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CHELSEA PORCELAIN 
 

 
 
 
Digitized by the Internet Archive 
 in 2016 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/chelseaporcelainOOking 
 
FRONTISPIECE. 
 
 Clock with case of porcelain, claret- 
 coloured ground and figures in the 
 style of Boucher. One of a pair. H. 
 i6f ins. (See page 54.) 
 
 In the Royal Collection at Buckingham Palace. 
 

 
 
 
 
 
 
 
CHELSEA PORCELAIN 
 BY WILLIAM KING 
 
 OF THE VICTORIA AND ALBERT MUSEUM 
 
 WITH ONE HUNDRED AND SEVENTY- 
 ONE ILLUSTRATIONS OF WHICH SEVEN 
 ARE IN COLOUR 
 
 NEW YORK: 
 
 CHARLES SCRIBNER’S SONS 
 
 1922 
 
PRINTED AND MADE IN GREAT BRITAIN 
 
DEDICATED 
 TO MY MOTHER 
 

 
 
INTRODUCTION 
 
 The following pages embody the first attempt yet published at a 
 monograph dealing with the porcelain ol Chelsea, Our knowledge of 
 early English porcelain is still very much in the experimental stage, in 
 spite of the time that has been devoted to its study in the last hundred 
 years. I make no apology for the somewhat cursory treatment of Derby- 
 Chelsea porcelain, which belongs more rightly to the historian of the later 
 Derby factory. Little space has been devoted to technical considerations 
 or to the differences in style between Chelsea and the other English 
 factories ; such questions are a matter of personal experience and contact, 
 which cannot properly be learnt from books. I wish to acknowledge my 
 indebtedness to the various collectors who have helped me by kindly 
 allowing me to reproduce pieces in their possession, and similarly to Mr, 
 R. L. Hobson and Mr. F. A. Harman Oates for granting facilities in con- 
 nexion with specimens exhibited in the British and London Museums. 
 The authorities of the Victoria and Albert Museum have been equally kind 
 and have further permitted me to reproduce some analyses of porcelain 
 made by Mr. Herbert Eccles and shortly to be published by the Museum. 
 A special debt of gratitude is owed to Mrs. Radford for materially increas- 
 ing the value of this book by generously allowing me to reprint as an 
 appendix the unique copy of the 1755 sale catalogue in her possession. 
 Dr. Bellamy Gardner has very kindly given me free access to unpublished 
 documents in his possession. And finally I must thank Mr. Bernard 
 Rackham, of the Victoria and Albert Museum, for suggesting the inception 
 of this book and for his help and encouragement throughout its progress, 
 as well as for his kindness in correcting proofs and seeing the work 
 through the Press during my absence from England. 
 
 vii 
 
 William King. 
 

 
 
CONTENTS 
 
 Page 
 
 INTRODUCTION vii 
 
 LIST OF ILLUSTRATIONS xi 
 
 I THE INTERNATIONAL SITUATION . 3 
 
 II ENGLISH INCUNABULA. CHELSEA TRIANGLE PERIOD IS 
 
 III RAISED ANCHOR AND RED ANCHOR 31 
 
 IV GOLD ANCHOR 47 
 
 V DERBY-CHELSEA AND LATER 61 
 
 APPENDIX. THE SALE CATALOGUE OF 1755 69 
 
 SELECTED BIBLIOGRAPHY 131 
 
 INDEX 133 
 
 IX 
 
LIST OF ILLUSTRATIONS 
 
 CLOCK WITH CASE OF PORCELAIN Frontispiece 
 
 In the Royal Collection at Buckingham Palace. 
 
 The following plate is placed as frontispiece to chapter I : Plate 
 
 DISH PAINTED IN THE STYLE OF KAKIEMON i 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 The following plate is placed as frontispiece to chapter II : 
 
 CHINESE GROUP AFTER BOUCHER 2 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 The following plate is placed as frontispiece to chapter III : 
 
 MAN AND WOMAN WITH BASKET 3 
 
 In the collection of Lord and Lady Fisher. 
 
 The following plate is placed as frontispiece to chapter IV : 
 
 THE ROMAN CHARITY 4 
 
 In the collection of Mrs. Radford. 
 
 The following plate is placed as frontispiece to chapter V : 
 
 JASON AND MEDEA 5 
 
 In the collection of Mr. F. E. Sidney. 
 
 The following plates are placed at the end of the hook : — 
 
 SALT-CELLAR DATED 1750 6 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 THREE “ GOAT AND BEE ” CREAM-JUGS 6 
 
 In the collection of Lord and Lady Fisher. 
 
 COFFEE-POT 7 
 
 In a private collection. 
 
 CANE HANDLE 8 
 
 In the collection of Mrs. Radford. 
 
 BRITANNIA BEMOANING THE DEATH OF FREDERICK PRINCE OF WALES . . 8 
 
 In the collection of Mrs. Radford. 
 
 TEAPOT— CHINAMAN RIDING A PARROT 9 
 
 In the collection of Mr. Wallace Elliot. 
 
 GROUP OF LOVERS 10 
 
 In the Franks Collection, British Museum. 
 
 FIGURE OF A GIRL 11 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 XI 
 
LIST OF ILLUSTRATIONS 
 
 Plate 
 
 DANCING GIRL AND BOY WITH HURDY-GURDY n 
 
 In the Victoria and Albert Museum. 
 
 FIGURE OF KUAN-YIN 
 
 In the collection of Mrs. Radford. 
 
 CUP WITH PRUNUS BLOSSOM IN RELIEF 12 
 
 In a private collection. 
 
 CHINESE MUSICIAN 13 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 THE DOCTOR, FROM A SET OF ITALIAN FIGURES 13 
 
 In the collection of Mrs. Radford. 
 
 PAIR OF PHEASANTS 14 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 GOOSE, PEACOCK AND BLACKCAP! 14 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 PAIR OF JAYS 14 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 GEORGE III AS PRINCE OF WALES 15 
 
 In the collection of Mrs. Radford. 
 
 WINTER 16 
 
 In the collection of Mr. F. E. Sidney. 
 
 HURDY-GURDY PLAYER 17 
 
 In the collection of Mr. C. H. B. Caldwell. 
 
 CHINESE GROUP AND FIGURE 18 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 “ LES DELICES DE L’ENFANCE ” (engraving after Boucher) ...... 18 
 
 TEAPOT OF SILVER SHAPE 19 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 LEAF-SHAPED DISH 19 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 CREAM-JUG WITH KAKIEMON DECORATION 20 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 TWO CUPS AND SAUCER 20 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 CREAM-JUG 20 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 CUP AND SAUCER, ORIENTAL DECORATION 21 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 PLATE IMITATING IMARI PORCELAIN 21 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 BARREL-SHAPED MUG 22 
 
 In the collection of Lieut.-Col. G. B. Croft Lyons. 
 
 PLATE PAINTED IN IMITATION OF FAMTLLE ROSE 22 
 
 In the collection of Mr. Herbert Allen. 
 
 CANDLESTICK 23 
 
 In the collection of Lieut.-Col. G. B. Croft Lyons. 
 
 PLATE WITH iESOP’S FABLE 23 
 
 In the Schreiber Collection, Victoria and Albert Museum. 
 
 xii 
 
LIST OF ILLUSTRATIONS 
 
 Plate 
 
 DISH PAINTED IN MEISSEN STYLE 24 
 
 In the Victoria and Albert Museum. 
 
 DISH WITH LANDSCAPE IN MEISSEN STYLE 25 
 
 In the collection of Lieut.-Col. G. B. Croft Lyons. 
 
 DISH WITH HARBOUR SCENE IN MEISSEN STYLE 25 
 
 In the collection of Mr. Herbert Allen. 
 
 TUREEN IN THE SHAPE OF ASPARAGUS BUNDLE 26 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 TUREEN IN THE SHAPE OF A RABBIT 26 
 
 In the Schreiber Collection, Victoria and Albert Museum. 
 
 PLATE, FRUIT IN COLOURS 27 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 PLATE, FLOWERS IN COLOURS 27 
 
 In the Victoria and Albert Museum ( Jermyn Street Collection). 
 
 SWEETMEAT TRAY CENTREPIECE 28 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 . VASE 29 
 
 In the Franks Collection, British Museum. 
 
 PLATE PAINTED IN UNDERGLAZE BLUE 30 
 
 In the collection of Mr. E. F. Broderip. 
 
 BASKET PAINTED IN UNDERGLAZE BLUE 30 
 
 In the collection of Mr. E. F. Broderip. 
 
 RATCATCHER AND PIERROT 31 
 
 In the collection of Lord and Lady Fisher. 
 
 HURDY-GURDY PLAYER AND DANCING PEASANT 32 
 
 In the collection of Lord and Lady Fisher. 
 
 PEDLAR AND MAP-SELLER 33 
 
 In the collection of Mrs. Radford. 
 
 FISHERMAN WITH BASKET 34 
 
 In the collection of Lord and Lady Fisher. 
 
 RIVER GOD 35 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 RIVER GODDESS 36 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 CERES ...... .......... 37 
 
 In the collection of Lord and Lady Fisher. 
 
 MAYPOLE GROUP 38 
 
 In the collection of Lord and Lady Fisher. 
 
 MADONNA AND CHILD 39 
 
 In a private collection. 
 
 FIGURES WITH FRUIT 40 
 
 In a private collection. 
 
 MILKMAIDS AND BOY 4 x 
 
 In a private collection. 
 
 PERSEUS AND ANDROMEDA 42 
 
 In the collection of Lord and Lady Fisher. 
 
 xiii 
 
LIST OF ILLUSTRATIONS 
 
 Plate 
 
 SIX SCENT-BOTTLES 43 
 
 In the collection of Mr. R. W. M. Walker. 
 
 FOUR SCENT-BOTTLES 44 
 
 In the collection of Mr. R. W. M. Walker. 
 
 SIX SCENT-BOTTLES 45 
 
 In the collection of Mr. R. W. M. Walker. 
 
 FOUR PATCH-BOXES AND A SCENT-BOTTLE 46 
 
 In the collection of Mr. R. W. M. Walker. 
 
 THREE PATCH-BOXES 46 
 
 In the collection of Mr. R. W. M. Walker. 
 
 THREE TOY FIGURES 47 
 
 In the collection of Mr. R. W. M. Walker. 
 
 EIGHT SEALS 47 
 
 In the collection of Mr. R. W. M. Walker. 
 
 FOUR FIGURES OF GARDENERS 47 
 
 In the collection of Mr. R. W. M. Walker. 
 
 EIGHT NEEDLE-CASES 48 
 
 In the collection of Mr. R. W. M. Walker. 
 
 THREE CUPS AND SAUCERS 49 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 A PLATE AND TWO CUPS AND A SAUCER 50 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 TWO CUPS 51 
 
 In the collection of Mr. R. W. M. Walker. 
 
 TEAPOT AND SUGAR-BASIN AND CREAM-JUG (with Chinese subjects) . ... 51 
 
 In the Victoria and Albert Museum. 
 
 BOWL WITH VIEW OF THE SITE OF CHELSEA POTTERY 52 
 
 In the collection of Mr. R. W. M. Walker. 
 
 BEAKER S3 
 
 In the collection of Lieut. -Col. G. B. Croft Lyons. 
 
 COVERED PORRINGER WITH STAND 53 
 
 In the collection of Lieut. -Col. G. B. Croft Lyons. 
 
 VASE 54 
 
 In the collection of Lieut.-Col. G. B. Croft Lyons. 
 
 SET OF THREE VASES 54 
 
 In the collection of Lieut.-Col. G. B. Croft Lyons. 
 
 VASE OF SfcVRES FORM 55 
 
 In the collection of Lieut.-Col. G. B. Croft Lyons. 
 
 BOTTLE PAINTED IN IMITATION OF CHINESE ORIGINAL 55 
 
 In the collection of Mrs. Radford. 
 
 VASE WITH CUPIDS IN THE STYLE OF BOUCHER 56 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 DERBY-CHELSEA VASE 56 
 
 In the collection of Lieut.-Col. G. B. Croft Lyons. 
 
 ONE OF THE “ DUDLEY VASES ” 57 
 
 In the collection of Lord Bearsted. 
 
 XIV 
 
LIST OF ILLUSTRATIONS 
 
 Plate 
 
 TWO OF THE “ DUDLEY VASES ” 58 
 
 In the collection of Lord Bearsted. 
 
 CUPIDS AS DRUMMER AND VIVANDIER 59 
 
 In the collection of Lord and Lady Fisher . 
 
 CUPID WITH BAGPIPES AND MARIONETTES 59 
 
 In a private collection. 
 
 PAIR OF CANDLESTICKS 59 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 APOLLO AND BACCHUS 60 
 
 In a private collection. 
 
 LORD CAMDEN 61 
 
 In the collection of Lord and Lady Fisher. 
 
 URANIA AND THALIA 62 
 
 In the collection of Lord Bearsted. 
 
 UNA OR BRITANNIA 63 
 
 In the collection of Mr. F. E. Sidney. 
 
 PIETA 64 
 
 In the collection of Lord Clifford of Chudleigh 
 
 DERBY-CHELSEA TUREEN 65 
 
 In the collection of Lieui.-Col. G. B. Croft Lyons. 
 
 DERBY-CHELSEA CUP AND SAUCER 65 
 
 In the collection of Dr. and Mrs. Bellamy Gardner. 
 
 DERBY-CHELSEA TEAPOT 66 
 
 In the Victoria and Albert Museum. 
 
 DERBY-CHELSEA PLATE 66 
 
 In the collection of Lieut.-Col. G. B. Croft Lyons. 
 
 DERBY-CHELSEA SUGAR-BASIN 67 
 
 In a private collection. 
 
 FIGURE OF GEORGE III 68 
 
 In the Franks Collection, British Museum. 
 
 MARKS 69 
 
 XV 
 

 
 
THE INTERNATIONAL SITUATION 
 

 
 
 
 

 
 
PLATE i. 
 
 Plate painted in the style ot Kakiemon. 
 
 D. 9i ins. (See page 5.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
Chapter I 
 
 THE INTERNATIONAL SITUATION 
 
 Porcelain was discovered by the Chinese at some period during 
 the first millennium of the Christian era ; it is a compound of two natural 
 minerals, kaolin (china-clay) and petuntse (china- stone). The former 
 remains unaltered in the heat of the firing, while the latter fuses at a 
 high temperature and melts into a transparent glass ; in Chinese phrase- 
 ology the one is the ** bones/' the other the ** flesh ” of porcelain. During 
 the Middle Ages this material, mainly of the type decorated with paint- 
 ing in underglaze blue, was exported to some extent to Europe, and the 
 rare examples that exist with sixteenth-century European silver mounts 
 testify to the high value that was set upon it. The attempts of potters 
 in Europe to imitate this precious substance resulted in the so-called 
 44 Medici porcelain ” that was made at Florence during a few years at 
 the close of the sixteenth century. This ware was not a true porcelain 
 but an artificial product, very similar in character to the later soft paste 
 porcelains of France and England. The Chinese ingredients were not 
 at this time known in Europe, and potters in this continent were forced 
 to make use of those at their command. They succeeded in producing 
 an artificial glassy material known as 44 frit," which fused at a high tem- 
 perature and combined with infusible clay to form a substance translucent 
 indeed but differing essentially from the true or hard -paste porcelain 
 of the East. Soft paste is fired at a much lower temperature, it is liable 
 to crack in hot water and offers no resistance to a steel knife, which will 
 make no impression upon true porcelain. In spite of its greater fragility, 
 soft paste has an undeniable charm of its own, and in many eyes it even 
 has the advantage over the hard pastes of China and Germany in its 
 creamy substance and soft glaze, which when painted incorporates the 
 enamel colours with itself in an individual and beautiful way. 
 
 For about a century after the Medici experiment no more porcelain 
 was made in Europe, and then the secret of soft paste was rediscovered 
 in France in 1673 by Edme Poterat of Rouen. The productions of this 
 factory are of great rarity, but its establishment was succeeded during 
 the ensuing century by that of a number of others. The most important 
 
 3 
 
CHELSEA PORCELAIN 
 
 of these were Saint-Cloud, founded about 1695, Chantilly in 1725, 
 Mennecy in 1734, and Vincennes, the predecessor of Sevres, in 1738. 
 
 To Germany belongs the honour of being the pioneer of hard-paste 
 porcelain in Europe. Johann Friedrich Bottger, a youthful alchemist, 
 was imprisoned in a tower at Dresden for the purpose of discovering how 
 to make gold. He was unsuccessful in this quest, but in 1709 he did 
 discover how to make true porcelain. This led to the foundation of the 
 famous factory, still in existence, at Meissen, near Dresden. The secret 
 was jealously but not effectively guarded, and during the succeeding 
 years runaways from Meissen spread it abroad. The next half-century 
 saw the establishment of numerous rival ventures, the most important 
 being those of Vienna, Hochst, Fiirstenberg, Frankenthal, Nymphen- 
 burg and Ludwigsburg. 
 
 The Chelsea factory was founded in or shortly before 1745, but it 
 is not until its re-establishment about 1749 by one Nicholas Sprimont 
 that we find it noticeably affected by outside influences. After this 
 year come three distinctive waves — the Oriental, the Meissen, and the 
 Sevres. 
 
 Chinese porcelain seems to have had little direct influence upon 
 Chelsea. The export to England of “ blue and white ” china has been 
 continuous since the sixteenth century, but Chelsea appears to have 
 produced a comparatively small quantity of this type, and such specimens 
 as have been identified are curiously un- Chinese in feeling. The gorgeous 
 famille verte of K'ang-hsi's reign (1662-1722) and famille rose of the later 
 eighteenth century have had almost as little effect upon Chelsea artists. 
 A few rare imitations are, however, found. The plate reproduced on 
 Plate 22, Fig. 2, is inspired by an original of famille rose type, while the 
 bottle on Plate 55, Fig. 2, is one of a pair, very closely imitating a form 
 of decoration, in coral red and gilding, that originated in the reign of 
 K'ang-hsi. The so-called blanc de Chine porcelain that was produced in 
 quantity throughout the seventeenth and eighteenth centuries at Te-hua 
 in Fu-chien province, is the prototype of the two pieces on Plate 12 ; of 
 these the Kuan-yin figure is exceedingly rare, while the little cup belongs 
 to a well-known family decorated with prunus-blossom in relief, which 
 was more extensively imitated at Bow. 
 
 Much stronger is the influence of Japan. Japanese porcelain is so 
 little considered by modern collectors that it comes as a shock to realise 
 the enormous extent to which it was reproduced in the European factories. 
 The ware in question is the so-called Imari porcelain, really made at 
 
 4 
 
THE INTERNATIONAL SITUATION 
 
 Arita in Hizen province and gaining its name from the port of Imari, 
 whence it made its way to Europe. The manufacture appears to have 
 started about the middle of the seventeenth century, and the designs with 
 which we are concerned are those generally associated with the name of 
 the potter Kakiemon. The patterns are slight, a spray of flowers, a bird 
 or beast beside a tree, sometimes a figure-subject, enclosed within a diaper 
 border or simply edged with brown. They are executed with a palette 
 of delicate colours ; the predominating tone is red with a little gilding, 
 but pale blue, bluish green and yellow are also found. The contrast 
 between the exquisitely painted decoration and large expanse of cool 
 white background is effective enough, as may be seen from the specimens 
 here reproduced. On Plate i is reproduced in colours a dish of the 
 type referred to in the 1755 catalogue as u tyger and rock " ; other pieces 
 are shown on Plates 20 and 21. Some idea of the numerous quantity of 
 Imari patterns in use at Chelsea may be gained from this catalogue, which 
 includes “ old japan pattern/' ** tyger and wheatsheaf," ** wheatsheaf 
 and pheasant," “ pheasant and border," ** old japan pattern and red 
 pannel," 44 nurl'd partridge pattern " and 44 lady pattern." The majority 
 of these are more or less traceable, but the following are more puzzling : 
 44 fine old pattern," 44 flaming tortoise," 44 Chinese arms," 44 old stork 
 pattern " and 44 Hob in the well." Some of these may well be of Imari 
 character, but none seems to correspond very definitely with anything 
 known to be of early date. The 44 Chinese arms " may possibly refer to 
 some attempt at emulation of the armorial porcelain made in such 
 quantities in China for the European market and painted over there with 
 heraldic designs supplied by the European client ; this family was at 
 one time supposed to be of Lowestoft origin, and is still popularly known 
 as 44 Chinese Lowestoft." “ Hob in the well " presents a curious problem. 
 This is the title of a farce by Cibber, adapted in 1715 from Dogget's 
 Country Wake and so popular in its day as to have inspired a series of 
 engravings by John Laguerre. The rustic humours of these works seem 
 to have no correspondence with Chelsea porcelain of this date, and it 
 seems more likely that it may have been a nickname applied to some 
 particular pattern and taken from the title of a play then in vogue. It 
 is possible that the pattern in question may be that, familiar enough on 
 Imari wares and on Meissen imitations, which depicts the story of the 
 boy who saved his playmate's life by breaking the fishbowl into which he 
 had fallen ; speculation is, however, rather hazardous, for I know of no 
 Chelsea version of this theme. 
 
 5 
 
CHELSEA PORCELAIN 
 
 Another type of Imari porcelain, made for export, is decorated chiefly 
 in underglaze blue, red and gilding. This ware is of a coarser type, and 
 in consequence the pleasing contrast of white background and sparse 
 design is abandoned in favour of a pattern covering the whole surface of 
 the ware with motives, generally floral, derived from rich Oriental textiles, 
 A fine Chelsea dish of this family is illustrated on Plate 21, So popular 
 did the Japanese type become that — a remarkable feature — it was even 
 imitated in China, and the “ Chinese Imari ” of the reign of K'ang-hsi is 
 well-known to collectors of Oriental porcelain. Here, as in many of the 
 Japanese pieces, the blue, red and gold are usually heightened by touches 
 of the three famille verte enamels, green, yellow and aubergine, A Derby- 
 Chelsea imitation of this kind of ware may be seen on Plate 66. 
 
 These Imari patterns, more particularly the Kakiemon variety, are 
 found extensively on early European porcelain, especially at Meissen in 
 Germany, Chantilly in France, and Bow, Chelsea and Worcester in England. 
 The influence of Meissen upon Chelsea is so strong throughout the 
 seventeen-fifties that it is probable that some of the Chelsea Imari pieces 
 are imitated from Meissen copies rather than from their Japanese originals. 
 
 The earliest types of Meissen porcelain made between 1709 and the 
 premature death of Bdttger in 1719 are simply decorated in the baroque 
 style ; they had little influence on the porcelain of Chelsea and need not 
 be discussed in detail. But there is one innovation that deserves more 
 than a passing reference, and that is figure sculpture. It is not strictly 
 correct to speak of this as a European invention, for we find Chinese 
 porcelain figures at least as early as the Ming dynasty (1368-1643). On 
 the other hand, this branch of ceramic art was developed in China so little 
 and along such different lines that it is not unreasonable to give Bottger 
 the credit for what is perhaps the most important European contribution 
 to the history of porcelain. For the prototypes of these figures we must 
 probably look to the German ivory statuettes of the period. We find 
 them first at Meissen in red stone-ware in Bottger's pre-porcelain days ; 
 a set of six Italian comedy figures in the Herzogliches Museum at Gotha 
 may be mentioned as embodying what afterwards became a very favourite 
 subject with porcelain modellers. (This set is illustrated by Ernst 
 Zimmermann, Die Erfindung und Friihzeit des Meissner Porzellans , Figs. 
 56 and 57.) The origins of the Commedia delVArte , as it is called, are 
 lost in antiquity, but its personages, Harlequin, Columbine, Pantaloon, 
 Scaramuccia, Bajazzo and the rest, are familiar enough as the ancestors 
 of the characters in our own u Harlequinade/' Other figures of various 
 
 6 
 
THE INTERNATIONAL SITUATION 
 
 kinds were turned out at Meissen during the ensuing years, but the history 
 of Meissen figure-sculpture does not properly begin until 1731, the year 
 of the advent to the factory of Johann Joachim Handler. 
 
 The importance of Handler's contribution to this highly specialised 
 branch of ceramic art cannot be overestimated. During his long period 
 of work at Meissen, from 1731 until his death in 1775, he created 
 innumerable models of figures and groups, besides training successive 
 bands of apprentices to produce individual work in no degree unworthy 
 of their master ; we are less concerned at the moment with the countless 
 improvements that he introduced in the technical manufacture of table 
 wares and with the various shapes which he devised for vases and other 
 objects of ornament and utility. It must not, however, be overlooked 
 that the dividing line between use and ornament is not to be easily drawn. 
 Many of the figures are intended by nature for other destinations than 
 the china-cabinet, whether they are fitted as candlesticks, salt-cellars 
 or sweetmeat-trays, or whether they are meant to form parts of the elaborate 
 dinner-table decorations, whose arrangement for the festivities of an 
 eighteenth-century German court was conducted with all the solemnity 
 and ceremonial splendour proper to such occasions. The following 
 extract from the Public Advertiser of March 1, 1756 (quoted by Read, 
 postscript, p. 3), gives some idea of the methods in vogue at this period. 
 Ford is advertising a sale, mainly of porcelain, and announces ** several 
 very curious Desarts, used at the most elegant and great Entertainments 
 and now divided into proper Lots : Consisting of Domes, Temples, 
 Triumphal Arches, Epargnes, &c., embellished with Trees, Arbors, 
 Flowers, China Figures, Vauses, Girandols, Candlesticks, Branches, and 
 other Ornaments used at Desarts, with several sets of China Dishes, 
 Plates and Tureens." (See also on this subject Adolf Briining, 
 Schauessen und Porzellanplastik in Kunst und Kunsthandwerk, 1906, vol. 
 vii, p. 130). 
 
 Handler's earliest creations appear to have been birds and beasts, 
 together with religious figures and groups. Soon afterwards he enlarged 
 his production and began the long series that was to win him his miniature 
 immortality. It is to about 1740 that we can date the introduction at 
 Meissen of the rococo style, which had made its appearance in France 
 some eighteen years previously. Boldness of modelling is succeeded by 
 lightness and gracefulness, a balance which owes nothing to literal 
 symmetry and as well a very pretty aptitude for humorously rallying 
 the foibles of the day. The figures and groups of this period are sometimes 
 
 7 
 
CHELSEA PORCELAIN 
 
 mythological, sometimes drawn from contemporary life, whether at home 
 or abroad. Particularly charming are the figures, single or grouped, 
 of Cupids or playing children, often embodying a witty criticism of the 
 spirit of the age. The single figures of Cupids were extensively copied 
 at Chelsea during the gold-anchor period (see Plate 59) ; they seem to 
 have originated there at least as early as 1755, to judge from the sale 
 catalogue of that year. The frequent entry in that document of ** love 
 in disguise, for desart,” is an incidental proof of the extensive use of 
 Chelsea figures for dinner-table decoration. Other series copied by 
 Sprimont were the Italian Comedy figures already referred to and the 
 Affenkapelle or “ monkey band/' modelled originally in the early 'forties 
 as caricatures of the Saxon Court Orchestra at Dresden (cf. Schreiber 
 Collection, cat. no. 172 and pi. 18). ** A set of five figures of monkies in 
 different attitudes playing on musick ” is mentioned in the 1756 catalogue, 
 and as no such objects are recorded in 1755 we may reasonably date the 
 first appearance at Chelsea of these models to the later year. The singeries 
 of the early eighteenth century are generally an unsympathetic phenomenon 
 to modern eyes, and we need not regret that Sprimont forbore to develop 
 this idea further. Favourite subjects again at Meissen were the four 
 Seasons represented by mythological figures. Spring is typified by 
 Flora with garlands of flowers, Summer by Ceres with a sheaf of corn, 
 Autumn by Bacchus with a bunch of grapes, and Winter by Saturn warming 
 himself at a fire. Often too the Seasons are happily depicted as children 
 with the same attributes. The extensive series of men and women of 
 foreign nations was probably inaugurated by some figures of Chinese 
 of grotesque Oriental type. This stage lasted only momentarily, and 
 the chinoiseries of later Meissen are curiously like eighteenth-century 
 German ladies dressed up in Oriental clothes, a very different story from 
 the young woman in the engraving after Boucher on Plate 18 or the 
 neighbouring version in Chelsea porcelain. 
 
 The earliest types produced at Meissen seem on the whole to have 
 had little influence in England, and it is not until about the year 1725, 
 when painting in the Imari style was first introduced at Meissen, that 
 its decoration begins to be of interest in the present connexion. The 
 next few years saw a further innovation, this time derived from China, 
 the introduction of ground colours with panels in reserve. In Chinese 
 porcelain of the reign of K'ang-hsi it is frequent to find specimens with 
 a ground of “ powder blue ” — a bright underglase blue, whose attractively 
 uneven texture is produced by spraying through a tube — overlaid with 
 
 8 
 
THE INTERNATIONAL SITUATION 
 
 gilding and broken by panels of various shapes, in which floral or other 
 designs are painted in underglaze blue or enamel colours of the famille 
 verte . At Meissen this idea was extended to other coloured backgrounds, 
 so that as early as 1725 we find pieces with a yellow ground, broken by 
 panels in reserve, containing painting in the Imari style* During the 
 next lustre the range of ground colours is widened to include various 
 shades of blue, grey, purple, green and red* By 1732 the painting was 
 not confined to reserved panels, but could be brought off on the ground 
 colour and even on gold, in the style later adopted at Chelsea, of which 
 a specimen appears on Plate 51, Fig. 1. Very soon the taste for Oriental 
 painting begins to wane ; models and drawings are supplied by Parisian 
 and other artists, including Meissonnier, who had been instrumental in 
 the introduction of the rococo style into France* The panels of the 
 seventeen-thirties are filled with pastoral or society subjects after Watteau 
 and Boucher, with harbour scenes, battles, landscapes or hunting episodes. 
 Gradually it is found possible to dispense with the ground colours 
 altogether and these pastoral or other subjects are painted on a plain 
 white background. Sometimes they are painted in monochrome (the 
 so-called camaieu ), generally green or crimson. This type of painting 
 was imitated at Chelsea (see Plate 25). Another popular form of decoration 
 at this period are the borders of relief moulding commonly found on 
 plates and dishes ; the number of moulds employed was very great ; a 
 list of the more important varieties with descriptions and illustrations is 
 given in the Meissen Festive Publication , p. 29. An example of this type 
 in Chelsea porcelain appears on Plate 24. During the 'thirties a more 
 naturalistic kind of flower-painting comes into being. The pseudo- 
 Oriental flowers of the previous years are generally known as Indianische 
 Blumen ; the similar expression, “ India plants," of the Chelsea catalogues 
 reminds us how little popular opinion at this time cared to discriminate 
 between the productions of one Oriental state and those of another. The 
 fact that Chinese porcelain was largely exported through the medium of 
 the East India Company suffices to account for the persistence of this term. 
 These Indianische Blumen are superseded by the so-called Deutsche Blumen f 
 scattered over the porcelain in graceful haphazard little sprays. As the 
 years advance, they gradually encroach more and more upon the surface 
 of the porcelain ; a similar tendency will be noticed at Chelsea. So too 
 in the domain of bird-painting the gorgeous Fantasievogel or ** exotic 
 birds " of the earlier days are succeeded by recognisable birds with natural 
 colouring. 
 
 9 
 
CHELSEA PORCELAIN 
 
 With the advent of the gold anchor mark the influence of Meissen is 
 superseded by that of Sevres. This factory was founded at Vincennes 
 in 1738, but it was not until the close of the 'forties that it began to be 
 productive on any large scale. At first by far the largest proportion of 
 its output was made up of porcelain flowers. Following a fashion equally 
 popular at Meissen, these flowers were naturalistically modelled and were 
 used for mounting on ormolu stems, either to stand in vases or to serve 
 as the frame for a figure, a candlestick or a clock. It seems that this 
 fashion found its way also to Chelsea, though owing to the fragile nature 
 of these little objects, we are without exact documentation as to the quality 
 of the flowers produced in this country. An advertisement published by 
 Franks {Archeological Journal , vol. xix., p. 346), shows a certain Hughes 
 announcing on May 2, 1755, the u greatest choice of Branches with the 
 best Flowers, such as were on the Chandelier at the last Sale ; and upward 
 of three thousand of those Flowers to be sold by themselves so that Ladies 
 or Gentlemen may make use of them in Grottos, Branches, Epargnes, 
 Flower-pots, &c., agreeable to their own taste." The sale in question is 
 hat of which the catalogue is printed as an appendix to this volume, and 
 the chandelier is the “ large and magnificent lustre beautifully ornamented 
 with figures and curious flowers in a superb taste " of p. 129. Similar 
 too are the sets of seven jars and beakers of pp. 122 and 130, where the 
 beakers are specified as being ** filled with flowers after nature " and 
 “ richly fill'd with curious flowers." A set of the same kind, the beakers 
 “ filled with sprigs of flowers," is mentioned in the 1756 catalogue. An 
 early Chelsea figure, which may have been intended for embellishment 
 in this way, is referred to on p. 23. 
 
 The earliest types of Vincennes decoration have little reference to 
 our theme, and it is not until we get to the discovery of the various ground 
 colours that the question of influence arises. The first to appear was 
 the rich gros bleu , which was subsequently abandoned in favour of the 
 more brilliant bleu de roi with its inevitable and elaborate diaper patterns 
 in gilding. This appeared about 1750 and was followed by turquoise-blue 
 in 1752 and the various greens and the lovely jaune jonquille very soon 
 after. In 1756 the factory moved to Sevres, and in 1757 was discovered 
 the rose Pompadour . For some reason this colour is generally known 
 in England as rose du Barry, but the name is highly incorrect ; Madame 
 du Barry never came to court until 1769, whereas after the death of Madame 
 de Pompadour in 1764 this colour seems virtually to have fallen into 
 disuse. It must have been in attempting to imitate it that Chelsea hit 
 
 10 
 
THE INTERNATIONAL SITUATION 
 
 upon the crimson or claret- colour that is so distinctive a feature of the 
 gold-anchor period and one which has never been reproduced elsewhere* 
 The famous Chelsea mazarine blue, with its uneven, pulsating tone, is a 
 reminiscence of the gros bleu of Vincennes, and the pea-green, turquoise- 
 blue and yellow were all reproduced at Chelsea after Sevres originals. 
 Mr. William Burton (Porcelain, 1906, p. 231) is surely mistaken in seeing 
 in the name vert anglais an indication of Sevres borrowing a colour from 
 Chelsea. 
 
