Chapter III (3)

on the back of plates, &c. The “Co.” in this instance was Mr. Thomas Courteney, the London agent, through whom the order was procured. His place of business was 34, Old Bond Street, and many of the goods afterwards made for him bore the accompanying mark, Fig. 91. Messrs. Locker & Co., at the modern King Street works, used the mark, Fig. 92, and their successors, Stevenson, Sharp, and Co., the next one. The next firm, Stevenson and Hancock, used, in accordance with my suggestion, and a sketch I made for them, in 1862, the old Derby mark of the crown, crossed daggers, dots, and letter , with the initials of the firm S. H. (for Stevenson and Hancock); this is still continued by the present sole proprietor, Sampson Hancock--the letters S. H. being, fortunately, his own initials.

Of the artists employed at the Derby China Works, the principal modellers appear to have been Spengler, Stephan, Coffee, Complin, Hartenberg, Duvivier, Webber, and Dear, and many others, including Bacon the sculptor, were employed in London, and the models sent down to the works.

Of the painters, the principal ones were Bowman, who was originally of Chelsea, afterwards of Derby, and then again of London, and who was one of the best flower and landscape painters of his day; Billingsley, who received instruction from Bowman, and whose flower pieces have certainly never been surpassed, or even equalled; Hill, a famous painter of landscapes, who delighted in sylvan scenery; Brewer, also an excellent landscape and figure painter, and whose wife, Bernice Brewer, was also a painter; Pegg, who surpassed in faithful copying of nature, in single branches and flowers, and in autumnal borders; Samuel Keys, a clever ornamentalist, who ended his days in the employ of Mintons; Steel, who excelled all others in painting fruit; John Keys, a flower painter; Cotton and Askew, two highly-gifted painters of figures; Webster, Withers, Hancock (two, uncle and nephew), Bancroft and others as flower painters; Lowton, clever at hunting and sporting subjects; and Robertson, at landscapes.[17] But besides these, there were many other really clever artists employed. It is pleasant, too, to know, that “Wright, of Derby,” the celebrated portrait painter, the contemporary and fellow pupil with Reynolds, lent his powerful aid on some occasions,[18] in supplying drawings and giving advice, as did also De Boeuff, Bartolozzi, Sanby, Glover, and many others of eminence; and it is also interesting to add, that one of the Wedgwood family, Jonathan Wedgwood, was at one time employed at Derby. The draft of agreement between himself and William Duesbury, dated 1772, is in my own possession, and by it he binds himself for three years to work at “the arts of repairing or throwing china or porcelaine ware,” for the sum of fourteen shillings per week. A few brief notes upon some of the artists of the Derby works will doubtless be of service to collectors; I therefore dot down the following memoranda:--

J. J. SPENGLER, a Frenchman, had been occasionally employed in
London by Mr. Duesbury to model figures for him, and in 1790, on
the recommendation of Mr. Vulliamy, entered into an agreement
to come to Derby. Mr. Wallis, in his not very reliable account
of the Derby China Works, to which I have before referred, says
Spengler “was brought to Derby from London by Mr. Kean,” but
this is an error. He was in Derby years before Mr. Kean had any
connection with the works. The original agreements, dated July
13 and September 15th, 1790, are in my own possession (as are
also a number of original letters, accounts, and other documents
connected with him), and is as follows:--

“A COPY.

“A Memorandum. London, July 13, 1790.

“That the Bearer, Mr. J. Spengler, has agreed to come down
to the Manufactory at Derby, to work as Modeller, &c, and to
receive for the first month after the rate of three Guineas per
week, and his expenses paid down by the Coach. His hours of work
is to be from Seven o’clock in the morning till the rest of the
People in the Manufactory give Over work in the Evening. It is
further agreed on, that after the expiration of the first Month,
if the parties like each other and they agree for a fixed time
to come, The bearer, Mr. J. Spengler, is then only to receive
after the rate of two pounds ten shillings per week from the
first day he began to work in the manufactory.

“Witness: (Signed) “For Mr. W. Duesbury.
“B. Vulliamy. “J. Spengler. “J. Lygo.”

He accordingly came to Derby and a more full agreement was drawn
up in September. On the 15th of that month he drew up and signed
a memorandum to the effect that as he knew nothing either
of the laws or language of England, he was to go to London
to cause to be examined the agreement made between himself
and “Monsieur Duesbury Maitre de la fabrique de Porcelaine a
Derbey,” and should it be found right, to return at once to
Derby and sign and execute it; Mr. Duesbury agreeing to pay the
expenses of the journey and half the loss of time at the rate
fixed in the agreement. This memorandum, which is well written,
but in wretched French, is signed by “J. Spengler” and by “Mr.
Duesbury” thus:--

“Sep. 15th, ’90. As far as I can understand the French Language,
I conceive the above to be right.

W^m Duesbury.”

Spengler first went down to Derby in the beginning of August,
1790, soon after the date of the agreement of July 13th (having
just previously modelled a “Figure of Astronomy, in London,”
for which Mr. Duesbury paid him ten guineas, and for extra time
expended over it at Derby, in finishing, an additional two and
a half guineas), and his first pieces of work were “Figure
with a Vase (Morning),” and its companion, a “Figure with a
Vase (Noon),” for each of which he was paid seven guineas; and
the “Three Graces,” for the time expended on which he was paid
six guineas.[19] Before long, unpleasantness arose through
Spengler’s inattention to work, breach of contracts, and
getting into debt, and in 1792 he left Derby surreptitiously.
Proceedings were taken by Mr. Duesbury; his goods (the inventory
of which, dated March 18th, is before me) were sold; and he was
captured at Ramsgate, and placed in the King’s Bench Prison.
The result of law proceedings was that Spengler entered into a
fresh agreement with Mr. Duesbury (I have the draft) by which
he covenanted “Not to lose more time in any one week than half
a day, sickness excepted, under the penalty of paying after
the rate of 7s. per day to Mr. D., Mr. S. to continue to serve
Mr. D. to the best of his skill (without working for any other
person) until he shall have paid Mr. D. the ballance due to him,
and all lawful expences; Mr. D. receiving two-thirds of his
earnings, Spengler to have liberty to attend any number of hours
(that the manufactory is open for others) over and above those
work’d by himself and the rest of the other hands for overtime,
and to receive in the same proportion for such time as for the
regular day’s time,” and so on. He was, evidently, for the
purpose of carrying out the agreement, bailed out of the King’s
Bench by a friend, whose letters I possess, but by November of
the same year had again left his employment.[20]

