse of one of the old painters when teacups and roses were no longer wanted.

Perhaps some of our readers will look under the rose and read a story, sad enough, but true of many a craftsman at the end of the day. One old artist who, by your leave, ladies, painted red roses and twined chains of rosy wreaths, who put smiles and sunshine with his artful brush on to your tea services, had a very aching heart at the end of the journey. Fate herself twined a chain of grey roses for him. He was blind and poor. In his old age, he laboured, a broken-down old man, in the heat of the sun. A couple of donkeys given to him out of charity enabled him to bring water into Lowestoft. A beggar, he would slake a beggar’s thirst. “Wreaths of roses”—there is something gruesome in the sound of the words. Handle your china cups with more tenderness: human lives have gone to the making of them. The white-hot furnace and the minute brush-mark of your rose petal turned a man’s day to dark night. Roses and wreaths of roses, and behind them all—tears.

Decoration in Oriental style in blue.

_In the possession of Mr. Merrington Smith, Lowestoft._]

The writer is able to confirm the above statements respecting Lowestoft by information which has been courteously supplied by a kinswoman of the celebrated designer of the bouquets of roses on the Lowestoft porcelain. The first clay was discovered by Mr. Luson of Gunter Hall in 1756 (now the estate of Miss Fowler), who sent a small quantity to London to ascertain its quality. Upon trial it was found to be excellent, and Mr. Hewlin Luson procured workmen and erected a temporary kiln on his estate near the old Warren Houses on the Dunes north of Lowestoft. A good deal of jealousy was aroused and trade rivals attempted to wreck the scheme and tampered with the workmen engaged. After a year’s struggle a company was formed who purchased some houses in Bell Lane, now Crown Street, and established a factory.

In December, 1902, an interesting discovery was made on the site of the old Lowestoft factory. The kiln for drying malt of Messrs. Morse, brewers, is actually the old kiln in which the Lowestoft ware was fired, and upon the flooring of this being removed to make a drain, several moulds and fragments of china were found. I am especially indebted for many curious touches of Lowestoft colour and much information concerning this find to those present while the digging operations were going on.

_Copyright._] [_A. Merrington Smith, Lowestoft._

INTERIOR OF THE LOWER ROOM OF THE OLD LOWESTOFT CHINA FACTORY.

Digging for Moulds, July, 1903.]

This important discovery led to a complete investigation of the old site, and, largely owing to the enterprise of Mr. A. Merrington Smith, of Lowestoft, steps were taken to commence excavations. These resulted, in July, 1903, in the further find of several bushels of broken moulds and fragments of china. We give an illustration of the scene when the moulds and fragments had been discovered.

Among these fragments are some decorated pieces ready for glazing, which cannot be washed, as the colours, of course, come off. There are glazed fragments in blue and other colours. There is quite a variety of handles for cups, mugs, &c., and there are cups made without handles. There are some birthday tablets, and some clay pipes with heraldic devices made for William Harvey, of Yarmouth. One small piece, evidently part of the bottom of a cup, has a crescent marked in blue; but this does not prove that Lowestoft used the crescent as a mark; in all probability it is the fragment of some Worcester piece they had for purposes of copying.

Toy Teapot and Cream Jug (2 in. high). Inkstand (dated 1791).]

There are also unglazed fragments for basket-work, and Lowestoft figures, unglazed, ready for firing. There are ribbed tea-cups and cups with cornflower decoration. Among other fragments are a great number of toy teapots and toy cups only an inch or two in height, decorated in blue. We give an illustration of this toy ware painted under-glaze in blue.

The bulk of these moulds and fragments are in the possession of W. Rix Spelman, Esq., of Norwich, and it is to be hoped that careful study and research will, by means of these indisputable facts, re-establish the reputation of Lowestoft—

“Defamed by every charlatan
And soil’d with all ignoble use.”

Mr. Crisp, of Denmark Hill, London, possesses some of the moulds which were disinterred at the first discovery on the Lowestoft site. He has had china made in them and baked, and has presented the results to the British Museum, where they are now exhibited. They seem too poorly made to show to advantage the delicate patterns in relief.

The headpiece (p. 113) shows two sauce-boats, blue and white, with raised decoration. It will be seen from the fragment of mould, photographed with them, how exactly this newly discovered mould helps to identify the pieces.