 During this period the Sevres types of decoration are closely copied 
 at Chelsea. The rich ground of the elaborate rococo vases is covered 
 with intricately chased gilding ; on it are reserved panels painted with 
 flowers, birds or figure-subjects. The flowers are more naturalistic 
 than ever, the birds are sometimes treated in that spirit, sometimes they 
 are of the exotic variety, already abandoned once at Chelsea in obedience 
 to the dictates of Meissen. The figure-subjects are of every conceivable 
 kind, mythological, gallant, pastoral, Chinese ; often they are derived 
 from engravings after such artists as Boucher, Rubens, Teniers and 
 Berghem. 
 
 The figure-modelling of the seventeen-sixties at Chelsea is notably 
 original. The influence of Meissen is no longer strong, and there is no 
 observable stimulus from Sevres. The figure-sculpture of Sevres is 
 confined during this period to the unglazed ** biscuit ” porcelain, which 
 does not seem to have found root in England until the Derby- Chelsea 
 period. By this time the healthy exuberance of the Louis Quinze rococo 
 spirit has been superseded by the pseudo-classicism of the age of Louis 
 Seize, and in England Boucher has to yield his place to Angelica Kauffmann. 
 
 Some previous writers have endeavoured to postulate a connexion 
 between Chelsea and Venice, on the ground that the anchor mark was 
 used at both places. It was, but at Venice it does not seem to have come 
 into being until 1756, which is too late for any possibility of influence on 
 Chelsea. The anchors, besides, are completely different in form. 
 Incidentally it is never a wise thing to speculate upon the meaning of 
 porcelain marks, except where this is obvious, heraldically or otherwise. 
 
 BIBLIOGRAPHICAL NOTE 
 
 To those who wish to study in greater detail the development of the factories 
 mentioned in this chapter the following works may be recommended : — 
 
 Chinese porcelain : 
 
 Stephen W. Bushell, Chinese Art, vol. ii. Second edition, London, 1910. 
 
 R. L. Hobson, Chinese Pottery and Porcelain. London, 1915. 
 
 II 
 
CHELSEA PORCELAIN 
 
 Japanese porcelain : 
 
 Capt. F. Brinkley, Japan and China, vol. viii. London, 1904. 
 
 R. L. Hobson, Worcester Porcelain. London, 1910. 
 
 Meissen : 
 
 Karl Berling, Das Meissner Porzellan und seine Geschichte. Leipzig, 1900. 
 Willy Doenges, Meissner Porzellan, seine Geschichte und Kunstlerische 
 Entwichlung. Berlin, 1907. 
 
 Festive Publication to Commemorate the 200 th Jubilee of the Oldest European 
 China Factory, Meissen. Dresden, 1911. 
 
 Sevres : 
 
 Comte Xavier de Chavagnac and Marquis Antoine de Grollier, Histoire des 
 Manufactures Francoises de Porcelaine. Paris, 1906. 
 
 Georges Lechevallier-Chevignard, La Manufacture Nationale de Porcelaine 
 de Sevres. Paris, 1908. 
 
 Emile Bourgeois, Le Biscuit de Sevres au xviii e Siecle. Paris, 1909. 
 
 12 
 
ENGLISH INCUNABULA 
 CHELSEA TRIANGLE PERIOD 
 
* 
 
 
 

PLATE 2 . 
 
 Chinese group, adapted from an 
 engraving after Boucher. Raised 
 anchor mark. H. 8| ins. (Seepage 
 38 .) 
 
 In the collection of Mr. Alfred E. Hutton. 
 

 
Chapter II 
 
 ENGLISH INCUNABULA. CHELSEA TRIANGLE 
 
 PERIOD 
 
 The early history of English porcelain is still very obscure. Already 
 in 1671 John Dwight of Fulham was granted a patent for ** the mistery 
 of transparent earthenware, commonly known by the names of porcelain 
 or china/' but it seems clear that his productions were all of a fine stoneware, 
 translucent in places but bearing little relation to porcelain in the modern 
 sense of the word. 
 
 A volume of Four Essays , dated 1718 and said to have been originally 
 published in 1716, contains one “ On making China ware in England, 
 as good as ever was brought from India." Its authorship is attributed to 
 the eccentric poet and speculator, Aaron Hill, and it describes a ** try'd 
 and infallible method " in the following words : “ Let any good workman 
 in the potter's profession, who would benefit himself by this art, employ 
 some poor people to buy up the old broken china, which every house can 
 afford him. This ware he must grind in a mill with a flat stone and runner. 
 The mill is a common one and everywhere to be met with. The powder, 
 when it comes from the mill, must be further reduced and refin'd by 
 the assistance of water. . . . The gross parts, which settle and lie in 
 the bottom, and are not drawn off with the water, may be dry'd and 
 ground over again with new ware, so that nothing is lost in this practice. 
 But the fine stuff, or substance, which will be got from the settling of 
 the water, when let stand in the second vessel, must be mix'd with the 
 fourth part of its weight of quick-lime dissolved in gum-water. The 
 quick-lime here meant, must be different from the common sort, and 
 is made in a furnace, of what size you please, by no other labour, or charge, 
 than burning clean oyster-shells, as they do chalk, in lime-kilns." 
 
 This curious passage is corroborated by the following paragraph, 
 first published in 1764 in the second edition of The Handmaid to the 
 Arts (vol. ii., part iv.), an anonymous work ascribed to Robert Dossie : 
 ** I have seen at one of those [china works] carried on near London, 
 eleven mills at work, grinding pieces of the Eastern China, in order, 
 by the addition of some fluxing or vitreous substance which might restore 
 
 15 
 
CHELSEA PORCELAIN 
 
 the tenacity, to work it over again in the place of new matter. The ware 
 commonly produced at this manufactory had the characters correspondent 
 to such a mixture, for it was grey, full of flaws and bubbles, and, from 
 want of due tenacity in the paste, wrought in a very heavy clumsy manner, 
 especially with regard to those parts that are to support the pieces in 
 drying. A very opposite kind is produced in another manufactory in 
 the neighbourhood of London, for it has great whiteness and a texture 
 that admits of its being modelled or cast in the most delicate manner ; 
 but it is formed of a composition so vitrescent as to have almost the texture 
 of glass, and consequently to break or crack if boiling water be suddenly 
 poured upon it, which quality renders it unfit for any uses but the making 
 ornamental pieces. A later manufactory at Worcester has produced, 
 even at very cheap prices, pieces that not only work very light, but which 
 have great tenacity, and bear hot water without more hazard than the 
 true China-ware/' 
 
 Mr. William Burton, whose claim to speak with authority is un- 
 impeachable, accepts these descriptions as indicating a possible method 
 of porcelain manufacture, and adds {English Porcelain , p. 8) : — “ One 
 would expect to find that articles made by such a process as this would 
 show, when fractured, a roughish body of granular and uneven texture, 
 and probably speckled throughout with black or blue specks due to the 
 colours used on the original decorated porcelain. No specimens of such 
 wares are definitely known, but an examination of many pieces, said to 
 belong to the early days of the Bow factory, reveals quite a fair percentage 
 that might have been made in this way." 
 
 The identification of the two factories mentioned by Dossie is 
 uncertain ; the second may well be Chelsea, but the first hardly corresponds 
 with what we know of Bow, and may perhaps be one of the Metropolitan 
 factories which we know to have existed, but whose work we are still 
 not in a position to identify. Such are Greenwich, Limehouse, Stepney, 
 Stratford, Lambeth and Battersea. 
 
 Greenwich is spoken of by R. Campbell in The London Tradesman 
 (1747) : — ■“ Of late we have made attempts to make porcelain or 
 china-ware after the manner it is done in China and Dresden ; there is 
 a house at Greenwich and another at Chelsea, where the Undertakers 
 have been for some time trying to imitate the beautiful manufacture." 
 
 Limehouse is mentioned by Dr. Richard Pococke in his Travels 
 Through England (published by the Camden Society in 1888-9), v °l> 
 pp. 7 and 159. In July, 1750, he writes of a recent visit to Newcastle- 
 
 16 
 
ENGLISH INCUNABULA. CHELSEA TRIANGLE PERIOD 
 
 under-Lyme in Staffordshire : — “ There are some few potters here, and one 
 I saw at Limehouse, who seem’d to promise to make the best china ware, 
 but disagreed with his employers, and has a great quantity made here for 
 the oven.” And in November of the same year he writes from Bristol : — 
 “ I went to see a manufacture lately established here by one of the 
 principals] of the manufacture at Limehouse which failed.” 
 
 The name of Stepney is preserved by Jonas Hanway in his Travels 
 (3:753), vol. iv., P* 228. After describing his visit to the Meissen factory 
 in 1750, he adds : — “ It is with great satisfaction that I observe the 
 manufactures of Bow, Chelsea and Stepney so improved.” 
 
 Stratford is perhaps only Bow under another name. The London 
 Magazine for May, 1753, says that at Chelsea and Stratford undertakings 
 were carried on in the greatest perfection, so as to emulate the elegancies 
 of Dresden or Chinese porcelain. And in the London Chronicle , 3:755, 
 occurs the following passage : — ** Yesterday four persons, well skilled 
 in the making British China, were engaged for Scotland, where a new 
 porcelain manufacture is going to be established in the manner of that 
 now carried on at Chelsea, Stratford and Bow.” 
 
 Lambeth figures in the Memoirs of John Bacon , Esq. t R.A. , published 
 in 1801 by the Rev. Richard Cecil : — •* In the year 1755, and at the age 
 of fourteen, Mr. B. was bound apprentice to Mr. Crispe of Bow Church 
 Yard ; where he was employed, among other things, in painting on 
 porcelain. Mr. Crispe had a manufactory of china at Lambeth, to which 
 Mr. B. occasionally went, and where he assisted.” 
 
 Battersea is named first by Dr. Pococke in his Travels , vol. ii., p. 69. 
 Writing in August, 1754, he says : — ** From London I went to see the 
 china and enamel manufactory at York House at Battersea.” This is con- 
 firmed by a passage in Rouquet’s L'Etat des Arts en Angleterre, a book 
 published in 1755 from notes made by its author during a visit in 1753 ; 
 he speaks of the Chelsea factory, and adds (p. 143) : — ** II s’est etabli 
 depuis peu une autre manufacture de porcelaine dans le voisinage de 
 celle-ci, dont quelques ouvrages sont peints, en camayeux, par une espece 
 d'impression.” It seems not impossible that both these authorities are 
 confusing a porcelain factory with a decorating establishment, and that 
 porcelain was not actually made there but only sent from Chelsea to be 
 decorated. We have no evidence that transfer-printing was ever practised 
 at Chelsea, and the extreme rarity of undoubted Chelsea porcelain with 
 this type of decorating lends colour to the view that such pieces as are 
 known may have been made at one factory and decorated at the other. 
 
 17 c 
 
CHELSEA PORCELAIN 
 
 To this family belongs a saucer in the British Museum (Catalogue No. II 
 244) with raised anchor mark and transfer-printed design in black washed 
 over with colours. 
 
 Mr. Hobson quotes on this subject a note by C. T. Gatty from 
 the Transactions of the Historic Society of Lancashire and Cheshire, vol. 
 xxxiii., p. 130 : — ■* There is an advertisement in the Liverpool Advertiser 
 for nth February, 1757, of an 8vo pamphlet which is proposed for printing, 
 entitled Secrets in Art and Nature , by Thomas Lawrenson, engraver, 
 and published by R. Williamson of Liverpool. In this advertisement, 
 chapter 4 is said to contain, * The new and curious art of printing or 
 rather reprinting from copper-plate prints, upon porclane, enamel, and 
 earthenware, as lately practised at Chelsea, Birmingham, &c/ I have 
 not been able to hear of a copy of this pamphlet, and possibly it was never 
 issued.” In view of the isolation of this reference, Mr. Hobson suggests 
 that Lawrenson was probably confusing Chelsea with the neighbouring 
 Battersea. 
 
 An early reference to the beginnings of Chelsea porcelain occurs in 
 that charming but untrustworthy biography, Nollekens and His Times, 
 first published in 1828 by John Thomas Smith. In a conversation 
 recorded by Smith as taking place between Nollekens and Betew the 
 dealer, Betew speaks of the Chelsea factory and says (ed. Whitten, 1920, 
 vol. i., p. 163) : — “ 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 
 clay for ballast, and the consequence was the concern failed.” This 
 ridiculous story is repeated in a letter written apparently about 1855 by 
 Samuel Keys, who had been apprenticed to the Derby factory seventy 
 years before, and published by Chaffers, 3rd edition (1870), p. 594. 
 “ About the same time,” says Keys, ** there was an excellent china 
 manufactory at Chelsea, where a variety of splendid figures, vases and 
 other beautiful ornaments were produced, and also a great assortment 
 of useful china. They employed first-rate artists, in the painting, gilding 
 and general decoration, then superior to anything of the kind in England, 
 but for some mysterious cause, at the time unknown, the Chelsea manu- 
 factory suddenly ceased working, although producing excellent ware, and 
 being greatly encouraged and highly patronised. The cause suddenly trans- 
 pired : English vessels which went to China for teas and other merchandise, 
 were in the regular habit of procuring clay from the natives as ballast on 
 their return ; but at length becoming so prying for clay, the Chinese 
 
 18 
 
ENGLISH INCUNABULA* CHELSEA TRIANGLE PERIOD 
 
 were suspicious and positively prohibited clay being taken as ballast in 
 future ; the consequence was, the Chelsea manufactory being deprived of 
 their principal material could not carry it on" 
 
 As an example of what Dillon ( Porcelain , p. 329) calls “ the senile 
 gossip of decayed workmen/' this passage could scarcely be bettered* It 
 has been suggested {Museum of Practical Geology , 1871 Catalogue, p. 154) 
 that the origin of this story is to be found in the fact that white porcelain 
 was imported to England in quantity from China to be decorated over 
 here* We certainly possess much Chinese porcelain that has been sub- 
 sequently painted at Chelsea, and such a practice was not confined to the 
 earliest years of the factory, as is evident from the character of the painting 
 of such specimens as No* II 236 of the British Museum Catalogue* 
 Sometimes the porcelain has already been slightly decorated in China, 
 generally in white slip or underglaze blue ; a piece combining both 
 methods is in the Schreiber Collection, Catalogue No* 81 1* A curious 
 reference in the Memoirs of the Due de Luynes to English factories 
 buying white China from Vincennes to decorate need scarcely detain us. 
 
 The whole question of porcelain-painting in England at this time is 
 complicated by the existence of a number of individual painters, working 
 outside of the big factories and often buying their productions in the 
 white to decorate in enamel colours* To this class of ** outside enamellers " 
 belongs William Duesbury, the subsequent purchaser of the Chelsea 
 factory, whose work-book (quoted by Bemrose, p* 7) shows him to have 
 been working in London between 1751 and 1753, decorating figures 
 and other pieces of Bow, Chelsea, Derby and Staffordshire porcelain. 
 Another was “ Richard Dyer, at Mr. Bolton's, enameler, near the Church, 
 Lambeth," receipted bills from whom appear in the Bowcocke papers, 
 proving him to have been working for the Bow factory in 1760. Another 
 was J. Giles, of Cockspur Street (Hobson, Worcester Porcelain, p. 18). 
 
 The earliest documents in the history of Chelsea porcelain are the 
 well-known “ goat and bee " cream-jugs, some of which bear the date 
 1745. It is generally considered that the factory was founded either in 
 that year or shortly before. A document drawn up at Vincennes in 1745 
 and quoted by Marryat, 3rd edition, p. 371, refers to ** un nouvel etablisse- 
 ment qui vient de se former en Angleterre d'une manufacture de porcelaine 
 qui paroit plus belle que celle de Saxe par la nature de sa composition." 
 The factory in question is probably Chelsea. A curious reference to the 
 early years of the factory is given by Simeon Shaw, History of the Stafford- 
 shire Potteries (1829), P» *6 7 ♦ — “ Carlos Simpson, 63 years of age in 
 
 19 
 
CHELSEA PORCELAIN 
 
 1817, 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, fireman, and John Astbury, painter, all of Hot 
 Lane ; Carlos Wedgwood, of the Stocks, a good thrower ; Thomas 
 Ward and several others, of Burslem, to work at the Chelsea China 
 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 disagreement among themselves, they abandoned it and returned to 
 Burslem, intending to commence there the manufacture of China ; but 
 soon after their return Aaron Simpson died, the design was relinquished, 
 and each took the employment quickly offered in the manufacture of 
 white stone ware, then sold readily on the day of drawing the oven.” 
 What truth may lurk in this narrative is impossible to decide ; it probably 
 has very little significance, except as a piece of misplaced local patriotism 
 on the part of Shaw, for it is worth noticing that if his dates are accurate 
 the sojourn in Chelsea must have lasted at least until 1754, the year of 
 Carlos Simpson's birth. 
 
 Three of the “ goat and bee ” jugs are reproduced on Plate 6. As 
 will be seen, these jugs are supported on the backs of two reclining goats, 
 while on the front appears a bee in relief. A spray of flowers in applied 
 relief and a handle in the form of a branch complete the scheme of 
 decoration which is borrowed from a silver model. An example in 
 silver, bearing the London hall-mark for 1737-8, was formerly in the 
 Willett Collection ; Chaffers (8th edition, 1897, p. 907) speaks of its 
 authenticity as generally discredited, and refers (9th edition, 1914, p. 947) 
 to a genuine silver-gilt specimen with the hall-mark for 1724, which 
 was at that time in the collection of Mrs. A. R. Macdonald. The repro- 
 duction in porcelain of silver shapes is a feature common to most European 
 factories, and it is remarkable that such an apparent misuse of material 
 should furnish on the whole such agreeable results. 
 
 Of the cream- jugs on Plate 6, that on the right has the mark, incised 
 in the paste before firing, of the word “ Chelsea,” a triangle and the 
 date 1745. Another identically marked is in the British Museum (Catalogue 
 No. II 1 6a) ; a third was formerly in the collection of Mr. William 
 Russell, and was fully described by Franks in the Archaeological Journal , 
 vol. xix. (1862), p. 340 ; it is illustrated by Jewitt, vol. i., p. 193. Another 
 in the British Museum (Catalogue No. II 16) has ** Chelsea ” and the 
 
 20 
 
ENGLISH INCUNABULA, CHELSEA TRIANGLE PERIOD 
 
 triangle, but no date. The majority, however, are simply marked with 
 the triangle ; one such is in the Schreiber Collection (Catalogue No. 157, 
 and Plate 14) ; in this case the model is slightly varied, the bee having 
 been omitted. Occasionally the triangle mark is surrounded by a curious 
 motive of wavy lines, as in the left-hand example of Plate 6. The body 
 of all these pieces is creamy and very translucent, the glaze soft and 
 unctuous ; they approach very nearly the appearance of opaque glass. 
 If held against a strong light, they often show tiny pinholes in the glaze 
 of a brighter quality than the surrounding surface ; these are the ancestors 
 of the famous ** moons '' of the ensuing period, and may be referred to 
 the same cause (see p. 35). Sometimes these jugs are plain white, some- 
 times one or two features are heightened by painting, as in the middle 
 example of Plate 6. In other cases the whole of the raised decoration 
 is painted in naturalistic colours, while the rest of the surface is sprinkled 
 with tiny pseudo-Oriental flowers and butterflies, after the manner of 
 the coffee-pot on Plate 7, Such tiny flowers and insects are used 
 effectively enough to conceal any crack or flaw in the surface ; this fashion 
 persists on into the next period, as do the brown rims, first found on 
 these jugs and afterwards usual upon table wares until the introduction 
 of gilding. 
 
 It was long believed that the triangle mark was used at Bow, but it 
 is now generally conceded that all pieces so marked may be assigned to 
 Chelsea. Characteristic of triangle-marked wares are the so-called 
 44 raised flowers '' of the coffee-pot on Plate 7, which again suggest an 
 original in silver. They reappear on the pretty cane-handle of Plate 8, 
 Fig. 1, and on two small white cups without handles in the Schreiber 
 Collection (Catalogue No. 161 and Plate 14). Another feature of this 
 period are the shell-shaped salt-cellars, supported on rocky bases with 
 shells and other marine denizens in relief. To this type belong the well- 
 known “ crawfish salts/' two of which were in Horace Walpole's collection 
 {Description of Strawberry Hill , 1784, p. 10), while two are in the British 
 Museum (Catalogue No. II 18 and Fig. 22). One of these latter has 
 the numeral 3 incised in addition to the triangle. A simplified version of 
 the same theme is illustrated on Plate 6 ; this piece has no triangle, but 
 bears the incised date 1750. 
 
 The teapot on Plate 9 is a vigorous piece of modelling. It represents 
 a Chinaman riding upon a parrot, and is a most interesting early example 
 of the adaptation of figure-sculpture for domestic uses. In a similar 
 teapot in the British Museum (Catalogue No. II 12 and Fig. 21) the 
 
 21 
 
CHELSEA PORCELAIN 
 
 Chinaman is bestriding a snake. The strawberries in relief on the handle 
 recall the decoration of the “ D. 1750 ” cream-jugs (see p. 62), and are 
 found on a Chelsea cream- jug of Imari pattern in the Victoria and Albert 
 Museum (No. C. 269 — 1921). Of figures proper the only marked example 
 of this period that seems yet to have come to light is the group of rustic 
 lovers on Plate 10, which is marked with a trident passed through a crown 
 in underglaze blue. This mark was for many years regarded as of doubtful 
 origin, but it may now safely be ascribed to Chelsea on the showing of 
 two similarly marked pieces. One is a white cup with raised flowers in 
 the collection of Mr. Frank Hurlbutt, of similar type to those in the 
 Schreiber Collection above mentioned ; the other, a cream- jug belonging 
 to Dr. J. W. L. Glaisher, F.R.S., is moulded with overlapping strawberry- 
 leaves after the fashion of a teapot illustrated on Plate 7 of the British 
 Museum Catalogue. Both of these types are characteristic of Chelsea 
 porcelain of this period, and Dr. Glaisher's cream-jug shows by transmitted 
 light the pinholes in the glaze already referred to as a peculiarity of this 
 factory. I should add that I am indebted to Dr. Bellamy Gardner for 
 bringing to my notice this important chain of evidence and for allowing 
 me to see, before its publication in the Connoisseur of October, 1922, the 
 manuscript of an article in which he reproduces photographs of the other 
 two links. 
 
 Other figures of this period which can be ascribed with certainty 
 to Chelsea are very few in number ; they include the waterman with 
 Dogget's coat and badge, and the fortune-telling group, both in the British 
 Museum (Catalogue Nos. II 3 and 6 and Fig. 3). The great resemblance 
 existing between all the glassy soft-paste porcelains of this time makes it 
 highly unsafe to attempt as yet anything in the nature of an authoritative 
 classification, especially in the case of plain white- glazed figures and 
 groups ; it is often difficult to be certain if they are English or French. 
 Even in the case of coloured examples, it is dangerous to argue from 
 the painting alone, for this may be the work not of any decorator at the 
 factory where the figure was made, but of one of the ** outside enamellers ” 
 already referred to. On Plate n are reproduced three small figures, 
 which may be regarded as Chelsea work of this early period. The white 
 pair were lately given to the Victoria and Albert Museum by Lt.-Col. 
 Kenneth Dingwall, D.S.O. The paste and glaze are characteristic, and 
 the bases are uneven underneath, a sign of faulty firing, which is frequent 
 in early work. The curious bevelled angles of the base are a distinctive 
 feature, which may help in identifying further members of this family. 
 
 22 
 
ENGLISH INCUNABULA. CHELSEA TRIANGLE PERIOD 
 
 Their origin is established by the identity of the female model with a 
 tiny seal of later Chelsea porcelain, which will be found illustrated on 
 Plate 47, Fig. 2. This female model corresponds very closely with the 
 coloured figure of Plate 1 1 ; the head, coiffure, bosom and pose of the feet 
 are in exact agreement, and there seems every reason for regarding this 
 too as a piece of early Chelsea figure-modelling. The curious form of 
 the base is paralleled by two miniature candlesticks in the Joicey Bequest 
 at the London Museum, while the flower-painting, if executed as is 
 probable at the factory, will afford a valuable clue to the identification of 
 other examples. Naturalism is here considerably more developed than 
 in the conventionalized Oriental flowers of Plate 7, and the palette of 
 colours is altogether softer. 
 
 Another white figure of the same girl has also been lately given to 
 the Victoria and Albert Museum by Col. Dingwall (No. C. 587 — 1922). 
 Here she is shown seated in a swing, which hangs from a tree on either 
 side. The branches of the trees point upwards and end in narrow holes, 
 which seem intended to hold porcelain flowers of the type described 
 on p. 10. 
 
 Mr. Herbert Eccles, F.C.S., has kindly given me permission to 
 publish the following chemical analysis made by him of a figure precisely 
 similar to the boy on Plate 11. 
 
 Silica 
 
 
 
 
 
 
 Per cent 
 . 6388 
 
 Oxide of lead 
 
 
 
 
 
 
 • 1773 
 
 Alumina . 
 
 
 
 
 
 
 3 26 
 
 Lime 
 
 
 
 
 
 
 • 1230 
 
 Phosphoric acid . 
 
 
 
 
 
 
 •10 
 
 Soda 
 
 
 
 
 
 
 I 50 
 
 Potash 
 
 
 
 
 
 
 126 
 
 Magnesia and copper . 
 
 
 
 
 
 
 . traces 
 
 ioo ‘03 
 
 The heavy percentage of lead oxide is remarkable, as the glaze was removed 
 before analysis ; it suggests the use of flint glass in the composition. 
 The analysis also indicates the absence of bone-ash. 
 
 Our knowledge of the history of the Chelsea factory during this 
 period is regrettably deficient. As was first pointed out by Nightingale 
 (p. v), the General Advertiser for January 29, 1750, contained the following 
 announcement : — 
 
 23 
 
CHELSEA PORCELAIN 
 
 ** Chelsea China Warehouse. 
 
 4 * Seeing it frequently advertised, that the Proprietor of Chelsea Porce- 
 laine is not concerned in any shape whatsoever in the Goods exposed for 
 Sale in St. James's-street, called The Chelsea China Warehouse, in common 
 justice to N. Sprimont, (who signed the Advertisement) as well as myself, 
 I think it incumbent publickly to declare to the Nobility, Gentry, &c., 
 that my China Warehouse is not supply 'd by any other Person than Mr. 
 Charles Gouyn , late Proprietor and Chief Manager of the Chelsea-House, 
 who continues to supply me with the most curious Goods of that Manu- 
 facture, as well useful as ornamental, and which I dispose of at very 
 reasonable rates. 
 
 Chelsea China Warehouse, 
 
 St. James's-street, Jan. 
 
 17th, 1750. S. Stables/' 
 
 The original advertisement to which this was a counterblast has not 
 been preserved, but it was presumably identical with this extract from 
 the Daily Advertiser of May 15, 1750 : — 
 
 ** Chelsea Porcelaine. 
 
 “ The Publick is hereby informed, that the Sale-Warehouses at the 
 Manufactory there will from henceforward be constantly open, and 
 that New Productions are daily produced, and brought into the Sale-Room. 
 
 “ And the Publick may be assured, that no Pains will be spared to 
 extend this Manufacture to as great a Variety as possible, either for Use 
 or Ornament. 
 
 ** Note, The Quality and Gentry may be assured, that I am not 
 concern'd in any Shape whatsoever with the Goods expos'd to Sale in St. 
 James's-street, called the Chelsea-China Warehouse. 
 
 N. Sprimont." 
 
 It seems reasonable to conclude from this latter advertisement that 
 Sprimont's manufacture was of recent establishment, and it has generally 
 been held that the factory was founded by Gouyn in or before 1745 and 
 was taken over by Sprimont about 1749. But it must be owned that 
 the tone of the advertisements is far from amicable. Sprimont's insistence 
 on his own ** porcelaine " as opposed to Gouyn's ** china " is significant, 
 and we know from a lease published by Bemrose (p. 26) that Sprimont's 
 predecessor in Lawrence Street was a certain Lagrave, who seems to 
 have been unconnected with porcelain. In this latter connexion, though, 
 
 24 
 
ENGLISH INCUNABULA. CHELSEA TRIANGLE PERIOD 
 
 it may well be argued that on acquiring the works from Gouyn Sprimont 
 would be likely to move to more commodious premises. The subject 
 of the relations between the pair has lately been reopened in two pamphlets 
 issued by Messrs. Hyam and Co. under the title Studies in Old China . 
 After discussion of the question they u feel justified in coming to the 
 conclusion that the factory was closed by Gouyn on account of its 
 commercial failure, to be re-established by Sprimont, after a short interval, 
 on a more commercial and scientific basis.” We cannot hope for the 
 present to get nearer than this to a full solution of the problem. It does 
 not follow from Stables' advertisement that Gouyn was still making china 
 in 1750 ; the supplies in question may well have been no more than surplus 
 stock. 
 
 If we are right in assuming that Gouyn ceased to manufacture when 
 Sprimont began, it follows that Sprimont continued for a time using 
 very much the same body and glaze, simultaneously no doubt with those 
 characteristic of the ** raised anchor ” period. The salt-cellar on Plate 
 6, dated 1750, is evidence of this, as well as the figure on Plate 8 of 
 Britannia bemoaning the loss of Frederick Prince of Wales, who died 
 on March 31, 1751 ; a similar figure, also white, is in the British Museum 
 (Catalogue No. II 2). It will be noticed that none of these pieces bears 
 the triangle mark, and it is tempting to conclude that this mark was 
 abandoned with the retirement of Gouyn. The triangle-marked teapot 
 in the Schreiber Collection (Catalogue No. 377 and Plate 55) with Kakiemon 
 decoration is probably a piece that was made by Gouyn but left unpainted 
 until the ensuing decade. 
 
 The question of Gouyn's origin is a most puzzling one. He was 
 evidently not an Englishman and probably a Frenchman ; Church 
 ( English Porcelain , p. 18) says 44 Gouyn is a Flemish patronymic ” but 
 gives no evidence for this statement and no adequate reason for desert- 
 ing the accepted view. The strong resemblance between early Chelsea 
 porcelain and that produced by the French soft-paste factories renders it 
 highly possible that Chelsea was started by some refugee from St.-Cloud, 
 Chantilly or Mennecy, and if this is so, Gouyn may well have been the 
 individual in question. But all this is a matter of the purest speculation. 
 It is sometimes argued that the foundation must have occurred several 
 years before 1745, on the ground that the 44 goat and bee ” jugs have so 
 little the character of experimental work, but if the founder was already 
 a skilled artist from overseas there seems no reason why he should not 
 have begun to produce fine pieces at once. But in this case we should 
 
 25 
 
CHELSEA PORCELAIN 
 
 expect the earliest Chelsea porcelain to correspond fairly exactly with the 
 work of the contemporary French factories, and it is surprising to find how 
 consistently its character for originality is maintained. We look round 
 German and French factories alike in vain for analogies to the ** goat and 
 bee ” jugs, the relief pattern of overlapping strawberry leaves, the raised 
 flowers and the figure models. The Chinaman teapot, it is true, belongs 
 to a type of which specimens were modelled by Kandler at Meissen (see 
 Festive Publication , Plate i), but the treatment is profoundly different, 
 and the absence of all other traces of Meissen influence on Chelsea at 
 this period renders it probable that both factories were borrowing from 
 a common original, perhaps of metal. The modelling of the group on 
 Plate io, with its suggestion of violent movement and passionate action, 
 is utterly foreign to Meissen or France, and anticipates the spirit, though 
 not the letter, of that remarkable genius, Franz Bustelli of Nymphenburg. 
 The raised flowers are probably a development of the prunus-blossom 
 commonly met with in relief on blanc de Chine porcelain, but they have 
 a strong suggestion of silversmith's influence and there seems to be no 
 continental analogy for such a variation on the theme. The nearest 
 perhaps are a pair of St.-Cloud toilette-pots and covers in the Victoria 
 and Albert Museum (Nos. C. 256 and 257 — 1914) ; they are decorated 
 with large sprays of flowers in applied relief and painted in bright enamel 
 colours — crimson, blue, purple, yellow and green, with brown for the 
 rims — of a somewhat similar character to the Chelsea type. But the 
 resemblance is not close enough to justify any argument of a common 
 workman, and it is difficult to see why a refugee from St.-Cloud, coming 
 to start a factory in England, should so conspicuously abandon his native 
 types of decoration. We look in vain on Chelsea triangle-marked porcelain 
 for any painting in underglaze blue, for close imitations of blanc de Chine 
 or patch-boxes with human or animal figures. Such pieces are all common 
 in the porcelain of Sprimont's time, but we cannot trace them earlier. 
 Equally absent are the Kakiemon motives that we should expect to find 
 used by an artist from Chantilly, while neither the figure-modelling nor 
 the flower- painting show any connexion with the characteristic varieties 
 of Mennecy. 
 
 Gouyn's origin must remain for the present a mystery. The close 
 technical resemblance between early Chelsea porcelain and the soft pastes 
 of France suggest that the recipe was brought by a deserter from one 
 of the French factories, while the extreme individuality of modelling 
 suggests the collusion of an artist of remarkable distinction, who may 
 
 26 
 
ENGLISH INCUNABULA. CHELSEA TRIANGLE PERIOD 
 
 possibly have started life as a silversmith. Even if there be any truth 
 in this hypothesis, there is no evidence as to which part was played by 
 Gouyn, whose very name would be unknown to us but for the preservation 
 of that single announcement in the General Advertiser . 
 
