Chapter VII (2)

“I am, with Respects, your Obt. Humb^{le} Servt.,

“ROBT. BOYER.

“Mr. Lygo desir’d me to wright to yow a bought my Cuming down,
wich I should have Done if he had not Desired me.”

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:--

“_Chelsea, March 28th, 1784._

“SIR,--I have your letter of the 24th inst., and am much oblig’d
to yow for all past favours, and am happy in finding that yow
are satisfide with my past Conduct. Now, sir, as yow due agree
to the terms which my letter expresses, and as yow have alway’s
behav’d with a Deal of kindness towards me, I therefore Due
asure yow that while I am with yow, yow shall ever find me a
faithful and honest sarvant, and I further do asure yow that, I
will make my self as sarvicable as it Lays in my power, so that
yow shall have no Reason to find aney fault with me. I make no
doubght but yow will find me very servicable, & will Due every
thing in my power to forward your Bisness. I hope we shall gett
done hear in a short time: the peopl are all busey in getting
their things of the primeses as fast as they possibley Can. I
hope to be Down at Derby with yow in a short Time, as soon as I
can gett my matters a Little to gather. Yow shall have the Ion
Kiln down by the waggon next week w^{th} ought faile. I could
not Lett it Cum this week on account of things I had by me wich
wanted firing that I never had time to fire till this week. The
Lapaderys wheel is packed in a hogshead now at sea, No. 16. Mr.
Lygo has been Taulking w^{th} me a bought the Burnishing: he
complains of its being full of scratches, wich will ever be the
Consequense if your burnishing tools are not kept in good order;
that is to say, Lett them always be kept with a good polish on
them, and then they never will have aney scratches to be seen
on the gold. I wish you will let me no what I shall due with
your 4 Chears, Table, Looking Glass, and Sofee, that is in the
Dining Room at Chelsea. I sopose they may go to the warehouse.
The Liqurs &ca. ought of the seller is gone there ever since a
Little after Christmas.

“I Remain, with Respect, your Obt. Sarvt.,

“R. 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:--

Boarman, or Boreman 5_s._ 3_d._ per day.
Wolliams, or Wollams 4_s._ 6_d._ „
Askew 4_s._ 2_d._ „
Jenks, or Jinks 3_s._ 6_d._ „
Snowden 3_s._ 6_d._ „
R. Boyer 3_s._ 6_d._ „
Gauron 8_s._ 9_d._ „
Barton 3_s._ 6_d._ „
Richard Roberts 2_s._ 6_d._ „
Piggot 1_s._ 9_d._ „
And 1/6 for Sunday, for
taking care of the horse.
Thomas 1_s._ 6_d._ „
(Turning the wheel for
a Thrower.)
Inglefield 1_s._ 8_d._ „

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.

Sept. 5th, 1770. Recd. of Mr. Sproemont, by the Hands of Mr.
Morgan, Twelve Pound for Half a Years Rent, Due for a House
at Chalsa at Lady Day, 1770. I say Recd. by Me, Thos. Bush,
Executor to the late Mr. Chas. Ross, £12.

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._

£ _s._ _d._
To a Strong Double Waterpot 0 5 6
Lighting the Lamp two Quarters 1 1 0
-----------
£1 6 6
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._

1771.

May 3^d To 2 Tons Clay and Shipping off £1 15 0
-----------
Recd. 5th Octor. the above Contents for J. Booth & Co.

J. PROCKTER.

1770. (Carriage.) _s._ _d._
To 10 Bags of Boneash from London 3 0
To 2 Tuns of Clay from ditto 5 0
To 2 Tuns of Clay from London 5 0

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
5_s._

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 6_s._

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 6_s._ 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.

_Foundling Hospital._--At a Meeting of the Committee, Wednesday,
20 April, 1763, the Treasurer acquainted the Committee that he
has received from Dr. Geo. Garnier a fine vase of porcelain,
made at Chelsea.

_Resolved_,--That the Treasurer be desired to direct that a
glass case be made for the safe keeping of the said vase, to be
placed in the Committee-room of this hospital.