Among the fragments is part of a teapot mould, on which is the date 1761. Chaffers, in his authoritative work on china, remarks of Lowestoft that some of the larger pieces bear traces of having been “made in a mould,” and here, just a hundred years after the factory ceased, comes corroborative evidence.

With fisherman drying herrings. Inscribed “John Cooper, 1768.”

Reverse of mug. With Lowestoft fishing smack.]

Jug, decorated with floral festoons at rim, and having medallion with inscription: “Sam Cubitt Lowestoft 1772.”

Mug, inscribed: “Mary Curtis.
May love continue
Aand happiness increase
Live in Love and die in peace
1792.”

Both decorated in blue overglaze.]

There is an interesting mould for an oval perforated basket, such as Bow and Chelsea produced, with diamond spaces to be cut out; and upon one of the fragments of a mould for a sugar basin appears the most delicate tracery and exquisite designs in leaves and scrolls, and prominent among the decoration is the Japanese chrysanthemum.

All East Anglians and lovers of old Lowestoft will be pleased at this piece of new evidence in favour of the theories held concerning the old factory, whose reputation has been well-nigh blasted by thousands of spurious imitations made in France—literally covered by vulgar design and more vulgar coats of arms.

We are able to reproduce some genuine old Lowestoft. A remarkable piece is the old mug, about 6 in. high, depicting an old fishwife with bellows under her arm, and holding a spit of herrings. This is decorated in blue and white. On the reverse side of mug is a fishing boat. At the bottom it bears the name “John Cooper, 1768.” Under the scroll of the handle are the letters “R. P.,” probably signifying that it is the work of Richard Philips, a painter at the Lowestoft factory. Unfortunately it is damaged, as will be seen by the illustration, but for all that it is a specimen of considerable value. The jug we illustrate, having the “Mandarin” decoration common to Worcester and Bristol, is a fine example of Lowestoft under-glaze blue painting. It bears the figure 5 upon it as a mark. It may be observed that many of the Lowestoft pieces of blue and white bear a striking resemblance to old Worcester. At first blush one is inclined to believe them to be Worcester, but the blue is not quite the Worcester blue, and the glaze tells its own story. There are pits and dimples, and little raised surfaces here and there, particularly under the bases of cups, that are characteristic of Lowestoft.

(Marked with workman’s mark. Figure 5.)]

“A Trifle from Lowestoft,” a legend which is a familiar one on Lowestoft ware, is an inkstand, with floral design in that shade of red peculiar to Lowestoft but so difficult to describe in words. The decoration on this piece is especially characteristic of the factory, and we ask readers to make a note of it.

(Floral Decoration in Red.)]

There are certain marks on undoubted Lowestoft pieces which the writer has examined. The letter “R,” which might be the signature of Redgrave the painter. On another piece the letter “H” appears under the rim, which may stand for Hughes. The letters “R. P.” on the mug we illustrate (p. 125) may equally stand for Richard Powles or Richard Philips. On one piece two L’s appear back to back (). Is this Luson, Lowestoft? While on other pieces appear the mark in red and in blue.

CHARACTERISTICS OF LOWESTOFT CHINA.

The china is soft paste, and is often very badly potted. The blue is inclined to run. There is a gritty appearance in places on the glaze, which is spotted as if by sand. In some of the blue decorated pieces, where a flight of birds is introduced, the crescent moon (like the Worcester crescent mark) has been put in almost as a challenge to Worcester. One especial feature is the green hue of the glaze settled under the rims of saucers and basins and cups. The paste often has little bumps on it, and a mound in the centre of base under rim. Roses, set back to back, appear on Lowestoft pieces. The red of Lowestoft is of a peculiar quality, approaching puce in some specimens, and varying from mauve pink to carmine.

SALE PRICES.

LOWESTOFT. £ s. d.