 The significance of the marks used is an unprofitable subject for 
 speculation. Such marks are confined hitherto, as we have seen, to an 
 incised triangle in various connexions and a crown and trident in under- 
 glaze blue. The occurrence of the latter pigment at this early date suggests 
 that somewhere or other specimens of Chelsea ** blue and white " of this 
 period may exist, but no piece has yet been identified. It appears that 
 the triangle also is found in underglaze blue. Chaffers (3rd edition, 
 p. 71 1) speaks of sets of four ** crawfish salts " in the respective collections 
 of Mr. C. W. Reynolds and Dr. Diamond, marked with a blue triangle. 
 In the eighth edition of the same work (1897), p. 908, reference is 
 made to a singular piece in the following words : ** Mr. Borrodaile has 
 a leaf-shaped dish, which was formerly in Dr. Diamond's collection, 
 which bears this mark [the word 4 Chelsea/ a triangle and the date 
 1745] in blue, only the date is 1747 instead of 1745. It has also a small 
 impressed anchor. It is the soft paste of the early period of Chelsea." 
 It is unfortunate that the decoration on this tray is not described, for apart 
 from the importance that any dated piece must always have the present 
 example must be of peculiar interest, since it has hitherto been assumed 
 that neither the leaf shape nor the anchor mark were used at Chelsea until 
 the arrival of Sprimont. It must be owned, however, that Chaffers is 
 often inaccurate as well as irritating. The current edition (1914) con- 
 tains a reference to two turquoise- ground vases and covers then in the 
 possession of Lady Dorothy Nevill and bearing the mark of an incised 
 triangle. This statement is conceivably true, but in that case the triangle 
 is simply a workman's or owner's mark and bears no relation to the 
 subject under discussion. 
 
 27 
 

 
 
 
 
RAISED ANCHOR AND RED ANCHOR 
 

 
 
 
 
 
 
 
 
 
 

PLATE 3. 
 
 Man and woman with baskets. The 
 woman marked with a red anchor. 
 
 H. 8J and 8J ins. (See page 40.) 
 
 In the collection of Lord and Lady Fisher. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 

Chapter III 
 
 RAISED ANCHOR AND RED ANCHOR 
 
 In considering the question of the original founders and patrons 
 of the Chelsea factory it is not advisable to attach too much importance 
 to the statements of Mid-Victorian authorities. Marryat (ist edition, 
 p. 174) says that George II gave the factory his especial patronage, causing 
 models, workmen and even materials to be procured from Brunswick 
 and Saxony. Though it is true that Chelsea employed models and 
 even workmen from Meissen, there seems no reason for supposing that 
 this was in any degree due to the king, no connexion of whom with the 
 factory is elsewhere recorded. Marryat goes on to say that the Duke 
 of Cumberland also took the factory under his special protection and 
 allowed an annual sum for its support, further that Sir Robert Faulkner 
 likewise interested himself greatly in its success. This mythical version 
 of the name of Sir Everard Fawkener is borrowed from Alexander Stephens, 
 Stephensiana (1821), and from Thomas Faulkner, History of Chelsea 
 (1829), vol. i«> P* 273. Marryat in his third edition (p. 370) adds that the 
 factory is said to have been founded by Francis, first Earl and Marquis 
 of Hertford, who brought over workmen from Dresden with some of 
 the Saxon clay ; the authority for this is apparently a MS. note by Octavius 
 Morgan, who had in the meantime forgotten his reason for making it. 
 
 Less exasperating and more reliable is the account of Mason, a 
 workman at the factory, quoted by Chaffers, 3rd edition, p. 701 : — “ I 
 think the Chelsea China Manufactory began about the year 1748 or 1749. 
 I went to work about the year 1751. It was first carried on by the Duke 
 of Cumberland and Sir Everard Fawkener, and the sole management 
 was entrusted to a foreigner of the name of Sprimont, report says, at a 
 salary of a guinea per day, with certain allowance for apprentices and 
 other emoluments. I think Sir Everard died about 1755, much reduced 
 in circumstances ; when Mr. Sprimont became sole proprietor ; and 
 having amassed a fortune, he travelled about England, and the manufactory 
 was shut up about two years, for he neither would let it or carry it on 
 himself. I then went to work at Bow for a short time, which was carried 
 on by a firm, but I don’t recollect their names. I went to work again 
 
 3i 
 
CHELSEA PORCELAIN 
 
 at Chelsea for Mr. Sprimont, after being absent between two and three 
 years, where I stopped till I engaged with Mr. Duesbury to go to Derby, 
 which was about the year 1763. I think there was very little business 
 done there after that time. What time Mr. Duesbury made a purchase 
 of it I don't recollect, but some of the materials were taken to Derby." 
 
 The exact nature of the connexion between the Chelsea factory, the 
 Duke of Cumberland and Sir Everard Fawkener is still a matter of doubt. 
 William Augustus, Duke of Cumberland (b. 1721^.1765), was son of George 
 II and a distinguished general, who hardly deserves to be remembered as 
 ** the butcher of Culloden." Sir Everard Fawkener was born in 1684 and 
 died in 1758. He began life as a merchant and was Voltaire's host at 
 Wandsworth in 1726-9. About 1735 he was knighted and sent as 
 ambassador to Constantinople ; in 1744 he was appointed secretary to 
 the Duke of Cumberland, whom he accompanied on his campaigns in 
 Flanders and Scotland, receiving in 1745 the lucrative office of joint 
 postmaster-general. On his death in 1758 his family are said to have 
 been left in bad circumstances. 
 
 Lord Ilchester published in 1911 {Burlington Magazine , vol. xx., 
 p. 361) part of a letter written from Dresden on June 9, 1751, by Sir Charles 
 Hanbury Williams to Henry Fox in England. The following passage 
 may here be quoted : — ** I received a letter about ten days ago from Sir 
 Everard Fawkner, who is I believe concerned in the manufacture of 
 China at Chelsea. ... I find also that the Duke is a great encourager 
 of the Chelsea China and has bespoke a set for his own table." 
 
 It seems likely that this represents the true state of affairs, and that 
 Cumberland's connexion with the factory was confined to patronage of 
 this kind. Busts of him in white-glared porcelain are fairly numerous ; 
 see British Museum Catalogue No. II 1 and Plate 6 ; Schreiber Collection, 
 Catalogue No. 133 and Plate 14 ; some specimens have the raised anchor 
 mark. A newspaper rumour in 1763 that the Duke was thinking of 
 buying the factory was instantly contradicted by Sprimont, and is probably 
 without more significance than such a press report would be to-day. 
 Fawkener was evidently in closer relations with the factory and may well 
 have financed the whole venture. This would agree with the testimony 
 of Rouquet (see p. 17), who says ( Etat des Arts , p. 143) : — u On trouve aux 
 environs de Londres trois ou quatre manufactures de porcelaine, celle de 
 Chelsea est la plus considerable ; un riche particulier en soutient la 
 depense ; un habile artiste fran^ois fournit ou dirige les modeles de tout 
 ce qui s'y fabrique." 
 
 32 
 
RAISED ANCHOR AND RED ANCHOR 
 
 The artist in question was presumably Sprimont, and as both Rouquet 
 and Walpole (see p. 49) refer to him as a Frenchman, there seems little 
 reason for Church's attempt ( English Porcelain , p. 18) to prove him a 
 Fleming. His nationality is in any case of small moment. We know 
 singularly little of his personal history prior to his establishment at Chelsea. 
 He entered his name at Goldsmiths' Hall as a plateworker in January, 
 1742, and a pair of oval silver-gilt dishes, dated 1743-4, with scalloped 
 edges, ornamented with shells and corals in high relief, are in the collection 
 at Windsor Castle (see Church, English Porcelain , p. 19 ; also South 
 Kensington Museum, 1862 Exhibition, Catalogue Nos. 5,491-2, and 
 Chaffers, Gilda Aurifabrorum , pp. 89 and 149). 
 
 This aspect of his career is mentioned in an anonymous document 
 in the British Museum (Lansdowne MSS., No. 829, fol. 21), of which 
 Sprimont was clearly the author. This work is entitled The Case of 
 the Undertaker of the Chelsea Manufacture of Porcelain Ware . It has 
 been quoted in full by Marryat (3rd edition, p. 373) and Jewitt (vol. i., 
 p. 171), but it is sufficiently important to render necessary the repetition 
 of a few passages. That the date cannot be earlier than 1752 is fixed by 
 the mention of “ the late Duke of Orleans," while a later year than 1759 
 is made impossible by the reference to a factory belonging to the King 
 of Naples. This monarch's factory of Capodimonte was transferred 
 to Buen Retiro, Madrid, on his accession to the Spanish throne in 1759, 
 and no porcelain at all seems to have been made at Naples between that 
 year and 1771. Sprimont speaks of himself in the following words : — 
 
 “ This undertaker, a silversmith by profession, from a casual acquaint- 
 ance with a chymist who had some knowledge this way, was tempted 
 to make a trial, which, upon the progress he made, he was encouraged to 
 pursue with great labour and expense ; and as the town, and some of the 
 best judges, expressed their approbation of the essays he produced of his 
 skill, he found means to engage some assistance. 
 
 “ The manufacture was then put upon a more extensive footing, 
 and he had the encouragement of the public to a very great degree, so 
 that the last winter he sold to the value of more than £3,500, which is a 
 great deal, considering the thing is new. . . . 
 
 “ The manufacture in England has been carried on so far by great 
 labour and at a large expense ; it is in many points to the full as good as 
 the Dresden, and the late Duke of Orleans told Colonel York[e] that the 
 metal or earth had been tried in his furnace, and was found to be the 
 best made in Europe. It is now daily improving, and already employs 
 
 33 D 
 
CHELSEA PORCELAIN 
 
 at least one hundred hands, of which is a nursery of thirty lads taken from 
 the parishes and charity schools, and bred to designing and painting. . . ” 
 
 This document was written as an appeal to stop the continued illegal 
 importation ** as for private use/' and therefore practically free of duty, 
 of large quantities of Dresden porcelain, which subsequently found their 
 way into commerce, to the extreme detriment of the Chelsea factory, 
 which being a private undertaking found it impossible to compete with 
 a rival subsidised by royalty. 
 
 However, it must not be imagined that the Chelsea works were 
 languishing through inanition, even if no notice was taken of Sprimont's 
 plea. We have seen that his earliest connexion with the factory was 
 probably in 1749, and in the following year we find Mr. Ford announcing in 
 the General Advertiser of December 4, 1750, the sale of u curious Dresden 
 and Chelsea figures ** (Nightingale, p. vii). By 1754 the factory was in 
 a flourishing state; in the Public Advertiser of March 29 of that year 
 occurs Ford's announcement of the first sale by auction to be devoted 
 entirely to Chelsea porcelain, ** brought from the Manufactory there and 
 the Warehouse in Pall Mall ; consisting of Epargnes and Services for 
 Deserts, beautiful Groupes of Figures, 6cc., complete Table Sets of round 
 and Oval Dishes, Tureens and Plates, with the greatest Variety of other 
 useful and ornamental Pieces, all warranted True Enamel ” (Nightingale, 
 p. ix). The sale lasted fourteen days and was evidently a success, as 
 in spite of the announcement that no further sales would take place that 
 year we find another held by Ford, which began on December 16 and was 
 devoted entirely to toys (see p. 56). It is to be hoped that some day a 
 copy of this catalogue may come to light ; it would be a material aid in 
 our efforts to trace the sequence of production at Chelsea. 
 
 In 1755 we come upon surer ground ; in this year Ford held the second 
 annual sale, of the catalogue of which a single copy is known to exist ; 
 by the generous permission of its owner, Mrs. Radford, it will be found 
 reprinted in full as an appendix to the present volume. This sale began 
 on March 10 and lasted for sixteen days, comprising no less than 1,660 
 lots. The third annual sale began on March 29, 1756, and lasted equally 
 for sixteen days, comprising 1,618 lots. A single copy of the catalogue 
 was discovered in the year 1877 and was reprinted in full three years 
 later by its owner, R. W. Read. After 1756 no sale was held for three years, 
 and it seems probable that the factory was closed during a large part of 
 this time in consequence of the illness of Sprimont. This would agree 
 in effect with the account of Mason, who may well have never heard, or 
 
 34 
 
RAISED ANCHOR AND RED ANCHOR 
 
 have subsequently forgotten, the real cause. In any case Sprimont 
 was certainly ill during this period ; a paragraph in the Public Advertiser 
 of February 15, 1757, says : — ■* The public is hereby acquainted that the 
 Chelsea Porcelaine Manufactory has been very much retarded by the 
 Sickness of Mr, Sprimont. Nevertheless several curious things have 
 been finished, which will be exposed to Sale at the Warehouse in Piccadilly, 
 some time the beginning of March, of which more particular Notice will 
 be given/' 
 
 The porcelain of the early Sprimont period is marked, if at all, with 
 an anchor, sometimes in applied relief on an oval medallion (the so-called 
 44 raised anchor," either white or outlined in red), sometimes simply 
 painted in red. The raised-anchor mark is usually supposed to be earlier 
 than the other, but the occurrence of the two marks indifferently on pieces 
 from the same service or companion figures (e.g. Schreiber Collection, 
 Catalogue No. 167) shows that they were used on occasion at the same 
 time. Perhaps we may take 1753 as the approximate year in which the 
 raised anchor was finally supplanted by the other mark. That the raised 
 anchor was used at least as late as this year seems probable from the exist- 
 ence of such a piece as the transfer-printed saucer in the British Museum 
 which bears this mark (see p. 18). It is suggested by Mr. Hobson that 
 this specimen was decorated at Battersea, where transfer-printing does 
 not seem to have been practised until 1753. The occurrence however 
 in the 1755 catalogue of a number of examples of well-known 44 raised 
 anchor " types suggests that the use of this mark may have been continued 
 longer than has been generally supposed. The paste of this porcelain 
 is sandy, the glaze rich, the earlier pieces being heavier and thicker and 
 apt to warp in the firing. Characteristic of this period are the so-called 
 44 moons," a peculiarity first noticed by Dr. Diamond ; if viewed by 
 transmitted light, the paste will often be found to contain a number of 
 moon-like discs, irregularly scattered over the surface and more trans- 
 lucent than the remainder. 44 It has been suggested," says Mr. William 
 Burton (. English Porcelain , p. 38), 44 that these are due to irregular and 
 excessive aggregation of the vitreous frit which formed such a large propor- 
 tion of the paste. This is undoubtedly true, but the reason for their 
 existence is that the Chelsea body was extremely liable to go out of shape, 
 and in endeavouring to correct this fault, the Chelsea potters hit on the 
 plan of keeping some of the frit fairly coarse, instead of grinding it all 
 to an impalpable powder — a most workmanlike method of dealing with 
 such a difficult problem as the firing of a glassy porcelain." 
 
 35 
 
CHELSEA PORCELAIN 
 
 I am kindly allowed to publish the two following chemical analyses 
 made by Mr. Herbert Eccles, F.C.S., of two fragmentary pieces in the 
 Victoria and Albert Museum. The first (No. C. 14 — 1920) is a cream- 
 jug with raised-anchor mark, painted with flowers in the Meissen style ; 
 it is leaf-shaped with stalk handle, somewhat similar to the Imari piece on 
 Plate 20, Fig. 1. It is composed as follows : — 
 
 Silica 
 
 Alumina . 
 Lime 
 
 Phosphoric acid 
 Magnesia . 
 Lead oxide 
 Potash 
 Soda 
 
 . 6476 
 
 600 
 . 2500 
 
 0 23 
 
 . traces 
 • 055 
 
 258 
 
 1 82 
 
 10094 
 
 The high percentage of lime is characteristic of French soft-paste 
 porcelains of the period. The second piece (No. C. 514 — 1919) is a plate 
 with red-anchor mark and lobed brown rim, decorated with Meissen 
 flowers in relief and in colours. On analysis it gives : — 
 
 Silica . . . . . . . . 69-10 
 
 Alumina . . . . . . . . . 5 90 
 
 Lime ......... 2050 
 
 Magnesia ......... 071 
 
 Oxide of iron ........ traces 
 
 Potash ......... 330 
 
 Soda ......... 069 
 
 100 20 
 
 As has been already indicated, the earliest influence on the table 
 wares of this period seems to be that of the Kakiemon Imari. Various 
 forms are illustrated on Plates 1 and 20. A specimen of the other family 
 of Imari may be seen on Plate 21 ; a dish of identical design in the British 
 Museum bears the rare mark of an anchor in underglaze blue. I feel 
 little doubt that this is an example of what are described in the 1756 
 Catalogue (Read, p. 42) as u scollop'd dishes, fine old japan pattern, blue 
 and gold ” Imari pieces are marked indifferently with raised or red 
 anchor, but the raised anchor generally appears on the imitations of blanc 
 de Chine , such as those on Plate 12. 
 
 But the culminating influence of this period is that of Meissen. Some 
 
 36 
 
RAISED ANCHOR AND RED ANCHOR 
 
 light is thrown on this aspect by the letter already mentioned, published 
 in the Burlington Magazine , vol. xx., p. 361, and originally written on 
 June 9, 1751, by Sir Charles Hanbury Williams at Dresden to Henry Fox 
 in England. Sir Charles writes : — ** I received a letter about ten days 
 ago from Sr. Everard Fawkner who is I believe concerned in the 
 manufacture of China at Chelsea. He desired me to send over models 
 for different Pieces from hence in order to furnish the undertakers with 
 good designs ; and would have me send over fifty or threescore pounds 
 worth. But I thought it better and cheaper for the manufacturers to 
 give them leave to take any of my China from Holland House and to copy 
 what they like. I have therefore told Sr. Everard that if he will go to 
 your house you will permit him and any body he brings with him to see 
 my China and to take away such pieces as they may have a mind to copy/' 
 Sir Charles was acting at this time as British Plenipotentiary at Dresden, 
 and during his absence from England Fox was storing his china at Holland 
 House. Among this already figured “ a set of china for a table of thirty 
 covers," presented to Sir Charles in 1748 by Augustus III, Elector of 
 Saxony, and including a dessert service with sweetmeat dishes in the 
 form of artichokes, laurel leaves, sunflowers and double leaves, as well 
 as tea and coffee sets, spoons and knife and fork dishes. Vegetable-shaped 
 dishes are common in Meissen porcelain of this period, and that they 
 were extensively copied at Chelsea is clear from a glance at the appendix 
 to this book. 
 
 We find a similar borrowing at Bow mentioned in the notebooks of 
 John Bowcocke, who worked for that factory between 1750 and 1753 and 
 who speaks of Japan “ patterns received from Lady Cavendish." It 
 seems likely that this loan of porcelain from Holland House should not 
 be regarded as the first hint of contact between Chelsea and Meissen. 
 A Chelsea figure of a man in domino with raised -anchor mark, lately 
 sold at Christie's, was holding in its hand a paper inscribed ** Memoire 
 Disabelle 1750 " (see R. M. Wood Sale Catalogue, May 27, 1919, lot 
 46) ; if this may be accepted as authentic — and the misspelt French 
 inscription speaks strongly in its favour — it seems to establish a proof 
 of Meissen influence already in that year. The original Meissen model 
 is probably to be sought in one of the various sets of figures from the 
 Italian commedia delV arte that were modelled by Handler and his pupils. 
 A similar instance of borrowing at Chelsea is the “ Doctor " of Plate 13, 
 Fig. 2, whose Meissen original was modelled by Peter Reinicke in 1743-4 
 ( Festive Publication , p. 44, and Fig. 83) ; this is presumably the figure 
 
 37 
 
CHELSEA PORCELAIN 
 
 appearing in the Chelsea 1755 catalogue as “ an Italian doctor ” (see p. 106). 
 Another raised-anchor figure that owes its origin to the German factory 
 is the seated hurdy-gurdy player of Plate 17 (see C. H. Fischer Sale 
 Catalogue, Cologne, 1906, No. 710 and Plate xvii.). 
 
 The ** Winter ” of Plate 16 is a piece of modelling of unusually fine 
 quality. Such a method of depicting winter, as an old man warming 
 his hands over a brasier, is a commonplace of the sculpture of this time. 
 The occurrence in the 1755 Catalogue (see p. 76) of “ A fine large 
 figure representing winter '' encourages the speculation that so individual 
 a model was intended as a single work and did not, as usually, form part 
 of a set of the four seasons. 
 
 Other figures of early type are the Chinese musician of Plate 13, 
 Fig. 1, and the white bust of George III as Prince of Wales (Plate 15), 
 a position that became his in 1751. These may both be original pieces 
 of work, for the Chelsea chinoiseries are much more akin in spirit to France 
 than Germany. This may be studied on Plate 18, which shows a Chelsea 
 group and figure together with the engraving on which both are based. 
 Les Delices de VEnfance was published as one of a set of six Chinese subjects 
 engraved after Boucher by J. J. Balechon and Aveline. It is interesting 
 to see how the modeller has treated his engraving, and how by making 
 two subjects out of one he has had to alter the woman's pose, bringing the 
 head and left part of the body more forward. In other respects he has 
 adhered scrupulously to the details of the original, even at the risk of 
 forfeiting clarity ; certainly without the aid of the engraving it is not 
 easy to conceive the function of the balustrade upon which the woman 
 is leaning, still less that of the curiously linen-like smoke that is issuing 
 from the pot. Satisfactory confirmation of the absence of any Meissen 
 intervention is given by the existence of a single Meissen group of three 
 figures apparently adapted from the same engraving ; considerably more 
 freedom is here taken with the original, and there is evidently not the 
 slightest connexion between the two groups. Reproductions of the 
 Meissen version will be found in Berling, Meissner Porzellan , Fig. 81, 
 and in an exceedingly interesting article by Adolf Briining, entitled 
 Kupferstiche als Vorbilder fur Porzellan and published in Kunst und 
 Kunsthandwerk (1905), vol. viii., p. 37. 
 
 The colouring of the Chelsea group (see Plate 2) is very similar to 
 that of the early figure on Plate n ; both show the same sealing-wax red, 
 lemon-yellow and milky blue, but the pink of the girl's naturalistic flowers 
 is wholly absent from the Chinese woman, whose robe is adorned with 
 
 38 
 
RAISED ANCHOR AND RED ANCHOR 
 
 little starlike flowers of the pseudo- Oriental character of those on the 
 coffee-pot of Plate 7. A particularly attractive pigment characteristic 
 of this period is the dark red-brown of the balustrade and the woman's 
 scarf. 
 
 A common type during the raised-anchor period are the figures of 
 birds, six of which are reproduced on Plate 14. The earliest porcelain 
 birds are the brilliantly coloured Chinese parrots, blue, purple and green, 
 of the reign of K'ang-hsi (1662-1722). These were imitated at Meissen, 
 where the idea was soon extended to include other varieties of birds. 
 In England they were extensively manufactured, both at Chelsea and 
 Bow. The wane of their popularity during the red anchor period is 
 confirmed by a comparison of the 1755 and 1756 catalogues. The latter 
 year contains no birds other than those in the form of tureens, except 
 ** a bantam cock and hen " ; a similar pair with the red-anchor mark are 
 in the Schreiber Collection, Catalogue No. 219. On the other hand 
 the 1755 catalogue includes under different entries “ a fly-catcher," 
 44 stooping birds," “ ducks in different postures," 44 an owl and two 
 partridges with wheat," 44 a long- tail'd bird and two blue birds," and 
 44 small birds of two sorts." From the preponderance of the raised-anchor 
 mark upon the birds known to us, there seems at least a possibility that 
 the period of this mark should be extended up to 1755. But it is perhaps 
 unwise to put too much faith in Sprimont's description of his goods as 
 all 44 the last year's production." It certainly is a matter of considerable 
 surprise that so many 44 crawfish salts " should have been made in 1756 
 as appear in the catalogue of that year, especially as none are found in 
 1755. Let us piously hope that the eventual discovery of a copy of the 
 1754 catalogue will set some of our doubts at rest. In the meantime 
 we can hardly do more than offer a few remarks on the more salient 
 differences observable between the two years. 
 
 But first let us consider the remaining pieces here illustrated that 
 bear upon the period covered by these two catalogues. Red-anchor 
 figures are generally agreed to be among the more successful productions 
 of the Chelsea factory. The models are infinitely varied ; even those 
 that are directly borrowed from Meissen originals are full of spirit and 
 individuality, while the soft paste and glaze give them a peculiar delicacy 
 and charm which we look for in vain in hard-paste porcelain. The colour 
 is laid on in flat washes, there are often passages of white to provide a 
 contrast, black is used sparingly and effectively, and gilding is almost 
 entirely absent. Typically attractive are the pair of figures on Plate 3, 
 
 39 
 
CHELSEA PORCELAIN 
 
 which may be identified with the “ gardener and his wife sitting with 
 baskets ” of the 1755 sale catalogue ; the baskets are presumably 
 intended as sweetmeat-trays “ for desert/' Another pair that figure 
 frequently in 1755 are the river god and goddess of Plates 35 and 
 36, It may be remarked that neither pair is mentioned in the ensuing 
 year. The same spirit is reflected in the Ceres of Plate 37, which 
 is perhaps symbolical of summer. The map-seller of Plate 33 is 
 borrowed from a Meissen model (see Berling, Meissner Porzellan, 
 Fig. 90 and C. H. Fischer Sale Catalogue, Cologne 1906, No. 790) ; 
 he appears in both catalogues, in the latter year in conjunction with 
 “ a Jew with his box of toys," doubtless his companion on Plate 33. 
 The standing hurdy-gurdy man of Plate 32 was originally modelled by 
 Handler in 1747 (see Festive Publication , p. 34 and Plate 10) ; he may 
 well be identical with the ** Savoyard " mentioned in both Chelsea 
 catalogues, which also speak of a Dutchman or Dutch peasant dancing, 
 presumably the other figure on Plate 32. The Pierrot of Plate 31 is yet 
 another reminiscence of the commedia delV arte , while his companion 
 represents a ratcatcher or man with a tame rat. I have seen a figure 
 from the same model, in which by the omission of the rat the subject 
 becomes a pedlar holding out his right hand to attract the attention of 
 the imaginary client to whom he is extolling the merits of the wares in 
 his box. This practical illustration of the way in which one model may 
 be made to merge in another is further borne out by the magnificent 
 Maypole group of Plate 38 ; the figure on the extreme right of the plate 
 betrays more than a passing resemblance to the peasant on Plate 32, while 
 the head of the old man dancing on the left is quite extraordinarily close 
 to that of the hurdy-gurdy player on Plate 17. This fine group is planned 
 on an unusually generous scale ; it depicts a lady and gentleman and 
 four servants dancing round a maypole, beside which are standing the 
 village fiddler and an inebriated onlooker. 
 
 Another beautiful group is the Madonna and Child of Plate 39, one 
 of the few religious specimens of Chelsea figure-sculpture and one which 
 occurs repeatedly in both catalogues ; there in every case the Child is 
 said to be holding a cross, a detail omitted from the present group. The 
 man with a fish-basket perforated to hold flowers, illustrated on Plate 
 34, is another link between ornamental and useful ; he may possibly be 
 one of the “ pair of fishermen with different nets ” of 1755. Unusually 
 elaborate are the two groups of Plates 40 and 41 ; each has at the back a 
 large socket, perhaps intended for the insertion of a metal candlestick 
 
 40 
 
RAISED ANCHOR AND RED ANCHOR 
 
 or an erection of ormolu mounting and porcelain flowers. The rococo 
 bases of this pair are unusual in Chelsea at this early date, and the 
 occurrence on one of a gold anchor in conjunction with the red anchor 
 mark is a warning to us not to make too hard and fast distinctions between 
 the different periods. Another warning is the Perseus group of Plate 42, 
 which appears in, both catalogues and on the present example of which 
 gold anchor colouring of decided type is combined with a mark in red. 
 
 In the earlier domestic porcelain of this period we find side by side 
 with the Imari influence a continuation of the use of silver models that 
 we have seen to be characteristic of the period of Gouyn. The teapot 
 on Plate 19 evidently owes to a silver original the leaves embossed round 
 the body and lid, as well as the relief modelling of spout and handle. A 
 saucer in the Victoria and Albert Museum (No. 2919-1901) has the same 
 embossed leaves combined with a raised anchor mark, which helps to 
 confirm the attribution to an early date. A silver model also doubtless 
 inspired the handsome shell-moulding of the plate on Plate 23, which 
 comes from a service painted with scenes from ./Esop’s Fables by an 
 unknown master of extraordinary vigour and charm. It can scarcely be 
 doubted that the delightful “ nonsense ” panels on the rim of the big dish 
 on Plate 24 are the work of the same artist at a later date. The relief 
 moulding on the rim of this dish is borrowed from Meissen, which 
 furnished the model also for the landscape and harbour-scene of Plate 
 25. References to these methods of decoration with ** fables,” ** purple 
 landskips ” and ** landskips wrought and figures ” will be found in both 
 of the catalogues. 
 
 Examples of the naturalistic painting of flowers and fruit of this period 
 may be seen on Plates 19, 20 and 22 ; a particularly attractive variety illus- 
 trated on Plate 27, Fig. 2, foreshadows the botanical plates of later years. 
 Typical, as will be seen from the catalogues, are the leaf-shaped trays 
 for dessert or as stands for sauceboats and the tureens for various uses 
 made in the shape of almost every member of the animal and vegetable 
 kingdoms. A specimen of the former appears on Plate 19, and two 
 tureens, in the shape respectively of a rabbit and a bundle of asparagus, 
 will be found on Plate 26. The former is mentioned in both catalogues, 
 the latter only in the later year. Other vegetable forms recorded in the 
 catalogues include cauliflowers, lettuces, artichokes, melons, pine-apples 
 and sunflowers, while among zoomorphic tureens occur partridges, double 
 pigeons, a hen and chickens, a boar’s head, two fighting cocks, a swan, 
 a drake and a duck. 
 
 41 
 
CHELSEA PORCELAIN 
 
 The early taste for shellwork ornamented in relief which produced 
 the ** crawfish salts " finds expression even at this date in such objects 
 as the elaborate centrepiece of Plate 28. A curious type of vase, perforated 
 round the shoulder to serve as a perfume-pot, is illustrated on Plate 29. 
 It is decorated in relief with a female mask on either side, as well as with 
 innumerable flowers scattered over the surface and a band of frilling 
 round the base. The rather wanton fragility of such specimens makes 
 it easy to credit that few have survived unbroken to the present day and 
 heralds those triumphs of spirit over material, the great rococo vases of 
 the next ten years. 
 
 The question of Chelsea u blue and white " porcelain is one of great 
 difficulty. We know that it was made from a variety of references. 
 Bemrose (p. 46) quotes from an inventory made in 1770 of goods made 
 by Sprimont, which were at that time at Burnsall's. One item is “ 20 
 Dozen fine dishes and plates blue and white/' as well as ** 6 Blue and 
 white Caudle Cups, Covers and Saucers." Horace Walpole ( Description 
 of Strawberry Hill , 1784, p. 12) mentions ** a blue and white dish of 
 Chelsea china." And in the 1755 catalogue we read of ** a beautiful 
 round tureen and cover, sprig handles, and a dish to ditto enamelled 
 with blue flowers." The nature of these pieces is not so easy to determine. 
 One particular service of blue and white plates, painted with Chinese- 
 looking birds in the middle and a panelled diaper rim, is marked with 
 an anchor in underglaze blue and can safely be assigned to Chelsea (see 
 British Museum, Catalogue No. II 56 and Plate 13, Schreiber Collection, 
 Catalogue No. 349). These plates do not, however, afford a clue for 
 readily identifying other pieces. Two specimens of another family are 
 illustrated on Plate 30. These are now generally ascribed to Chelsea 
 on the showing of the sandy paste ; the scars left by the supports used 
 in the kiln are another characteristic of Chelsea. The decoration of 
 little blue flowers in relief is distinctive enough. 
 
 The marks used during this period are generally below the base of 
 useful wares, but in the case of figures they are more usually somewhere 
 on the upper surface. The red anchor is often very small and sometimes 
 difficult to find ; it occurs also in brown and purple. The mark of two 
 red anchors (Plate 69) is unusual and is found on one of the toy figures 
 of Plate 47. Occasionally the crossed swords of Meissen are used, in 
 underglaze blue or blue enamel, but this mark is so unusual as to justify 
 the suggestion (Schreiber Collection, Catalogue No. 401) that it signifies 
 a piece made to replace a broken member of a Meissen service. 
 
 42 
 
RAISED ANCHOR AND RED ANCHOR 
 
 We must now return to the consideration of the two Chelsea catalogues 
 of 1755 and 1756, always remembering that it is unsafe to press any 
 argument based on the non-appearance of an object in either catalogue. 
 A striking feature of 1756 is the suppression of practically all the names 
 of patterns ; such as remain are easily identifiable, while the few novelties 
 seem all to be known gold anchor types. We have already referred to 
 the disappearance of the birds, and note here that there is no sign of any 
 diminution in the popularity of the bird, animal and vegetable tureens. 
 Practically all the old models reappear, and we find in addition a swan, 
 a drake and a duck. In the domain of figure-sculpture there seems a 
 tendency to desert the older and simpler forms. Such well-known groups 
 as the Boucher Leda and the so-called ** Palissy nurse/' really after a 
 sixteenth-century original by Barthelemy de Blemont, are no longer found, 
 and their place is taken by such elaborate-sounding pieces as u a large 
 and beautiful lustre, richly ornamented with flowers and a fine figure of 
 Fame sounding a trumpet ," ** a most magnificent Lustre in the Chinese 
 taste , beautifully ornamented with flowers, and a large groupe of Chinese 
 figures playing on music " and “ a most grand Lustre, richly chas'd and 
 gilt , decorated with fine Flowers, and a large groupe of Flora and 
 Cupids in the middle '' (Read, pp. 47, 34 and 54). The variety of orna- 
 mental vases, jars, urns and beakers is greatly increased in the later 
 year. 
 