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 ([anchor]), 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 1_s._ 9_d._ a day, of which 5_s._ 3_d._ is charged to “J. W.,” and the other 5_s._ 3_d._ 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:--

On On
_Cash paid at Chelsea for Wages_ J. W.’s W. & B.’s
Acct. Acct.
1770. £ _s._ _d._ £ _s._ _d._
Oct. 6. John Lawrence, 6 days 0 5 3 0 5 3
Timothy Roberts, 6 days 0 12 0
„ 5. James Bakewell, 6 days 0 16 0
Thos. Blomeley’s Bill 1 0 5
Thos. Hutchings, 6 days 1 6 0
William Roberts, 4 days 0 4 4
Nathl. Cooper, 6 days 0 16 0
William Shuter’s Bill 0 8 0
Thomas Simcock, 6 days 0 16 0
Ralph Wilcocks, 6 days
Mrs. ditto 6 days
John Winstanley, 6 days 0 13 0
„ 6. Thomas Barrett,[63] 5 days 0 7 0
Thomas Green, 6 days.
Miss Edwards, 6 days.
Miss Parkes,[64] 6 days.
Mr. Rhodes.[65]
Ditto for Joe.
Ditto for Will.
Ditto for Unwin.

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.

There is nothing, it will be seen, in these patents or specifications to show that the works at Bow were carried on by Heylin and Frye--the one being simply described as of the “parish of Bow, _merchant_” (not potter), and the other “of the parish of West Ham, _painter_;” nor has anything yet been found, to my knowledge, to prove that they were actual proprietors of the manufactory. Indeed, Frye is stated, in more than one work, to have been engaged to _superintend_ the manufactory. He was an artist of considerable skill, who is said to have come to London in 1738, and soon afterwards to have painted a portrait of Frederick, Prince of Wales, for the Saddlers’ Company. He was also a mezzo-tint engraver of considerable note. To his skill as an artist no doubt he was in the main indebted for the position he held at Bow; and here it would appear he remained some fifteen years, to the great injury of his health, and then returned to his previous occupation; he died in 1763. His daughters are stated to have assisted him in the painting of china at Bow.

In 1750 the works appear, from the original account-books in the possession of Lady Charlotte Schrieber, to have come into the hands of Messrs. Weatherby and Crowther, who, I may add, were potters at St. Catherine’s, near the Tower. At this time the manufactory was evidently called “New Canton,” by which name it continued to be known for some years. It was thus named because, as Thomas Craft wrote in 1790, “the model of the building was taken from that at Canton in China.” With reference to this name of “New Canton” a remarkably curious and very interesting example is in existence, and belongs to my friend, Mr. Binns F.S.A. It is an inkstand of flat circular form, and is decorated in blue with flowers, etc. On the top it bears the words, “MADE AT NEW CANTON, 1750.” In the centre of the well for the ink, and around it, are five pen-holes. It is shown on the accompanying engraving (Fig. 405). The date, 1750, would show that it was made in the year when the works first passed, as is supposed, into the hands of Crowther and Weatherby. Another similar inkstand, deposited in the Museum of Practical Geology by Mr. Brooks, is dated one year later, its inscription being, “MADE AT NEW CANTON, 1751.”

On the 7th of February, 1753, the Bow manufactory opened a wholesale and retail warehouse in Cornhill, London; as shown in the following advertisement which I copy from the _Derby Mercury_ of Friday, March 9th, in that year:--

“BOW CHINA WAREHOUSE

“Was opened on _Wednesday_, the 7th of _February_, near the
_Royal Exchange_, in _Cornhill, London_, with a Back Door facing
the _Bank_, in _Threadneedle-street_, for the convenience of all
Customers, both in Town and Country; where it will continue to
be sold in the same manner as formerly, at _BOW_, with Allowance
made to Wholesale dealers.”

In November of the same year an advertisement for painters appeared in _Aris’s Birmingham Gazette_, as follows:--

“This is to give notice to all painters in the blue and white
potting way and enamellers on china ware, that by applying, at
the counting house at the China-house, near Bow, they may meet
with employment and proper encouragement according to their
merit; likewise painters brought up in the snuff-box way,
japanning, fan painting, &c., may have an opportunity of trial,
wherein if they succeed they shall have due encouragement.
N.B.--At the same house a person is wanted who can model small
figures in clay neatly.”