Spengler was then again in the King’s Bench, from which, on
the 31st of January, after other correspondence, he wrote a
very pathetic letter (in French, as all his letters are) to Mr.
Duesbury, and ultimately it appears that an arrangement was come
to for him to work in London. In 1794, fresh arrangements were
again in progress (Spengler, who was living at Chelsea, in the
meantime having continued to work for Mr. Duesbury), and much
correspondence took place; the result being that in February,
1795, Spengler returned to Derby, under a fresh agreement,
which, as it contains much valuable information as to figures
and groups, and prices for modelling them, I give entire:--

“_Heads of an Agreement to be enterd into between Wm. Duesbury
of Derby in the County of Derby & J. J. Spengler, Modeller,
Viz._:--

“J. J. S. to serve W^m. D. his Ex^s. Adm^s. or Ass^s. in his
Manufactory at Derby for so long as W. D. his Ex^s. Adm^s. or
Ass^s. shall have occasion for the assistance of J. J. S. W. D.
his Ex^s. Adm^s. & Ass^s. reserving to themselves the power of
Terminating this Agreement by giving J. J. S. 1 Month’s notice
at any time. J. J. S. to have the like power of Terminating it
at any time by giving 1 M^s. notice unless he shall not be able
in that time to complete any Set of work he may have undertaken
in which case J. J. S. to stop with W. D. his Ex^s. Adm^s. or
Ass^s. till such work is so finishd if required by W. D. his
Ex^s. Adm^s. or Ass^s.

“W. D. having been a great looser by J. J. S. under a former
Agreement, it is now agreed that W. D. his Ex^s. Adm^s. or
Ass^s. shall have the liberty to pay J. J. S. for his Work
either by the day at four shillings p^r day of 10 hours (to be
the same hours which other Workmen work for a day from time to
time in the Porc^n. Manufactory at Derby) or by the piece as
aftermentiond at their option when any piece of Work shall be
finished.

“The prizes for each Male or Female Human Figure to be Modeld
by J. J. S. from any sketch either on paper or in Clay &c. as
highly finished as the Russian Shepherd Group--Palemon & Lavinia
Group--Blind Beggar & Daughter D^o. modeld for W. D. by J. J. S.
some time since to be

£ _s._ _d._
If 4 Inches high & not exceding 5 In. 6 6
„ 5 „ „ 6 „ 8 0
„ 6 „ „ 7 „ 11 6
„ 7 „ „ 8 „ 13 6
„ 8 „ „ 9 „ 16 0
„ 9 „ „ 10 „ 18 6
„ 10 „ „ 11 „ 1 1 0
„ 11 „ „ 12 „ 1 4 0
„ 12 „ „ 13 „ 1 8 0
„ 13 „ „ 14 „ 1 13 0
„ 14 „ }
„ 15 „ }
„ 16 „ } and so on in proportion.
„ 17 „ }
„ 18 „ }
Intermediate Sizes in proportion.

“J. J. S. to go to Derby at his own expence & to begin work in
28 Days after his signing this Engagement. In the mean time
Mr. Lygo to pay him from the Time he signs this Agreem^t. 5/-
p^r. Week to be repaid by J. J. S. by Weekly Stoppages of Eight
Shillings.

“J. J. S. in all other particulars to work at & be subject to
the same rules, orders, & regulations as the rest of the Workmen
of the Manufactory at Derby.

“All Sketches to be made whether in Clay or on paper, &c., under
the direction of Mr. D. his Ex^s.] Adm^s. or Ass^s]. by the day
without limitation of time. J. J. S. to do the best he can in
this particular to dispatch business.

“J. J. S. & W. D. agree hereby to execute regular articles of
agreements conformable to the above specified heads so soon as
the same can conveniently be prepared, under the Penelty of One
Hundred Pounds. Signd this 10^{th} day of Jan^y 1795.

“SPENGLER
“Witness--JOSEPH LYGO.” “_Modeler._

In a letter dated February 3, 1795, it is said “Spangler will
set off for Derby tomorrow, he intends walking as it will not be
so expensive and he may as well be walking to Derby as stay here
doing nothing.” How long he remained in Derby after this I have
not ascertained but as Mr. Duesbury died the following year,
and things went very awkwardly, it is probable he did not long
remain.

PIERRE STEPHAN, another Frenchman, was for some years a modeller
and china maker at Derby, and produced many lovely groups and
single figures. He removed to Jackfield, where he commenced a
small pot-works, producing not only earthenware, but encaustic
tiles. His son, Mr. Peter Stephan, is, at the time I write, a
skilled modeller at the Coalport China Works. (See page 305,
vol. I.) By articles of agreement entered into on the 17th
September, 1770, “between Peter Stephane of Derby in the County
of Derby, Modeler and China or Porcelaine Repairer of the one
part and William Duesbury of the same place China or Porcelain
Manufacturer of the other part” he binds himself for three
years “to employ himself in the art of Modelling and Repairing
China or Porcelaine Ware” at £2 12_s._ 6_d._ per week. The
agreement is signed “Pierre Stephan” and “William Duesbury,”
and is attested by “Constantine Smith,” “Friederick Decuber,”
and “Thos. Morgan, Junr.”--names which will be found noticed
elsewhere. In 1795 Stephan was at Shelton, and while there
continued to model for and send moulds to Mr. Duesbury.