 The single lustre occurring in 1755 (p. 129) is presumably similar 
 to that known to have been purchased by the Duke of Cumberland. Mrs. 
 Delany {Autobiography , 1st series, vol. iii., p. 462) visited the Duke's 
 Lodge at Windsor in June, 1757, and found in the Tower on Shrub Hill 
 “ a lustre of Chelsea china that cost six hundred pounds, and is really 
 beautiful." Mrs. Powys ( Passages from the Diaries of Mrs . Philip Lybbe 
 Powys, p. 1 14) visited the Duke's Lodge in 1766, after his death, and 
 comments : “ In the principal room is a chandelier of Chelsea china, the 
 first of that manufacture and cost £500." 
 
 The 44 exceeding rich blue enamel " of p. 129 is certainly an earlier 
 reference to mazarine blue than any yet published, and shows that we 
 must antedate its production at Chelsea by at least a year. The constant 
 references to plates with gilt edges suggest that the gold anchor mark 
 may have already come into use, and while many of the types of decoration 
 mentioned are familiar to us the plates 44 with fables and gilt edges " are 
 a little difficult to trace, unless such specimens as the dish on Plate 24 
 are meant. The perfume-pot 44 chased and gilt, enamell'd with flowers 
 
 43 
 
CHELSEA PORCELAIN 
 
 with a figure representing Atalanta and her dog/' is illustrated by No. II 
 27 of the British Museum Catalogue (Fig. 32). 
 
 The figure mentioned on p. 99 of ** a man playing on the salt-box " 
 recalls a once popular burlesque instrument, in connexion with which 
 it may be permitted to quote from Boswell's Life of Johnson (ed. Hill, 
 vol. i., p. 420). Under the date 1763 he says : “ Bonnell Thornton had 
 just published a burlesque Ode on St, Cecilia's day , adapted to the ancient 
 British musick, viz. the salt-box, the jew’s harp, the marrow-bones and 
 cleaver, the hum-strum or hurdy-gurdy, &c. Johnson praised its humour 
 and seemed much diverted with it. He repeated the following passage : 
 
 ‘ In strains more exalted the salt-box shall join, 
 
 And clattering and battering and clapping combine ; 
 
 With a rap and a tap while the hollow side sounds, 
 
 Up and down leaps the flap, and with rattling rebounds.’ ” 
 
 In the 1756 catalogue there is but one white lot, ** three fine honey- 
 comb bottles." Here there are several so described. We find at different 
 entries a ** white sugar dish with cover," ** a white pierced plate," ** ditto 
 baskets and plates," ** a jar white embossed with flowers and richly gilt," 
 “ white vases embossed with laurel-leaves." 
 
 Read (Appendix, p. 3) has noticed the curious fact that no mention 
 is made of any coffee-pots in the 1756 catalogue, and a similar reticence 
 is maintained throughout 1755. No reason has as yet been assigned to 
 this phenomenon. It must be owned that differentiation between the 
 uses of the various shapes of table wares is not always easy. We find 
 teacups in one place opposed to ** handle cups," which suggests that 
 cups with handles were used for coffee and those without for tea, but a 
 little later comes a reference to ** tea-cups with handles," which plunges 
 us once more into confusion. The use of the 44 round water-cups and 
 saucers, scolloped edge," is another problem ; the type presumably is 
 that of the little Imari cup and saucer on Plate 21. 
 
 The phraseology of the catalogue is often highly confusing ; the 
 44 Espargne, finely ornamented with flowers, figures, 6cc. on a glass stand " 
 (p. 126) is explained by similar entries in 1756 which read looking-glass 
 for glass. More puzzling is the task of differentiating between the precise 
 meaning of such expressions as chased (when no gilding is in question), 
 damask workt, nurl'd, embossed and wrought. We can only hope for 
 the discovery of a copy of the 1754 catalogue which may help to give us 
 the clue to some of the difficulties that arise. 
 
 44 
 
GOLD ANCHOR 
 

 
PLATE 4. 
 
 The Roman Charity, adapted from an 
 engraving after Rubens. Gold anchor 
 mark. H. 21 ins. (See page 53.) 
 
 In the collection of Mrs. Radford. 
 

 
 
 
Chapter IV 
 
 GOLD ANCHOR 
 
 Sprimont's illness, whatever its nature, appears to have ameliorated 
 by 1758, for in the following spring we find the annual sales of the factory 
 resumed. Sir Everard Fawkener had died in November, 1758, and 
 three months later his collection was sold by Ford. The Chelsea factory 
 sale of 1759 was held not by Ford but by Burnsall “ At his Great Auction- 
 Room in Charles-street, Berkly-square ” ; it included ** some matchless 
 blue and gold Vauses, Perfume-pots, large Cabinet two-handled Cups 
 and Covers, some Potpourit and other Pieces of the Pea Green and Gold, 
 never before exhibited ; some beautiful large Groups, and single Figures 
 for Brackets, with many other Articles for Table, Tea and Coffee Services : 
 The Whole most delicately enamel'd in Figures, Birds, Flowers, 6cc.” 
 This notice dates the introduction at Chelsea of the rare pea-green ground 
 colour ; unfortunately no copy of either this or any subsequent sale 
 catalogue till 1770 is known to exist. 
 
 The fifth sale was held by Burnsall from April 28 to May 2, 1760, 
 and included ** Table and Tea Services, Variety of Baskets, Leaves, 
 Compotiers, Sweetmeat Vases for Deserts, and some small Figures for 
 ditto, some large Brackets and Groups of Figures, Table Clocks, Essence 
 Vases, Urns, Jars, and Beakers, Ewer and Dish, two-handle Cups, with 
 Covers, < 5 cc. of the inimitable Mazarine Blue, Pea- Green and Gold, finely 
 painted, with History Pieces, Birds, Festoons, and Groups of natural 
 Flowers, and many other Articles in the useful and ornamental Way. 
 There will be likewise in this national Sale, for the Approbation of the 
 Connoisseur, a few Pieces of some new Colours which have been found 
 this year by Mr. Sprimont, the Proprietor, at a very large Expence, 
 incredible Labour, and close Application, all highly finished, and height- 
 ened with the Gold peculiar to that fine and distinguish'd Manufactory, 
 which makes this Porcelain the most beautiful and magnificent ever seen, 
 and cannot be made at any Foreign Manufactory." These new colours 
 have been reasonably conjectured to be the pink or so-called “ claret 
 colour ” and the turquoise-blue, neither having been previously mentioned 
 and both being found as ground colours during this period. 
 
 47 
 
CHELSEA PORCELAIN 
 
 Later in the year appeared a curious advertisement, in the Public 
 Advertiser for November 6, reading as follows : — “ The Old Chelsea China 
 Warehouse, opposite the Black Bear, in Piccadilly, is opened with 
 seventy-three different Deserts with Tea, Coffee, and Chocolate Equipages, 
 Caudle-cups, Clock and Watch-cases, Eperne-Figures and Flower-pots, 
 and the greatest Variety of French Candlesticks, in the highest Taste ; 
 where every Thing can be matched that was ever made at Chelsea." 
 This called forth an indignant disclaimer from Sprimont, couched in 
 very much the same language as his similar paragraph about another 
 “ Chelsea-China Warehouse " ten years before. 
 
 The sixth sale, held in 1761 by Burnsall “ on Thursday, the 30th of 
 April and the five following days " included “ the greatest Variety of Table 
 and Desert Services, Tea and Coffee Equipages, large Urns, Vases, 
 Perfume Pots, Porringers, Cabinet Cups, Basons, a Toilet with a 
 Looking-Glass, and some Boxes for Ladies Dressing Tables, &c. of the 
 rare and inimitable Mazarine blue and gold, and other very rich colours 
 of exquisite Beauty and Magnificence. There will be likewise some fine 
 large Groups and single Figures, Candlesticks, Baskets, Leaves, 
 Compotiers, Sweetmeat Basons for Deserts, and many other curious 
 Articles which will be mentioned in the catalogue. The Proprietor 
 iV. Sprimont , after many Years intense Application, has brought this 
 Manufactory to its present Perfection ; but as his Indisposition will not 
 permit him to carry it on much longer, he takes the Liberty to assure the 
 Nobility, Gentry, and others, that next Year will be the last Sale he will 
 offer to the Public." 
 
 As a matter of fact, no sale was held in 1762 at all, but it is to this 
 year that belong some of the few “ gold anchor " productions that we 
 are able to date with certainty. An exact year can be assigned to two 
 large rococo vases in the British Museum (Catalogue No. II 28 and Plate 
 8) ; they have mazarine blue ground with elaborately chased gilding and 
 panels in reserve ; on one side of each vase is a scene from the death of 
 Cleopatra, on the other a panel containing exotic birds. They were given 
 to the Museum on April 15, 1763, and appear in the donation book as 
 ** two very fine porcelain jars of the Chelsea manufactory, made in the 
 year 1762, under the direction of Mr. Sprimont : from a person unknown, 
 through Mr. Empson." The anonymous donor is conjectured to have 
 been Dr. George Gamier, who is known to have presented a somewhat 
 similar vase at about the same time to the Foundling Hospital, but Sir A. 
 W. Franks is clearly in error in suggesting that this latter was originally the 
 
 48 
 
GOLD ANCHOR 
 
 centrepiece to the British Museum pair. The Foundling vase is painted 
 not with a “ history piece ” but with a pastoral subject in the manner of 
 Boucher, and its real companion is known as the Chesterfield vase from 
 having been in the collection of Lord Chesterfield, The pair figured 
 in the South Kensington Museum Loan Exhibition of 1862 and are noticed 
 in the catalogue as follows : — 
 
 “ No. 3566. A large Chelsea vase, dark blue ground, with two 
 painted medallions ; on the front is a pastoral subject of a girl asleep and 
 a youth with a basket of flowers, on the back a group of birds, white and 
 gold scroll handles, scroll ornament on the cover. Height, 24 in. 
 
 “The Earl of Chesterfield.” 
 
 “ No. 3567. The companion vase, of dark blue ground, with pastoral 
 subject, a youth playing on the bag-pipes and girl listening, a bull and 
 goat in the foreground. Height, 24 in. 
 
 “The Foundling Hospital/' 
 
 They were subsequently purchased separately by Lord Dudley, shortly 
 before August, 1869, in the Art Journal for which month (vol. xxxi., p. 258) 
 appears a somewhat cursory description of them. They are illustrated 
 in Solon, Old English Porcelain, Nos. 21 and 22. 
 
 Another date is preserved for us by Horace Walpole ( Letters , ed. Mrs. 
 Toynbee, vol. v., p. 291), who writes to Sir Horace Mann on March 4, 
 1763 : — “ I saw yesterday a magnificent service of Chelsea China which 
 the King and Queen are sending to the Duke of Mecklenburgh. There 
 are dishes and plates without number, an epergne, candlesticks, 
 salt-cellars, sauce-boats, tea and coffee equipages ; in short, it is 
 complete ; and costs twelve hundred pounds ! I cannot boast of our 
 taste ; the forms are neither new, beautiful, nor various. Yet Sprimont, 
 the manufacturer, is a Frenchman. It seems their taste will not bear 
 transplanting/’ Walpole’s failure to appreciate this triumph of rococo 
 art, the Mecklenburg service, is a melancholy reminder that after the 
 pseudo-classicism of the next ten years there was yet to dawn the day 
 of Strawberry Hill and the Gothic revival. The Duke of Mecklenburg- 
 Strelitz was brother of Queen Charlotte ; some pieces of his sister’s 
 present have since found their way back to England. A pair of branch 
 candelabra in the Schreiber Collection (Catalogue No. 254) give an ex- 
 cellent idea of the decoration ; the ground is mazarine-blue covered 
 with insects in gilding ; on this are reserved panels edged with gilded 
 
 49 e 
 
CHELSEA PORCELAIN 
 
 scrollworks and painted with flowers of the same character as those on 
 Plate 53. 
 
 Later in the same year, 1763, was held the seventh sale. This took 
 place at Burnsall's rooms on ** Thursday, March 17, and the ten following 
 Days, Sundays excepted " and was advertised to include ** magnificent 
 and great variety of compleat Table and Dessert Services, Tea and Coffee 
 Equipages, large and small Antique Urns, ditto Vases, Perfume Pots on 
 Pedestals, some other ditto, compleat Poringers, large Cabinet Cups, a 
 Lady's Toilet with a Looking Glass and Gold Instruments, various 
 Shapes of Boxes, and Essence Bottles for ditto, of the most rare and truly 
 inimitable Mazarine Blue and Gold, Crimson and Gold, and some Pieces 
 of very curious Paintings in Figures, Birds, and Flowers, upon the rich 
 Gold Ground, and other colours of exquisite Beauty. There will be 
 likewise a large Variety of handsome Candlesticks, large Groups of Figures, 
 and single ditto of all Sizes for Deserts, some Baskets, Leaves, Compotiers 
 round and oval, and many other curious Articles in the ornamental and 
 useful Way. . . . The Proprietor N. Sprimont takes this opportunity 
 of assuring the Nobility, Gentry, and others, that this will positively be 
 his last Sale ; being unfortunately obliged on account of his Lameness 
 to decline carrying on the same in a short Time after. He likewise will 
 dispose of at his Manufactory at Chelsea, every Thing in general belonging 
 to it, with all the Variety of unfinished Porcelaine, and all Materials, his 
 valuable and extensive Variety of fine Models, all the Moulds, Mills, 
 Kilns, Presses, Sec,, together with all the Outbuildings ; and as he will 
 retire farther into the Country, all his Household Furniture will be sold 
 at the same Time." 
 
 How much truth there is in Mason's assertion that little business 
 was done after 1763 it is impossible to say. In March, 1764, we find 
 Christie advertising ** a magnificent and extensive Table or Desert Service 
 of the rare and curious Mazareen Blue and Gold, the same as the Royal 
 Pattern which was sold for 1150 Pounds. This service is declared to be 
 the last that will be made of that Pattern." However, it does seem 
 probable that about this year a reaction from the elaborate “ gold anchor " 
 style set in. The figures of Wilkes and Conway (Schreiber Collection, 
 Catalogue Nos. 200-1 and Plate 21) may be assigned to the year 1764, and 
 though they still show rococo scrollwork bases the colouring already 
 anticipates the soft tones of the Derby-Chelsea period. The dignified 
 Lord Camden of Plate 61 belongs probably to 1765, the year of his elevation 
 to the Woolsack, while the well-known Lord Chatham (Schreiber Collection, 
 
 50 
 
GOLD ANCHOR 
 
 Catalogue No. 202 and Plate 27) cannot be earlier than 1766. Various 
 advertisements quoted by Read testify to continued manufacture as late 
 as 1768, in which year u Jones, on the Terras in St. James's-street," a 
 dealer of the time, offers Chelsea porcelain 44 even still brought from that 
 noble Manufactory/' 
 
 Finally in 1769 Burnsall advertises the eighth sale, to be held 44 on 
 Wednesday, the 17th May, and the following days, by order of Mr. Nicholas 
 Sprimont, the Proprietor of the Chelsea Porcelain Manufactory, he having 
 entirely left off making the same, All the curious and truly matchless pieces 
 of that valuable manufactory ; consisting of beautiful vases, antique 
 urns, perfume pots, table and dessert services, tea and coffee equipages, 
 compotiers, leaves, &c., beautiful candlesticks of different shapes ; variety 
 of figures, very large and curious groups ; particularly two groups of the 
 Roman Charity, toilet-boxes of various forms and sizes and many other 
 articles, most highly finished in the mazarine blue, crimson, pea-green 
 and gold, finely painted in figures, birds, fruit and flowers, enriched with 
 gold and curiously chased. . . . Likewise will be sold all the fine models, 
 mills, kilns, presses, buildings, and all other articles belonging to this 
 most distinguished manufactory." 
 
 In August, 1769, Sprimont finally sold the factory to James Cox, 
 who, in his turn, sold it to William Duesbury and John Heath of Derby 
 in February, 1770. In between these dates Francis Thomas the foreman 
 embezzled a quantity of porcelain made by Sprimont, which should 
 apparently have gone with the rest of the factory. The death of Thomas 
 in 1770 was followed by a great deal of tedious litigation between Duesbury 
 and Heath on the one hand and Burnsall the auctioneer, Thomas's executor, 
 on the other. The details of this case may be found at length in Bemrose, 
 who preserves (p. 45) an inventory of the porcelain in question, which 
 is an interesting record of the production before 1769. 
 
 The last sale of Sprimont 's porcelain was held by Christie and lasted 
 from Wednesday, February 14, 1770, till the following Saturday. The 
 catalogue is published by Nightingale, and is very similar in matter to 
 Burnsall's announcement of 1769, including two groups of the Roman 
 Charity. In June, 1771, Sprimont died. 
 
 The porcelain of the gold anchor period is differentiated from that of 
 the red anchor period by the use of bone-ash, an ingredient already 
 adopted at Bow in 1748. Mr. Eccles’ analysis of a plate in the Victoria 
 and Albert Museum (No. Catalogue 411-1919) gives the following 
 result : — 
 
 5i 
 
CHELSEA PORCELAIN 
 
 Silica ......... 4552 
 
 Alumina ......... 1206 
 
 Lime ......... 2600 
 
 Phosphoric acid ....... 14 27 
 
 Soda ......... 073 
 
 Potash ......... 093 
 
 9951 
 
 This table shows a total percentage of bone-ash of about 40. The 
 plate in question bears the gold anchor mark and is decorated with exotic 
 birds ; the rim has foliage moulded in relief and picked out with grey-blue 
 and gold. The paste of this porcelain is still sandy, but the technical 
 difficulties have largely been overcome and in consequence there are no 
 more “ moons/' The glaze is very thick and collects in pools where 
 it finds an opportunity ; it is often cracked or crazed all over, with the 
 result, in the commoner pieces, of absorbing dirt and being pitted with 
 brown stains. The decoration becomes more and more elaborate, 
 increasing use being made of gilding, which is often chased, as in the 
 manner of Sevres. Mr. William Burton says {English Porcelain , p. 46) : — 
 “ The Bow gilding and the early Chelsea gilding were applied in the 
 Chinese manner. Leaf gold was ground up in honey and then applied 
 in this state to the ware, and fired until it sank into the glaze. Gilding 
 done in this way has a somewhat dull look, and cannot be brightened 
 by burnishing. The rich Chelsea gold was undoubtedly applied in the 
 modern way ; an amalgam of gold and mercury was first made, and this 
 was then ground finely with a small amount of a fusible glass or flux. In 
 this way the gold could be worked on as thickly as necessary, and at a 
 fairly easy fire the flux melted, securely fastening the gold to the glaze ; 
 the gold could then be burnished and chased so as to display its utmost 
 brilliance. Technically, this late Chelsea gilding leaves nothing to be 
 desired." 
 
 That the figure-modelling of this period is even finer than ever appears 
 most strikingly from the u Pieta ” on Plate 64. This exceptional group 
 is made in one piece with its stand, but while the latter is mazarine-blue 
 and richly gilded with religious symbols, the group itself is left plain 
 white and enables its splendid plastic quality to be appreciated in a way 
 that is less easy when the modelling has been obscured by the sumptuous 
 painting and gilding characteristic of this time. The model bears several 
 close similarities to the painting by Rubens in the Prado and was probably 
 adapted from an engraving after this original. 
 
 52 
 
GOLD ANCHOR 
 
 The superb series of Apollo and the Muses are amongst the most 
 magnificent productions of this period, and the set from which the two 
 examples on Plate 62 are taken has the distinction of being the only com- 
 plete set in existence. The figure of Una or Britannia of Plate 63 seems to 
 have been the largest ever made at Chelsea ; see on this subject Nightin- 
 gale, p. 82. On Plate 4 appears the “ Roman Charity ” group, referred to 
 in the sales of 1769-70. This curious instance of filial piety, originally 
 preserved by Valerius Maximus and Plutarch and later embellished with 
 the names of Cimon and Pera, was a favourite subject with artists of the 
 seventeenth century under the general heading of Caritas Romana . The 
 present group seems to be certainly based on an engraving after Rubens, 
 the relative position of the feet being altered in order to preserve the 
 balance. The elaborate diaper patterns of the girl's robe are typical 
 of this period of decoration. There seems no reason to regard these 
 as other than highly original productions ; we know nothing that corre- 
 sponds to them in the work of other factories. The influence of Meissen 
 is for the most part discredited at this time. An exception are the little 
 Cupids of Plate 59, the “ love in disguise ” of the 1755 catalogue. Handler 
 and his pupils excelled in the invention of disguises for their little loves, 
 and the bagpiper controlling with his foot the actions of a pair of 
 marionettes is typical of Handler's satiric attitude towards courtship and 
 marriage ; an illustration of the original Meissen model appears in the 
 C. H. Fischer Sale Catalogue, Cologne 1906, No. 604 and Plate 8. The 
 pair of mythological figures on Plate 60 may possibly represent Spring 
 and Autumn from a set of the four Seasons. 
 
 A common feature of this period is the framing, as it were, of a figure 
 or group within a so-called bocage or bosky grove of leaves and flowers. 
 One of the more sumptuous instances of this type is the well-known 
 44 Music Lesson " group (Schreiber Collection, Catalogue No. 192 and 
 Plate 24), adapted from an engraving after Boucher's Uagreable Legon . 
 It is interesting to compare the contemporary version made at Frankenthal 
 (see Hofmann, Frankenthaler Porzellan, vol. i., plate 35, and Kunst nnd 
 Kunsthandwerk, vol. viii., p. 39) ; in each case Boucher's rustic shepherd 
 and shepherdess have been turned into a pair of elegantly dressed young 
 people masquerading as pastoral figures, and as there can be no question 
 of any borrowing as between Chelsea and Frankenthal, this point is worth 
 noting as an indication of the already wide dissemination of the philosophy 
 generally associated with Marie Antoinette and the Trianons. A less 
 elaborate example of the bocage will be found in the little figures on Plate 
 
 53 
 
CHELSEA PORCELAIN 
 
 59 ; they also illustrate the combination of ornament and use in the nozzles 
 for candles with which they are fitted. 
 
 A triumph of this combination may be seen in the magnificent clock 
 shown in the Frontispiece, here reproduced by gracious permission of His 
 Majesty the King. The essential spirit of the rococo is here seen at its 
 gayest and happiest ; the grouping of the little figures and the arrangement 
 of the tree are singularly skilful, while the restless vivacity of the scrollwork 
 base and the solitary gilded wing protruding from one side of the clock-face 
 testify to the horror of classical symmetry that forms one of the more 
 attractive features of this enchanting type of ornament. This clock is 
 one of a pair ; it was exhibited by H.M. Queen Victoria at the South 
 Kensington Museum 1862 Loan Exhibition ; see Catalogue No. 3,563. 
 It is worth recording that two similar clocks were sold at the sale of Queen 
 Charlotte's china in 1819. 
 
 Chief among the masterpieces of this period are the set of seven 
 vases, of which three are illustrated on Plates 57 and 58. They are said 
 to have been originally made for presentation by George III to Lady 
 Liverpool ; subsequently they passed into the possession of Lord Dudley, 
 from which circumstance they are generally known as the 44 Dudley Vases." 
 The ground is claret- colour, richly gilded ; on each are reserved two 
 panels, one containing a mythological subject, the other a panel of 
 naturalistic birds in the style of Hondekoeter. The painting is beautifully 
 finished and the modelling a perfect expression of rococo feeling ; small 
 reproductions of the whole set will be found in Frederick Litchfield, 
 Pottery and Porcelain . 
 
 No feature of eighteenth-century art is perhaps more alluring than 
 the consideration of cultural exchanges between Europe and the East, 
 resulting over here in the creation of an entirely new and delightful world, 
 generally known as the chinoiserie . Its history has yet to be thoroughly 
 written, but as regards its connection with Chelsea it is worth noting that 
 while in the red anchor period and earlier we find chinoiserie figures and 
 groups, they vanish under the gold anchor regime and we find Chinese 
 subjects painted on table and ornamental wares, a new departure. Plate 
 51 shows three pieces from the supremely beautiful tea-service bequeathed 
 to the Victoria and Albert Museum by Miss Emily Thomson, of Dover ; 
 here the subjects are reserved in panels on a ground of claret- colour with 
 rich gilding. Similar no doubt was the 44 very curious and matchless tea 
 and coffee equipage, crimson and gold, most inimitably enamell'd in figures, 
 from the designs of Watteau ,'' that was sold at Christie's in 1770. In 
 
 54 
 
GOLD ANCHOR 
 
 the three vases of Chinese form on Plate 54 the decoration is painted 
 directly on the white ground. u Chinese figures " are among the fresh 
 patterns mentioned in the 1756 catalogue. 
 
 The familiar Chinese beaker shape is seen in the vase on Plate 53, 
 the elaborate flower- painting on which appears also on the covered bowl on 
 the same Plate, as well as on the 44 Mecklenburg service of 1763/' The 
 influence of Sevres is seen in the shapes of the vases on Plates 54, 55 and 56. 
 The first named shows bird-painting of exotic style, the last a pretty type 
 of painting in crimson monochrome or camaieu. This type is derived from 
 Sevres, where it originated in imitating the little Cupids of Boucher ; we 
 find it at Chelsea as early as 1756, where it must surely be the pattern 
 referred to as 44 small Cupids/' The division of the vase on Plate 55 into 
 two zones of decoration of different kinds is typical of Sevres, and a 
 development may be seen in the border of the cups and saucers on Plate 
 50. The so-called trembleu.se saucer of Plate 49, with a socket to prevent 
 the cup from slipping, is another Sevres type. Examples of the bird, 
 flower and fruit-painting of this period are shown on Plates 49 and 51. 
 The candlestick on Plate 23 is the embodiment of rococo moulding at 
 its simplest and most dignified ; it was exhibited by Lord Bessborough 
 at the South Kensington Museum, 1862 Loan Exhibition, Catalogue 
 No. 3,608. 
 
 The scale-pattern of the plate reproduced on Plate 50 seems not to 
 be taken from Sevres, but to be one of the comparatively rare instances 
 of Meissen influence so late (see R. L. Hobson, Worcester Porcelain , p. 
 89) ; it is presumably the same that appears in the 1756 catalogue as 
 “ oxes eye." The same catalogue refers twice to “ green landscapes," 
 which clearly alludes to the method of decoration of a cup and saucer 
 on Plate 49. They belong to a well-known class with decoration in black 
 outline washed over with green. A similar treatment of Watteau 
 scenes was in use at Meissen as early as 1738 ; it appears on a service 
 that formed part of the dowry of Maria Walburga of Saxony on her 
 marriage in that year to Charles III of Naples ; some of the pieces are 
 now in the Museo Arqueologico, Madrid. Meissen influence is further 
 seen in the handsome cup on Plate 51, Fig. 1, painted with birds in 
 colours on a gold ground ; this type of decoration seems to be first 
 mentioned at Chelsea in the advertisement for the sale of 1763, where 
 it is described as follows : — 44 some Pieces of very curious Paintings in 
 Figures, Birds and Flowers, upon the rich gold ground." Its companion 
 is a specimen of rich gilding on mazarine-blue ground. 
 
 55 
 
CHELSEA PORCELAIN 
 
 The bowl on Plate 52 is interesting by reason of the views with which 
 it is painted. One of these has not yet been identified ; the other appears 
 to represent Chelsea Old Church, immediately to the west of which was 
 the site of the pottery. Faulkner, History of Chelsea , 1829, vol. i*> P* 273, 
 says : — 44 The Chelsea China Manufactory was situated at the corner of 
 Justice Walk, and occupied the houses to the upper end of Lawrence- 
 Street. . . . The whole of the premises are now pulled down, and new 
 houses erected on the site.” Since Faulkner's day the question of the 
 actual site has been exhaustively gone into by Bemrose, p. 20, who gives 
 the available evidence on the subject. 
 
 It will be convenient to consider at this point the numerous small 
 objects depicted on Plates 43 to 48. Some of the most exquisite 
 workmanship of the factory is to be found in these tiny pieces. The 
 scent-bottles, seals and needle-cases are frequently adorned with 
 inscriptions in French, which is often misspelt, betraying the hand of 
 an uneducated workman ; these are generally love-mottoes of little 
 originality, and a typical selection will be found in the letterpress opposite 
 the plates in the present volume. It was Franks {Archaeological Journal , 
 vol. xix., p. 346) who first quoted the following announcement from the 
 Public Advertiser of November 23, 1754 : — 
 
 ** By Order of the Proprietors of the Chelsea Porcelain Manufactory. 
 
 “ To be Sold by Auction 
 “By Mr. Ford, 
 
 44 At his great Room in St. James' Haymarket on Monday the 16th 
 December and the following Days. 
 
 “ All the entire Stock of Porcelain Toys, brought from their Ware- 
 house in Pall-Mall ; consisting of Snuff-Boxes, Smelling Bottles, Etwees 
 and Trinkets for Watches (mounted in gold and unmounted) in various 
 beautiful Shapes, of an elegant Design, and curiously painted in Enamel. 
 
 “ Nothing of the above kind was in their former Sale, nor will any 
 Thing of the same Sort as in this be sold from the Manufactory till after 
 next year. 
 
 “ A large Parcel of Porcelain Hafts for Table and Dessert Knives 
 and Forks.” 
 
 It is generally considered that this sale represents the first appearance 
 on the market of these Chelsea toys, whose manufacture continued 
 throughout the history of the factory. The original inspiration for most 
 of them should probably be sought at Meissen, although patch-boxes 
 in particular were extensively made at the French soft paste factories. 
 
 56 
 
GOLD ANCHOR 
 
 The seals, or ** trinkets for watches/' of Plate 47 are all of early type, 
 and we have already seen that one of them has furnished the means of 
 identifying as pieces of early Chelsea the figures on Plate 11. The patch- 
 boxes, snuff-boxes, bonbonnieres or etuis (etwees) of Plates 46 and 48, are 
 early too and show no gilding, with the exception of the box representing 
 Venus blindfolding Cupid, which is fully gold anchor in colouring. A 
 rare example is the Janus-headed scent-bottle of Plate 46, Fig. 1. The 
 other scent-bottles are of all varieties and dates, ranging from the delicate 
 colouring of the early friar and nun to the elaborately gilded examples 
 with mazarine blue ground. The inspiration for the satiric representa- 
 tion of a monk carrying off a woman together with other provender for 
 the monastery is certainly derived from Meissen ; see C. H. Fischer 
 Sale Catalogue, Cologne 1906, No. 889 and Plate 17. The needle-cases 
 are late in character, with the exception of that with the storks, which 
 is ungilded and early. The toy figures of Plate 47 are of varying dates 
 but all of exceptionally fine quality. 
 
 The question of the Chelsea modellers is one as to which it is difficult 
 to reach any satisfactory conclusion. It has been the custom to ascribe 
 to the sculptor Louis- Francis Roubiliac the finer gold anchor models, 
 such as the u Music Lesson '' and the set of Apollo and the Muses on 
 Plate 62, on the evidence of their being frequently marked with an incised 
 R. Roubiliac died in 1762, and it seems hardly credible that at the height 
 of his fame he would take the trouble to model porcelain figures after 
 Boucher engravings. If he had wanted to model porcelain figures at 
 all, we may be sure that he would have left original work and not adapta- 
 tions in the round of another man's painting. If we agree that the 
 ** Music Lesson " is unlikely to be his work, then the whole theory of 
 his having worked at Chelsea must go, for the only argument is the R mark, 
 which is found on that group. There is no record in any biography of 
 Roubiliac of his having modelled porcelain figures, and there is no 
 tradition to that effect in the annals of the Chelsea factory ; even John 
 Thomas Smith never mentions the rumour. The culprit appears to 
 be Church, who in 1885 announces simultaneously in his English Porcelain , 
 p. 27, and in Lady Charlotte Schreiber's Catalogue, No. 192, that the 
 ** Music Lesson " is marked with an R, standing for the modeller Roubiliac. 
 It may be added that one of the toy figures on Plate 47 is equally marked 
 with an R ; in the same way its companion bears a B. These letters 
 very likely stand for the initials of the modeller, but that modeller was 
 not Roubiliac. The rumours that Bacon and Nollekens modelled for 
 
 57 
 
CHELSEA PORCELAIN 
 
 the factory are equally nebulous. It may be remarked that Lot 1,759 of 
 the Duke of Hamilton's sale at Christie’s, July, 1882, is described as 
 follows : — “ A Chelsea figure of a man in fancy dress inscribed 4 George 
 Holmes did this figer, 1765.’ ” It would be interesting to see this 
 documentary piece, but George Holmes may very probably have been 
 the man who put the component parts of the figure together rather than 
 the artist who actually made the model. 
 
 Among the few dated pieces known that belong to this period must 
 be mentioned the scent-bottle in the British Museum, Catalogue No. II 
 105 and Plate 15. It represents Cupid writing a letter inscribed “ To : 
 1759 This is ” and is painted in the gold-anchor style. 
 