Bowl, 10-1/2 in., painted in flowers, with
trees and cattle. S. Mealing Mills,
Norwich, December 3, 1902 7 5 0

Mug, decorated in blue, with figure
holding spit of herrings. Fishing
boats on reverse side, inscribed
“John Cooper, 1768.” Signed
“R. P.”—Richard Philips, a painter
at Lowestoft. Messrs. Notley, Lowestoft,
July, 1903 (illustrated p. 125) 11 0 0

Mug, painted in blue, with inscription—“Add
to knowledge, temperance
(_Peter II_), James Last of Saxmundham,
1769.” Christie, March 8, 1904 16 10 6

Bowl, painted with pastoral subjects, in
panels, foliage, scrolls in red, and
inscription inside, dated 1774.
Christie, April 8, 1904 26 5 0

Bowl, large, painted with medallion
views in brown and with ribands and
foliage round the border in dark
blue and gold. Diameter, 13-1/2 in.
Christie, March 2, 1905 6 0 0

Mugs, two, roughly decorated with blue,
and inscribed below “Abi^m Moore,
August 29, 1765.” Christie, April 7,
1905 5 5 0

Lowestoft china, ten teacups and
eight saucers decorated with border
and sprays of flowers in crimson,
red, blue, and green. Sotheby,
May 17, 1920 5 0 0

VII

COALPORT

VII

COALPORT

The history of Coalport porcelain manufactured in Shropshire on the banks of the Severn is worth the telling, and those readers who are possessed of specimens of the older ware issuing from this factory will be glad to hear of its first beginnings.

Unlike some of the other great manufactories, Coalport, we are happy to say, is still in existence. Bow and Chelsea, Nantgarw and Swansea, Bristol and Plymouth have disappeared. The potter’s wheel is silent, and the brush of the artist has been laid aside for ever. Long since the potters have turned into clay themselves. At Bow, where the exquisite ware was produced on the banks of the Lea (“New Canton,” as the manufactory styled itself), a match factory stands on the old foundation. Instead of delicate and fragile cupids they now make matches, but of the kind more associated with Lucifer than with Cupid.

With Derby and with Worcester, Coalport can boast that it was established in the middle of the eighteenth century. Indeed, there is evidence that the Salopian china made in Colebrookdale is taken from the same beds of clay which fifteen hundred years ago supplied the Romans with material for their white ware, for their jugs, their mortaria, and their bowls, which are constantly being unearthed at various spots in the valley of the Severn.

The site of the first works was at Caughley, where a small pottery was begun about 1754. Early in its history the names of Brown, Gallimore, and Turner occur. In my “Chat” on the great Worcester factory I showed that Dr. Wall was the leading spirit who infused life into the concern, and it would appear that Thomas Turner was in some measure induced to emulate him, and it is seen on comparison that the early examples of Caughley were very similar to those of contemporary Worcester. The patterns were principally confined to blue flowers and decorations on a white ground. From 1756 to 1776 the manufactory attained a great excellence. There exists a mug bearing the date 1776, and the name “Francis Benbow.” There is a nautical ring about the name. One recollects Admiral Benbow and his gallant deeds; our Francis Benbow was a bargeman, for whom the mug was made, but his name will go down to posterity on this Caughley mug, as it is the most perfect specimen of its kind.

We give a reproduction of this mug, and readers will observe the anchor marked over the name, and we would call especial attention to the nature of the decoration upon the mug. Dated chinas of old manufacture are specimens very worthy of notice, as they are much sought after, and in many cases are being reproduced with the old dates upon them.

(Inscribed and Dated 1776.)]

The excellence of Turner’s porcelain and the invention of the beautiful dark blue of the Caughley china, attributed to him, brought the factory into great prominence. But great secrecy was employed in its manufacture, and the place hidden away in the hills was an ideal spot for a manufactory wishing to be self-contained and free from prying strangers. In 1780 was produced the celebrated “Willow Pattern,” which is in demand even at the present day, and has been copied by all the other manufactories. The “Blue Dragon,” another favourite pattern, originated at Caughley, and it was here that the first blue-printed table service was made in England. It was made for Thomas Whitmore, Esq., of Apley Park, near Bridgnorth, the pattern was called the “Nankin.” It is interesting to note that Thomas Minton, of Stoke, assisted in the completion of this service, being articled as an engraver there.

Until the end of 1790 Messrs. Chamberlain, of Worcester, had their porcelain in the white from Thomas Turner, of Caughley. As an instance of the great secrecy employed by Turner, we may say that he used to mix all the bodies himself, but afterwards instructed his sister how to do it. It may add an additional zest to your old white and blue Caughley ware to know that a woman who could keep a secret was intimately associated with its manufacture.