FIDELE DUVIVIER, a Frenchman, entered into an engagement with
the elder Mr. Duesbury in 1769. The agreement (duly signed by
both Duesbury and Duvivier, and attested by “John Bosher” and
“S. Horrocks,”) is dated 31st October, 1769, and is “between
Fidelle Duvivier of the borough of Derby China or Porcelain
Painter,” and “William Duesbury of the same place China or
Porcelain Manufacturer,” and covenants that the former shall,
for four years from that date, “diligently and faithfully
according to the best and utmost of his skill and knowledge,
exercise and employ himself in the Art of Painting China or
Porcelain Ware,” for the weekly wages of 24_s._; Mr. Duesbury
agreeing, at the end of that time, to give him an additional
five guineas “in case he shall merit the same.” He became the
principal flower painter at the Derby Works, and his style
was much followed by the later painters. Duvivier remained
some years at Derby, and then left, being afterwards employed
at Wedgwood’s and various other places. In 1790, being then
employed at the New Hall Works (which see), he wrote the
following letter to the then Mr. Duesbury, and in consequence, I
believe, he returned for a time to Derby:--“Hanley green, the 1
novebr 1790, Mr. Dousbery, Sir,--take the liberty Adressing you
with a few lines, as mine Engegement in the new Hal Porcelaine
manufatory is Expierd, and the propriotors do not intend to
do much more in the fine line of Painting, therefor think of
Settling in new Castle under lime being engag’d to teech Drowing
in the Boarding School at that place, one School I have at
Stone, so as to have only three days to Spare in the week for
Painting, wich time Could wish to be employ’d by you preferable
to eany other fabricque, because you like and understand good
work, as am inform’d, my painting now to watt I did for your
father is quit diferent but without flatering my Self, Hope to
give you Satisfaction, in Case you Schould like to inploy me,
Sir,--your anser will much oblige your Humble Servant, DUVIVIER
P.S. the conveyance would be much in fevoir for to Send the ware
to and from as ther is a waggon Every week from darby to new
Castle”

WILLIAM J. COFFEE, a modeller, who “made his mark” at Derby,
was the son of William Coffee, who worked either at Hempel’s
or Triquet’s pottery at Chelsea, and afterwards entered into
domestic service in a gentleman’s family. Coffee was, I believe,
brought up to some branch of the business with his father at
these Chelsea works, and was afterwards employed at Coade’s
Lambeth Pottery.[21] He first came down to Derby, I believe,
about the year 1791, and agreements were entered into between
him and Mr. Duesbury. I believe he at first came as a kiln-man.
He does not, as a modeller, seem to have made much head-way at
first, and even in 1794 the London agent wrote, “I do not much
admire Mr. Coffee’s modelling from what I have yet seen. The
figure No. 359 is one of the most stupid looking things I ever
saw, and the figure of Apollo in group No. 379 is very vulgar
about the bosom, for sure never such bubbys was seen and so much
exposed--the design is pretty enough.” Soon after this a fresh
agreement was entered into as to prices to be paid for figures
according to size by the piece, or at day’s wages; Mr. Duesbury
covenanting to have the option of paying him after the rate
of 3_s._ 6_d._ per day for each day of 10 hours that he works
at the manufactory, “or at the rate of 7_s._ for any single
human figure of 6 inches high, whether standing or in any other
action, which if standing would be 6 inches high; and that all
figures shall be roughed out naked in correct proportions before
draped;” three pence for every half inch additional in height
being paid, and so on. On the 30th of January, 1795, a fresh
agreement was entered into:--“Memorandum--Whereas Heads of an
Agreement between Wm. Coffee and Wm. Duesbury were Executed by
W. C. and W. D. wherein 6 Months notice was agreed upon between
them when either wished to close the Agreement--It is hereby
agreed between W. D. and W. C. that the said Agreement shall
be cancell’d, and this Agreement stand in its place viz--W.
C. shall Modell for W. D. untill the 6th of July next at the
prizes which shall be paid by W. D. to the Modeller he has now
engaged to come down who is to have 4_s._ pr. day for such work
as he shall do by the day and various prizes by the piece in
proportion to their value when he works by the piece in lieu of
by the day--NB--This Agreement is not to be construed to imploy
that W. D. has agreed to raise W. C.’s wages by the day above
3_s._ 6_d._ when he shall chuse to imploy W. C. by the day in
preferance to his working by the piece--Signed this 30th of
Jany. 1795. NB--W. C. remarks, that he would wish to know before
he begins any piece of work whether the said work is to be
Executed by him by the day or by the piece, W. D. certifies by
this proviso that such was always his intention--W. COFFEE, W.
DUESBURY, Witness, Charles King.”

