Antique Collecting: Pottery And Porcelain

Antique Collecting: Pottery And Porcelain

English porcelain factories

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English porcelain is, with the exception of Plymouth, all of soft-paste, and it is important for the collector to learn to recognize this feature. Like so many difficult things, it cannot be done at once; some are able to recognize it quickly and almost by intuition, but for most it is a matter of patience and experience.

Of the factories operating before 1785, Chelsea and Worcester were the most consistent in their use of marks but quite a large proportion of their output, like that of the other makers, is unmarked. Some of the factories copied the crossed swords of Dresden, and some copied each other. After 1785, the position grew better, but there were still more unmarked pieces than marked.

One feature of decorating should be mentioned: the practice of factories selling their ware, white and glazed, to men with decorating establishments of their own. This was not at all uncommon in the early days of porcelain-maicing, and the name of James Giles is among the best known of those doing this type of work. William Duesbury, later owner of the Derby factory and purchaser of both Chelsea and Bow, began his career similarly. There was a further outburst of activity of this nature early in the nineteenth century, when Nantgarw porcelain was painted in London by Randall and Robins. Men who worked in this way are known as 'outside decorators', because their workshops were unconnected with a particular factory.

Chelsea

A few cream jugs with the word 'Chelsea', a triangle and the date 1745 incised in the clay under the base before it was fired have been preserved. They prove that the works was in being by that year, and it has been argued that because the jugs are so well finished whoever made them had practised his skill for some time prior. A number of other pieces also marked with a scratched triangle are known, and to about the same early date belongs a mark in underglaze blue in the form of a trident intersecting a crown. Most of these wares were unpainted but glazed, and some show that French porcelain of the period was probably their inspiration as regards both the modelling and the glassy body.

I. Incised in the paste before it hardened, but has been faked. 1745-50

2. An anchor raised on an oval mound, sometimes with the anchor painted red. 1749-52

3. Painted in red; sometimes on the base of a piece, but often among the surface decoration of figures. 1752-58 An anchor in gold was used from 1758-69.

From 1749, the factory was managed by Nicholas Sprimont, originally a silversmith rom Liege, and under his direction it reached great heights. The most important period lasted from 1752 until 1758, and includes three sales by auction of which the catalogues of two have survived. By means of these, many of the articles then made have been identified, and a clear idea gained of the diversity of pieces current. The most significant are the figures, many after Dresden but many original, and having ample individuality in modelling and colouring. By this time, most of the wares were painted at the factory, and the work of several artists with recognizably personal styles has been recorded. From the mark that was used this is known as the Red Anchor period, and W. B. Honey suggested that Chelsea was then responsible for 'perhaps the most beautiful porcelain material ever made'.

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