In 1760, among the many clever artists employed was one Thomas Craft, who has left a most interesting souvenir of his connection with these works in the shape of a fine punch-bowl, measuring nearly nine inches in diameter, which is accompanied by the following note in his own handwriting:--

“This Bowl was made at the Bow China Manufactory at
Stratford-le-Bow, Essex, about the year 1760, and painted there
by me, Thomas Craft: my cipher is in the bottom. It is painted
in what we used to call the old Japan taste, a taste at that
time much esteemed by the then Duke of Argyle; there is nearly
two pennyweight of gold--about 15 shillings; I had it in hand,
at different times, about three months; about two weeks’ time
was bestowd upon it; it could not have been manufactured, &c.,
for less than £4. There is not its similitude. I took it in a
box to Kentish Town, and had it burned there in Mr. Gyles’s
kiln,[66] cost me 3s; it was cracked the first time of using it.
Miss Nancy Sha, a daughter of the late Sir Patrick Blake,[67]
was christened with it. I never used it but in particular
respect to my company, and I desire my legatee (as mentioned in
my will) may do the same. Perhaps it may be thought I have said
too much about this trifling toy; a reflection steals in upon
my mind, that this said bowl may meet with the same fate that
the manufactory where it was made has done, and like the famous
cities of Troy, Carthage, &c., and similar to Shakespear’s Cloud
Cap’t Towers, &c.

“The above manufactory was carried on many years under the
firm of Messrs. Crowther and Weatherby, whose names were known
almost over the world; they employed 300 persons; about 90
Painters (of whom I was one), and about 200 turners; throwers,
&c., were employed under one roof. The model of the building
was taken from that at Canton in China; the whole was heated by
two stoves on the outside of the building, and conveyed through
flues or pipes and warmed the whole, sometimes to an intense
heat, unbearable in winter. It now wears a miserable aspect,
being a manufactory for turpentine and small tenements, and like
Shakespeare’s baseless fabric, &c. Mr. Weatherby has been dead
many years; Mr. Crowther is in Morden College, Blackheath, and
I am the only Person of all those employed there who annually
visit him.

T. CRAFT, 1790.”

And the allusion to the works, a little later on--perhaps about 1780--will be found in “Nollekins and his Times,” as follows:--

“_Nollekins_ (to Betew, a dealer in curiosities in Old Compton
Street). Do you still buy broken silver? I have some odd sleeve
buttons, and Mrs. Nollekins wants to get rid of a chased
watch-case by old Moser, one that he made when he used to model
for the Bow manufactory.

“_Betew._ Ay, I know there were many very clever things
produced there; what curious heads for canes they made at
that manufactory; I think Crowther was the proprietor’s name.
He has a very beautiful daughter who is married to Sir James
Lake.[68] Nat Hone painted a portrait of her in the character
of Diana, and it was one of his best pictures. There were some
clever men who modelled for the Bow concern, and they produced
several spirited figures--Quin in Falstaff; Garrick in Richard;
Frederick Duke of Cumberland striding triumphantly over the
Pretender, who is begging quarter of him; John Wilkes, and so
forth.

“_Nollekins._ Mr. Moser, who was keeper of our Academy, modelled
several things for them; he was a chaser originally.”

It will be perceived that Betew and Nollekins both speak of the Bow works as a thing of the past. And so they were; for in October, 1762, says the _London Chronicle_, “Mr. Weatherby, one of the proprietors of the Bow china warehouse in Cornhill, died at his house on Tower Hill, on the 15th October, 1762;” and, in the following year, 1763, his partner, “John Crowther, of Cornhill, china-man,” was gazetted a bankrupt. This bankruptcy, however (which was followed by that of “Benjamin Weatherby, of St. Catherine’s, merchant,” probably son of the above), appears only to have had reference to the London warehouse and business, and not to the manufactory at Bow. The stock was sold by auction, by order of the assignees of John Crowther, on March 12 and following days, and on May 19th and 30th, the two first at the Bow warehouse in Cornhill, and the last at the great exhibition room in Spring Gardens, and consisting, among other things, of “curious figures,” “girandoles,” “branches for chimney-pieces finely decorated with figures and flowers,” “dishes,” “compotiers,” “beautiful desserts of the fine old partridge and wheatsheaf patterns,” “knife and fork handles,” &c. John Crowther, however, it seems, retained and still, in his own name alone, carried on the manufactory at Bow, and after a time opened a warehouse in St. Paul’s Churchyard, which he continued to hold from 1770 to 1775, when he sold his entire concern--the works, moulds, tools, &c.--to Mr. William Duesbury, the proprietor of the Derby China Works.