In the same year Coffee left Derby, and engaged himself with
Sir Nigel Gresley, Bart., and Mr. Adderley, at their china
works at Burton-on-Trent,[22] and immediately wrote as follows
to Mr. Duesbury:--“Burton on Trent J 4 1795, Sir,--My being
your Debtor makes it my Duty to inform you immediately of my
arrival here and likewise of my engagement with Sir Nigel
Gresley and Mr Adderley lest you should suppose that I had
forgot the Obligation I lie under to you--but am extremely
sorry to understand that you meant to injure me respecting my
Business as that would totally deprive my honest intention of
paying you, the mode of which I shall be happy to submit to
your own satisfaction when I wait on you, I intend as soon as
possible.--I am sir your h servant, W. COFFEE.” To this Mr.
Duesbury returned a manly letter, denying the imputation, asking
for the name of Coffee’s informant, and assuring him that he has
only to make the mode of repayment quite convenient to himself.
In the same year the father of Coffee thus wrote:--“London Sepr
9th 1795, Sir,--My Son since He left you has been at Work near
your Manufactory for Sir Nigel Gresley which He says He inform’d
you of at the time--having finished all there was to do there He
is now return’d to London and out of Employ. As I was very sorry
for his leaving you and severely reflected on Him for it--He
now assures me that He shou’d be extremely happy to serve you
again--for a constancy if you thought proper under an Article
for a Term of Years--at the lower rate of 18 or 17 Shillings pr
week--He gave Sir Nigel the greatest satisaction both in His
behaviour and in His Business--as a proof of which Sir Nigel
has offer’d to give Him the best of Characters at any time it
shou’d be requir’d of Him--therefore Sir you cou’d be satisfied
in that respect at any time you pleas’d--hoping whatever may
have happen’d at any time disagreeable your goodness will
forget--Your condescention in favouring me with an Answer
directly will much oblige Sir Your most humble Servant WILLIAM
COFFEE P.S. He is wiling to repair or do what work you think
proper. I will attend Mr Ligo hopeing your kind Answer.” The
result was that Coffee returned to Derby; worked at the china
factory as of old; and afterwards commenced business on his
own account in Derby. Here he produced terra-cotta figures of
considerable merit and in tolerable variety. Of these, a wolf,
a lion, a dog, and others are strikingly good. He stamped his
productions with his name, “W. COFFEE, DERBY,” and occasionally
the number, or the date. He also gave lessons in modelling, and
turned his attention to oil-painting and sculpture. His statue
of Æsculapius, on the roof of the Infirmary at Derby, was his
principal work. It was executed in or about 1810.

RICHARD ASKEW was employed at the Chelsea works when taken to by
Duesbury, and came from there to Derby in 1772. His name occurs
regularly in the “weekly bills” at Chelsea where he received
4_s._ 2_d._ a-day wages. The following is an account for extra
work done by him:--

£ _s._ _d._
2 Perfume pots in figuars 1 16 0
2 Row wagons in figuars 1 10 0
----------
£3 6 0
Recid. £2 2_s._ ----------
April the 30, 1771. RICHARD ASKEW.

ROBERT ASKEW, his son, was employed at Derby in 1772, and
in that year, along with John Laurence, absconded from his
employment, and was advertised three different times in the
Birmingham newspapers. In 1794 Askew, “enamel painter of
Birmingham,” was living in Birmingham (at 8, Friday Street),
and on the 2nd of August an agreement was drawn up, by which
he bound himself “to work by the piece in lieu of the day, and
at prizes mentioned in the ajoining list;” the subjects to be
executed in the best manner in his power, and not agreeable to
the coffee cans already executed, viz., Duke of York, King and
Queen of France, and Spinning Wheel, &c., but in quality and
effect equal to the Cupids on two flower pots by James Banford
having R. Askew’s name written upon them (to prevent a mistake
in alluding to them) in ink, subscribed this day in presence
of Mr. C. King. The list of prices by the piece, attached to
the draft of the agreement, is of great interest, but too long
to insert. The coffee cans here named were some then recently
painted by Askew, and as the bill for them contains many curious
items and much valuable information on the Art-productions of
that day, I give it entire. This bill, and many others which are
still extant, show that Askew was the principal figure-painter
employed at the Derby China Works. It is headed, “_Mr. Wilm.
Duesbury, Deptur to Rich^d. Askew, July 1794_.”