 The question of Chelsea painters is no less baffling than that of the 
 modellers. We know that artists from Chelsea migrated to Worcester 
 and were working there in 1768, and Mr. Hobson ( Worcester Porcelain, 
 p. 1 19) is of opinion that there had been a steady movement from Chelsea 
 to Worcester at any rate since 1763 and possibly five years earlier. Mr. 
 Hobson (loc. cit. pp. 91, 117) works out the characteristics of two individual 
 artists, one a fruit-painter whose activities can be traced at Meissen, 
 Chelsea and Worcester, the other a bird-painter who started at Chelsea 
 and went on through Longton Hall, Bow, Worcester and Bristol. 
 Unfortunately we cannot put names to either of them. Equally unsettled 
 at present is the question as to whether John Donaldson, the Worcester 
 figure-painter, ever worked at Chelsea. The other Worcester painter, 
 O’Neale, is definitely stated by Nightingale (p. lxxvii) to have worked for 
 Duesbury at Chelsea between 1770 and 1773, but this seems to rest on 
 the somewhat hazardous identification of the Worcester O'Neale with 
 “ Mr. O’Neil, a painter ” of the Chelsea bills for those years quoted by 
 Jewitt, vol. i., p. 182. It has been suggested that O’Neale was the anony- 
 mous master of the Chelsea AZsop paintings, but they are at least fifteen 
 years earlier in date than any signed work of his. 
 
 58 
 
DERBY-CHELSEA AND LATER 
 

 
 
 
 

 
 
PLATE 5. 
 
 Jason and Medea before the altar of 
 Diana. Mark, N 37, incised. H. 12J 
 ins. (See page 64.) 
 
 In the collection of Mr. F. E. Sidney. 
 

 
 
 
Chapter V 
 
 DERBY-CHELSEA AND LATER 
 
 William Duesbury, who bought the Chelsea factory from James 
 Cox in 1770, was born in 1725 and died in 1786. Bemrose (p. 7) gives 
 an account of a work-book of Duesbury 's that had come into his possession ; 
 this book was kept by Duesbury between 1751 and 1753, when he was 
 working in London as an enameller on china. An idea of the extent of 
 the work done by these ** outside enamellers ” may be gained from the 
 statement that between May 14 and 31, 1751, Duesbury enamelled no 
 less than 382 single objects, so that, as Bemrose says, he “ must have 
 been a considerable employer of labour at that early date/' Among 
 the list of goods enamelled by Duesbury at this early date are figures from 
 Chelsea, Bow, Derby and Staffordshire. We know that the Bow factory 
 was founded in 1744, while the Staffordshire figures are presumably those 
 made at the porcelain factory carried on at Longton Hall by William Littler 
 from about 1752 to 1758. The Derby figures are more problematical. 
 
 A tradition, quoted by Jewitt, vol. ii., p. 63, states that the first maker 
 of porcelain at Derby was a Frenchman who modelled and made small 
 articles, chiefly animals, cats, dogs, lambs and sheep. Jewitt identifies 
 this individual with Andrew Planche, a French refugee, who is known 
 to have entered into an agreement with Duesbury and Heath in 1756, 
 and who after that disappears from sight. It is possible that Planche's 
 animals are the Derby figures in question. 
 
 Another solution ascribes them to the Cockpit Hill Works, Derby, 
 an extensive pottery which is known to have made porcelain at some 
 time, as in 1780 on the failure of this enterprise 44 a large quantity of 
 earthen and china ware from the Pot Works on Cock-pit Hill, in Derby, 
 being the stock-in-trade of Messrs. John and Christopher Heath, of 
 Derby, bankrupts," was advertised for sale. John Heath was the same 
 who joined Duesbury and Planche in 1756, and it is possible that Derby 
 porcelain originated in experiments by Heath about 1750, and that when 
 Duesbury came in 1756 the manufacture of porcelain was moved to Derby 
 and the Cockpit Hill works continued to produce common earthenware. 
 
 A white cream-jug in the Victoria and Albert Museum (No. C. 
 
 61 
 
CHELSEA PORCELAIN 
 
 629 — 1920), to which it was presented by Mr. E. F. Broderip, is generally 
 considered as an example of the earliest Derby porcelain ; a similar piece 
 is in the British Museum. The paste is sandy, the glaze very white ; the 
 handle is in the form of a twig and round the foot are strawberries in relief 
 (see p. 22) ; under the base is the mark u D. 1750,” incised before firing. 
 
 At some period between 1753 and 1755 Duesbury returned to his 
 home at Longton, and it is generally believed that he had some connexion 
 at this time with Littler's porcelain factory at Longton Hall. In any 
 case, in 1756 we find him at Derby, as the agreement between Duesbury, 
 Planche and Heath is dated January 1 of that year. 
 
 Nightingale quotes an advertisement in the Public Advertiser for 
 December 14, 1756, which reads as follows : — 
 
 “ To be Sold by Auction, 
 
 By Mr. Bellamy, 
 
 By order of the Proprietors of the Derby Porcelain Manufactory, 
 at a commodious House in Prince's-Street, Cavendish Square, 
 This and the three following Days. 
 
 A Curious Collection of fine Figures , Jars , Sauceboats , Services for Deserts , 
 and great Variety of other useful and ornamental Porcelain, after the 
 finest Dresden models, all exquisitely painted in Enamel, with Flowers, 
 Insects, India Plants, &c. . . . '* 
 
 It seems on the whole probable that this production is the output 
 of Duesbury's factory. Nightingale somewhat perversely regards the 
 Duesbury-Planche-Heath agreement as referring to Longton Hall and 
 not to Derby at all, in which case this becomes the advertisement of 
 an unknown firm. He goes on to quote eulogistic articles from the 1757 
 press regarding Derby figures, which are said to be indistinguishable 
 from the real Dresden. 
 
 It is likely that about 1758-9 Duesbury and Heath bought up the 
 Longton Hall works, and certainly by 1763 they were doing very success- 
 fully at Derby. At one time during this year no less than forty-two large 
 boxes of Derby porcelain appear to have been sent to London. Jewitt 
 gives a list of some items, from which it is worth while to select a few :■ — 
 “ Large Britanias, Second-sized Huzzars, Large Pidgeons, Small Rabbets, 
 Large Quarters [of the Globe], Shakespeares, Miltons, Jupiters, Junos, 
 Ledas, Europa, Enammelled, round, fourth-size, open-worked Baskets, 
 Blue ditto/' 
 
 It is clear that the factory was producing work of importance, especially 
 
 62 
 
DERBY-CHELSEA AND LATER 
 
 in the realm of figure-sculpture, and it is a little horrifying to think that 
 we have not as yet succeeded in identifying with certainty a single figure 
 made at Derby before the union with Chelsea in 1770. When the day 
 comes that we do succeed in this task, it is likely that we shall see some 
 drastic changes of attribution. 
 
 The porcelain made after the amalgamation of the factories is very 
 similar in texture to gold-anchor Chelsea. Owing to the fact that Dues- 
 bury was always making modifications and experiments, it is not possible to 
 distinguish pieces made at Chelsea from those made at Derby on technical 
 grounds. In spirit, however, it is profoundly different. The publication 
 in 1766-7 of D'Hancarville's catalogue of Sir William Hamilton's collection 
 had a magical effect on English domestic art. The rococo spirit was 
 banished at once as if it had never been, and everything becomes infected 
 with the virus of the Classical Revival. The shapes of the vases are 
 adapted from classical originals after the manner of Wedgwood, the 
 figure-sculpture loses its lively character and becomes sentimental, the 
 colouring is pale and thin. 
 
 The sale catalogues of the years from 1771 onward have been published 
 in detail by Nightingale and are interesting reading. Two innovations 
 that appear at once are the introductions respectively of lacework and 
 biscuit. The former originated at Meissen about this time, and although 
 technically ingenious is without much artistic merit. The latter is the 
 most interesting contribution from Derby, and it is a pity that it is not 
 possible to find out more accurately for how long it had been in use at that 
 place. Biscuit porcelain is the technical but anomalous name for porcelain 
 fired without a glaze. The lack of glaze imparts a clearness to the lines of 
 the modelling, which can be most effective. This method of treating porce- 
 lain originated at Sevres during the seventeen-fifties, and suited very well 
 the soft paste both of Sevres and Derby. It is less happily matched at 
 Meissen, where it was introduced in the 'seventies, nor is the later hard 
 paste of Sevres so pleasing a medium as the earlier body. 
 
 A fine example is illustrated on Plate 68. This model is adapted 
 from a portrait group painted by Zoffany in 1770 ; it first appears as one 
 of a set of three mentioned in a catalogue of principal additions made 
 to Duesbury's London warehouse in 1773 or 1774 (see Bemrose, p. 54). 
 It is thus described “ Their present majesties the king and queen, 
 and royal family, in 3 grouped pieces in biscuit — the center piece represents 
 the king in a Vandyke dress, on a blue and gold bassement, supported 
 by four lions, leaning on an altar richly ornamented in blue and gold, 
 
 63 
 
CHELSEA PORCELAIN 
 
 with hanging trophies of the polite arts and sciences. The crown, munde 
 and scepter reposing on a cushion of crimson, embroidered, fringed, 
 and tasselled in gold/' 
 
 The group, on Plate 5, of Diana is typical of the soft colouring in 
 vogue at this time. It seems to be first mentioned in the sale catalogue of 
 1773, where it appears as 44 a large group, Jason and Medea vowing before 
 the altar of Diana, enamelled and richly finished with gold." The formal 
 sobriety of treatment is essentially in the spirit of this age, and it is 
 interesting to contrast this group with the Perseus model of nearly twenty 
 years earlier which is illustrated on Plate 42. 
 
 The decoration on the useful wares of this period is marked by 
 restraint and symmetry. At its best, as in the few examples reproduced 
 on Plates 65 and 66, it is extremely pleasing, and its unobtrusive quality 
 renders it ideal for domestic purposes. A fine blue enamel appears in 
 place of the warm mazarine blue, which is more rarely found ; this blue 
 enamel is used with effect on the pedestal of the figure of George III on 
 Plate 68. The plate reproduced on Plate 66 is a rare piece, and was probably 
 made to replace one from an Oriental service which had got broken. 
 
 The mark most generally in use at this period was a combination of 
 an anchor with D (for Derby or Duesbury) in gold ; it is illustrated on 
 Plate 69. It is impossible in most cases to distinguish the pieces made 
 at Derby from those made at Chelsea, but it is usually considered that 
 specimens marked with D or D and a crown may be ascribed to Derby 
 and those of Derby- Chelsea style with the gold anchor to Chelsea. The 
 cup and saucer on Plate 65 belong to the latter class ; they have the gold- 
 anchor mark but the style of decoration is full Louis Seize. It is possible 
 indeed that that manner was introduced at Chelsea before the close of 
 the gold -anchor period ; it certainly started at Sevres many years before 
 the death of Louis XV in 1774, and the inner border of the bowl on Plate 
 52 has a decidedly classical flavour. An unusual mark is the anchor and 
 D of the sugar-basin on Plate 67 ; this mark seems to have been exclusively 
 on pieces of that particular service. A cursive N, incised, is also found, 
 either alone or in conjunction with other marks ; its significance is 
 unknown. Figures seldom bear the D and anchor mark. A specimen 
 of the George III figure so marked is, however, mentioned by Nightingale, 
 p. 53. They frequently have the number of the model incised in the 
 paste, after the fashion of 44 No. 217 " and B figured on Plate 69 ; so 
 the Jason group is marked 44 N 37." Haslem (p. 171) gives a list of a 
 quantity of the models ; on this No. 37 is given as 44 Jason and Medea," 
 
 64 
 
DERBY-CHELSEA AND LATER 
 
 together with the information that it was made in three sizes, the 
 height of the second being 12I inches, as in the example illustrated 
 on Plate 5. Bemrose (p. 69) gives another list, in which No. 37 appears 
 as “ Large group, Jason and Midia." 
 
 Two of the more important specimens of Derby-Chelsea are in the 
 Schreiber Collection, Catalogue Nos. 438 and 465, Plates 46 and 48. 
 The former is a punch-bowl, painted with coopers at work and the arms 
 of the Coopers' Company of London. It is dated 1779 and has the gold- 
 anchor mark ; it may therefore be taken as having been made at Chelsea, 
 and it is interesting to compare it with Chelsea painting of the earlier 
 period. The other is a jug, of which several specimens are known. It 
 was made to commemorate Lord Rodney's victory in the West Indies in 
 1782 and bears the head of that admiral in relief below the lip after a 
 fashion borrowed from Meissen. The mark is D under a crown in purple, 
 and it seems to have been certainly made at Derby. It is noticeable 
 that the Derby blue enamel appears alike on the Chelsea piece. 
 
 A series of bills kept at Chelsea between 1770 and 1773 are reprinted 
 in part by Jewitt (vol. i., p. 180, and vol. ii., p. 71) and are of interest as 
 showing the kind of work turned out ; constant references occur to the 
 various forms of “ toys," which evidently continued to be an important 
 part of the production. Duesbury seems soon to have rid himself of 
 Heath, his partner, who went bankrupt in 1780. In 1776 he purchased 
 the factory at Bow, and as no reference occurs to Heath in the documents 
 relating to this transaction it seems reasonable to suppose that he had 
 already left the firm. In 1773 Duesbury leased a London warehouse in 
 Bedford Street, Covent Garden, and in 1776 this was visited by Queen 
 Charlotte. An illustrious visitor to the factory at Derby was Dr. Johnson, 
 who went over it in 1777 and wrote next day characteristically to Mrs. 
 Thrale : — “ The finer pieces are so dear that perhaps silver vessels of the 
 same capacity may be sometimes bought at the same price ; and I am 
 not yet so infected with the contagion of china-fancy as to like anything 
 at that rate which can so easily be broken " (see Boswell, Life of Johnson , 
 ed. Hill, vol. iii., p. 163). In 1784 Duesbury pulled down the factory 
 at Chelsea and removed the models, moulds, some of the kilns and other 
 useful objects to Derby. 
 
 The appreciation of the old Chelsea porcelain has been continuous. 
 It was treasured in the cabinets of Walpole at Strawberry Hill and Beck- 
 ford at Fonthill quite as fondly, if less scientifically, than in the collections 
 of the present day. The serious historical study of the subject begins 
 
 65 F 
 
CHELSEA PORCELAIN 
 
 with the publication of Franks' article on the 44 goat and bee '' jugs in 
 1862* Previously these jugs had been considered as Bow, and the general 
 level of ceramic knowledge had been much on a level with that displayed 
 in Smith's Life of Nollekens. Smith as a writer is wholly delightful, but 
 like most gossips, especially if they happen to be malicious, his standard 
 of accuracy is not high. In the present instance he receives the treatment 
 that he deserves at the hands of W. F. Tiffin in his Chronograph of Bow , 
 Chelsea and Derby , published in 1874. The collections of Sir A. W. 
 Franks and Lady Charlotte Schreiber laid the foundations of those now 
 in the national museums. 
 
 The results of excavation have added little to our knov/ledge of the 
 factory. In 1843 some excavations in Cheyne Row West discovered a 
 quantity of fragments, but no details seem to have been published. 
 
 66 
 
APPENDIX 
 
 SALE CATALOGUE OF 1755 
 

 
A 
 
 CATALOGUE 
 
 Of the last Year's large and valuable Production 
 
 of the 
 
 CHELSEA PORCELAIN 
 MANUFACTORY, 
 consisting of 
 
 Elegant Epargnes, a most magnificent 
 Lustre, Services of Table Dishes, 
 
 Plates and Tureens, new and beautiful 
 Groupes of Figures, 6cc. compleat Tea 
 Equipages, Services for Desarts, Sets 
 of Jars and Beakers, and great Variety 
 of other useful and ornamental Pieces 
 of new and curious Designs, highly 
 finished with Flowers, Landskips, 
 
 Figures, Birds, Insects, India Plants, 
 
 Sec., painted in ENAMEL. 
 
 Which will be sold by Auction, 
 
 By Mr. FORD, 
 
 At his Great Room in the Haymarket, 
 
 On Monday the ioth of March and the Fifteen 
 following Days, Sundays excepted. 
 
 The WHOLE may be viewed on Thursday the 6th and every 
 Day till the Time of Sale, which will begin each Day 
 punctually at 12 o’clock. 
 
 CATALOGUES to be had at Mr. Ford's, Price One Shilling, 
 which Money will be allowed to those that are Purchasers. 
 
 69 
 
APPENDIX 
 
 CONDITIONS OF SALE 
 
 i st, The highest Bidder is to be the Buyer ; and if any Dispute shall 
 
 arise between any two or more Bidders, the Lot so disputed shall 
 be put up again. 
 
 2dly, No Person to advance less than 6 d. and above a Pound is. above 
 Five Pounds 2s. 6 d. and so on in Proportion. 
 
 3dly, The Purchasers are to give in their Names and Places of Abode, and 
 positively to pay down Five Shillings in the Pound in Part of Pay- 
 ment of the Purchase Money ; in Default of which, the Lot or Lots 
 so purchased, to be immediately put up again, and resold. 
 
 4thly, The Lots shall be taken away with all Faults, at the Buyer’s Expence, 
 within two Days after the Sale, and 
 
 5 thly, To prevent the Inconveniences that too frequently attend long and 
 Open Accounts, the Remainder of the Purchase Money to be abso- 
 lutely Paid on or before the Delivery. 
 
 Lastly, Upon Failure of complying with the above conditions, the Money 
 so deposited in Part of Payment, shall be forfeited ; the Lots 
 uncleared within two Days aforesaid, shall be resold, by public or 
 private Sale, and the Deficiency (if any) together with the charges 
 attending such Re-Sale, shall be made good by the Defaulters at 
 this Sale, 
 
 N.B. The Lots are all supposed sound, but if known to be otherwise, it 
 will be declared at the Time of Sale. 
 
 70 
 
SALE CATALOGUE OF 1755 
 
 First Day’s Sale, Monday, March 10, 1755 
 
 1 Eight octagon tea cups and saucers painted in flowers, and a 
 tea pot OF THE OLD PATTERN 
 
 2 Two birds called fly-catchers, 2 stooping birds, and 2 fine 
 pomatum pots for a toilet 
 
 3 Two scollopt compotiers wheatsheaf and pheasant pattern, 
 with borders ; 4 less ditto with flowers, and 2 vine leaves 
 
 4 Two small round porringers and covers, enamell'd with flowers, 
 gilt edges 
 
 5 Three small figures of the Italian theatre, and 2 fine lemons for 
 a toilet 
 
 6 Two quart, 2 pint and 2 half-pint mugs, enamell'd with flowers 
 
 7 One dish second size, 4 ditto third size, scollopt and finely 
 enamell'd with India plants 
 
 8 Ten fine table plates, same pattern 
 
 9 Two small sauce boats and plates, enamell'd with flowers, and 
 green sprig handles 
 
 10 Six round water cups and saucers, enamell'd with flowers 
 
 11 Two fine partridges, for desart 
 
 12 Two ditto 
 
 13 Two fine dishes to ditto, ornamented with corn, &c. 
 
 14 A compleat tea and coffee equipage, consisting of 8 tea cups 
 and saucers, 8 coffee cups and saucers, a tea pot and stand, a slop bason, 
 a sugar bason, a cream ewer and a bread and butter plate, all enamell'd 
 with flowers 
 
 15 A BEAUTIFUL LARGE GROUPE OF THREE CUPIDS, WITH A MASK, &C. 
 
 16 Two fine basons with covers and plates, enamell'd with flowers 
 
 17 Four small cabbage leaves two fine old old leaves and two 
 scollopt compotiers, withgreen leaves, for a desart 
 
 18 Twelve desart plates, scollopt and finely enamell'd with flowers 
 
 19 Six tea cups and saucers, 6 handled cups and a cream ewer, 
 scollopt, enamell'd with flowers 
 
 20 Four fine small figures of the seasons 
 
 21 Two small fig leaves and 2 cabbage lettices, for a desart 
 
 22 Two curious large ice pails, enamell'd with flowers 
 
 23 A beautiful tureen, in the shape of a double pigeon, in a fine 
 basket workt dish 
 
 24 Two large sauce boats and plates, silver shaped, enamell'd with 
 flowers 
 
 25 Two small ditto 
 
 7i 
 
APPENDIX 
 
 26 Eight tea cups and saucers, 8 chocolate cups and saucers and 
 a cream ewer, scollopt, enamell'd with flowers 
 
 27 Four figures of the sciences, and 2 fine lemons, for a toilet 
 
 28 Two quart, 2 pint and 2 half-pint mugs, with birds 
 
 29 Two large porringers and covers, scollopt edges, with insects 
 
 30 An oval dish third size, 2 ditto fourth size, and 2 round ditto 
 
 fifth size, fine wrought pattern, with flowers and brown edges 
 
 31 Two fine silver shaped sauce boats and plates, enamell'd with 
 
 flowers 
 
 32 Two small ditto and plates 
 
 33 A large scollopt compotier, green leaves, 2 small cabbage leaves, 
 2 silver shaped dishes in purple, and four ditto in flowers, for desart 
 
 34 Two small fig leaves and 2 cabbage lettices, for desart 
 
 35 Twelve table knives and forks 3 prong'd, mounted with silver, 
 in a shagreen case 
 
 36 Eight large tea cups and saucers, 8 large handled cups, a plate 
 and a cream ewer, scollopt with flowers and green leaves 
 
 37 A CURIOUS FIGURE OF A WOMAN, HOLDING A PERFUME POT 
 
 38 Two fine large cabbage leaves and 2 fine large melons, for desart 
 
 39 One dish third size, 2 ditto fourth size, 2 ditto fifth size, oval, 
 scollopt and enamell'd with flowers 
 
 40 Twelve table plates, to ditto 
 
 41 Two large sauce boats and plates, enamell'd with flowers 
 
 42 A compleat tea and coffee equipage, consisting of 8 tea cups 
 and saucers, 8 handled cups and saucers, a tea pot and stand, a slop bason, 
 a sugar bason, a cream ewer, and a bread and butter plate, all neatl 
 enamell'd with flowers 
 
 43 Six beautiful small figures, love in diisguise, for desart 
 
 44 Two fine large basons with covers and plates, enamell'd with 
 birds and sprig handles 
 
 45 Two small ditto, same pattern 
 
 46 A compleat service for a desart, consisting of a large cabbage 
 leaf and bason, 2 vine leav'd dishes, 2 double leav'd dishes, and 4 small 
 sunflower leaves 
 
 47 Two fine artichoaks, second size 
 
 48 Four fine apples and 4 leaves, for desart 
 
 49 Six fine water cups and saucers, scollopt edges, enamell'd with 
 flowers 
 
 50 A most beautiful tureen in the shape of a HEN AND CHICKENS, 
 big as the life, in a curious dish adorn'd with sunflowers 
 
 51 Two fine large sauce boats and plates, enamell'd with flowers 
 
 72 
 
SALE CATALOGUE OF 1755 
 
 52 Two fine partridges for desart 
 
 53 A pair of exceeding fine toilet candlesticks with birds and 
 flowers 
 
 54 Six large tea cups and saucers, six large handled cups, a plate 
 and a cream ewer scollop'd and enamell'd in flowers 
 
 55 Four octagon sallad dishes fine old partridge pattern with 
 borders 
 
 56 One oval dish 3d size, three ditto 4th size, with India plants 
 
 57 Twelve desart plates ditto 
 
 58 Two exceeding fine figures of a gardener and his wife sitting 
 with baskets 
 
 59 Three small figures of the Italian theatre, and two fine pomatum 
 pots for a toilet 
 
 60 Two fine basket work'd dishes ornamented with leaves, and 
 and two vine leaf ditto enamelled with flowers for desart 
 
 61 Four small roses, and four leaves to ditto for desart 
 
 62 A compleat tea and coffee equipage, consisting of 8 small 
 tea cups and saucers, 8 large handled cups, a tea pot and stand, a slop 
 bason, a cream ewer, a plate and a spoon boat scollop'd, enamell'd with 
 flowers and green leaves 
 
 63 Two fine porringers and covers, round edges enamell'd with 
 insects 
 
 64 A beautiful groupe of figures of a man and woman dancing 
 
 65 Four very fine ducks in different postures 
 
 66 One oval Dish first size, 2 ditto second size, and 2 ditto 4th 
 size, fine pattern, enamell'd with landskips wrought and figures 
 
 67 Twelve table plates to ditto 
 
 68 Two large silver shaped sauce boats and plates enamell'd with 
 flowers 
 
 69 Eight tea cups and saucers, octagon in flowers, and a tea pot 
 old pattern 
 
 70 A fine large bowl, enamell'd with flowers, faulty 
 
 71 One oval scollop'd compotier, 2 large scollop'd ditto, 2 heart- 
 shaped ditto, and 4 nurl’d, all fine old pattern for desart 
 
 72 Two fine partridges for desart 
 
 73 A figure of a nurse and child, one ditto of the arts, one ditto 
 of the seasons, and two fine lemons for a toilet 
 
 74 Two fine EELS as big as the life, and 2 fine dishes for ditto 
 
 75 Four small figures of cupids ornamented for desart 
 
 76 One large oval dish 1st size, 2 ditto 3d size, 2 ditto 4th size, 
 and 4 round 5th size, wrought pattern, enamell'd in fables, and gilt edges 
 
 73 
 
APPENDIX 
 
 77 Twelve octagon soup plates Hob in the well 
 
 78 A compleat tea and coffee equipage consisting of 8 tea cups 
 and saucers, 8 handled cups and saucers, a tea pot and stand, a slop bason, 
 a sugar bason, a cream ewer, and a bread and butter plate, all round, 
 enamelPd with flowers 
 
 79 Two large round porringers and covers enamelPd in flowers 
 
 80 Eight fine tea cups and saucers, a tea pot and stand, a slop bason, 
 a sugar bason, and a cream ewer, nurl'd 
 
 81 Two small ice pails fine wrought pattern enamelPd with flowers 
 
 82 Three small figures of the arts and one of the seasons, and two 
 fine pomatum pots 
 
 83 One dish first size, 2 ditto 5th size round, and 4 ditto 5th size 
 oval, all scollop'd enamelPd with flowers 
 
 84 A fine round tureen and dish scollop'd edges with purple flowers 
 and sprig handles 
 
 85 An oval pierced dish in purple landskip, 2 scollop'd compotiers 
 in landskip, 2 scollop'd ditto, wheatsheaf and fox, and 4 scollop'd gold 
 flowers for desart 
 
 86 Six small tea cups and saucers, a tea pot and stand, and a sugar 
 dish octagon, old sprig pattern with borders 
 
 87 One quart and 3 half pint mugs in flowers, one pint mug 
 with birds and one silver shape cup and cover with two handles and 
 flowers 
 
 88 One large scollop'd compotier, and 4 heartshaped ditto fine 
 OLD PATTERN 
 
 89 Two beautiful figures of a shepherd and shepherdess 
 
 90 Two exceeding fine carps, and 2 fine dishes to ditto 
 
 91 Six tea cups and saucers, octagon and flowers, a tea pot fine 
 OLD PATTERN 
 
 92 Two large scollop'd compotiers old pattern, and six roses for 
 
 DESART 
 
 93 Four small figures of cupids ornamented, for desert 
 
 94 Two fine small porringers in flowers and gilt edges 
 
 95 A most beautiful coffee and tea equipage, consisting of 8 tea 
 cups and saucers, 8 handled cups and saucers, tea pot and stand, a slop 
 bason, a sugar bason, a cream ewer, and a bread and butter plate fine old 
 
 STRAWBERRY PATTERN 
 
 96 Four fine deep vine leaf dishes enamelled with flowers for 
 DESART 
 
 97 Four very fine large sunflowers leaves for ditto 
 
 98 Four bustos of heathen gods and goddesses for desart, and 2 
 lemons for a toilet 
 
 74 
 
SALE CATALOGUE OF 1755 
 
 99 Seven large tea cups and saucers with handles, seven large 
 handle cups, seven small chocolate cups and saucers, and a cream ewer 
 scollop'd enamelled with flowers 
 
 100 Two nurl'd bowls old pattern, and two ten square ditto in 
 flowers 
 
 Second Day's Sale , Tuesday, March ii 
 
 1 A Nurse and child, 2 small figures of the Italian theatre, and 2 
 fine pomatum pots 
 
 2 A double leaved dish, 2 large sun-flower leaves, 2 small cabbage 
 leaves, and 4 heart-shaped compotiers, fine old pattern, for a desart 
 
 3 Eight large chocolate cups and saucers, a cream ewer, and a large 
 caudle cup and saucer nurl'd with flowers 
 
 4 Four ten square basons, of two sorts, old japan pattern 
 
 5 Three figures of Italian theatre, and 2 fine pomatum pots 
 
 6 Six tea-cups and saucers, octagon in flowers, and a tea-pot fine 
 OLD PATTERN 
 
 7 Two fine porringers and covers, with flowers and gilt edges 
 
 8 Two oval dishes, and 4 less ditto, fine silver shaped enamelled 
 with flowers 
 
 9 Twelve table plates to ditto 
 
 10 Two small sauce-boats and plates, with green handles enamelled 
 with flowers 
 
 11 A fine small oval tureen and cover, with sprig handles, and a 
 dish to ditto enamelled with flowers 
 
 12 Twelve octagon damasked soup-plates, enamelled in flowers 
 
 13 Eight tea-cups and saucers, 8 handled cups, a tea pot and stand, 
 a slop bason, a sugar-dish, and a cream ewer, octagon enamelled with 
 flowers 
 
 14 Four small figures of Cupids ornamented for desart, and 2 
 fine pomatum pots, enamelled in flowers 
 
 15 One dish second size, 2 ditto third size, 2 ditto fourth size, 
 and four ditto fifth size, oval scollopt fine old pattern 
 
 16 Twelve table plates to ditto 
 
 17 Twelve soup-plates to ditto 
 
 18 Two small fine cabbage-leaves, and 4 rabbits, for desart 
 
 19 A double leaf dish, 2 heart-shaped compotiers, 2 small cabbage 
 leaves, and 4 small fig-leaves for desert 
 
 20 Two quart, 2 pint, and 2 half-pint mugs with flowers 
 
 21 Two very fine patridges for desart 
 
 22 Three fine figures, of a fidler, a Savoyard, and a man dancing 
 
 75 
 
APPENDIX 
 
 23 Two small porringers enamelled with flowers and gilt edges 
 
 24 Twelve fine large chocolate cups and saucers and a cream ewer, 
 all nurl'd enamelled with flowers 
 
 25 Twelve octagon tea- cups and saucers enamelled in flowers, 
 and a tea-pot fine old pattern 
 
 26 Two fine large basons with covers and plates, sprig handles 
 enamelled in flowers 
 
 27 A beautiful groupe of figures, Pantaloon and Columbine 
 
 28 A compleat tea and coffee equipage, consisting of 8 tea- cups 
 and saucers, 8 coffee-cups and saucers, a tea-pot and stand, a slop-bason, 
 a sugar-bason, a cream-ewer, and a plate, all finely enamelled in flowers 
 
 29 Two oval dishes fourth size, and 4 ditto fifth size scollopt, 
 enamelled in flowers 
 
 30 Two large sauce-boats and plates, green handles 
 
 31 Six round water- cups and saucers enamelled with flowers 
 
 32 Three figures of the Italian theatre, and 2 fine lemons for a 
 toilet 
 
 33 Two large ice pails, finely chased and enamelled in flowers 
 
 34 Eight small tea-cups and saucers, six chocolate cups and saucers, 
 a tea-pot and stand, a slop bason, a sugar-bason, a cream-ewer and a plate, 
 nurl'd, old flower pattern 
 
 35 A fine leaf with a handle, 2 small cabbage-leaves, 2 scollopt 
 compotiers with green leaves, and 4 nurl'd compotiers old pattern 
 
 36 Twelve very fine desart plates, India plants, all different 
 
 37 Two artichoaks first size for desart 
 
 38 A compleat tea and coffee equipage nurl'd, finely enamelled with 
 landskips, figures, &c. 
 
 39 A fine large figure representing winter 
 
 40 A set of mugs, consisting of 2 quarts, 2 pints, and two half pints, 
 enamelled strawberry pattern 
 
 41 Two small fig-leaves, and two fine cabbage lettices, for desart 
 
 42 Two small fig-leaves, and two roses for ditto 
 
 43 Two very fine carps and 2 dishes for ditto 
 
 44 Two scollopt dishes fourth size, 2 ditto fifth size, and 2 ditto 
 sixth size, of the rare old japan pattern 
 
 45 Fourteen fine octagon soup-plates damasked, of the pheasant 
 pattern 
 
 46 Two small sauce-boats and plates, silver-shaped, enamelled in 
 flowers 
 
 47 Six large tea-cups and saucers, 6 large handled cups, and a 
 cream- ewer, scollopt, enamelled with flowers 
 
 76 
 
SALE CATALOGUE OF 1755 
 
 48 Two curious china toilet candlesticks with birds, &c. 
 
 49 Two fine large cabbage-leaves, and 2 fine large melons 
 
 50 Four small figures of love in disguise, for desart, and 2 small 
 lemons for a toilet 
 
 51 Twelve fine desart plates scollopt, enamelled with flowers 
 
 52 One scollopt dish first size, 4 ditto second size, enamelled with 
 leaves and insects 
 
 53 Eight octagon tea- cups and saucers, with handles, in flowers, 
 and a tea pot in landskip 
 
 54 Eight octagon cups and saucers in flowers, and a tea pot old 
 PATTERN 
 
 55 Four fine small ducks in different postures 
 
 56 Two porringers and covers enamelled with flowers and gilt 
 edges 
 
 57 A compleat tea and coffee equipage, consisting of 8 tea cups 
 and saucers, 8 handle cups and saucers, a tea-pot and stand, a slop-bason, 
 a sugar bason, a cream ewer and a plate, all finely enamelled with flowers 
 
 58 Twelve desart knives and 12 forks three prong'd, mounted with 
 silver, in a shagreen case 
 
 59 Four small figures of the seasons for desart 
 
 60 An oval dish third size, 2 ditto fourth size, and 2 round ditto 
 fifth size, wrought pattern enamelled with flowers 
 
 61 Two small silver-shaped sauce boats and plates enamelled in 
 flowers 
 
 62 A fine small round tureen and cover, sprig handles, and a dish 
 to ditto enamelled with flowers 
 
 63 Seven round water-cups and saucers of the fine old strawberry 
 pattern 
 
 64 A set of 2 quart, 2 pint, and 2 half-pint mugs, enamelled with 
 different sorts of birds 
 
 65 A large scollopt compotier with green leaves, 2 small cabbage 
 leaves, and 4 small silver-shaped dishes in flowers for desart 
 