Mr. Duesbury, who not only held the Derby China Works, but had purchased those of Chelsea, Giles’s, and one at Vauxhall, thus became proprietor of the Bow works as well, and was therefore the largest holder either in those or later days. Mr. Duesbury, as he did with those of Chelsea, removed the moulds, models, implements, &c., to Derby, and the Bow manufactory was brought to a close. The next year, 1777, John Crowther became an inmate of Morden College, Blackheath, being elected on the foundation on the 17th of March, and here he was still residing in 1790, “and,” says Thomas Craft, “I am the only person of all those employed there (at Bow) who annually visit him.” On the site of the works some small tenements and a turpentine manufactory soon sprang up, and their exact site was forgotten, having been later on converted into chemical works by Mr. Macmurdo, the calico printer. Afterwards a portion of the place was used as emery mills by Mr. Marshall, and, since then, as a manufactory of lucifer matches, vesta lights, &c., by Messrs. Bell and Black. In 1867, during some sewering operations at these works, a considerable number of fragments of Bow china--probably on the site of one of the old kilns--was discovered. Of this discovery the following interesting account appeared in the _Art Journal_ for 1869:--

“In trenching a drain from the manufactory into the sewer, the workmen, at about eight or ten feet from the surface, came upon the débris of the old Bow China Works.

“Mr. Higgins, jun., who is attached to the match-manufactory, received his first intimation of the _trouvaille_ from perceiving fragments of delicate biscuit china in the hands of some children, who had picked them up as playthings. This led him to keep strict watch over the excavation, and, by permission of the proprietors, the ground remained open for a few months, and, as leisure permitted, he examined the earth for some distance immediately round the spot. Limited as the space was, he found a great quantity of specimens, which he and his sister, Miss Higgins, have taken the pains to arrange carefully in trays, and through their kindness we are enabled to describe some of the more interesting examples.

“Although fragmentary, they are particularly interesting, as showing us the various descriptions of ware made at Bow, verifying its products, and enabling us to identify not only the paste and glaze, but the methods of ornamentation.

“The spot where the excavations were made is supposed to have been where one of the kilns formerly stood; this is borne out to a certain extent by the presence of a quantity of bricks cemented together, the inner surface having become vitrified by the heat of the kiln; and also by a vast number of broken saggers, or cases of baked earthenware, used to contain the china, and protect it from the flame and ashes in the kiln. One of these saggers, of cylindrical form, measures 10 inches in diameter by 8½ inches in height; it had three rows of holes pierced through the sides, at equal distances from top to bottom, into which clay pegs (like large clout nails) were inserted, to support the circular platforms within, at convenient distances, on which the china articles rested while baking. The cockspur, or point, used to separate the china is a simple cone of baked clay, not the usual form, which is like the _caltrop_, having always three points below and one only uppermost. Large pieces of china clay were found, some in a soft, soapy state, others hardened; bones of animals, which entered into the composition of the paste, as well as calcined flints and pieces of quartz, used in making the frit or glaze; a number of circular medallions of baked clay, from two to six inches in diameter--one was marked on each side with H and M cut into the clay. All the fragments of vessels discovered are of porcelain biscuit: not a piece of Delft or common earthenware was found among them: some few are glazed, but these form the exceptions.

“The first we shall notice, and probably the earliest manufacture, are the pieces decorated with blue painting: the designs are painted, in mineral colour, on the biscuit, and have not been glazed or burnt in. These designs are principally of Chinese landscapes, flowers, figures, and birds. A few examples are given on the next page, to show their general character.

“A very frequent pattern of simple character in the blue ware is three hanging branches of willow leaves. Among the rest is a mottled ground plate with white angular medallions of light blue scenery. The only variations in colour are a cup with green leaves and lake flowers, and a fragment painted in lake _camaïeu_, with a castellated mansion, of high finish: these two are glazed. Not a single specimen of blue-_printed_ china was discovered: all are _painted_ with a brush. This is not at all surprising, for it must be remembered they are all unfinished pieces, which have never been out of the factory; and, when this decoration was required, they were sent to Liverpool to be printed.

“The next division consists of biscuit china, fragments of services ornamented in relief, the favourite pattern being the Mayflower. The hawthorn is represented quite after nature, with its thorny branches and blossom. About a dozen of the moulds for stamping these flowers were also found quite perfect; they are of biscuit, three inches by two and a half in diameter. Fig. 408 is interesting, being the original mould of a biscuit cup which has its exact counterpart glazed. These pieces form a history in themselves.

“Another mould is of two roses and leaves on a stalk (Fig. 409). The raised figures on the biscuit are remarkably sharp; but the application of the glaze fills up the spaces.

“The other decorations in relief are the basket pattern, overlapping leaves, vertical bands overlaid with scrolls, ribbed cups and basins, a biscuit candlestick in form of a vine-leaf, another of different pattern painted blue. In this extensive collection we find milk-pots, cups, cans, and saucers, open-work baskets, octagon plates, cup-handles, lion’s-paw feet, small pots for colour or rouge; but not a single piece has any mark which can be assigned to the _fabrique_. One of the cups has the name of ‘Norman’ written on it in pencil--perhaps the name of one of the painters. Among other relics are pieces which have been injured in the kiln by falling into ugly and distorted shapes, plates and saucers that have inadvertently gone in contact with each other and could not be separated.