“a coffe can, with the king of france, one days work 0 5 3
a coffe can, with the Queen of france, one day 0 5 3
a coffe can, with a woman spining, one Day 0 5 3
a coffe can, with the head of the Duke of york, one day 0 5 3
2 coffe cans, with cupeds, tow Days & a half 0 13 1
a cadle cup, with a woman & child, tow days 0 10 6
a cadle cup, with a begar-Girl & child, tow days 0 10 6
a coffe can, a woman holding flowers siting, a day &
half 0 7 10
a flower Pot, with a woman & child, tow days 0 10 6
a cadle cup, with a woman & a Lion, tow days 0 10 6
2 coffe cans, figuors of fath & hope, to days & a half 0 13 1
a cadle cup, with the fourting-teller, three and a
half days 0 18 4
a coffe can, with the head of the Prince of Wails,
tow days 0 10 6
a coffe can, with a Girl & bird, one Day & a half 0 7 10
2 coffee cans, with cupids, tow Days and a half 0 13 1
a cadle cup, with a woman siting at Woark, tow days 0 10 6
a cadle cup, with Doatage and beauty, three days 0 15 9
a cadle cup, with Age and youth, three Days 0 15 9
2 coffe cans, with cupieds, tow Days and a half 0 13 1
a coffe can, with a man & woman offiring to Cuped,
3 days & a half 0 18 4
a coffe can, with cupied chiding Venus, 3 days & a half 0 18 4
2 cadle cups, first & scount lasson of love, Eaght Days 2 2 0
a Plate, with a head, half a Day 0 2 7
a cup & scarcer, with landsceps, one Day 0 5 3
a coffe can, with a Girl & a Rabbet, tow Days 0 10 6
a coffe can, with bebe & Eagle, tow Days 0 10 6
2 coffe cans, with the Prince of Wails & Dutches of
york, 4 days 1 1 0
a coffe can, with maid of Corinth, four Days 1 1 0
a coffe can, with love sleeps, four Days 1 1 0
a coffe can, with sapho & cuped, 3 Days & a half 0 18 4
a coffe can, with a offering to cuped, 3 Days & a half 0 18 4
for Drawings, tow Days & a half 0 13 1
a cup & sacer, in brown, half a day 0 2 7
a coffe can, in brown, half a Day 0 2 7
a Plate, with Plamon & lavinea, 3 Days 0 15 9
2 coffe cans, with single figuars, tow Days 0 10 6
a Plate, with a cupied & Emblems, tow Days & half 0 13 1
12 Tea cups, in brown figuars, three Days & a half 0 18 4
a Plate, with a cupied only, a Day & a half 0 7 10
8 coffe cans, single figuars, Eight Days 2 2 0
2 coffe cans, with figuars, Day & a half Each 1 11 6
4 coffe cans, with the four Elements, 4 Days Each 4 4 0
to three weekes Drawing of cupieds 4 14 6
4 coffe cans, with figuars, a Day & half Each 1 3 7
4 coffe cans, with figuars, a Day & half Each 1 10 6
a coffe can, with the Duke o york, tow Days 0 10 6
a Pair, with figuars, 5 Days 1 6 3
2 chamber Pots, with cupieds in the inside, 4 days 1 1 0
a coffe can, with the Prince of Wails 0 10 6
to Drawing of cupieds, 5 Days 1 6 3
a stand, with cupieds, in Rose couler, Day & half 0 7 10
a cram Pot, in D^o, half a Day 0 2 7
a cram Pot, with figuar in brown, half a Day 0 2 7
4 coffe cans, with dancing figuars, 5 Days 1 6 3
4 coffe cans, with the Elements, 4 Days 4 4 0
a cadle cup, with a woman & children a brakefarst,
3 Days & half 0 18 4
a cadle cup in D^o, at supper, 3 Days & a half 0 18 4
a stand, a tay Pot, 2 coffe cans, a sugar Bason and
cram Pot, work warry heily & neatly finish^d by
Pertickler Desier, 5 weekes 7 17 6
5 cups, in landskips, 2 Days 0 10 6
------------
£61 0 4
------------
the subjects on the stad, 3 womans & cupied tyde to a tree.
on the coffe cans, to woman offereng to Pan & to woman awaking
of cupied.
on the Tea Pot, maid of Corinth & love sleeps.
on the sugar-Bason, Euphorsnay & cuped.
on the crame Pot, a flying cupied.
Dilevered October the 3, 1795.
£ _s._ _d._
1. 2 coffe cans, with the King & Queen of france 0 10 0
2. 1 Do, with the duke of yorke 0 5 0
3. 1 D^o, with the spining weele 0 3 0
4. 2 D^o, with Cupets 0 10 0
5. 1 cadle cup, with a woman & child 0 7 0
6. 1 D^o, with Begar Girl & child 0 7 0
7. 1 coffe cup, with a woman siting 0 5 0
8. a flower Pot, with a woman & cupet 0 9 0
9. a Cadle cup, with Hosea & a Leon 0 7 0
10. 2 coffe cans, with hope & fath 0 10 0
11. a cadle cupe, with the fortin teller 0 14 0
12. a coffe can, with a head of the Prince of Wales 0 7 6
13. a coffe can, with a Girl & bird 0 5 0
14. a cadle cup, with a woman siting at work 0 7 0
15. a cadle cup, with doatage & beauty 0 12 0
16. D^o, with age and youth 0 12 0
17. 2 coffe cans, with cupets 0 10 0
18. 2 cadle cups, first & secont leson of love 1 8 0
19. 2 coffe cans, with venus and cupet &
sacrafise to love 1 10 0
20. a Plate, with hand 0 2 0
21. a cup & saucer, with Landsceps 0 6 0
22. 2 coffe cans, hebe & the child & rabbet 0 18 0
23. 2 coffe cans, with heads of the Prince of
Wales & Dss of York 0 15 0
24. a coffe can, with the maid of corneth 0 15 0
25. a coffe can, with love slepes 0 15 0
26. a coffe can, with sappho to Phaon 0 15 0
27. a coffe can, with offering to cupet 0 15 0
28. for Drawings 0 12 0
Deliverd. November the 26, 94. ------------
RICHARD ASKEW. £15 11 6
------------

WILLIAM BILLINGSLEY, whose name is more intimately mixed up
with the history of porcelain than most of his contemporaries,
was a china painter of unusual excellence, and a practical
maker as well. Like many another man of genius, he was,
however, unstable and erratic in his movements; but to this
very quality we are indebted for the establishment of more than
one eminent manufactory. To him and his practical skill is due
the establishment of china-works at Pinxton, at Mansfield, at
Nantgarw, and at Swansea, and to some extent the improvement
of the ware at Coalport and at Worcester, as well as much of
the high class of decoration at the old Derby Works; and he has
thus “left his mark” on the history of Ceramic Art. Billingsley
was a man of great genius, of extraordinary talent, of extreme
ability as an artist, and of skill as a practical potter; but
wanting stability, he became but a living illustration of the
adage which says “a rolling stone gathers no moss.” He settled
only for a very short time anywhere before he again moved; but
wherever he did remain, if only for a short time, he left the
impress of his name and the most indisputable evidence of his
skill behind him. William Billingsley was the eldest son of
William and Mary Billingsley, of the parish of St. Alkmund,
Derby. He was baptized in that church on the 12th of October,
1758. The following is the entry of his birth:--“1758, Oct.
12, Baptized, William, the son of--Billingsley and--his wife.”
Other entries in the register show that the names of his parents
were “William” and “Mary.” His father died in March, 1770, when
he was only twelve years of age.[23] Four years afterwards,
on the 26th of September, 1774, when sixteen years of age, he
was bound apprentice to William Duesbury. In the indenture he
is described as “William Billingsley, son of Mary Billingsley,
of Derby, in the county of Derby,” and he is bound apprentice
for five years to “William Duesbury, of Derby aforesaid,
China or Porcelain Maker,” to “learn the Art of Painting upon
China or Porcelain Ware.” He was to receive as wages five
shillings per week for the whole time of his servitude; not an
advancing scale year by year as was usual. The indenture is
signed by “William Billingsley,” “Mary Billingsley,” and “Wm.
Duesbury,” in the presence of “Wm. Clarke.” To Mr. Duesbury
he served the full time of his apprenticeship, during which
time he received considerable instruction as a painter, from
Zachariah Boreman,[24] one of the best artists of the old
Chelsea Works, who had removed with those works to Derby. On
the 4th of November, 1780, William Billingsley, then just over
twenty-two years of age, married, at St. Alkmund’s Church,
Derby, Sarah Rigley, of that parish, by whom he had several
children, three of whom were baptised at St. Alkmund’s Church.
On the expiration of his apprenticeship, William Billingsley
continued in the service of Mr. Duesbury, and by his extreme
skill as a flower-painter became the best artist in that line
of decoration. In 1785, Mr. Duesbury died; and the business
was carried on by his son, with whom Billingsley and other
artists remained for some years. Soon after this time some
correspondence having taken place between Mr. Duesbury and Mr.
Coke concerning the properties of a bed of clay at Pinxton,
in Derbyshire, which it was considered would be useful for
the manufacture of china, trials were made, which ultimately
resulted in Billingsley making an arrangement with Mr. Coke for
the establishment of a manufactory at that place (see Pinxton).