In 1780 Turner, who had paid a visit to France to study the foreign methods, brought back with him a number of skilled artists and workmen. About this time, too, Mr. John Rose, who had learned the art of pottery under Turner, left him to establish a factory of his own at Jackfield. Jackfield, it may be noticed in passing, is one of the oldest potteries in the country. As early as 1560 entries occur in the parish registers of Stoke-upon-Trent of potters “from Jackfield.” In a disused coal mine here, some years ago, a brown mug was found which bore the date 1634. Jackfield was noted for some of its black decanters of superior glaze, and up to quite a modern date made a yellow glazed earthenware.

Finally, the competition between Mr. Rose and the old Caughley works became so great that the old factory was swallowed up by the new one, and Coalport became the headquarters and the name of the firm became John Rose and Company, Mr. Turner withdrawing from the business.

The exact dates are as follows: Between 1780 to 1790 John Rose established his works at Coalport (he was only at Jackfield for a few years). He carried on these and the Caughley, which he purchased in 1799, up till 1814, when Caughley was finally discontinued.

All these are very dry facts which you must master in order to understand the specimens on your china shelf. There is an additional interest, it always seems to me, in knowing of the men and women who gave their lives to the perfection of an industry. There are in existence portraits of Thomas Turner and his wife, and we should particularly like to see the likeness of the lady who secretly mixed the chinas. Perhaps some of our readers may come across some family in Shropshire who may possess them.

With regard to marks, unfortunately not all the specimens of Caughley were marked. The above are some of the varieties of the crescent occurring on some of the ware, and show pretty clearly the transition from a half-moon to the engraved C. The word “Salopian” is sometimes impressed, and on one known specimen is the name “Turner.” Various forms of the letter “S,” sometimes with a cross, are used.

At the beginning of the nineteenth century the written name “Coalport” was used, though not extensively, and another mark, the letters “C. D.,” standing for Colebrookdale, was also used, but somewhat sparingly.

In 1820 both Swansea and Nantgarw factories were incorporated with Coalport, and Messrs. Billingsley and Walker, well-known names in the history of English china manufacture, came to Coalport. In 1820 Mr. Rose received the gold medal of the Society of Arts for his Felspar porcelain, and this date is a turning point in the history of Coalport.

At this time Coalport began to establish a reputation for its excellence, which placed it on a level with the other great manufactories—a reputation, be it said, that has increased as time has gone on. We reproduce a handsome vase of Coalport manufacture, richly decorated with pink and gold, on a blue ground. Its elegant form is typical of the ware at its best period.

At the present moment the productions of Coalport, both old and modern, are unequalled in their domain. The old traditions of the firm are still maintained, and the ware of to-day is of the highest possible artistic merit and excellence.

(Blue Ground, richly Decorated in Pink and Gold.)]

By the kindness of the proprietors of the Coalport manufactory, we are enabled to give some further account of the modern ware, and to reproduce illustrations of the later marks used and of the sumptuous plates turned out at the present day from Iron Bridge, in Shropshire.

In the year 1820, the first year of the reign of George IV., Mr. John Rose obtained the gold medal of the Society of Arts for his “improved glaze for porcelain.” At this time a mark was adopted on some of the ware, “Coalport Improved Felspar Porcelain,” enclosed in a wreath of laurel. Surrounding the wreath are the words “Patronised by the Society of Arts.” The name “I. Rose and Co.” is marked underneath. If any of our readers have any porcelain having this mark, they will notice how good is the paste and how excellent the glaze.

Just prior to the mark above alluded to, the word Coalport was used and sometimes the letters “C. D.”—standing for Cole-Brook-Dale. Other marks of a later date are a monogram formed of the letters “C. B. D.,” and the same enclosed in a circle with the word “Daniell, London,” an eminent firm acting as agents and connected with the sale of the ware in London. This firm had depôts in Bond Street and in Wigmore Street, and there is in the national collection a plate with _bleu-de-roi_ ground, enriched with gilding, one of a service executed by command of Her Majesty the late Queen Victoria for presentation to the Emperor of Russia. This service was exhibited at the Great Exhibition of 1851. In the centre of the plate is painted the Order of St. Andrew, while the body is ornamented with Russian orders painted on ivory-coloured ground in six compartments.