 66 Two fine large cabbage leaves and two basons 
 
 67 Two fine figures of the river god and goddess 
 
 68 Twelve octagon tea-cups and saucers, a tea-pot, a slop-bason, 
 a sugar-bason, and a cream ewer, of the fine red pannel pattern 
 
 69 A most beautiful tureen, in the figure of a HEN and CHICKENS 
 in a dish finely ornamented 
 
 70 Four fine small cabbage leaves for desart 
 
 71 Two large scollopt compotiers old pattern, and 6 roses, for 
 desart 
 
 77 
 
APPENDIX 
 
 72 Two fine pine-apples for desart 
 
 73 A most beautiful perfume pot, in the form of a pigeon-house, 
 with pigeons, a fox, &c. 
 
 74 A compleat tea and coffee equipage, consisting of 8 tea-cups 
 and saucers, 8 handle cups and saucers, a tea-pot and stand, a slop-bason, 
 a sugar-bason, a cream ewer and a plate, enamelled with flowers 
 
 75 Two very fine partridges, and a dish for ditto, finely ornamented 
 
 76 Two ditto 
 
 77 Two small basons and covers with sprig handles, and 2 plates 
 enamelled in flowers 
 
 78 Two small china flower-pots for desart, 2 pomatum pots for a 
 toilet, and 2 fine lemons ditto 
 
 79 An oval scollopt compotier, and 4 half round ditto, of the fine 
 OLD PATTERN WIIH BORDERS for desart 
 
 80 Four fine roses, and four leaves to ditto for a desart 
 
 81 One round dish, fourth size, 4 ditto fifth size, wrought pattern 
 with fables and gilt edges 
 
 82 Twelve table plates in landskips ditto 
 
 83 Two large silver-shaped sauce-boats and plates, enamelled 
 with flowers 
 
 84 A beautiful groupe of figures representing the Sabine rape 
 
 85 Two fine large porringers enamelled with flowers 
 
 86 Two fine small fig-leaves and 2 cabbage lettices 
 
 87 Two fine large ice-pails enamelled with insects 
 
 88 A fine tureen in the shape of a rabbit as big as life, in a fine 
 oval dish 
 
 89 Eight small tea-cups and saucers, 8 large handled cups, a large 
 tea-pot and stand, a slop-bason, a sugar-bason, a cream ewer and a plate, 
 all nurl'd enamelled with flowers 
 
 90 Four small figures of the sciences sitting, and 2 fine lemons for 
 a toilet 
 
 91 Six fine water-cups and saucers scollopt and enamelled with 
 flowers 
 
 92 Two fine partridges 
 
 93 Four fine deep vine leaf dishes, enamelled with flowers 
 
 94 Ditto 
 
 *94 Two very fine Eels and Plates 
 
 95 Eight small tea cups and saucers, 8 small handled cups, and a 
 cream ewer scollopt, enamelled with flowers 
 
 96 Two beautiful figures of two sorts, fishermen with different 
 
 nets 
 
SALE CATALOGUE OF 1755 
 
 97 One oval dish third size, 2 ditto fourth size, and 2 ditto fifth 
 size, FINE OLD PATTERN 
 
 98 Twelve table plates to ditto 
 
 99 Twelve soup plates to ditto 
 
 100 Twelve small tea-cups and saucers octagon, in flowers, and a 
 tea pot OLD PATTERN 
 
 Third Day's Sale , Wednesday, March 12 
 
 1 One fine large bird, 2 smaller ditto, and 2 small lemons for a 
 toilet 
 
 2 One oval dish second size, 2 ditto third size, 2 ditto fourth 
 size, and 4 ditto fifth size, of the old pattern 
 
 3 Twelve table plates ditto 
 
 4 Two fine small sauce boats and plates 
 
 5 One large scollopt compotier, 2 star ditto, 2 heart shaped ditto 
 old pattern, and 4 small silver shaped dishes for desart 
 
 6 Four small cabbage leaves and a large cabbage leaf and bason 
 
 7 Six nurl'd saucers old pattern, 6 small cups with flowers, 6 small 
 chocolate cups and saucers old pattern, a tea pot and stand enamelled 
 in flowers, a slop bason, a sugar bason, a plate and a cream ewer, all 
 DIFFERENT OLD PATTERNS 
 
 8 Ditto 
 
 9 Three small figures of the arts, and one of the seasons, and 2 
 pomatum pots 
 
 10 Two quart jugs in flowers, 2 pints in birds, and 2 half pint mugs 
 in flowers 
 
 11 A compleat tea and coffee equipage, consisting of 8 tea cups 
 and saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer 
 and a plate, all round enamelled in flowers 
 
 12 Four small cabbage leaves, 2 fine old leaves, and 2 scollopt 
 compotiers, with green leaves for desart 
 
 13 Ditto 
 
 14 Four fine small artichoaks for desart 
 
 15 Twelve fine desart plates enamelled with flowers 
 
 16 Four round dishes fine wrought pattern enamelled with flowers 
 
 17 Ditto 
 
 18 Six beautiful small figures of different sorts, representing love 
 in disguise for desart 
 
 19 Three porringers with birds, and 1 ditto in flowers 
 
 79 
 
APPENDIX 
 
 20 Eight small tea cups and saucers, 8 small chocolate cups and 
 saucers, scollopt, enamelled in flowers 
 
 21 Eight octagon tea cups and saucers in flowers, and a tea pot of 
 old pattern 
 
 22 Two very fine large ice pails chased and enamelled with 
 flowers 
 
 23 One round dish third size, 2 ditto fourth size, and 2 ditto fifth 
 size, scollopt and enamelled with India plants 
 
 24 Two fine large sauce boats and plates to ditto, enamelled with 
 flowers 
 
 25 Six round water cups and saucers enamelled with flowers 
 
 26 An exceeding fine figure of a Madona and a child with a cross 
 in it's hand 
 
 27 Three small figures of the Italian theatre, and 2 small lemons 
 for a toilet 
 
 28 Two quart, 2 pint, and 2 half pint mugs enamelled with flowers 
 
 29 A compleat tea and coffee equipage, consisting of 8 tea cups 
 and saucers, 8 large handled cups, a tea pot and stand, a slop bason, a 
 sugar bason, a cream ewer, a plate, and a spoon boat, scollopt, enamelled 
 with flowers and green leaves 
 
 30 A double leaved dish, 2 small cabbage leaves, 2 scollopt compotiers 
 green leaves, and 4 small silver shaped dishes in flowers, for desart 
 
 31 Four large sun flower leaves, and 4 sun flowers to ditto 
 
 32 Two fine large cabbage leaves and basons to ditto 
 
 33 Two fine basket workt dishes ornamented with green leaves, 
 and 2 fine deep vine leaved dishes enamelled with flowers 
 
 34 One dish first size, 4 ditto second size, enamelled with India 
 plants 
 
 35 Twelve table plates to ditto 
 
 36 Two fine large sauce boats and plates, green handles enamelled 
 with flowers 
 
 37 Two small fig leaves and 2 cabbage lettices 
 
 38 Two ditto 
 
 39 Eight small tea cups and saucers, 6 large chocolate cups and 
 saucers, a small teapot and stand, a slop bason, a sugar bason, a cream 
 ewer, and a plate, nurl’d enamelled with flowers 
 
 40 A very fine TUREEN in the shape of a double PIGEON as 
 big as life, and a fine basket workt dish 
 
 41 Twelve octagon soup plates, damask workt, old pattern of 2 
 
 sorts 
 
 42 Two silver shaped large sauce boats, and plates enamelled with 
 flowers 
 
 80 
 
SALE CATALOGUE OF 1755 
 
 43 Four very fine small ducks in different postures 
 
 44 A figure of a nurse and child, 1 ditto of the arts, one ditto of the 
 seasons, and 2 pomatum pots for a toilet 
 
 45 Four small figures of the sciences 
 
 46 A scollopt compotier, old pattern, 2 nurhd ditto, 2 small cabbage 
 leaves, and 4 small sun flower leaves for desart 
 
 47 A beautiful service for A desart, consisting of an oval pierced 
 basket with handles, 2 fine pierced plates, and 2 melons, 2 vine leaf dishes, 
 and 4 small cabbage leaves 
 
 48 Twelve beautiful scollopt desart plates, India plants, all 
 different 
 
 49 Six beautiful small figures of Cupids representing love in dis- 
 guise, for desart 
 
 50 A beautiful round tureen and cover, sprig handles, and a dish 
 to ditto enamelled with blue flowers 
 
 51 Nine scollopt soup plates with India plants 
 
 52 Two small sauce boats green handles, and 2 plates to ditto 
 enamelled with flowers 
 
 53 Eight small tea cups and saucers, 8 small handled cups, a tea 
 pot and stand, a sugar bason, a cream ewer, and a spoon boat, scollopt, 
 enamelled with flowers and green leaves 
 
 54 A pair of exceeding fine toilet china candlesticks with birds, 
 
 &c. 
 
 55 A compleat tea and coffee equipage, consisting of 8 cups and 
 saucers, 8 coffee cups and saucers, a tea pot and stand, a slop bason, a 
 sugar bason, a cream ewer, and a plate, all enamelled with flowers 
 
 56 A very beautiful tureen in the form of a hen and chickens 
 as big as life, and a dish to ditto properly ornamented 
 
 57 Two quart, 2 pint, and two half pint mugs enamelled in flowers 
 
 58 Two bears, 2 foxes, and 2 cows for desart, and 2 fine small 
 lemons 
 
 59 Two very fine carps, and 2 dishes to ditto 
 
 60 Two large cabbage leaves and 2 fine melons 
 
 61 Four fine deep vine leaf dishes for desart, enamelled with flowers 
 
 62 A double leaved dish, 2 small cabbage leaves, and two large sun 
 flower leaves for desart 
 
 63 A beautiful perfume pot with 3 very fine figures gathering 
 flowers 
 
 64 Two dishes third size, and 4 ditto fourth size oval, enamelled 
 with India plants 
 
 65 Ditto 
 
 81 
 
 G 
 
APPENDIX 
 
 66 Two fine large porringers with covers, scollopt, ornamented in 
 flowers 
 
 67 Ditto 
 
 68 Eight small tea cups and saucers, and 8 small chocolate cups 
 and saucers, scollopt, enamelled with flowers and green leaves 
 
 69 Ditto 
 
 70 Two fine Eels, and dishes to ditto 
 
 71 One 3 pint bowl and 2 quart ditto enamelled with flowers 
 
 72 Four small cabbage leaves, 2 fine old leaves, and 2 scollopt 
 compotiers, enamelled with green leaves 
 
 73 Four small roses and 4 leaves to ditto, for desart 
 
 74 Two beautiful small ice pails, green handles, enamelled with 
 birds 
 
 75 One quart, and 1 half pint jug, 2 half pint mugs with flowers, 
 and 1 quart ditto with birds 
 
 76 Two fine small basons and covers, sprig handles, and 2 plates 
 to ditto enamelled with flowers 
 
 77 Two fine partridges 
 
 78 Two ditto 
 
 79 Two fine dishes to ditto ornamented with corn, &c. 
 
 80 A compleat coffee and tea equipage, consisting of 8 tea cups 
 and saucers, 8 coffee cups and saucers, a tea pot and stand, a slop bason, 
 a sugar bason, a cream ewer and a plate, all round enamelled in flowers 
 
 81 An oval dish third size, 2 ditto fourth size, and two round ditto 
 fifth size, fine wrought pattern enamelled with flowers 
 
 82 Ten fine octagon soup plates (Hob in the well) 
 
 83 A beautiful figure of a Spanish sportsman, a Chinese mask, 
 and a nun standing 
 
 84 Four small Cupids for a desart, 2 leopards, and 2 dogs 
 
 85 Eight tea cups and saucers octagon in flowers, and a tea pot 
 old pattern 
 
 86 Ditto 
 
 87 A most beautiful groupe of four boys representing the four 
 
 SEASONS 
 
 88 A compleat service for desart, consisting of a large double leaf 
 compotier, 2 vine leaf dishes, 2 large fine fig leaves, 4 small fig leaves, and 
 4 cabbage lettices 
 
 89 Twelve curious desart plates chased, enamelled with flowers 
 
 90 Twelve table knives, and 12 three pronged forks, neatly mounted 
 with silver, in a shagreen case 
 
 91 Six fine water cups and saucers, scollopt, enamelled with flowers 
 
 82 
 
SALE CATALOGUE OF 1755 
 
 92 A pair of fine partridges for desart 
 
 93 Ditto 
 
 94 A compleat coffee and tea equipage, consisting of 8 tea cups 
 and saucers, 8 coffee cups and saucers, a tea pot and stand, a slop bason, 
 a sugar bason, a cream ewer, and a plate, all round enamelled in 
 flowers 
 
 95 Four Cupids representing love in disguise, and 2 fine pomatum 
 
 pots 
 
 96 An oval scollopt compotier, 2 large scollopt ditto, 2 heart shaped 
 ditto, and 4 nurl'd ditto, all of the old pattern 
 
 97 Two fine large cabbage leaves and basons 
 
 98 One dish third size, 2 ditto fourth size, and 2 ditto fifth size, 
 oval scollopt, old pattern 
 
 99 Twelve soup plates to ditto 
 
 100 An owl and 2 partridges with wheat, and 2 fine lemons for 
 desart 
 
 Fourth Day's Sale , Thursday, March 13 
 
 1 Two nurl'd basons with borders, and 2 eight square ditto with 
 insects 
 
 2 Six scollopt saucers in flowers, six tea cups ditto with green leaves, 
 five large handled cups, a small slop bason, a plate and stand same pattern, 
 a tea pot, a cream ewer, nurl'd in flowers, and a white sugar dish with 
 a cover 
 
 3 One fine large long tail'd bird, 2 blue birds, and two fine pomatum 
 
 pots 
 
 4 Four small cabbage leaves, two fine old leaves, and two scollopt 
 compotiers green leaves 
 
 5 Two large cabbage leaves and basons 
 
 6 Two quart, two pint and two half pint mugs enamell'd with 
 flowers 
 
 7 One dish second size, 2 ditto 3d size, 2 ditto 4th size, and 4 ditto 
 5th size oval, old pattern 
 
 8 Four fine sallad dishes, pheasant and border pattern 
 
 9 Two fine large porringers and covers scollopt with birds and 
 gilt edges 
 
 10 Three small figures of the Italian theatre, and two lemons for 
 desart 
 
 1 1 Ditto 
 
 12 Two fine large carps and two dishes 
 
 83 
 
APPENDIX 
 
 13 A compleat tea and coffee equipage, consisting of 8 tea cups 
 and saucers, 8 coffee cups and saucers, a tea pot and stand, a slop bason, 
 a sugar bason, a cream ewer and a plate, enamell'd with flowers 
 
 14 A fine figure of a fisherwoman with a basket, and a carpenter 
 with his tools 
 
 15 An oval pierced dish in purple, 2 large scollopt compotiers 
 wheatsheaf and fox, 2 scollopt ditto in flowers, and four scollopt ditto, 
 sitting and flying pheasant 
 
 16 Two very fine round pierced baskets and plates 
 
 17 Twelve octogon tea cups and saucers in flowers, and a tea pot, 
 old pattern 
 
 18 Ditto 
 
 19 Two beautiful figures of fishermen of two sorts with nets 
 
 20 Two small basons and covers, of the fine strawberry pattern 
 
 21 One oval dish first size, two ditto 2d size, and two ditto 3d size, 
 damask'd with flowers 
 
 22 Twelve table plates ditto 
 
 23 Twelve soup plates ditto 
 
 24 Two large silver shaped sauce boats and plates with flowers 
 
 25 A large cabbage leaf, 2 scollopt compotiers, 2 scollopt in flowers, 
 2 ditto, scollopt wheatsheaf and pheasant, and two nurl'd ditto garlands 
 and birds 
 
 26 Two large scollopt compotiers old pattern, and six roses for 
 DESART 
 
 27 Four fine cabbage leaves 
 
 28 Twelve desart plates scollopt 
 
 29 Ten small tea cups and saucers with handles, a plate scollopt 
 with flowers and green leaves, and a cream ewer nurl'd 
 
 30 Eight tea cups and saucers, octagon in flowers, and a tea pot 
 
 OLD PATTERN 
 
 31 Two fine figures of Mars and Venus 
 
 32 Six round water cups and saucers with flowers 
 
 33 Two fine partridges for desart 
 
 34 A fine small oval tureen and cover with sprig handles, and a 
 dish to ditto enamell'd with flowers 
 
 35 Two small sauce boats and plates, and sprig handles 
 
 36 A set of mugs, consisting of two quarts, 2 pints and two half 
 pints, old pheasant pattern 
 
 37 Two fine Eels and dishes to ditto 
 
 38 Two fine partridges for desart 
 
 39 Two ditto 
 
 84 
 
SALE CATALOGUE OF 1755 
 
 40 Two fine dishes to ditto with corn, 
 
 41 A compleat coffee and tea equipage, consisting of eight tea cups 
 and saucers, eight small handled cups, a tea pot and stand, a slop bason, 
 a sugar bason, a cream ewer, a plate and a spoon boat scollopt with flowers 
 and green leaves 
 
 42 A fine octagon bowl of the rare old japan pattern and red 
 pannel 
 
 43 Two beautiful figures of a shepherd and a shepherdess 
 
 44 A service for A desart, consisting of a fine oval pierced basket 
 with handles, 4 vine leaf dishes, 4 small cabbage leaves and four cabbage 
 lettices 
 
 45 Two fine pine apples and two fine artichoaks for a desart 
 
 46 Twelve beautiful desart plates chased and enamell'd with birds 
 
 47 A fine tureen and cover in the form of a hen and chickens big 
 as the life, and a dish to ditto properly ornamented 
 
 48 Twelve large octagon soup plates of the old pattern 
 
 49 Two sauce boats and plates enamelled with flowers 
 
 50 A compleat tea and coffee equipage, consisting of 8 tea cups and 
 saucers, 8 coffee cups and saucers, a tea pot and stand, a slop bason, a 
 sugar bason, a cream ewer, a plate, all round, of the fine strawberry 
 PATTERN 
 
 51 Two porringers and covers enamell'd in flowers and gilt edges 
 
 52 Ditto 
 
 53 A compleat table service of dishes, viz. one second size, 2 
 ditto 3d size, 2 ditto 4th size, and 4 ditto 5th size, with India plants 
 
 54 Thirteen table plates, in fine figures of different sorts 
 
 55 Two large sauce boats and plates 
 
 56 Two small ditto 
 
 57 A very fine tureen the form of a double pigeon, big as the life, 
 in a basket work'd dish 
 
 58 Two quart, two pint and two half pint mugs with flowers 
 
 59 One double leafed compotier, 2 small cabbage leaves, and 2 
 large sun flower leaves for desart 
 
 60 Four small cabbage leaves, two fine old leaves, and 2 scollopt 
 compotiers 
 
 61 Two fine large cabbage leaves, and two fine large melons 
 
 62 Four busto's of gods and goddesses, and four lemons for a desart 
 
 63 A beautiful groupe of figures Pantaloon and Columbine 
 
 64 Eight tea cups and saucers, 8 chocolate cups and saucers, a tea 
 pot and stand, a slop bason, a sugar bason, a cream ewer and a plate nurl'd 
 enamell'd with flowers 
 
 85 
 
APPENDIX 
 
 65 Two large ice pails with flowers 
 
 66 Six octagon tea cups and saucers in flowers, and a tea pot old 
 pattern 
 
 67 Ditto 
 
 68 Two fine small basons and covers with flowers 
 
 69 Three ditto 
 
 70 Twelve table knives, and 12 three pronged forks mounted with 
 silver in a shagreen case 
 
 71 Four round dishes of the fourth size, and 2 ditto 5th size, wrought 
 pattern with flowers 
 
 72 One oval dish third size, 2 ditto 4th size, and 2 round ditto 
 5th size SAME PATTERN 
 
 73 Two large silver shaped sauce boats and plates with flowers 
 
 74 Two quart, two pint and two half pint mugs ditto 
 
 75 Four silver shaped cups and covers with two handles enamelled 
 in flowers 
 
 76 Four small cupids for desart, and two pomatum pots 
 
 77 A scollopt compotier, 4 ditto old pattern, two vine lea[f] dishes 
 and 4 small cabbage leaves 
 
 78 Two fine large cabbage leaves and 2 melons 
 
 79 Four fine deep vine leaf dishes, enamell'd with flowers 
 
 80 Eight small tea cups and saucers, 8 small handled cups, a plate 
 with flowers and green leaves and a nurl'd cream ewer 
 
 81 Ditto 
 
 82 Two beautiful figures of a gentleman and a lady in hunting 
 dresses 
 
 83 Two small porringers and covers 
 
 84 One oval dish first size, two ditto 2d size, and two ditto 3d size, 
 damask'd with flowers 
 
 85 Twelve table plates same pattern 
 
 86 Twelve soup plates ditto 
 
 87 Six water cups and saucers 
 
 88 A very fine large figure representing winter 
 
 89 Two large cabbage leaves and two large melons 
 
 90 A fine tureen in the form of A rabbit big as the life, and an 
 oval dish 
 
 91 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer, and a plate enamelled 
 with flowers 
 
 92 A double leaf dish, 2 small cabbage leaves, and two large sun- 
 flower leaves 
 
 86 
 
SALE CATALOGUE OF 1755 
 
 93 Two small fig leaves, and two fine cabbage lettices for desart 
 
 94 Four very fine small ducks in different postures 
 
 95 A most beautiful perfume pot, ornamented with garlands and 
 three little cupids 
 
 96 Eight tea cups and saucers, a tea pot and stand, a slop bason, 
 a sugar bason, a cream ewer and six large chocolate cups and saucers, 
 all nurl'd old pattern 
 
 97 Two beautiful china toilet candlesticks with birds, flowers, 
 6cc. 
 
 98 Two very fine partridges for desart 
 
 99 Four fine birds of two sorts, and two fine lemons 
 
 100 One oval dish fourth size, and two ditto 5th size old pattern 
 
 101 Four fine leaves and 4 cabbage lettice 
 
 102 Ditto 
 
 103 Four fine coss lettice and 4 leaves 
 
 Fifth Day's Sale , Friday, March 14 
 
 1 Twelve octagon tea cups and saucers in flowers, and a tea pot 
 old pattern 
 
 2 Ditto 
 
 3 One dish third size, 2 ditto fourth size, and 2 ditto fifth size, oval, 
 fine old pattern 
 
 4 Four small birds of two sorts, and 2 pomatum pots 
 
 5 Two small scollopt dishes, 2 star compotiers, and 4 scollopt 
 compotiers wheatsheaf and pheasant 
 
 6 Two ten square basons of the flaming tortoise pattern, and 2 
 ditto butterflies old pattern 
 
 7 Three small figures of the Italian theatre, and 2 fine lemons 
 
 8 Four large caudle cups and saucers nurl'd in flowers 
 
 9 Four round dishes sixth size, scollopt in flowers 
 
 10 Ditto 
 
 11 Eight small tea cups and saucers, 8 small chocolate cups and 
 saucers, a plate and a spoon boat, scollopt in flowers and green leaves, 
 and a nurl’d cream ewer 
 
 12 Two very fine figures representing Saturn and Jupiter 
 
 13 Four small cabbage leaves, 2 old leaf dishes, and 2 scollopt 
 compotiers with green leaves for desart 
 
 14 Four fine deep vine leaf dishes, with flowers for ditto 
 
 15 Twelve desart plates in flowers 
 
 87 
 
APPENDIX 
 
 1 6 A compleat tea and coffee equipage, consisting of 8 tea cups 
 and saucers, 8 coffee cups and saucers, a tea pot and stand, a slop bason, 
 a sugar bason, a cream ewer and a plate, enamelled in flowers 
 
 17 Two basons and covers, sprig handles, and a plate in flowers 
 
 18 Two fine figures of a cobler and his wife 
 
 19 A large cabbage leaf in purple, 2 vine leaf dishes, 2 double 
 leaf compotiers, and 4 heart shaped ditto old pattern 
 
 20 Two large sun flower leaves, and 2 ditto flowers 
 
 21 Two quart, 2 pint, and 2 half pint mugs in flowers 
 
 22 Eight large tea cups and saucers, 8 ditto handle cups, a plate, 
 a cream ewer, and a spoon boat, scollopt in flowers and green leaves 
 
 23 Six octagon cups and saucers in flowers, and a tea pot old pattern 
 
 24 One dish 4th size, and 4 ditto 5th size, oval scollopt in flowers 
 
 25 Four dishes 5th size ditto 
 
 26 A pair of fine hanging branches ornamented with flowers 
 
 27 Two large porringers and covers 
 
 28 Two small fig leaves, and 2 fine cabbage lettices 
 
 29 Four small figures of the sciences, and 2 pomatum pots 
 
 30 Four old leaves, and 2 small cabbage leaves for desart 
 
 31 Ditto 
 
 32 Two fine partridges for desart 
 
 33 A fine tureen in the form of a rabbit big as life, and an oval 
 
 dish 
 
 34 Four small sauce boats and plates, sprig handles, with flowers 
 
 35 Ditto 
 
 36 Two fine ice pails with birds 
 
 37 Eight tea cups and saucers, a tea pot and stand, a slop bason, a 
 sugar bason, a cream ewer and plate nurl'd, of the twisted dragon pattern 
 
 38 Eight large octagon tea cups and saucers, and a tea pot old sprig 
 pattern 
 
 39 Two very fine figures playing on the guitar and german flute 
 
 40 A scollopt compotier old pattern, 4 ten square ditto, 2 vine leaf 
 dishes, and 2 small cabbage leaves 
 
 41 Four beautiful apples and 4 leaves 
 
 42 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and plate, enamelled 
 in flowers 
 
 43 One quart mug with birds, 2 pint mugs India plants, and 2 half 
 pint ditto IN FLOWERS 
 
 44 One dish second size, 2 ditto third size, and 2 ditto fourth size, 
 oval scollopt, with India plants 
 
 88 
 
SALE CATALOGUE OF 1755 
 
 45 Two sauce boats green handles, and 2 plates 
 
 46 Two fine carps and 2 dishes to ditto 
 
 47 Six fine water cups and saucers in flowers 
 
 48 One double leaf compotier, 2 small cabbage leaves, 2 large sun 
 flower leaves, and 4 small fig leaves for desart 
 
 49 Twelve fine desart plates in flowers 
 
 50 Two fine partridges 
 
 51 Two DITTO 
 
 52 Two very fine dishes to ditto, with corn, &c. 
 
 53 Two fine leaves scollopt, with handles, and 2 fine butter tubs 
 with holes 
 
 54 Two fine round bowls in flowers 
 
 55 Two scollopt dishes lady pattern, 2 star compotiers green leaves, 
 and 4 scollopt compotiers, wheatsheaf and pheasant pattern 
 
 56 A double leaf dish, 2 large sun flower leaves, and 2 small cabbage 
 leaves for desart 
 
 57 Four small figures of the seasons for desart 
 
 58 Two dishes 3d size, 2 ditto 4th size, with India plants 
 
 59 One dish, 3d size, and 4 sallad dishes ditto, same pattern 
 
 60 A FINE LARGE TUREEN AND DISH DITTO 
 
 61 Twelve fine table plates ditto 
 
 62 Twelve octagon soup plates damasked with flowers 
 
 63 Two fine large sauce boats, green handles, and plates 
 
 64 A set of mugs, consisting of 2 quarts, 2 pints with India plants, 
 and 2 half pints in flowers 
 
 65 Two fine porringers and covers scollopt with insects 
 
 66 A beautiful tureen in the form of a hen and chickens big as the 
 life, and a dish ornamented with sun flowers, 6cC. 
 
 67 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and plate, with 
 flowers 
 
 68 Four bustos of heathen gods and goddesses, and 4 fine swans 
 for desart 
 
 69 Eight octagon tea cups and saucers in flowers, and a tea pot of 
 the old pattern 
 
 70 A magnificent perfume pot finely enamelled, ornamented 
 with a setting dog and rabbits 
 
 71 Four fine double leaf dishes with flowers and yellow ground, 
 for desart 
 
 72 Four deep compotiers ditto 
 
 89 
 
APPENDIX 
 
 73 Two scollopt compotiers green leaves, a pierced dish and 2 
 half round compotiers yellow ground 
 
 74 Two fine large cabbage leaves and 2 melons 
 
 75 Four fine small sun flower leaves and 4 chickens to ditto for 
 desart 
 
 76 Two porringers and covers, scollopt edges and flowers 
 
 77 Two basons sprig handles and covers, with flowers 
 
 78 Twelve table knives and forks mounted with silver, in a shagreen 
 
 case 
 
 79 Eight small tea cups and saucers, 8 small handled cups, a tea 
 
 pot and stand, a slop bason, a sugar bason, a cream ewer, a plate, and a 
 
 spoon boat, scollopt with flowers and green leaves 
 
 80 An oval dish 2d size, 2 ditto 4th size, and 2 round ditto 5 th size, 
 wrought pattern of different landskips 
 
 81 Twelve fine table plates ditto enamelled with birds 
 
 82 Two silver shaped sauce boats and plates with flowers 
 
 83 Two quart, 2 pint, and 2 half pint mugs in flowers 
 
 84 Three small figures of the Italian theatre, and 2 pomatum pots 
 
 85 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and plate, enamelled 
 with flowers 
 
 86 A white pierced plate, 3 citrons, 2 vine leaf dishes, and 2 small 
 cabbage leaves 
 
 87 A fine basket work'd dish with leaves, 2 old leaves, 2 scollopt 
 compotiers green leaves, and 4 deep compotiers with flowers for desart 
 
 88 Twelve scollopt desart plates with flowers 
 
 89 Two small cabbage leaves, 2 oranges, 2 lemons, and 2 small 
 melons 
 
 90 A beautiful figure of a shepherdess standing, and 2 figures 
 sitting and playing on the german flute and guitar 
 
 91 Two fine Eels and 2 dishes to ditto 
 
 92 Six water cups and saucers scollopt in flowers 
 
 93 Eight tea saucers scollopt in flowers, 8 tea cups, a slop bason 
 and a plate ditto with green leaves, a tea pot and a cream ewer nurl'd 
 in flowers, and a white sugar dish and cover 
 
 94 An oval dish 3d size, 2 ditto 4th size, and 2 round ditto 5th 
 size, wrought pattern in flowers 
 
 95 Two round dishes, 4th size, and 4 ditto fifth size same pattern 
 
 96 Two sauce boats and plates, silver shaped with flowers 
 
 97 Two small ice pails, enamelled in birds 
 
 98 Two beautiful china toilet candlesticks with flowers and birds 
 
 90 
 
SALE CATALOGUE OF 1755 
 
 99 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate with 
 flowers 
 
 100 One dish 3d size, 2 ditto fourth size, and 2 ditto fifth size 
 oval, FINE OLD PATTERN 
 
 Sixth Day's Sale , Saturday, March 15 
 
 1 Eight octagon tea cups and saucers in flowers, and a small tea pot 
 old pattern 
 
 2 Ditto 
 
 3 One dish 3d size, 2 ditto 4th, and 2 ditto 5th size oval fine old 
 pattern 
 
 4 Twelve table plates, ditto 
 
 5 A scollop'd dish in flowers, 2 small ditto, and 2 ten square com- 
 potiers, wheatsheaf and tyger pattern 
 
 6 Three small figures of the Italian theatre, and 2 lemons 
 
 7 Two quart, 2 pint and 2 half pint mugs in flowers 
 
 8 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate in flowers 
 
 9 Two large porringers and covers with insects 
 
 10 Four small cabbage leaves, 2 fine old leaves, 2 scollop'd com- 
 potiers green leaves 
 
 11 One large compotier, and heartshaped ditto old pattern 
 
 12 Ditto 
 
 13 Two small fig leaves, and 2 cabbage lettices 
 
 14 A very fine figure of a madona with a child and a cross 
 
 15 Eight small tea cups with handles and saucers, 8 small handled 
 cups and 8 large saucers, a tea pot and stand, a slop bason, a sugar bason, 
 a cream ewer and plate, scollop'd enamelled with flowers 
 
 16 One dish 3d size, 2 ditto 4th size, and 2 ditto 5th size, with 
 India plants 
 
 17 Ditto 
 
 18 Thirteen table plates in figures all different 
 
 19 Twelve desart plates, India plants 
 
 20 Two fine small sauce boats and plates in flowers 
 
 21 Two quart, 2 pint and 2 half pint mugs in flowers 
 
 22 Two small porringers and covers in flowers and gilt edges 
 
 23 Eight octagon tea cups and saucers in flowers, and a tea pot 
 old pattern 
 
 9i 
 
APPENDIX 
 
 24 Six small cupids representing love in disguise for desart 
 
 25 A curious pair of china toilet candlesticks, with birds, flowers, 
 
 &c. 
 