Billingsley’s name frequently occurs in papers and memoranda
relating to the Derby China Works in my possession, and certain
patterns and designs in the old pattern-books of the works
are distinguished as “Billingsley’s flowers.” As it is highly
interesting to know what artists and other principal “hands”
were employed at the same time as, and worked along with,
William Billingsley, I give the following copy of a document
relating to the keeping of the men employed on one part of the
works from entering any other part:--“Derby China Manufactory,
23rd Nov., 1787. If any person in Future, either within the
working Hours or at any other time, is seen or discover’d in
the Rooms, Kilns, Apartments, or other Premises of the other
(not having any proper Business relative to his particular
Occupation there) he will positively be fined the sum of five
Shillings. The Fines (if any are incur’d) to be put into the Box
of Donations at pay time, on the Saturday after the detection.

“J. Duesbury.
Boreman.
Smith.
Billingsley.
Stables.
Jno. Yates.
Wm. do.
Longdon.
Tayler.
Blood.
Cooper.
Butler.
Soar.
Dickinson.
Kay.
Fogg.
Webster.
Clarke.
Barton.
Mason.
M. do.
Atkins.
Wedgwood.
Ash.
Morledge.
Watthews.
Lawrence.
Whitaker.
Porter.
T. Moore.
Shipley.
B. Orme.
-----[26]
Wells.
Keen.
Parish.
Spooner.
Son.
Wardle.
Rogers.
Musgrove.
Morrell.
Robins.
Horsley.
Green.
Lovegrove.
Whitiall.
G. Holmes.
Hill.
Farnsworth.
Whitaker.
Laurance.
Atkins.
Morledge.
Wedgwood.
Ash.
Wathews.
Ball.
Thos. Soare.[27]
Jos. Stables.
Wm. Cooper.
Jno. Yates.
Wm. Billingsley.
Jno. Blood.
Wm. Yates.
Wm. Longdon.
Wm. Taylor.
Jno. Buttler.
Wm. Smith.
Z. Boreman.”

Again, in 1788:--

“In November last notice was given that persons of _one_ branch
of the manufactory were not to go into the premises of the
_other_, unless they had real business there relative to theire
_particular occupation_, notwithstanding which the practice
is still by some Individuals continued. Notice is therefore
hereby _finally_ given, that if any person in future (having
received this Notice) shall intrude themselves contrary to this
injunction they will positively be fined 5 shillings.

“Sept. 24th, 88.

“Boreman.
Billingsley.
Jno. Yates.
Wm. do.
Taylor.
Smith.
Borton.
T. Rogers.
T. Simes.
Webster.
Soare.
Stables.
Cooper.
Josph. Doe.
Longdon.
Blood.
Buttler.
Key.
Fogg.
Clarke.
Dickinson.
M. Mason.
Shirley, Arthr.”

The following is also an interesting document, signed by
Billingsley along with other artists:--“From the many injuries
done to the trade by employing Women in Painting of China, &c.,
Particularly not being employ’d in London in any Painting or
Gilding Shop whatsoever, we hope you will not withstand Granting
us the favour of their not being employ’d here.

“Edwd. Withers.
Samuel Keys.
Jno. Brown.
Wm. Cooper.
Wm. Longdon.
Wm. Yates.
Thos. Rogers.
Benj. Brocklesby.
Jos. Stables.
Billingsley.
Soare.
Jno. Yates.
Wm. Taylor.”

In this matter of opposition to the employment of women
Billingsley seems, later on, to have relented, as will be seen
by the following very nice letter from Bernice Banford, one of
the female painters employed, and wife of one of the men:--“Sir,
I hope you will excuse me for takeing the liberty to trouble
you again, as my motive for writeing is to Return you thanks
for the Favour you was pleased to confer in allowing me some
work. I have only painted 4 Dozen and 3 plates, at 3_d._ each,
which I believe is Charged Right, but know not whether I am
so happy to merit your approbation in the Performance. Mr.
John Duesbury would have sent me more work, but Mr. Banford
Declin’d it till your return, as all the men (Mr. Bilinsley and
Mr. Complin Excepted) treated him in a very unbecoming manner,
and even threaten’d him if the work was continu’d to me, which
would at this time be of the greatest service to my Family, and
should be very happy to contribute to its support. Pardon me,
Sir, if I presume to say I am certain one word from you would
ease their Doubts and effectually silence them. I am, Sir, with
the greatest Respect, your Obliged, Humble Servt., BERNICE
BANFORD.--March ye 3.”

