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Antique
Collecting:
Pottery And
Porcelain
English porcelain factories
Page 2 of 5
The following period, from 1784 to 1811,
is known as Crown-Derby, when the wares
bore a mark incorporating a crown. Fine
tablewares were then a specialty, and
many had elaborate coloured and gilt
borders surrounding a carefully painted
landscape scene. A number of painters
were employed, each specializing in his
own subject.
Between 1811 and
the closing of the factory much
tableware was painted vividly in
pseudo-Japanese patterns, but some of
the earlier styles were continued.

Lund's Bristol
In 1748 a porcelain factory was started
at Bristol, where it was found possible
to make an excellent soft-paste ware
with the aid of a stone, steatite or
soapstone found in Cornwall, as one of
the ingredients. The incorporation of
soapstone in the paste produced a china
that could be potted thinly, that would
withstand contact with boiling water,
and was therefore particularly suitable
for making domestic pieces such as cups,
cream jugs, and teapots. The Bristol
factory was started by Benjamin Lund, a
brass-founder, and its wares are
referred to as Lund's Bristol to
distinguish them from those of the later
Bristol hard-paste porcelain works.
Lund's china can seldom be distinguished
from that of early Worcester, but a few
figures of Chinamen and some sauce-boats
have been found with the word 'BRISTOLL'
moulded on them in raised lettering.
Some delicately made small pieces
painted very neatly in Chinese patterns
in colours or underglaze blue are
assigned to Lund's period, but as the
factory was in being for only a short
period it is not surprising that pieces
are now rare.
Worcester
Early in 1752 the
right to use Lund's soapstone formula
was purchased by a newly constituted
company in Worcester, and the well-known
factory came into being. One of the
principal shareholders in the Worcester
company was a local physician of
eminence, Dr John Wall, and his name has
been given to the period 1752 to 1783,
during which the factory produced its
most famous output.
At first, domestic
ware with underglaze blue decoration was
the principal output, but by 1760 the
making of more ambitious pieces of high
quality, both as regards shape and
colouring, was being carried on. Shortly
before, the process of decorating by the
use of printed designs transferred to
the article, transfer-printing, had been
introduced. The finely engraved designs,
many of them adapted by Robert Hancock
from the work of French and English
artists of the time, were printed
effectively in over-glaze colours of
black, lilac or red. Soon, it was found
possible to print in underglaze blue,
and a large amount decorated in this
manner was made and sold in the next
twenty years.
About 1769, when
it is believed some of the redundant
Chelsea painters were given employment
at Worcester, a style of painting in
panels on a coloured ground was
initiated. The grounds used are a plain
dark blue, a dark blue in the form of
overlapping scales known as scale-blue,
red and yellow in the same manner, a
rich apple green, a plain yellow and a
plain sky blue. All these grounds were
enriched further with gilt patterns as
well as designs of figures in costume,
exotic birds or bouquets of flowers; a
display of them makes it clear why they
have been famous for so long, and why
they are expensive today.
For a short period
about 1770, figures were made at
Worcester, but although they are painted
in typical Worcester colours they are
stiff and unnatural in appearance and it
is assumed that they were not a success
at the time. They are very rare, and
have been identified only recently after
masquerading as the work of other
factories for nearly two hundred years.
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