We now come to a very curious mark which may have puzzled some of our readers, but which is easily explained. It is a scroll somewhat like that which stands for the word “and”—&. Within its curves appear the three letters “C. S. N.” Upon examination it will be found that the aforesaid curves really make two letters, viz., “C. and S.,” which stand for _Coalport_ and _Salopian_, while the other three letters stand for _Caughley_, _Swansea_, and _Nantgarw_—the whole emblematical of the development of the manufactory and its absorption of the smaller factories.

We give an illustration of the various marks placed in order of date used, up to and including the one now in use by the firm. Our readers may be able to form some idea by comparison of the dates of their specimens.

It must be observed that much of the earlier Coalport was unmarked, while—we blush to have to print it—some of the ware imitated the double “L” mark of Sèvres, and the “C” and anchor of Chelsea and the crossed swords of Dresden, so successfully as to delude the unwary collector. The celebrated egg-shell porcelain of Coalport ranks among the most marvellous china ever produced in this country. It is rarely marked with any letters or signs, but it carries upon it a signature of perfection of manufacture and exquisite symmetry of design such as no other factory dared emulate, and no other factory has since approached. These tiny cups and saucers (the cup follows Chinese models by having no handle) are gems of ceramic art, and happy is the collector who can number one or two good specimens in his china cabinet.

The well-known “Willow Pattern,” first manufactured here, is from a Chinese model. It is still manufactured by the Coalport Company, and is one of their stock patterns. It appears on a list of some forty patterns, which can be and are manufactured without the use of lead.

Readers may find the words “Leadless Glaze” on some of their quite recent purchases in modern china. The terrible effects of lead on the workpeople in china factories is a subject which has received the attention of Parliament (see p. xxiii). But in passing it is highly satisfactory to find that the Coalport Company turn out, without special order, forty patterns entirely “leadless.” Any one who is specially desirous of having “leadless glaze” on any other of the Coalport ware may do so by ordering it.

To come down to the very latest marks, there are three that have been in use. The first in the seventies, the second in the eighties, and the last, now solely used, was adopted some twelve years ago with the addition of the word “England” to meet the requirements of the American Tariff Act, which made it compulsory for foreign goods to be thus stamped.

(Decorated in pink and white. Marked CBD.)]

The first has the words “Salopian, Coalport,” in a scroll, which has within it the old mark of Caughley, a crescent with “A.D. 1750” beneath it, and in addition the letters “C. S. N.,” in scroll as before alluded to, and having the date, “A.D. 1790,” underneath. This is a very complicated mark, and is not generally known.

The second is a crown with the word “Coalport, A.D. 1750,” underneath. The third is the same with the addition of the word “England.”

In conclusion we may quote the fact, to give our readers some idea of the quality of the ware now being exported by the Coalport Company, that some of the dinner ware sent to America costs no less a sum than £5 per plate, while there are even more sumptuous and magnificent specimens of their manufacture which cost £15 each plate. One of these, amongst others, is a plate with a coloured design painted after Sir Joshua Reynolds’ celebrated portrait of Mrs. Robinson.

CHARACTERISTICS OF CAUGHLEY AND COALPORT CHINA.

_Caughley._—The early pieces, printed in under-glaze blue, resemble the early Worcester blue and white; but Caughley is whiter in appearance, and the blue has not the mellowness of old Worcester. Introduction of “Willow pattern,” and similar designs, and the “Broseley dragon.”

_Coalport._—“Chantilly sprig,” “Tournay sprig,” “Worm sprig,” introduced by Billingsley from Pinxton. A maroon ground, introduced by Walker from Nantgarw about 1822. The deep mazarine blue of Derby, reproduced at Coalport, is quite equal to Derby pieces in tone. The rich ground colours of old Sèvres porcelain were copied with great success at Coalport, particularly the turquoise blue and the _rose-du-Barri_.

SALE PRICES.

CAUGHLEY. £ s. d.

Tea and coffee service, fluted, flowers in
blue and gold and dark blue and
gold borders, 31 pieces. Christie,
January 30, 1902 7 7 0

Vases, pair, 14 in., decorated with raised
flowers and gilt, and choicely painted
in birds and Watteau subjects. Gudgeon
& Sons, Winchester, April 3, 1902 15 10 0

COALPORT.