 26 Four small ducks in different postures 
 
 27 Two fine white pierced baskets and plates 
 
 28 A pair of vases with sprigs and fine flowers 
 
 29 Two round basons, covers and plates, of the fine strawberry 
 
 PATTERN 
 
 30 Six round water cups and plates in flowers 
 
 31 A beautiful large groupe of 3 cupids 
 
 32 A very fine tureen in the form of A double pigeon big as life 
 in a fine basket work'd dish 
 
 33 Eight octagon damask soup plates in flowers 
 
 34 Four octagon sallad dishes old partridge pattern with border 
 
 35 Two fine partridges in a beautiful dish with corn &c. 
 
 36 Ditto 
 
 37 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate of the 
 fine STRAWBERRY PATTERN 
 
 38 A nurse and child, and 2 figures of the Italian theatre 
 
 39 Two porringers and covers with birds, and 2 fine lemons for 
 a toilet 
 
 40 Two small ditto in flowers and gilt edges, and 2 fine pomatum 
 
 pots 
 
 41 Twelve tea cups and saucers, a slop bason, a sugar bason and 
 a cream ewer, nurl'd partridge pattern 
 
 42 Four small cabbage leaves, 2 fine old leaves, and 2 scollop'd 
 compotiers green leaves for a desart 
 
 43 Ditto 
 
 44 Four small roses and 4 leaves to ditto for desart 
 
 45 Two fine partridges for desart 
 
 46 Ditto 
 
 47 Two fine carps and dishes to ditto 
 
 48 Two small sauce boats and plates 
 
 49 Two quart jugs in flowers, 2 pint mugs, and 2 half pint ditto 
 
 50 Six octagon tea cups and saucers, and a tea pot old pattern, and 
 2 fine lemons for a toilet 
 
 51 A round tureen and cover, and a dish finely enamell'd in 
 purple flowers 
 
 52 Two large silver shaped sauce boats and plates in flowers 
 
 92 
 
SALE CATALOGUE OF 1755 
 
 53 A beautiful groupe of figures representing Perseus and Andro- 
 meda 
 
 54 Two small cabbage leaves and 2 lettices 
 
 55 A round pierced plate enamell'd, a cabbage leaf bason, 2 large 
 sun flower leaves, and 2 small cabbage leaves for desart 
 
 56 Two fine large cabbage leaves, and 2 fine melons ditto 
 
 57 Four small cupids for desart, and 2 fine lemons for a toilet 
 
 58 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate all in 
 flowers 
 
 59 A fine oblong dish 1st size, and 4 ditto 4th size, Mosaic border 
 enamell'd in flowers 
 
 60 Eighteen table plates same pattern 
 
 61 Twelve soup plates same pattern 
 
 62 Two small silver shaped sauce boats and plates in flowers 
 
 63 Twelve table knives and 12 three prong'd forks, mounted with 
 silver in a shagreen case 
 
 64 Two small porringers with insects and gilt edges, and 2 fine 
 pomatum pots 
 
 65 Two small ice pails in flowers 
 
 66 Two curious Eels and 2 dishes 
 
 67 A Service for a desart, viz. a double leaved dish, 2 small cabbage 
 leaves, 2 scollop'd compotiers green leaves and 4 small silver shaped 
 dishes 
 
 68 Two fine pierced plates and 6 roses 
 
 69 TWO LARGE CABBAGE LEAVES AND BASONS 
 
 70 Four fine artichoaks for a desart 
 
 71 A fine figure of a fisherwoman, and one of a carpenter with his 
 
 tools 
 
 72 Eight tea cups and saucers, a tea pot and stand, a slop bason, 
 a sugar bason, a cream ewer and a plate nurl'd of the twisted dragon 
 pattern 
 
 73 Six tea cups and saucers, six chocolate cups and saucers, a tea 
 pot and stand, a slop bason, a sugar bason, a cream ewer and plate the 
 wheatsheaf and fox pattern nurl'd 
 
 74 A very fine large round bowl enamell'd with flowers 
 
 75 Two small basons and covers in flowers and 2 plates to ditto 
 
 76 An oval dish 3d size, 2 ditto 5th size, 2 round ditto 5th size, 
 and 4 small sallad dishes, wrought pattern with fine figures 
 
 77 Twelve table plates to ditto 
 
 78 Fifteen soup plates to ditto 
 
 93 
 
APPENDIX 
 
 79 Two very fine sauce boats to ditto, and 2 very fine small sallad 
 dishes to ditto 
 
 80 A set of mugs, viz. 1 quart, 1 pint, 1 half pint with birds, i 
 quart, 1 pint and 1 half pint ditto with insects 
 
 81 A fine figure of Diana, i ditto of an Indian prince, and a 
 religious figure 
 
 82 An oval pierced dish, 2 vine leaf dishes, 2 half round compotiers 
 with insects, and 4 ten square ditto in flowers for desart 
 
 83 Twelve fine desart plates in flowers 
 
 84 A large cabbage leaf and bason, and 4 old leaves in flowers 
 
 85 Four small cupids ornamented, for desart, and 2 fine lemons 
 
 86 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate compleat 
 in flowers 
 
 87 Six small octagon tea cups and saucers, enamell’d in purple 
 
 88 Ditto 
 
 89 Four fine water cups and saucers in flowers scollop’d edges 
 
 90 A large and curious perfume pot in the form of A pigeon house, 
 richly ornamented with pigeons, a fox, &c. 
 
 91 An oval dish, 2d size, 2 ditto 4th size, and 2 round ditto 4th 
 size, fine wrought pattern different landskips 
 
 92 Two fine groupes of figures of a Leda and a Venus 
 
 93 Six tea cups and saucers, 7 handle cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason and a cream ewer, octagon old 
 JAPAN PATTERN 
 
 94 Four small cabbage leaves, 2 fine old leaves and 2 scollop’d 
 compotiers enamell'd green leaves 
 
 95 Two large scollop’d compotiers and 6 roses 
 
 96 A large cabbage leaf and bason in purple, 2 vine leaf dishes, 
 2 half round compotiers yellow ground and 4 scollop'd compotiers in 
 flowers 
 
 97 Three figures of the Italian theatre and 2 pomatum pots 
 
 98 Two fine figures of a river god and a river goddess 
 
 99 Twelve octagon tea cups and saucers in purple 
 
 100 Three fine large birds and 2 long tail'd birds 
 
 101 Four beautiful large roses and leaves for desart 
 
 102 Six tea cups and saucers, and an old leaf tea pot, a small slop 
 bason, a sugar bason, a cream ewer and a plate nurl’d 
 
 103 A figure of a nurse and child, 2 ditto of the sciences, and 2 
 lemons for desart 
 
 104 Four fine leaves and 4 cabbage lettice 
 
 94 
 
SALE CATALOGUE OF 1755 
 
 Seventh Day's Sale, Monday, March 17 
 
 1 Four fine small melons 
 
 2 One dish third size, two ditto 4th size, and two ditto 5th size 
 oval old pattern 
 
 3 Fifteen table plates of two sorts old pattern 
 
 4 A scollopt dish and four scollopt compotiers in flowers 
 
 5 Two scollopt compotiers in flowers, four small scollopt ditto, 
 old pattern, and two vine leaves 
 
 6 Twelve large chocolate cups and saucers and a cream ewer, nurl'd 
 with flowers 
 
 7 Two small figures after Teniers, and two Chinese figures 
 
 8 Two fine large basons, covers, and plates in flowers 
 
 9 Ditto 
 
 10 Eight tea cups and saucers, 8 coffee cups and saucers, a tea 
 cup and stand, a slop bason, a sugar bason and cream ewer, and a plate 
 compleat in flowers 
 
 11 One dish, third size, two ditto 4th size, and two ditto 5th size, 
 round scollopt with India plants 
 
 12 A round dish third size, two ditto 5 th size, and 2 oval ditto 5 th 
 size wrought pattern with flowers 
 
 13 Two silver shaped sauce boats and plates 
 
 14 Two quart, two pint and two half pint mugs in flowers 
 
 15 Two fine figures of a man and a woman playing on the tabor 
 and pipe and german flute 
 
 16 Eight small tea cups and saucers, eight handled cups, a plate 
 and a cream ewer scollopt with green leaves 
 
 17 Ditto 
 
 18 Two fine large ice pails chased 
 
 19 Two small porringers and covers in flowers and gilt edges 
 
 20 One three pint and two single quart bowls 
 
 21 A curious bread basket fine old pattern and border 
 
 22 Two large cabbage leaves and basons 
 
 23 Two fine white pierced plates and 6 boxes 
 
 24 Eight octagon tea cups and saucers, and a tea pot old pattern 
 
 25 Ditto 
 
 26 Three figures of the Italian theatre, and two lemons for desart 
 
 27 Two very fine black figures of an Indian prince and a queen 
 
 28 Two oval dishes third size, 2 ditto fourth size, and 4 ditto fifth 
 size, scollopt 
 
 29 Twelve table plates silver shaped 
 
 95 
 
APPENDIX 
 
 30 Two small sauce boats and plates, green handles 
 
 31 A compleat set of 8 tea cups and saucers, 8 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer 
 and a plate enamelled in flowers 
 
 32 A fine tureen in the form of a rabbit as big as the life in an 
 oval dish 
 
 33 Two quart, 2 pint and two half pint mugs 
 
 34 Two fine large porringers and covers 
 
 35 Six fine water cups and saucers scollopt edges 
 
 36 A figure of a nun reading, and two small figures of the sciences 
 sitting 
 
 37 Eight small tea cups and saucers, 8 small handled cups, a plate 
 with green leaves and a cream ewer nurl'd 
 
 38 Twelve octagon tea cups and saucers, and a tea pot old pattern 
 
 39 Ditto 
 
 40 A pair of fine toilet candlesticks ornamented with birds, 
 flowers, 6cc. 
 
 41 One dish fourth size, and 4 ditto fifth size scollopt 
 
 42 Four dishes fifth size same pattern 
 
 43 Twelve desart plates 
 
 44 A figure of a fidler, one ditto of a Savoyard, and one ditto of 
 a Dutchman dancing 
 
 45 Four small busts of gods and goddesses and 2 swans for desart 
 
 46 Four small cabbage leaves, 2 old leaves and 2 scollopt com- 
 potiers green leaves 
 
 47 Four fine large sunflower leaves 
 
 48 Four fine large fig leaves 
 
 49 A compleat set of 8 tea cups and saucers, 8 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer 
 and a plate, all enamelled in flowers 
 
 50 A very fine tureen in the form of a hen and chickens big as 
 the life, in a beautiful dish ornamented with sunflowers, &c. 
 
 51 Ditto 
 
 52 Four round dishes wrought pattern enamell'd with fables and 
 gilt edges 
 
 53 Ditto 
 
 54 Nine table plates the same pattern 
 
 55 Two small sauce boats and plates silver shape 
 
 56 Three figures of the Italian theatre, and two lemons 
 
 57 A large cabbage leaf and bason in purple, 2 vine leaf dishes, 2 
 half round compotiers with insects, and 4 ditto tyger and rock pattern 
 
 96 
 
SALE CATALOGUE OF 1755 
 
 58 Two large sunflower leaves and two sunflowers to ditto 
 
 59 Four small sunflower leaves and four chickens for desart 
 
 60 Four fine large roses and four leaves to ditto for desart 
 
 61 Four small figures of the seasons for desart 
 
 62 One dish third size, 2 ditto fourth size, and 2 ditto fifth size, 
 oval scollopt with flowers 
 
 63 Thirteen damask'd soup plates, enamell'd with 5 groupes of 
 flowers 
 
 64 Two small saucers and plates green handles 
 
 65 Ditto 
 
 66 Two fine carps and dishes to ditto 
 
 67 A compleat set of 8 tea cups and saucers, 8 coffee cups, a tea 
 pot and stand, a slop bason, a sugar bason, a cream ewer, and a plate 
 
 68 A very beautiful groupe of figures representing Europe and 
 
 Asia 
 
 69 Two ditto Africa and America 
 
 70 Two quart, two pint and two half pint mugs 
 
 71 Four small cabbage leaves, 2 old leaves, and 2 scollopt compotiers 
 green leaves 
 
 72 Two small fig leaves and 2 lemons for desart 
 
 73 Two ditto, and two roses for desart 
 
 74 Two fine partridges 
 
 75 Two ditto 
 
 76 Two fine dishes to ditto ornamented with corn 
 
 77 Eight tea saucers, 8 tea cups, a slop bason, a plate, a cream ewer, 
 and a white sugar dish 
 
 78 Ditto 
 
 79 Two fine Eels and two dishes to ditto 
 
 80 A scollopt deep fruit basket fine old pattern, and four white 
 vine leaf dishes 
 
 81 Twelve fine desart plates in flowers 
 
 82 Twelve table knives and 12 three pronged forks mounted with 
 silver in a shagreen case 
 
 83 Two fine large cabbage leaves and two large melons to ditto 
 
 84 Four fine deep vine leaf dishes for desart 
 
 85 Ditto 
 
 86 Two fine basons and covers green handles 
 
 87 Ditto 
 
 88 A fine large figure of a woman sitting with a basket, one ditto 
 of the Italian theatre and 1 ditto of the seasons 
 
 97 
 
 H 
 
APPENDIX 
 
 89 Eight large octagon tea cups and saucers, and a tea pot 
 
 90 Twelve octagon tea cups and saucers, and a tea pot 
 
 91 One dish 1st size, 4 ditto 2d size, scollopt enamel'd India plants 
 
 92 Twelve table plates same pattern 
 
 93 Two large sauce boats and plates, green handles 
 
 94 Four fine ducks in different postures 
 
 95 Two fine partridges 
 
 96 Ditto 
 
 97 Two exceeding fine high figures of Mercury and Jupiter 
 
 98 One dish 2d size, 2 ditto 3d size, and 2 ditto 5th oval old pattern 
 
 99 Seventeen table plates same pattern 
 
 100 Two nurl’d basons and 2 eight square ditto, old pattern 
 
 101 Two large porringers scollopt edges 
 
 102 A figure of a nurse and child, 2 ditto of the Italian theatre 
 and 2 pomatum pots 
 
 103 Six small octagon cups and saucers in purple 
 
 104 Four fine leaves and 4 cabbage lettice 
 
 105 Four fine coss lettice and 4 leaves 
 
 Eighth Day's Sale, Tuesday, March 18 
 
 1 One dish 2d size, 2 ditto 3d size, 2 ditto 4th, and 2 ditto 5th size 
 oval of the fine old pattern 
 
 2 Eighteen desart plates the same pattern 
 
 3 Two small sauce boats and plates green handles 
 
 4 Twelve octagon tea cups and saucers, and a tea pot old pattern 
 
 5 Six tea cups and saucers ditto and a tea pot old pattern 
 
 6 Four small figures of the sciences for desart 
 
 7 Ditto 
 
 8 A scollopt dish in flowers, and 4 compotiers pheasant and 
 wheatsheaf 
 
 9 Two large scollopt compotiers old pattern and 6 roses 
 
 10 Four fine cabbage leaves 
 
 11 Two fine small fig leaves and 2 cabbage lettices 
 
 12 A compleat set of 8 tea cups and saucers, 8 coffee cups and saucers, 
 a tea pot and stand, a slop bason, a sugar bason, a cream ewer, and a plate 
 enamelled in flowers 
 
 13 A round dish 3d size, 2 ditto fifth size, and 2 oval ditto 5th 
 size, wrought pattern with flowers 
 
 98 
 
SALE CATALOGUE OF 1755 
 
 14 Four fine dishes 5 th size, round wrought pattern in fables and 
 gilt edges 
 
 15 Two sauce boats and plates green handles 
 
 16 Two quart, 2 pint, and 2 half pint mugs 
 
 17 Two fine porringers and covers scollopt edges 
 
 18 A shepherd playing on a flute, a fidler and a man dancing, the 
 LAST BROKE 
 
 19 Eight large octagon tea cups and saucers, and a large tea pot 
 
 20 Eight tea cups and saucers, 8 handled cups, a tea pot and stand, 
 a slop bason, a sugar bason, a cream ewer, a plate, and a spoon boat, 
 scollopt in flowers and green leaves 
 
 21 Twelve table knives and 12 forks mounted with silver in a 
 shagreen case 
 
 22 Four small Cupids for desart, and two pomatum pots 
 
 23 A large cabbage leaf and bason in purple, two small cabbage 
 leaves, two half round compotiers yellow ground, and 4 compotiers 
 
 PHEASANT PATTERN 
 
 24 Four deep vine leaf dishes for a desart 
 
 25 Four fine artichoaks two sizes 
 
 26 Two fine pine apples 
 
 27 Two quart, two pint, and two half pint mugs 
 
 28 Six round water cups and saucers 
 
 29 Eight octagon tea cups and saucers, and a tea pot old pattern 
 
 30 Ditto 
 
 31 A large cabbage leaf, 2 scollopt compotiers, and 2 heart shaped 
 compotiers fine old pattern 
 
 32 Four fine small cabbage leaves for desart 
 
 33 A compleat set of 8 tea cups and saucers, 8 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer and 
 a plate enamelled with figures 
 
 34 Three very fine figures of a man playing on the salt box, and a man 
 and a woman dancing 
 
 35 Four small cabbage leaves, two fine old leaves, and two scollopt 
 compotiers, with green leaves 
 
 36 Two large scollopt compotiers, and 6 roses for desart 
 
 37 Four fine apples and four leaves for desart 
 
 38 Two small fig leaves and two cabbage lettices 
 
 39 Twelve octagon tea cups and saucers in purple 
 
 40 Ditto 
 
 41 A very fine tureen in the form of a rabbit as big as life, in a 
 fine OVAL DISH 
 
 99 
 
APPENDIX 
 
 42 Two large silver shaped sauce boats and plates 
 
 43 Three figures of the Italian theatre 
 
 44 A fine figure of a Spanish sportsman, and a Leda with a swan 
 
 45 One dish 3d size, two ditto 4th size, and two ditto 5th size round 
 scollopt India plants 
 
 46 Ten fine scollopt table plates with insects 
 
 47 Two small sauce boats and plates green handles 
 
 48 Six octagon tea cups and saucers, and a tea pot 
 
 49 Ditto 
 
 50 A pair of curious toilet candlesticks ornamented with birds, 
 
 &c. 
 
 51 A compleat set of 7 beautiful jars and beakers, with flowers and 
 gilt edges, for a cabinet 
 
 52 A large cabbage leaf, two star compotiers, and two heart shaped 
 
 ditto 
 
 53 Two PARTRIDGES 
 
 54 Two ditto 
 
 55 Two DISHES TO DITTO 
 
 56 A compleat set of 8 tea cups and saucers, 8 coffee cups, a tea 
 pot and stand, a slop bason, a sugar bason, a cream ewer and a plate, all 
 in flowers 
 
 57 One round dish 3d size, 2 ditto 4th size, 2 ditto oval 4th size 
 wrought pattern, with landskip and figures 
 
 58 Four fine octagon sallad dishes, old partridge pattern and border 
 
 59 Two small silver shaped sauce boats and plates 
 
 60 A very curious TUREEN in the form of a BOAR'S HEAD, and 
 a beautiful dish to ditto with proper ornaments 
 
 61 Two fine round basons, covers and plates 
 
 62 Three small ditto 
 
 63 Eight small tea cups and saucers, 8 small handled cups, a tea 
 pot and stand, a plate, a cream ewer, and a spoon boat, scollopt 
 
 64 Two fine figures of Apollo and Diana 
 
 65 Two fine basket work'd dishes, and two fine deep vine leaf 
 dishes 
 
 66 Twelve fine desart plates, chased and enamelled with flowers 
 
 67 Six small Cupids representing love in disguise, for a desart 
 
 68 Two quart, 2 pint, and two half pint mugs 
 
 69 Two fine large porringers and covers scollopt edges 
 
 70 Four fine ducks in different postures 
 
 71 A beautiful groupe of figures representing the rape of the 
 Sabines 
 
 100 
 
SALE CATALOGUE OF 1755 
 
 72 Eight tea cups and saucers, a tea pot and stand, a sugar bason, 
 a cream ewer and a plate, all nurl'd 
 
 73 Three figures of the Italian theatre, and 2 fine pomatum pots 
 
 74 Two fine Eels and two curious dishes 
 
 75 A compleat set of 8 tea cups and saucers, 8 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer and 
 a plate 
 
 76 A large cabbage leaf and bason, 4 old leaves and 4 compotiers 
 
 77 Two fine large cabbage leaves and 2 fine large melons 
 
 78 Six water cups and saucers, scollopt edges 
 
 79 Eight small tea cups and saucers, 8 small chocolate cups and 
 saucers, scollopt 
 
 80 A beautiful perfume pot, with 3 little Cupids gathering 
 flowers 
 
 81 Five oval dishes 3d size fine old pattern 
 
 82 Seven table plates old pattern, and 2 sauce boats and plates OF 
 two sizes 
 
 83 Two quart, 2 pint, and 2 half pint mugs 
 
 84 Two fine large figures of Diana and a Saturn 
 
 85 Two fine small porringers and covers gilt edges 
 
 86 Ditto 
 
 87 Six tea cups and saucers, a tea pot and stand, a slop bason, a 
 sugar bason, a cream ewer and a plate, nurl'd, old pattern 
 
 88 Eight large octagon tea cups and saucers, and a small tea pot 
 old sprig pattern 
 
 89 A nurse and child, and 2 small figures 
 
 90 A scollopt fruit basket, and 4 fine white vine leaf dishes 
 
 91 Four small cabbage leaves 
 
 92 Two fine artichoaks 
 
 93 Ditto 
 
 94 Four fine dishes with green leaves 
 
 95 Two small sauce boats and plates, sprig handles 
 
 96 Two fine figures of a man and a woman playing on the flute and 
 guitar 
 
 97 Two fine basons, covers and plates 
 
 98 Eight tea cups and saucers, a tea pot and stand, a small slop 
 bason, a sugar bason and a cream ewer nurl’d old pattern 
 
 99 Two nurl'd basons and 2 eight square ditto old pattern with 
 insects 
 
 100 Twelve tea cups and saucers, octagon in flowers, and a tea 
 pot old pattern 
 
 101 
 
APPENDIX 
 
 101 A beautiful groupe of figures of a man and woman dancing 
 
 102 Two fine small basons, covers and plates 
 
 103 A nun reading and 2 small figures of the seasons 
 
 104 Four fine leaves and 4 cabbage lettices 
 
 Ninth Day’s Sale , Wednesday, March 19 
 
 1 Ten chocolate cups and saucers, and a cream ewer nurl'd 
 
 2 Twelve ditto 
 
 3 Four small figures and 2 fine lemons 
 
 4 A small desart service, viz. a fine double leaf dish, 2 vine leaf 
 ditto and 2 deep scollop'd compotiers 
 
 5 Two fine small cabbage leaves and 2 lettices 
 
 6 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate in flowers 
 
 7 An oval dish, 3d size, 2 ditto 4th size, and 2 ditto round 4th 
 size wrought pattern 
 
 8 Two silver shaped sauce boats and plates 
 
 9 Two quart, 2 pint, and 2 half pint mugs 
 
 10 Two fine figures playing on a violin and the guitar 
 
 11 A double leaf dish, 4 old leaves and 4 scollop'd compotiers 
 
 12 Two small fig leaves and 2 cabbage lettices for desart 
 
 13 Six tea cups and saucers, 6 chocolate cups and saucers, 6 handled 
 cups, a tea pot and stand, a small slop bason, a sugar bason and a cream 
 ewer nurl'd 
 
 14 Six octagon tea cups and saucers in flowers, and a tea pot old 
 pattern 
 
 15 A fine tureen in the form of a double pigeon big as the life 
 in a fine basket work dish 
 
 16 Two small sauce boats with green handles and plates 
 
 17 Two fine porringers with birds 
 
 18 A fine figure of a woman with a basket, and 2 small ditto after 
 Teniers 
 
 19 One large scollop'd compotier and 4 heart shaped ditto old 
 PATTERN 
 
 20 Four fine deep vine leaf dishes 
 
 21 Two very fine ice pails chased with grapes and vine leaves 
 
 22 Four fine oval dishes 3d size India plants 
 
 23 Two large sauce boats and plates 
 
 24 Two fine basons and covers 
 
 102 
 
SALE CATALOGUE OF 1755 
 
 25 Three pint and 2 half pint mugs, different 
 
 26 A beautiful round tureen and dish, with green handles finely 
 enameird with flowers 
 
 27 A curious ink stand compleat finely enamell'd with flowers 
 
 28 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate enamell'd 
 WITH BIRDS 
 
 29 Two fine figures of A cobler and his wife 
 
 30 A double leaf dish, 4 old leaves and 4 scollopt compotiers 
 
 31 Four fine deep vine leaf dishes 
 
 32 Eight tea cups with handles and saucers, 6 chocolate cups and 
 saucers, 8 handled cups and a cream ewer scollopt 
 
 33 Two fine Eels and 2 curious dishes 
 
 34 Two very fine collyflowers and 2 plates 
 
 35 Two quart, 2 pint, and 2 half pint mugs 
 
 36 Four figures of the seasons for desart 
 
 37 Eight octagon tea cups and saucers, a small tea pot and stand 
 and a sugar dish 
 
 38 Ditto 
 
 39 Two round dishes 4th size, and 4 ditto 5th size fine wrought 
 pattern 
 
 40 Six round water cups and saucers 
 
 41 A scollopt deep fruit basket old pattern and 4 white vine leaf 
 dishes 
 
 42 Four small cabbage leaves for desart 
 
 43 Eight tea cups and saucers, 8 coffee cups and saucers, a tea 
 pot and stand, a slop bason, a sugar bason, a cream ewer and a plate 
 enameird in figures 
 
 44 A fine figure of A cook and 1 ditto of A fisherman 
 
 45 Two dishes 4th size, and 4 ditto 5th size oval scollopt 
 
 46 A pair of fine toilet candlesticks with flowers and birds 
 
 47 Eight tea cups and saucers, 8 handle cups, a tea pot and stand, 
 a slop bason, a sugar bason, a cream ewer and a plate all nurl'd Chinese 
 arms 
 
 48 A figure of the Italian theatre, and 2 fine lemons 
 
 49 Four small cabbage leaves and a large cabbage leaf and bason 
 
 50 A VERY FINE BEAUTIFUL HIGH JARR, WHITE EMBOSS'D WITH 
 flowers and richly gilt 
 
 51 Four very fine ducks for desart in different postures 
 
 52 Four small cabbage leaves, 2 old leaves and 2 scollop'd com- 
 potiers for desert 
 
 103 
 
APPENDIX 
 
 53 Twelve desart plates 
 
 54 Four Cupids for a desart 
 
 55 Two fine large porringers round edges 
 
 56 Two fine small basons, covers and plates 
 
 57 Four small roses and 4 leaves to ditto for desart 
 
 58 A large beautiful PERFUME POT chased and gilt, enamell'd 
 with flowers with a figure representing MELEAGER with a boar's head 
 
 59 One ditto with a figure representing ATALANTA and her dog 
 
 60 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate in figures 
 
 61 A fine small oval tureen and dish sprig handles enamelled in 
 flowers 
 
 62 Two small sauce boats and plates 
 
 63 Two large ditto 
 
 64 Eight tea cups and saucers, 8 handled cups, a tea pot and stand, 
 a small slop bason, a sugar bason and a cream ewer nurl'd 
 
 65 Two FINE FIGURES OF A RIVER GOD AND A RIVER GODDESS 
 
 66 Three small figures of the Italian theatre 
 
 67 Four fine apples and four leaves for a desart 
 
 68 Two fine carps and 2 fine oval dishes to ditto 
 
 69 Two large silver shaped sauce boats and plates 
 
 70 An oval scollopt compotier, 4 large scollopt ditto, and 4 heart- 
 shaped ditto FINE OLD PATTERN 
 
 71 Two small fig leaves and two fine cabbage lettices 
 
 72 Two fine partridges for desart 
 
 73 Two ditto 
 
 74 An oval dish second size, 2 ditto third size, 2 ditto fourth size 
 scollopt with India plants 
 
 75 Twelve table plates same pattern 
 
 76 Two small sauce boats and plates 
 
 77 Two figures of a shepherd and a shepherdess 
 
 78 Two small porringers and covers 
 
 79 Two small round basons, covers and plates 
 
 80 An ESPARGNE, finely ornamented with flowers, figures. See . 
 on a glass stand 
 
 81 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate, all straw- 
 berry pattern 
 
 82 Three figures of the Italian theatre 
 
 83 Two fine pierced baskets with handles 
 
 104 
 
SALE CATALOGUE OF 1755 
 
 84 Four small melons for desart 
 
 85 Four small figures of the sciences, and 2 pomatum pots 
 
 86 Six chocolate cups and small saucers and a cream ewer 
 
 87 Eight octagon tea cups and saucers, and a tea pot 
 
 88 A large scollopt compotier green leaves, 2 large scollopt ditto, 
 and two heartshaped ditto old pattern 
 
 89 One dish fourth size, and four ditto fifth size scollopt enamell’d 
 with flowers 
 
 90 Two large sauce boats and plates 
 
 91 Two small ditto 
 
 92 Two porringers and covers 
 
 93 Two very beautiful groupes of figures, one of A man and a 
 
 woman with a bird's nest, the other its companion with a bird cage 
 
 94 Two fine small ice pails chased 
 
 95 Four scollopt compotiers with green leaves and 4 small scollopt 
 
 ditto 
 
 96 Eight small tea cups and saucers, 8 large handled cups, a tea 
 pot and stand, a slop bason, a sugar bason, a cream ewer, a plate and a 
 spoon boat, scollopt with flowers and green leaves 
 
 97 Two fine basket work dishes, and 2 deep vine leaf dishes 
 
 98 Four small melons for desart 
 
 99 Two ten square basons of the flaming tortoise pattern, and 2 
 ditto butterfly ditto 
 
 100 Twelve tea cups and saucers octagon in flowers, and a tea pot 
 old pattern 
 
 101 A figure of a nun reading, and 2 small figures of the sciences 
 
 102 Four small melons for desart 
 
 103 Seven handled tea cups and saucers octagon in purple land- 
 skip and fables 
 
 104 Four fine leaves and four cabbage lettices 
 
 Tenth Day's Sale , Thursday, March 20 
 
 1 A set of five oval dishes, 3 sizes old pattern 
 
 2 Three figures of the Italian theatre, and two pomatum pots 
 
 3 Eight small tea cups and saucers, a plate and a cream ewer, 
 scollopt 
 
 4 A large scollopt compotier, 2 star ditto, 2 heart shaped ditto and 
 4 small silver shaped dishes in flowers 
 
 5 Four small Cupids, love in disguise, for desart 
 
 105 
 
APPENDIX 
 
 6 Two fine fig leaves and 2 cabbage lettices for ditto 
 
 7 A large round dish, 2 ditto less, 2 oval ditto, and 4 sallad dishes 
 
 8 Twelve fine soup plates 
 
 9 Two small sauce boats and plates 
 
 10 Two ditto 
 
 11 Two fine porringers and covers in flowers and gilt edges 
 
 12 A fine figure of a fisherman, i ditto of an Indian prince and a 
 
 RELIGIOUS FIGURE 
 
 1 3 Six octagon tea cups and saucers, a tea pot and stand, and a sugar 
 
 dish 
 
 14 An oval dish, 2 large scollopt compotiers, and 2 heartshaped 
 ditto FINE OLD PATTERN 
 
 15 A compleat set of 8 tea cups and saucers, 8 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer and 
 a plate, all enamelled in birds 
 
 16 Two octagon sallad dishes, and 2 round basons old japan 
 PATTERN 
 
 17 Two basons and covers with green handles 
 
 18 Four scollopt compotiers, and 4 small ditto for desart 
 
 19 Four fine apples for desart 
 
 20 Four small busto's of the seasons, and four swans for desart 
 
 21 A fine small oval tureen and dish, sprig handles enamelled with 
 flowers 
 
 22 Two small sauce boats and plates 
 
 23 Two quart, 2 pint and 2 half pint mugs 
 
 24 A compleat set of 8 tea cups and saucers with handles, eight 
 handled cups and 8 saucers, a tea pot and stand, a slop bason, a sugar 
 bason, a cream ewer, a plate and a spoon boat, all scollopt 
 
 25 Three figures of an Italian doctor, a Chinese mask, and a beggar 
 
 26 A beautiful large groupe and three Cupids 
 
 27 Twelve table knives and forks 3 pronged mounted in silver in 
 a shagreen case 
 
 28 A beautiful tureen in the form of a HEN AND CHICKENS big 
 as life in a fine dish ornamented 
 
 29 Twelve soup plates scollopt old pattern 
 
 30 Two small silver shaped sauce boats and plates 
 
 31 Two porringers and covers gilt edges 
 
 32 Six tea cups and saucers, a tea pot and stand, a small slop bason, 
 a sugar bason, a cream ewer, and a plate nurl'd 
 
 33 Eight octagon tea cups and saucers, and a teapot 
 
 34 Two large cabbage leaves, and two large melons 
 
 106 
 
SALE CATALOGUE OF 1755 
 
 35 Four fine small melons for desart 
 
 36 Two curious pierced baskets with handles 
 
 37 Two fine figures playing on the violin and the guitar 
 
 38 Two exceeding fine collyflowers and plates 
 
 39 A pair of fine toilet candlesticks, with flowers and birds 
 
 40 Two fine Eels and two dishes 
 
 41 Six round water cups and saucers 
 
 42 Eight tea cups and saucers, 8 handled cups and saucers, a slop 
 bason, a sugar bason, a cream ewer, a plate and a spoon boat scollopt 
 
 43 Four small figures of the sciences, and two small melons 
 
 44 A compleat set of 8 tea cups and saucers, 8 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer and 
 a plate all enamell'd 
 
 45 Four cabbage leaves, 2 old leaves and 2 compotiers green leaves 
 
 46 Twelve desart plates old pattern 
 
 47 Two fine large ice pails 
 
 48 A large and beautiful BEAKER, finely gilt and enamell'd 
 
 WITH BIRDS 
 
 49 Four oval dishes 2 sizes in flowers 
 
 50 Two silver shaped sauce boats, and plates 
 
 51 Two quart, two pint, and two half pint mugs 
 
 *51 A large high WHITE VASE curiously embellish'd with 
 laurel leaves 
 
 52 A fine large round tureen and cover sprig handles, and a dish 
 
 53 Twelve fine soup plates in flowers 
 
 54 Four small figures of the seasons for desart 
 
 55 Six tea cups and saucers, a tea pot and stand, a slop bason, a 
 sugar bason and a cream ewer octagon red pannel pattern 
 