Billingsley appears to have been paid from about £1 10_s._ to £2
per week at the Derby China Works, and several of his accounts
and receipts are in my possession. In one of these (September
23rd, 1793), the balance due to him being £34 7_s._ 2_d._, he
asks for “a draft on London for £30 at twenty-one days’ date,”
on account, as usual, and acknowledges to having “lost some
little time, which in some degree differs from our agreement,
but it has been a matter of necessity, not choice;” and states
that as he shall “in the course of a fortnight quit the public
business,”--he at this time, as I gather, being landlord of a
public-house (the “Nottingham Arms” in Bridgegate, Derby)--he
shall be able to make up the time so lost. Again, receipts in
1793–4–5, show that he was still at that time in Mr. Duesbury’s
employ in Derby. It may be well, before proceeding further,
to say that, from a curious draft of an order to the painters
employed at the Derby China Works, in my own possession, William
Billingsley’s number which he was supposed from that time (not
long before he left) to mark on such pieces as he painted was
7. The document is so curious, and will be so interesting to
collectors, that I give it entire. It is as follows, and is in
the second William Duesbury’s own handwriting:--

“Every Painter to mark underneath each Article he may finish,
the number corresponding to his name, and any other mark which
may be required, in such manner as he may be directed (viz.):--

Thos. Soar 1
Jos. Stables 2
Wm. Cooper 3
Wm. Yates 4
Jno. Yates 5
6
William Billingsley 7
Wm. Longdon 8
Wm. Smith 9
Jno. Blood 10
Wm. Taylor (except on blue and white) 11
Jno. Duesbury 12
Jos. Dodd 13

The Painter in fine blue, and in laying grounds to use for his
mark the like colours.

Ditto, in other colours Orange-red.
Ditto, in Gold Purple.

“On omission of the above Injunctions, for the first Offence
(after this public notice), the person so offending shall
forfeit to the Box which contains donations for the Manufactory
at large, one-fourth of the value of the Article or Articles
found to be deficient in marking; for the second, one-half
of the value; and for the third, the whole of the value, and
discharged the Manufactory. And if any Painter is found working
at any hour contrary to those already appointed for Business,
without Permission or Orders, such person shall, for the first
offence forfeit to the Box 6_d._; for the second, 1_s._; for the
third, 2_s._, and so on, doubling each time.”

In 1795 Billingsley determined upon bringing his connection
with the Derby China Works to an end, and for that purpose
gave notice to his employer, Mr. Duesbury. Knowing how ill he
could be spared from the decorative part of the manufactory,
his employer endeavoured to retain his services, and, not
unnaturally, put various obstacles in the way of his leaving
Billingsley; however seems to have determined on the removal,
and much to his credit that that removal should be an honourable
one. The following letter shows his determination:--

“SIR,--From the circumstance that occurr’d when I was last
in Conversation with you, I am induc’d to take this mode of
informing you of my opinion on the subject then in question.
My opinion is, that I have fulfill’d the warning[28] I gave
(my reasons in support of which it is not necessary to advance
at this time). But as I am inform’d that you believe I have
some further time to work for you before the Warning is
fulfill’d--namely, to make up the time I lost in the six months
I was under warning, and as it is my wish to leave no ground
for dissatisfaction, I take this opportunity of informing you
that I am willing to come and Work that time according to that
opinion of the case. If the foregoing is according to your
opinion and desire, your being so kind as to send me advise to
that effect at any time in the course of a week, and likewise
the time I have to work according to the rule and opinion above
stated, I will attend your works accordingly. If I do not hear
from you in the course of the time above stated, I must then
conclude that you are satisfy’d, and the information that I have
receiv’d is without foundation. I am, Sir, your Humble Serv.,
WM. BILLINGSLEY.--Derby, Oct. 14, 1796.”

Shortly before this time Mr. Joseph Lygo, the London agent and
manager of the business of the Derby China Works, wrote to
his employer, Mr. Duesbury:--“I hope you will be able to make
a bargain with Mr. Billingsley for him to continue with you,
for it will be a great loss to lose such a hand, and not only
that, but his going into another factory will put them in the
way of doing flowers in the same way, which they are at present
entirely ignorant of.” Despite all this, Billingsley left the
Derby China Works, where he had been apprenticed, and in which
he had worked for twenty-two years, and in 1796 commenced, for
or with Mr. Coke, a small manufactory at Pinxton, near Alfreton.
Here his practical skill stood him in good service, and the
experiments he had long tried in china bodies were brought
to bear satisfactory results. He succeeded in producing a
granular body (the fracture having much the appearance of fine
loaf-sugar), very soft, but of extreme beauty. Here Billingsley
remained for about four years only, removing in 1800 to
MANSFIELD, where he started a small concern, which he continued
for about three or four years longer. Having once become
unsettled by his removal from Derby, Billingsley does not appear
ever afterwards to have rested long in any one place. In 1804 he
is stated to have commenced, or joined, some small china works
at TORKSEY in Lincolnshire; and a few years later he appears to
have started a china manufactory at WIRKSWORTH in Derbyshire--no
doubt being in part actuated in locating himself there through
the fact of the existence of a beautiful white clay being found
in connection with the lead mines at Brassington and other
places in its neighbourhood. In 1811 Billingsley removed to
Worcester, where he engaged himself with Messrs. Flight and
Barr, of the Worcester China Works. Here, as in some of his
other migrations, he was accompanied by his son-in-law, George
Walker, the husband of his daughter Sarah. Of the engagement of
these two at WORCESTER, Mr. Binns says: “In 1811, Billingsley,
the Derby artist, came to Worcester. As a clever flower-painter,
he was no doubt an acquisition, but that does not appear to have
been the object of his visit. Billingsley knew something of
making porcelain, and was possessed of a receipt which there is
no doubt he valued very highly. From Messrs. Flight and Barr’s
letter to Mr. Dillwyn, it would appear that he had endeavoured
to introduce this special body at Worcester, but we do not think
he was allowed to interfere to any extent in the manufacturing
department. Walker, Billingsley’s companion and son-in-law,
introduced a more important invention to the Worcester Works in
the _reverberating enamel kiln_. These kilns had been in use
in London and at Derby, but were now for the first time built
at Worcester. Up to this time iron muffles were used, but from
their arrangement requiring a preparatory kiln or muffle, after
the same manner as the annealing oven of a glass-house, they
were most objectionable, the ware having to be removed from one
to the other whilst very hot. Previous to this iron muffle, a
more original muffle still was used. The description given
to us quite accords with the engraving in Biancourt, with the
exception of the arrangement of the fire. In the old Worcester
kilns the space between the bricks and the iron case was filled
with small pieces of charcoal, and when the iron cover was
finally placed, it was also covered with charcoal; the fire was
then applied to the centre of the cover, and gradually extended
all over and down the sides until it got to the bottom; the
object of this arrangement was to get an equal heat all over,
which would not have been the case had the bottom been heated
first. The method of building these new enamel kilns was kept
as a great secret, Walker always working by night. He built
them both for Messrs. Flight and Barr and Messrs. Chamberlain.”
After remaining two years only at Worcester, in 1813 Billingsley
and Walker (the former under a name he had for cogent reasons
assumed--that of _Beeley_, this name being a contraction of
his own B[illings]ley, or B’ley, otherwise _Beeley_) left that
place and went to NANTGARW, a small, out-of-the-way village
in Glamorganshire, near Pontypridd, where they established
themselves and commenced making china. From here they sent up a
specimen of their ware to Government,[29] to show their special
body, and to seek Government aid; and the Board of Trade,
through Sir Joseph Banks, requested Mr. Dillwyn, of the Swansea
pot-works, to visit Nantgarw and report on the quality of the
ware. This visit of Mr. Dillwyn’s resulted in his entering
into an arrangement with Billingsley and Walker to transfer
themselves and their works to SWANSEA, where he built a small
manufactory for them, closely adjoining his other works. Not
long after this Mr. Dillwyn received a notice from Messrs.
Flight and Barr, of Worcester, informing him that Billingsley
and Walker “had clandestinely left their service,” and warning
him not to employ them. This occurred, I believe, in about two
years from the time of founding the Swansea China Works, and on
Mr. Dillwyn being assured by Messrs. Flight and Barr that china
with the granulated body could not be made to be commercially
successful, he gave up the manufacture, and dismissed
Billingsley and Walker, who then at once returned to Nantgarw,
where they resumed their manufacture of china, and produced many
beautiful services and pieces, which now fetch remarkably high
prices. The productions of this small manufactory having found
their way into some of the best London dealers’ hands, Mr. Rose,
of the Coalport China Works, feeling that the Nantgarw trade, if
allowed to continue, would seriously affect his business, went
over to Nantgarw, and after some negotiation, made a permanent
engagement with Billingsley and Walker, and bought up from them
at once their stock, their moulds, and their receipt for the
body, and removed them and all their belongings (as he did also
those of Swansea) to COALPORT. Thus the manufacture of Nantgarw
porcelain, just as it was approaching perfection and becoming
known, was, unfortunately, at once and for ever closed.