Bowl and cover, two-handled, encrusted
with branches of coloured flowers
and foliage, 11 in. high. Christie,
April 4, 1902 16 5 6

Coalport vase, with gilt decoration on
turquoise ground, 10-1/2 in. high.
Christie, July 5, 1920 17 17 0

Pair of Coalport vases and covers,
painted with panels of flowers in gilt
scroll borders on dark blue ground,
the covers surmounted by figures of
children with garlands of flowers,
17 in. high. Christie, July 20, 1920 40 19 0

VIII

SPODE AND HIS SUCCESSORS

Cobalt-blue ground, painted panels of Flowers and Landscapes. Raised border, richly gilded.

_Reproduced by courtesy of W. T. Copeland & Sons, Stoke-on-Trent._]

(May-blossom on dark blue ground, and tropical bird and flowers on canary yellow ground.)

_In the Collection of the Author._]

VIII

SPODE AND HIS SUCCESSORS

The chain of potters is complete from the day on which Josiah Spode was apprenticed to Whieldon in 1749. The entry in the old account book runs: “1749, April 9th. Hired Siah Spode, to give him from this time to Martelmas next 2s. 3d., or 2s. 6d. if he deserves it, 2nd year 2s. 9d., 3rd year 3s. 3d.” The successors to Spode, Messrs. Copeland, have done much to develop the manufacture of English porcelain in the nineteenth century, and at the present day they are producing china of the highest excellence.

The first Josiah Spode established a factory at Stoke-upon-Trent about 1770. Some of his earliest productions bear the name “Spode” impressed in the paste. Those of my readers who have blue willow-pattern plates with this mark upon them are the possessors of some of the first plates of that pattern made. About 1780 the willow pattern was introduced by Turner at Caughley, and very shortly afterwards, in 1784, Josiah Spode was turning out at Stoke his blue printed plates. Some of his china is printed in black, and pieces of this black printing are much sought after by collectors, but they must bear the word “Spode” impressed on them.

(Red body with black ornaments in relief.)

_At Victoria and Albert Museum._]

The vase which we reproduce from the collection at the Victoria and Albert Museum is a pastille-burner having perforated cover; it is mounted on tripod stand formed by three dolphins on triangular base; it is red in colour and ornamented in black in relief. It has the impressed mark “Spode,” and is earthenware, but we give it here on account of its fine form.

On the death of old Josiah Spode, in 1798, his son Josiah continued the business, and commenced the manufacture of porcelain, which he improved by the addition of bone-ash and of felspar. He died in 1827, and was succeeded by his cousin, Josiah Spode. This third Josiah Spode died a few years afterwards, at which date the name Spode practically disappears from the firm.

Josiah Spode the second was the most successful potter of his day. It is pleasing to be able to record that he acquired a considerable fortune—a lot not often within the reach of potters, successful or otherwise.

About the year 1805 he introduced a fine ware which he termed opaque porcelain. This ware became very popular and was of excellent manufacture. While Nelson was fighting the French at Trafalgar, and breaking their naval pretensions, Josiah Spode was inflicting a commercial blow upon that unhappy country. Spode—and in his wake came other Staffordshire manufacturers—inundated France and other countries on the Continent with this new stone china of his, which entirely superseded their fayence. This injury was a very real one to the poor potters of France, inasmuch as a great number of them had to abandon the manufacture.

We have already alluded to the impressed mark =Spode= or SPODE. On some of the finer pieces the name is painted in red, and sometimes it is written in gold, as in our third mark in an angular hand, running upwards. The stamped mark usually in red, “Spode’s New Fayence” and “Spode Stone China,” appears on the ironstone ware. Oftentimes the mark is not stamped on the middle of the plate underneath, but at the side, while sometimes the name is both stamped and impressed. Besides the marks we give there are more than half a dozen other forms used by the factory, but all of them containing the word “Spode,” and therefore not presenting difficulties to the collector.

Of three marked Spode plates in possession of the writer, of typical Spode decoration, which was largely influenced by Japanese art, we give two as a headpiece. It will be observed that the left-hand plate in the headpiece, which has a vivid blue background, is fretted with a geometric pattern as a design. This is intended to represent ice, and the may-flowers of the covering decoration are intended to convey, by the Chinese artist who invented it, the symbolic meaning of young love being chilled by adversity. The other plate in the same illustration is of a brilliant canary-coloured ground, covered with a gossamer-like network of cobwebs, above which bird and flowers are painted.

