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Antique Collecting: Pottery And Porcelain

English porcelain factories

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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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