William Billingsley remained at Coalport[30]--living in a small
cottage a short distance on the Shiffnal Road--for the rest of
his days, which, however, were but few in number. In 1827 or
1828 (I am uncertain which), this remarkable man--one of the
_most_ remarkable in the whole line of English potters, and one
to whose artistic genius the exquisite decorations of some of
the Derby and of the Worcester productions are indebted, and to
whose practical skill and life-long energies so many important
factories owed their origin--passed away in complete obscurity
and in much greater poverty than his talents deserved.

George Walker, after the death of William Billingsley, removed
with his family to America, where he founded and built a
manufactory in New Troy, which he called “Temperance Hill
Pottery,” at which he and his family were, I am enabled to add
from reliable information, working to great advantage a few
years ago, and where, I believe, they still continue.

JONATHAN WEDGWOOD, “of the Borough of Derby, China or Porcelain
Repairer or Thrower,” was employed for some time at the Derby
Works. On the 2nd of December, 1772, articles of agreement[31]
were drawn up between him and William Duesbury, by which he
was to serve Mr. Duesbury for three years “in the Arts of
Repairing or Throwing China or Porcelain Ware,” at the weekly
wages of fourteen shillings “for every whole week” he “shall
work according to the usual hours of Repairing at the said Wm
Duesbury’s Manufactory in Derby aforesaid.” In the contested
election of 1776, a John Wedgwood, son of William Wedgwood, of
St. Peter’s Parish, Derby, claimed, through apprenticeship, to
be admitted and vote as a freeman, and before the Committee of
the House of Commons, was accordingly admitted. By the registers
of St. Alkmund’s, Derby, it appears that a Jonathan Wedgwood was
married on the 12th November, 1785--thirteen years after the
date of this agreement--to Mary Stenson; and that three years
before this time, 22nd Sept. 1782, an Amy Wedgwood was married
to Abijah Tyrrell, both of that parish. The probability is that
the Jonathan Wedgwood whose agreement I have quoted was born at
Ellenborough in 1735; that he migrated to Burslem (where one of
his children was born in 1757), and afterwards to Derby; and the
Jonathan and Amy, whose marriages are noted, were his son and
daughter. His name appears as one of the workmen in 1787.

Other artists, &c., were as follows:--

JOHN ASH, a thrower and presser in 1794.

JOSEPH BANCROFT, who belonged to the old Derbyshire family of
Bancroft, of Swarkestone and elsewhere, was apprenticed at the
Derby Works, and became a proficient in painting flowers, birds,
insects, and shells. He did not remain long after the expiration
of his apprenticeship, but worked for Copelands and others, and
lastly for Minton’s, in whose employ he died.

JAMES BANFORD, of London, a clever painter, was employed from
1790 till 1795. He removed from London to Derby in the middle
of 1790, his wife, Bernice Banford, and family following him
in August of that year. He appears, from penitent letters, to
have been, like many of the other hands, addicted to drinking,
and to have been of improvident habits. In one of his letters
(Feb. 1, 1794) he says, “I cannot help informing you that I
have been dissatisfied some time at the difference of wages
between Mr. Boreman and self. I am not conceited of my work, but
every man knows what he is capable of doing, and in any line of
painting china except landscapes, I have the advantage of Mr. B.
Cannot help observing that in the landscape line, when there is
anything minute or requires neatness, my optic nerves are to be
strained for 18_s._ pr week less, and tim’d to ten hours each
day at the manufactory.”