The third plate shows very strongly the influence of the East in its method of decoration; but instead of pagoda and delicate curves, the English artist has almost brutally placed a piece of European architecture on the other half of the plate, which by its incongruity mars the remainder.

(Decorated in blue and red and gold.)

_In the Collection of the Author._]

We must turn aside from Spode, and introduce our readers to his successors, the Copelands. One word in passing. Those who have specimens of Spode ware will do well to remember that his was a great factory, not so well known as Derby and Worcester, but a formidable rival of theirs. Not many months ago at Christie’s a pair of Spode vases, square shaped, decorated with landscapes, birds and flowers in the Chinese style, forty-two inches, brought £21.

The list of marks used by Messrs. Copeland will show at a glance the changes in the title of the firm. In 1833 the firm became Copeland, late Spode, and the china was marked accordingly.

There are a good many other marks besides those we give, but all are more or less similar, with slight variation to those we produce. A word of explanation is necessary as to the mark “C. and G.” This is frequently accompanied by the words, “New Blanche,” “Royal Opal,” “Saxon Blue,” or “New Japan Stone,” according to the composition or decoration of the ware.

_By courtesy of Messrs. W. T. Copeland & Sons._]

About the date of the International Exhibition of 1861, many purely English novelties were attempted. Mistletoe, holly, and simple popular designs were then in favour and were produced. Nobody could possibly mistake the homely robin or the holly-wreath decoration for that of any other country than ours. There is a suggestion of roast beef and plum-pudding and Christmas fare. All purely English art is homely, whether it be the Staffordshire potter’s farmyard quadrupeds that adorn the cottage mantelshelf, or the old blue dinner services of our great grandmothers. It is a debatable point if that is the highest art, but there it is. Ruskin would have had some hard things to say about it, and maybe William Morris preferred the potsherd of an Italian shepherd. The fact remains that it is _our_ art, and whatever we may in our innermost hearts wish it to be, we have to take it and study it as we find it.

Before leaving the subject of these later and more modern chinas we may say, in passing, that the firm of Messrs. Copeland have done more than any other existing firm to maintain the traditions of a great factory. They have adhered to early designs, and all through the nineteenth century their record has been an exceedingly high one. It was Messrs. Copeland who first introduced, in 1845, their Parian ware, a very near approach to true porcelain. The writer has seen a Copeland and Garrett plate which in appearance was fully equal to Derby at its best period.

CHARACTERISTICS OF SPODE CHINA.

Spode ware is well potted, and feels to the touch like turned ivory. It can readily be distinguished from any of the glassy porcelains. It is light in weight. In design it follows Japanese more than Chinese models. The glaze is very even and smooth.

SALE PRICES.

SPODE.

Vase and cover, octagonal-shape, decorated £ s. d.
with flowers in Oriental taste
in colours and gold, 24 in. high.
Christie, January 14, 1902 5 15 6

Vases, five, purple, crimson, and gilt
decoration. Foster, January 9, 1902 9 5 0

Basket and cover, dark blue and gold
ground, and painted with bouquets
of flowers. Sotheby, February 24, 1902 6 2 6

Dishes, two, oblong shaped, decorated
in the Japanese taste, blue, red,
and gold. Hepper & Sons, Leeds,
February 5, 1902 3 15 0

Spill-vases, pair, gold ground, painted
in flowers. Hepper & Sons, Leeds,
February 5, 1902 2 0 0

Cake-plates, three, gilt and painted landscapes,
“The Church and Castle of
Scurlogstown, Co. of East Meath,”
“The Remains of Wolvesey Castle,”
and “The Bridge and Priory, Newtown,
Co. of East Meath” (marked
“Spode”). Edwards, Son & Bigwood,
Birmingham, May 13, 1902 10 10 0

Dessert service, apple-green border,
gilt, each piece painted in flowers
and fruit, consisting of one tall compôte,
seven oval dishes, four leaf-shaped
ditto, two sauce-tureens,
covers and stands, and seventeen
plates. Bennett & Son, Dublin, June
18, 1902 27 10 0

Dessert service, decorated in Oriental
colourings, 37 pieces. Brady & Sons,
Perth, September 1, 1902 16 16 0

Dinner set, decorated with sprays,
leaves, and flowers, comprising 119
pieces. Brady & Sons, Perth, September
1, 1902 25 0 0