“There is a great variety of china biscuit knife-handles, some plain, others with rococo scrolls in relief, heightened with blue; two specimens are here given (Figs. 414 and 415).

“Some few pieces of an ornamental character are among the débris. The foot of a salt-cellar beautifully modelled in biscuit, formed of three shells, with smaller shells and seaweed between; the upper shell, to hold the salt, is wanting. A sketch of it is here given (Fig. 413). To these may be added the foot of a large centre ornament of the same character as the last, to hold sweetmeats, also modelled by hand in shells of all sorts, rock-work, coral, seaweed, &c., with three escalop shells: this has had one or more tiers above, but broken off at stem. Some natural shells were found which served as copies. There are two pug-dogs nearly perfect, with collars, on which are roses. Two handles, in form of female heads, in high relief, for tureens and other large bowls (Fig. 416); and a man’s head, with a high cap and feather, nicely modelled (Fig. 417); also the body of a female figure in biscuit, with laced bodice.

“The Bow paste is exceedingly hard, and the fracture very close and compact; consequently the pieces, as a rule, are very heavy for their size, but many of the cups and saucers are almost of egg-shell thickness. The colour is a milky white.”

In the _Art-Journal_ for 1869 a notice of the account-books of the Bow works, now belonging to Lady Charlotte Schrieber, is given; and this I here quote, as it contains some highly interesting matter:--

“The first contains the accounts from January, 1750.--1. O.S., in which year the partnership of Messrs. Crowther and Weatherby commenced, up to December, 1755. From these it appears that a branch establishment was opened in London in 1753, which, no doubt, was that of St. Catherine’s, near the Tower,[69] although the place is not mentioned. An account is given in separate columns of the value of the _bisket_ and _glazed-ware_ taken into the warehouse at Bow, and sold out of the warehouses at London and Bow, in each year.

“A statement for the year 1754 is here given, to show the extent of the business transacted.

A WEEKLY ACCOUNT OF TRADE, &C., AT LONDON AND BOW.

+-------+-------------+---------+------------+----------+----------+---------+ | 1754. | Goods | Credit |Retail Cash,|Cash, per | Cash | Goods | |Jan. 5.|Credited with| without | London. | Journal. | Recd. at |Returned.| | | Discount. |Discount.| | | Bow. | | +-------+-------------+---------+------------+----------+----------+---------+ | 5| 134 15 5 | 1 1 0| 20 4 3 | 11 1 6| 28 17 9½| 9 15 0| | 12| 174 6 1 | 25 5 6| 29 4 8 | 138 9 3| 16 14 8 | 4 13 0| | 19| 192 13 6 | 24 16 10| 50 16 0 | 153 18 9| 28 15 10½| 15 5 0| | 26| 115 14 4 | 1 0 0| 59 6 2 | 94 13 0| 20 8 9 | 16 16 3| |Feby. 2| 50 16 11 | 15 19 3| 26 2 6 | 86 15 0| 30 9 6½| 1 6 6| | 9| 69 8 7 | 9 14 7| 42 3 9 | 40 5 4| 21 6 1 | 62 1 5| | 16| 51 16 8 | 3 7 6| 32 17 5 | 71 18 5| 24 14 7½| 7 16 6| | 23| 48 9 11 | 71 1 8| 38 12 8 | 58 17 7| 22 10 7½| 2 19 3| |Mar. 2| 67 1 3 | 13 9 6| 56 4 3 | 83 2 5| 26 3 10 | 17 14 6| | 9| 89 12 7½ | 8 9 4| 44 11 9 | 145 14 2| 35 5 1½| | | 16| 136 17 0½ | 9 5 6| 27 11 5 | 70 12 6| 33 16 4 | 2 0 6| | 23| 41 7 5 | 13 6 0| 36 8 10 | 55 9 6| 14 7 0 | 1 9 0| | 30| 104 11 0 | 14 10 6| 41 18 3 | 90 16 2| 21 9 9 | | +-------+-------------+---------+------------+----------+----------+---------+ | | 1277 10 9 |211 7 2| 506 1 11 |1101 13 7|325 0 0 |141 16 11| +-------+-------------+---------+------------+----------+----------+---------+

ANNUAL ACCOUNT OF THE PORCELAIN COMPANY’S TRADE FOR THE YEAR 1754.