Dinner set, decorated in scarlet, blue,
green, and gold, comprising 133
pieces. Brady & Sons, Perth, September
1, 1902 45 0 0

Tea service, gilt and decorated, 45
pieces. Jabez Jones & Sons, Preston,
December 15, 1902 28 7 0

Vases and covers, pair, large square
shaped, decorated with landscapes,
birds and flowers in the Chinese
taste in sunk panels on dark-blue
ground, gilt with foliage, and with
dragon handles in high relief and
figures on the covers, 42 in. high,
on wood pedestals, painted white.
Christie, December 19, 1902 21 0 0

Pair of Spode pastille-burners and
covers, painted with flowers in the
Chinese taste on dark blue ground,
supported by three gilt dolphins, on
triangular bases, mark in red, 7 in.
high. Puttick & Simpson, July 9, 1920 6 6 0

Set of three Spode vases, gilt with foliage
scrolls on dark blue ground, and
with scroll handles, outlined with
gilt. Puttick & Simpson, July 9, 1920 5 15 6

COPELAND.

Vases, set of three, rich blue, gilt, white
scroll handles, and painted in colours,
with wild flowers, centre vase
15 in. high, side vases 13-1/2 in. high
(marked “Copeland & Garrett, Felspar
Porcelain, late Spode”). Edwards,
Son & Bigwood, Birmingham,
May 13, 1902 26 0 0

Dessert service of 24 pieces, pink ground,
decorated with gold, the centres
painted in panels of hunting and
other sporting scenes, each different,
marked “Copeland and Garrett,”
centre compôte, two oblong, two
oval, and four circular side dishes,
and fifteen plates. De Rome &
Son, Kendal, May 13, 1903 18 0 0

IX

NANTGARW AND SWANSEA

(With flowers painted by Billingsley.)]

Richly decorated in colours and gilded.]

IX

NANTGARW AND SWANSEA

The history of these two factories in Wales is bound up together. Billingsley, the chief flower-painter of Derby, was the founder of the little factory at Nantgarw, a small village a few miles north of Cardiff.

His was a restless, roving career. In other “Chats” we have alluded to him. Apprenticed at Derby under Duesbury, he left there in 1796, to commence the manufacture of porcelain at Pinxton. In 1801 we find he had left Pinxton and was engaged upon the decoration of Staffordshire porcelain at Mansfield, in Nottinghamshire. He is next described as “of Torksey,” which is near Gainsborough. At Worcester he engaged himself under Messrs. Flight and Barr, and was employed on flower-painting from 1808 to 1811.

Billingsley was known as “Beeley” at this time. Monetary difficulties had compelled him to take precautions against his arrest for debt. About this time, too, together with his son-in-law, Samuel Walker, he appears to have visited the Coalport Factory and erected a new kiln, the invention of Walker.

Of late, a considerable interest has been shown in the porcelain of Nantgarw and Swansea. Collectors have ascribed to it artistic qualities greater than those of Worcester or Derby. The lovers of Nantgarw, and those connoisseurs who collect this and no other porcelain, will not admit that it is in any way inferior to the greatest factories that have existed in this country, and compare it to Sèvres.

Recently at Christie’s Auction Rooms a dessert service of Nantgarw manufacture brought £128 2s. Each piece was painted with a bouquet of flowers in the centre, the borders with raised white scrolls, painted with birds and flowers. This service consisted of centre dish, on feet, four square-shaped dishes, two-leaf shaped dishes, seventeen plates and two small plates. This works out at nearly £4 15s. each piece.

At another London auction room, seven Nantgarw plates, painted with birds and bouquets of flowers in border, all with impressed mark, in December last brought under the hammer, £97, which is nearly £14 each plate! After this it is useless to deny that Nantgarw is a factory which must be reckoned with from a collector’s point of view.

_Marked “Nantgarw, C. W.”_

(Pink ground; raised white floral sprays; richly gilded scrolls. The centre white, with handsome fruit and flower piece painted by Billingsley.)]

Great stress has been laid by those who affect the collecting of Nantgarw on its whiteness and transparency. By its detractors this is said to be its fault—that it is too white and too cold to compete with the older productions of the better-known factories. Of course only experts come to blows on this matter. Whether it is too glassy and too cold, and lacking the mellow warmth of the older glassy porcelains, matters little to the modest collector who desires to have Nantgarw represented in his or her scanty collection.