 56 Two fine figures of A cobler and his wife 
 
 57 Two fine small basons, covers and plates 
 
 58 Two fine ice pails enamell'd in flowers 
 
 59 A fine TUREEN in the form of a double pigeon big as the 
 life in a white basket work dish 
 
 60 Two very fine toilet candlesticks with birds and flowers 
 
 61 A curious small perfume pot supported by a fine figure of a 
 
 WOMAN 
 
 62 A double leaf dish, 2 vine leaf dishes and 2 scollopt compotiers 
 for desart 
 
 63 Four small sun flower leaves and 4 chickens for a desart 
 
 64 Four small melons for ditto 
 
 107 
 
APPENDIX 
 
 65 Six small figures love in disguise for desart 
 
 66 Twelve fine desart plates chased in flowers 
 
 67 Eight large tea cups with handles, and 8 large saucers, eight 
 small handled cups and large saucers, a tea pot and stand, a slop bason, a 
 sugar bason, a cream ewer, a plate and a spoon boat, scollop'd in flowers 
 
 68 A pair of fine partridges for desart 
 
 69 Ditto 
 
 70 Two small fig leaves, and two cabbage lettices 
 
 71 Four fine artichoaks 
 
 72 Six octagon tea cups and saucers, and a tea pot 
 
 73 Ditto 
 
 74 A fine figure of a woman with a basket, one ditto of the Italian 
 theatre and a man dancing 
 
 75 A compleat set of 8 tea cups and saucers, 8 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer, 
 and a plate 
 
 76 A set of five table dishes two sizes with India plants 
 
 77 Two large silver shaped sauce boats and plates 
 
 78 Four fine bustos of the heathen gods for desart, and 2 fine 
 pomatum pots 
 
 79 Two quart, two pint, and two half pint mugs with birds 
 
 80 Four small ducks in different postures 
 
 81 Four fine apples, and 4 leaves to ditto, for desart 
 
 82 Ten fine desart plates scollopt with India plants 
 
 83 Eight small cups and saucers, 8 large handle cups, a plate and a 
 cream ewer, scollopt 
 
 84 Four figures of the sciences for desart 
 
 85 Ditto 
 
 86 Two very fine figures of Juno and Minerva, and 2 small Cupids 
 
 87 Six tea cups and saucers, 6 chocolate cups and saucers, 6 handle 
 cups, a tea pot and stand, a slop bason, a sugar bason, a cream ewer and 
 a plate, old Japan pattern 
 
 88 Six chocolate cups and saucers, a sugar dish, and a cream ewer, 
 the Chinese arms 
 
 89 A beautiful groupe of figures representing the rape of the Sabines 
 
 90 A set for a chimney piece or a cabinet, consisting of 7 JARS and 
 BEAKERS, beautifully enamelled with flowers, and the beakers 
 filled with flowers after nature 
 
 91 A compleat set of 8 tea cups and saucers, 8 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer 
 and a plate in flowers 
 
 108 
 
SALE CATALOGUE OF 1755 
 
 92 An oval scollopt compotier, 2 large scollopt ditto, 2 small scollopt 
 ditto, 2 ditto less, and 2 heart shaped ditto 
 
 93 Four fine deep vine leaf dishes in flowers 
 
 94 Four small roses and 4 leaves for desart 
 
 95 Two FINE HARES, A COW, A BULL, A CALF, AND A LAMB 
 
 96 Two fine porringers and covers gilt edges 
 
 97 Two fine round basons, covers and plates 
 
 98 Six small tea cups and saucers, 6 handled cups, a tea pot and 
 stand, a slop bason, a sugar bason, and a cream ewer nurl'd 
 
 99 Two octagon bowls Hob in the well, and two ten square 
 
 ditto 
 
 100 Four small figures of the sciences, and 2 melons for desart 
 
 101 Twelve tea cups and saucers octagon enamelled in purple 
 
 102 Four fine large apples for desart 
 
 103 Two small figures of a Chinese, 1 ditto of the sciences, and 2 
 small melons for a desart 
 
 104 Four fine leaves and 4 cabbage lettices 
 
 105 Ditto 
 
 Eleventh Day's Sale , Friday, March 21 
 
 1 Six tea cups and saucers, a tea pot and stand, a slop bason, a sugar 
 bason, and a cream ewer 
 
 2 Six small figures 
 
 3 A set of oval table dishes, 3 sizes old pattern 
 
 4 Twelve table plates to ditto 
 
 5 Nine plates to ditto 
 
 6 Two silver shaped sauce boats and plates 
 
 7 Two quart, 2 pint, and 2 half pint mugs in flowers 
 
 8 Two fine porringers with covers 
 
 9 Two fine large round basons, covers and plates, enamelled in 
 flowers 
 
 10 An oval compotier, 2 large ditto, 4 small ditto, and 2 heart 
 shaped ditto for desart 
 
 11 One scollopt compotier, and 4 heart shaped ditto old pattern 
 
 12 Four small melons for desart 
 
 13 A large and beautiful figure representing TASTE 
 
 14 A compleat set of 8 tea cups and saucers, 8 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer 
 and a plate all old pattern 
 
 109 
 
APPENDIX 
 
 15 Five oval dishes finely enamelled with India plants 
 
 16 Four leaves and 4 cabbage lettices 
 
 17 Two large sauce boats and plates silver shaped 
 
 18 Two quart, two pint, and two half pint mugs in flowers 
 
 19 Two fine porringers with insects 
 
 20 Two small basons, covers and plates 
 
 21 Six round water cups and saucers 
 
 22 Two fine figures, A man and a woman in a Turkish dress 
 
 23 A large and beautiful figure representing FEELING 
 
 24 A large scollopt compotier, 4 heart shaped ditto, 2 large sun 
 flower leaves, and two cabbage leaves, for desart 
 
 25 Four old leaves, and 2 small cabbage leaves for ditto 
 
 26 Two curious pine apples for desart 
 
 27 Four small figures of the seasons for desart, and two pomatum 
 
 pots 
 
 28 Eight tea cups and saucers, 8 handled cups, a sugar bason, a 
 cream ewer, a plate, and a spoon boat 
 
 29 A beautiful groupe of 3 Cupids 
 
 30 A compleat set of eight tea cups and saucers, 8 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer and 
 a plate, all in flowers 
 
 31 Four scollopt dishes with flowers 
 
 32 Two sauce boats and plates silver shaped 
 
 33 Two fine small ice pails with flowers 
 
 34 A large and beautiful figure, representing SMELLING 
 
 35 Eight tea cups and saucers, a tea pot and stand, a slop bason, a 
 sugar bason and a cream ewer, octagon 
 
 36 Four small figures 
 
 37 Four small cabbage leaves, and two scollopt compotiers for 
 DESART 
 
 38 Four small cabbage leaves for desart 
 
 39 Four small melons for ditto 
 
 40 Two fine candlesticks, one representing Winter, and the other 
 Spring 
 
 41 Two ditto, Summer and Autumn 
 
 42 A large round dish, two ditto less, and two oval ditto wrought 
 pattern 
 
 43 Two large sauce boats and plates silver shaped 
 
 44 Two quart, two pint, and two half pint mugs in flowers 
 
 45 Two fine large porringers and covers 
 
 no 
 
SALE CATALOGUE OF 1755 
 
 46 Two round basons, covers and plates 
 
 47 Four small figures 
 
 48 Twelve tea cups and saucers and a tea pot and stand in flowers 
 
 49 Ditto 
 
 50 A large and beautiful figure representing SEEING 
 
 51 Two ice pails, finely gilt and chased with grapes and vine 
 leaves 
 
 52 A compleat set of 8 tea cups and saucers, 8 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer and 
 a plate strawberry pattern 
 
 *52 A large and curious TUREEN, in the shape of a SWAN 
 
 53 Two very fine carps and dishes 
 
 54 Two sauce boats silver shaped, and two plates to ditto in flowers 
 
 55 Two small cabbage leaves and two fine cabbage lettices 
 
 56 A star compotier, 4 old leaves, and 4 small silver shaped dishes in 
 flowers 
 
 57 Four fine large apples for desart 
 
 58 Two roses and two leaves for ditto and two pomatum pots 
 
 59 A large oval dish, 2 ditto less, and 2 round ditto wrought pattern 
 and flowers 
 
 60 Two porringers and covers 
 
 61 Two porringers and covers 
 
 62 Two quart, 2 pint, and 2 half pint mugs in flowers 
 
 63 A large and beautiful figure representing HEARING 
 
 64 Two fine porringers and covers, in flowers 
 
 65 Two fine basons, covers and plates 
 
 66 Six tea cups and saucers, 6 large cups, and a cream ewer 
 nurl'd 
 
 67 Twelve desart knives and 12 ditto forks in a shagreen case 
 
 68 Two fine small fig leaves and 2 lettices 
 
 69 A fine tureen in the form of a double PIGEON big as the life 
 in a fine basket work'd dish 
 
 70 Two fine basons and covers, sprig handles and plates 
 
 71 Three figures of the Italian theatre and 1 pomatum pot 
 
 72 Eight tea cups and saucers, 8 coffee cups and saucers, a tea 
 pot and stand, a slop bason, a sugar bason, a cream ewer and a plate 
 STRAWBERRY PATTERN 
 
 73 Two exceeding fine coss lettices, and 2 leaves to ditto 
 
 74 Two fine artichoaks for desart 
 
 75 Two ditto 
 
 hi 
 
APPENDIX 
 
 76 A most magnificent HIGH JAR embossed with white flowers 
 and gilt 
 
 77 Eight tea cups and saucers, and a tea pot 
 
 78 Seven octagon handled cups and saucers, a tea pot, a slop bason, 
 a sugar bason, and a cream ewer 
 
 79 A double leaf dish, 2 vine leaf dishes, and 2 scollopt compotiers 
 in flowers 
 
 80 Three small figures of the Italian theatre 
 
 81 A compleat set (for a chimney or a cabinet) of 7 JARS and 
 BEAKERS gilt and enamelled with flowers 
 
 82 A round tureen and cover, sprig handles, and a dish to ditto 
 in purple flowers 
 
 83 Ten large octagon soup plates fine old pattern 
 
 84 Two porringers and covers 
 
 85 Two quart, 2 pint, and 2 half pint mugs in flowers 
 
 86 Three very fine musical figures 
 
 87 Two fine partridges, and a dish ornamented with corn, &c. 
 
 88 Ditto 
 
 89 Four very fine ducks 
 
 90 Ditto 
 
 91 Eight small tea cups and saucers, and 6 small chocolate cups 
 and saucers scollopt 
 
 92 A magnificent perfume pot, in the form of a pigeon house 
 with pigeons, a fox, &c. 
 
 93 A double leaf dish, 4 old leaves, and 4 scollopt compotiers 
 
 94 Two fine porringers and covers in flowers and gilt edges 
 
 95 Two fine small round basons and covers 
 
 96 Two fine small ice pails, chased in flowers 
 
 97 Eight cups and saucers, a small slop bason, a plate, a tea pot, a 
 cream ewer, and a white sugar dish 
 
 98 Four fine small melons, for desart 
 
 99 Four fine apples ditto 
 
 100 One large oval dish, and 4 ditto less, with India plants 
 
 101 Twelve octagon tea cups and saucers of 3 different patterns 
 
 102 Six handled tea cups and saucers, 6 large ditto, a tea pot and 
 stand, a slop bason, a sugar bason, a cream ewer, a plate and a spoon 
 boat 
 
 103 A figure of a fisherman with his net, and 2 figures in Turkish 
 dresses 
 
 112 
 
SALE CATALOGUE OF 1755 
 
 Twelfth Day's Sale , Saturday, March 22 
 
 1 Eight tea saucers, 8 coffee cups, a slop bason and plate, a tea pot 
 and cream ewer, and a white sugar dish and cover 
 
 2 Twelve tea cups and saucers and a tea pot 
 
 3 Two figures of a mapseller and a carpenter with his tools 
 
 4 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a sugar bason, a slop bason, a cream ewer and a plate in flowers 
 
 5 A service of nine scollopt dishes enamelled in flowers 
 
 6 Twelve fine table plates with insects 
 
 7 Two sauce boats and plates silver shaped in flowers 
 
 8 Two quart, 2 pint, and two half pint mugs 
 
 9 Two fine porringers and covers, with birds 
 
 10 Two fine small basons and covers 
 
 1 1 Ditto 
 
 12 Four small figures and 2 lemons 
 
 13 Ditto 
 
 14 A scollopt fruit basket and 4 vine leaf dishes 
 
 15 Two fine large cabbage leaves, and 2 fine large melons to ditto, 
 
 FOR DESART 
 
 16 Four fine small melons, for desart 
 
 17 Two figures of a man and a woman playing on the guitar and 
 german flute 
 
 18 Six round water cups and saucers 
 
 19 Twelve large cups and saucers and a large tea pot 
 
 20 Ditto 
 
 21 A double leaf dish, 2 vine leaf dishes, 2 scollopt compotiers, 
 and 4 ditto old pattern 
 
 22 Two small fig leaves and 2 cabbage lettices 
 
 23 Four fine large roses and leaves for desart 
 
 24 A fine round tureen and cover, sprig handles, and a dish in flowers 
 
 25 Eight damask'd soup plates with flowers 
 
 26 Two sauce boats and plates silver shaped 
 
 27 Two ditto with green handles 
 
 28 Six mugs of three different sizes 
 
 29 Two fine large porringers and covers, with flowers 
 
 30 Two fine small basons, covers and plates 
 
 31 Eight tea cups and saucers with handles, 8 handled cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer, 
 a plate, and a spoon boat scollopt 
 
 113 
 
 1 
 
APPENDIX 
 
 32 Eight large tea cups and saucers, 8 large handled cups, a tea 
 pot, a cream ewer, and a plate same pattern 
 
 33 A pair of curious toilet candlesticks with birds and flowers 
 
 34 Four small figures of the arts standing on fine gilt pedestals 
 
 35 Ditto 
 
 36 Two fine basket work'd dishes with green leaves, and 2 vine 
 leaf dishes in flowers for desart 
 
 37 Four small melons for desart 
 
 38 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a sugar bason, a slop bason, a cream ewer, and a plate, all in 
 flowers 
 
 39 Ditto 
 
 40 Two large sauce boats and plates, with green handles 
 
 41 Ditto 
 
 42 Two very fine large ice pails 
 
 43 A very fine tureen in the form of a RABBIT big as life, in a 
 fine oval dish 
 
 44 Two large sauce boats and plates green handles 
 
 45 Ditto 
 
 46 Six figures, love in disguise, for desart 
 
 47 Four small Cupids for ditto, and two lemons 
 
 48 A double leaf dish, 2 large sunflower leaves and 2 small cabbage 
 leaves for desart 
 
 49 Four fine deep vine leaf dishes 
 
 50 Ditto 
 
 51 Twelve octagon tea cups and saucers in purple 
 
 52 Ditto 
 
 *52 A large and beautiful WHITE VASE curiously decorated 
 and embossed with laurel leaves 
 
 53 Two fine round pierced baskets with handles 
 
 54 Two very fine collyflowers and 2 plates to ditto 
 
 55 Six round water cups and saucers in flowers 
 
 56 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate, all 
 enamell’d with birds 
 
 57 A compleat set ditto of the strawberry pattern 
 
 58 A set of 5 round scollopt table dishes enamell'd in flowers 
 
 59 Eight damask'd table plates with flowers 
 
 60 Two large sauce boats and plates green handles 
 
 61 Two small ditto 
 
SALE CATALOGUE OF 1755 
 
 62 Two quart, two pint, and two half pint mugs old stork pattern 
 
 63 Two fine porringers and covers with insects 
 
 64 Two fine round basons, covers and plates 
 
 65 Ditto 
 
 66 Two fine Eels and 2 dishes to ditto 
 
 67 Two large sauce boats and 2 plates 
 
 68 Ditto 
 
 69 Four fine ducks for desart 
 
 70 Four fine deep vine leaf dishes for desart 
 
 71 Two fine round pierced baskets with two handles 
 
 72 Twelve scollopt desart plates curiously enamell'd with exotick 
 plants 
 
 73 Four fine artichoaks for desart 
 
 74 Eight tea cups and saucers, 8 chocolate cups and saucers and a 
 cream ewer scollopt 
 
 75 Eight octagon tea cups and saucers, a tea pot and a sugar bason 
 old sprig pattern 
 
 76 Two figures after Teniers, 2 dogs and 2 pomatum pots 
 
 77 Four fine apples for desart 
 
 78 Ditto 
 
 79 Four fine oval dishes fifth size, scollopt and flowers 
 
 80 One large and 4 smaller round dishes the same pattern 
 
 81 A very fine PERFUME POT with three little Cupids gather- 
 ing flowers 
 
 82 Two fine figures of a cobler and his wife 
 
 83 A fine basket work'd dish with green leaves, 4 fine scollopt 
 dishes with green handles, and four smaller ditto for desart 
 
 84 Twelve desart plates finely chased with flowers 
 
 85 Two small fig leaves and two cabbage lettices 
 
 86 Four small melons for desart 
 
 87 Four small figures of Cupids for desart and two lemons 
 
 88 Two PARTRIDGES 
 
 89 Ditto 
 
 90 Two fine carps and two dishes to ditto 
 
 91 Two small sauce boats and plates 
 
 92 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate, enamell'd 
 WITH FLOWERS 
 
 93 Four dishes fifth size, wrought pattern, in landskip and gilt 
 edges 
 
 ii5 
 
APPENDIX 
 
 94 Twelve fine table plates to ditto 
 
 95 Two quart, two pint, and two half pint mugs 
 
 96 Two fine large porringers and covers with birds 
 
 97 Two fine large basons and covers and plates 
 
 98 Six tea cups and saucers with handles, six handled cups scollopt 
 and a cream ewer 
 
 99 Nine fine scollopt compotiers for desart of different shapes 
 and patterns 
 
 100 Four figures of the sciences and two lemons 
 
 101 Two porringers and covers enamell'd in flowers 
 
 102 Ten large octagon chocolate cups and saucers, wheatsheaf 
 
 AND PHEASANT 
 
 103 Two figures of the seasons, two ditto of the arts and two ditto 
 of the Chinese standing 
 
 104 Four leaves and four cabbage lettices 
 
 105 Ditto 
 
 Thirteenth Day's Sale , Monday, March 24 
 
 1 Four small figures of the sciences and 2 lemons 
 
 2 Eight tea cups and saucers, a small bason, a sugar bason and a 
 plate nurl'd open partridge 
 
 3 One old leaf bason and plate, and 4 compotiers with green leaves 
 
 4 Four fine large apples, for desart 
 
 5 Two small fig leaves and 2 cabbage lettices 
 
 6 Eight tea cups and saucers, 8 chocolate cups and saucers, a tea 
 pot and stand, a slop bason, a sugar bason, a cream ewer and plate nurl'd 
 old pattern 
 
 7 A fine figure of a fisherman with a basket on his back, and 2 
 ditto of the Italian theatre 
 
 8 Two oval dishes, and 1 small round ditto wrought pattern 
 enamell'd in landskip, <$cc. 
 
 9 Two large sauce boats and plates 
 
 10 Two quart, 2 pint, and 2 half pint mugs 
 
 11 Two fine porringers scollopt edges and covers with birds 
 
 12 Two fine small round basons, covers and plates 
 
 13 A large sun flower leaf, 2 small ditto and 2 chickens, a fig leaf, 
 a small oval dish and 2 small ditto 
 
 14 A set of 8 tea cups and saucers, 8 coffee cups and saucers, a tea 
 pot and stand, a slop bason, a sugar bason, a cream ewer and a plate, all 
 in flowers 
 
 116 
 
SALE CATALOGUE OF 1755 
 
 15 A curious groupe of a man and woman dancing 
 
 16 Eight small caudle cups and saucers nurl'd in flowers and 2 
 pomatum pots 
 
 17 Two very fine large ice pails, i with insects and the other in 
 flowers 
 
 18 Two fine scollopt dishes with flowers and 2 basons old japan 
 pattern 
 
 19 Twelve octagon tea cups and saucers and a tea pot 
 
 20 Four small figures of the sciences and 2 lemons for desart 
 
 21 Ditto 
 
 22 Eight tea cups and saucers, 8 coffee cups, a tea pot and stand, a 
 slop bason, a sugar bason, a cream ewer and a plate, all in flowers 
 
 23 Two fine small ice pails in flowers 
 
 24 A pair of very fine toilet candlesticks with birds and flowers 
 
 25 An old leaf bason and plate, 4 compotiers, wheat sheaf and 
 
 PHEASANT 
 
 26 Four fine deep vine leaf dishes with flowers 
 
 27 Four small melons for desart 
 
 28 Four large roses and 4 leaves 
 
 29 Two beautiful Colly-flowers and plates 
 
 30 Six round water cups and saucers in flowers 
 
 31 Four figures of 2 men and 2 women playing on different instru- 
 ments 
 
 32 A beautiful small oval tureen and dish sprig handles and 
 flowers 
 
 33 Two large sauce boats and plates green handles and flowers 
 
 34 Two quart, 2 pint, and 2 half pint mugs with birds and flowers 
 
 35 Two porringers and covers gilt and enamell'd with insects 
 
 36 Two fine basons with covers and plates 
 
 37 A set of 8 tea cups and saucers, 8 coffee cups and saucers, a tea 
 pot and stand, a sugar bason, a slop bason, a cream ewer and a plate, all 
 enamell'd in flowers 
 
 38 A service of 5 table dishes scollopt with India plants 
 
 39 Two small sauce boats and plates 
 
 40 Two quart, 2 pint, and 2 half pint mugs 
 
 41 Two porringers and covers gilt edges 
 
 42 Two fine small basons, covers and plates, strawberry pattern 
 
 43 Two small figures after Teniers and 2 Chinese figures 
 
 44 A double leaf dish, 2 large sun flower leaves and 2 small cabbage 
 leaves 
 
 117 
 
APPENDIX 
 
 45 Four fine small melons 
 
 46 Two fine pine apples 
 
 47 Eight fine desart plates scollopt with flowers 
 
 48 Six small tea cups and saucers, 6 large chocolate cups and saucers, 
 a small tea pot and stand, a sugar bason and a cream ewer nurl'd in flowers 
 
 49 Four small Cupids and 2 lemons for desart 
 
 50 Two fine Eels and 2 fine dishes to ditto 
 
 *50 A curious large TUREEN in the shape of a SWAN 
 
 51 Two large sauce boats and plates 
 
 52 A set of 8 tea cups and saucers, 8 coffee cups and saucers, a tea 
 pot and stand, a slop bason, a sugar bason, a cream ewer and a plate all 
 in flowers 
 
 53 A magnificent Perfume Pot finely chased and gilt, with a figure 
 representing MELEAGER and the boar's head 
 
 54 One ditto representing ATALANTA and her dog 
 
 55 Two fine figures of A river god and Leda on a dolphin 
 
 56 A fine round tureen and cover sprig handles in flowers, and a 
 dish to ditto 
 
 57 Two quart, 2 pint, and 2 half pint mugs finely enamell'd with 
 insects 
 
 58 Two fine porringers and covers in flowers 
 
 59 A double leaf dish, 4 old ditto in flowers and 4 scollopt com- 
 potiers green leaves 
 
 60 Twelve fine desart plates scollopt in flowers 
 
 61 Two small figures of the arts, a fidler and 2 pomatum pots 
 
 62 Eight small tea cups and saucers, octagon in flowers, and a tea 
 pot in fables 
 
 63 Four dishes scollopt in flowers 
 
 64 A fine tureen in the form of a double PIGEON big as the 
 LIFE, and a basket work'd dish 
 
 65 Two small sauce boats and 2 plates 
 
 66 Two beautiful groupes of figures, a man and woman with a 
 bird's nest, and its companion with a bird cage 
 
 67 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a sugar bason, a slop bason, a cream ewer and a plate, 
 in flowers 
 
 68 Four small figures and 2 lemons 
 
 69 Two fine large ice pails chased in flowers 
 
 70 Two fine small fig leaves and 2 cabbage lettices 
 
 71 Two fine coss lettices and leaves 
 
 72 Twelve fine desart plates scollopt in flowers 
 
 118 
 
SALE CATALOGUE OF 1755 
 
 73 Six tea cups and saucers, a tea pot and stand, a small slop bason, 
 a sugar bason, a cream ewer and a plate nurl'd 
 
 74 Twelve octagon tea cups and saucers enamell'd with purple 
 landskip 
 
 75 Two fine partridges for desart 
 
 76 Two ditto 
 
 77 A set of 5 table dishes in sizes scollopt and India plants 
 
 78 Two small sauce boats and plates 
 
 79 Two porringers and covers, with flowers and gilt edges 
 
 80 Two fine small basons, covers and plates 
 
 81 Eight tea cups and saucers, 8 coffee cups and saucers, a tea 
 pot and stand, a slop bason, a sugar bason, a cream ewer and a plate, all 
 in flowers 
 
 82 Two fine basket work'd dishes with green leaves and 2 vine 
 leaf deep dishes in flowers 
 
 83 Four small roses and 4 leaves for desart 
 
 84 Four fine apples for ditto and 4 leaves 
 
 85 Twelve fine desart plates India plants 
 
 86 Two beautiful figures playing on the german flute and tabor 
 and pipe 
 
 87 Four small figures and 2 lemons 
 
 88 A fine tureen in the form of a HEN and CHICKEN as big as 
 the life in a dish properly ornamented 
 
 89 Two small sauce boats and plates 
 
 90 Two fine large porringers and covers in flowers 
 
 91 Two large round basons and covers sprig handles 
 
 92 Six round water cups and saucers in flowers 
 
 93 Eight large octagon tea cups and saucers, a sugar bason in flowers 
 and a tea pot ditto in landskip 
 
 94 Ditto 
 
 95 A set of 5 oval dishes old pattern 
 
 96 Two large sauce boats and plates 
 
 97 Two ditto SMALLER 
 
 98 Four fine ducks in different postures 
 
 99 A small oval dish, 1 round ditto, 1 scollopt ditto, a sallad dish 
 and a bason 
 
 100 Four fine apples for desart 
 
 1 01 Eight tea cups and saucers, a sugar bason and a plate nurl'd 
 partridge pattern 
 
 102 Two figures playing on the german flute and guitar 
 
 119 
 
APPENDIX 
 
 103 Eight tea cups and saucers, a tea pot and stand, a small slop 
 bason, a sugar bason and plate, nurl’d 
 
 104 Four fine leaves, and 4 cabbage lettices 
 
 105 Ditto 
 
 Fourteenth Day's Sale , Tuesday, March 25 
 
 1 Six large chocolate cups and saucers and a cream ewer 
 
 2 Eight octagon tea cups and saucers, a sugar bason and a tea pot 
 
 3 Four small figures and 2 perfume pots 
 
 4 A set of 5 table dishes in sizes, with India plants 
 
 5 Two fine porringers and covers enamelled in birds 
 
 6 Two ditto larger 
 
 7 A set of 8 tea cups and saucers, a tea pot and stand, a slop bason, 
 a sugar bason, a cream ewer and a plate, all in flowers 
 
 8 Two fine figures of A cobler and his wife 
 
 9 Twelve octagon tea cups and saucers and a small tea pot 
 
 10 Ditto 
 
 11 Four old leaves and a scollopt compotier 
 
 12 Four deep vine leaf dishes in flowers 
 
 13 Four small melons for desart 
 
 14 Four ditto 
 
 15 Two fine partridges 
 
 16 Two fine large artichoaks 
 
 17 Two ditto 
 
 18 Twelve desart plates scollopt in flowers 
 
 19 Four bustos of the heathen gods, and 2 lemons 
 
 20 Four ditto and 2 pomatum pots 
 
 21 Eight large tea cups and saucers, and a small tea pot, octagon, 
 old sprig pattern 
 
 22 Ditto 
 
 23 A fine round tureen and dish in flowers 
 
 24 Two large sauce boats and plates 
 
 25 Two quart, 2 pint, and 2 half pint mugs in flowers 
 
 26 Two porringers, with birds 
 
 27 Two ditto less 
 
 28 Two fine basons with covers and plates 
 
 29 A set of 8 tea cups and saucers, 8 coffee cups and saucers, a 
 tea pot and stand, a slop bason, a sugar bason, a cream ewer, and a plate 
 IN FLOWERS 
 
 120 
 
SALE CATALOGUE OF 1755 
 
 30 Eight chocolate cups and saucers, 8 handled cups, a slop bason, 
 and a white sugar bason and cover nurl'd old pattern 
 
 31 Six chocolate cups and saucers, a small slop bason, and a white 
 sugar bason and cover, same pattern 
 
 32 Four scollopt table dishes of two sizes, with India plants 
 
 33 Twelve fine desart plates same pattern 
 
 34 Two small sauce boats green handles and plates 
 
 35 Two porringers and covers gilt edges 
 
 36 Two ditto 
 
 37 Two fine fig leaves and two lettices 
 
 38 Two fine colly-flowers and plates 
 
 39 Two pierced baskets with two handles 
 
 40 A figure of a nurse and child, 2 ditto of the Italian theatre, and 
 2 perfume pots 
 
 41 A fine figure of a woman with a basket, and 2 small figures with 
 scollop shells 
 
 42 Two beautiful perfume pots, chased, gilt, and enamelled in 
 flowers 
 
 43 Two fine EELS and dishes to ditto 
 
 44 Two large sauce boats and plates 
 
 45 Four small sun flower leaves, and 4 chickens for desart 
 
 46 Four large roses and leaves 
 
 47 Six beautiful figures, love in disguise 
 
 48 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate, nurl'd 
 in flowers 
 
 49 One set ditto round, enamelled in flowers 
 
 50 One large, and 4 smaller table dishes wrought and gilt 
 edges 
 
 51 Two small sauce boats and plates 
 
 52 A fine tureen in the form of a double PIGEON big as life in 
 a basket work'd dish 
 
 53 Two porringers and covers in birds 
 
 54 Two fine partridges for desart 
 
 55 Two ditto 
 
 56 Two dishes to ditto ornamented with corn, &c. 
 
 57 Six round water cups and saucers in flowers 
 
 58 Two exceeding fine candlesticks, one representing Winter and 
 the other Spring 
 
 59 Two ditto Summer and Autumn 
 
 121 
 
APPENDIX 
 
 60 Six small tea cups and saucers, 6 handled cups, a tea pot and 
 stand, a slop bason, a sugar bason, a cream ewer and a plate nurl’d old 
 pattern 
 
 6 1 Six octagon tea cups and saucers, and a tea pot 
 
 62 A beautiful high BEAKER enamelled with birds of dif- 
 ferent sorts, and richly gilt 
 
 63 Four fine old leaves, and 2 small cabbage leaves for desart 
 
 64 Four fine deep vine leaf dishes 
 
 65 Four fine apples and 4 leaves 
 
 66 Twelve fine desart plates in flowers 
 
 67 Two fine partridges for desart 
 
 68 Three fine small ducks 
 
 69 Four small Cupids and 2 lemons 
 
 70 A curious large groupe of 3 Cupids 
 
 71 Eight cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate round 
 STRAWBERRY PATTERN 
 
 72 Six tea cups and saucers, 2 large handled cups and saucers, 2 
 chocolate cups and saucers, and an octagon tea pot 
 
 73 Two fine large ice pails in flowers 
 
 74 Two small ditto with birds 
 
 75 Two quart, 2 pint, and 2 half pint mugs in flowers 
 
 76 Two large porringers and covers in flowers 
 
 77 Two ditto 
 
 78 Three small figures and 2 melons for desart 
 
 79 A figure of a woodcutter, and 2 ditto of 2 men drinking 
 
 80 A fine oval tureen and dish sprig handles and flowers 
 
 81 Two fine carps and dishes 
 
 82 A double leaf dish, 4 old leaves, and 4 compotiers green 
 leaves 
 
 *82 Four fine vine leaf dishes in flowers 
 
 83 Four small melons for desart 
 
 84 Two small fig leaves and 2 cabbage lettices 
 
 85 A set of 7 beautiful jars and beakers finely enamelled in flowers 
 and gilt, for a chimney or cabinet 
 
 86 Two beautiful figures of a shepherd and shepherdess 
 
 87 A large round dish, 2 ditto smaller, and 2 oval ditto, wrought 
 pattern and flowers 
 
 88 Four small figures of the seasons 
 
 89 Ditto 
 
 122 
 
SALE CATALOGUE OF 1755 
 
 go A beautiful tureen in the form of a BOAR'S HEAD, in a most 
 curious dish, with proper embellishments 
 
 91 A pair of fine large ice pails chased with grapes and vine leaves 
 gilt 
 
 92 Two small ditto enamelled with birds 
 
 93 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a sugar bason, a slop bason, a cream ewer and a plate, all in 
 flowers 
 
 94 Two fine large porringers and covers, scollopt edges and gilt 
 
 95 Two fine figures of fishermen with 2 different nets 
 
 96 Two fine pine apples for desart 
 
 97 Ditto 
 
 98 Four fine ducks in different postures 
 
 99 Twelve desart plates scollopt in flowers 
 
 100 Two fine EELS and 2 dishes to ditto 
 
 101 Two fine round basons, covers and plates, old strawberry 
 pattern 
 
 102 Six round water cups and saucers in flowers 
 
 103 Twelve tea cups and saucers, a sugar bason, a cream ewer and 
 plate nurl'd partridge pattern 
 
 104 Six scollopt saucers, 6 tea cups, 7 chocolate cups and saucers, 
 a small slop bason, a plate, a tea pot and stand, a ewer, and a white sugar 
 dish and cover 
 
 105 A pair of fine toilet candlesticks with birds and flowers 
 
 106 A fine groupe of a man and woman dancing 
 
 107 Two fine artichoaks 
 
 108 Ditto 
 
 109 Eight octagon tea cups and saucers, and a tea pot, sprig pattern 
 
 no Ditto 
 
 Fifteenth Day's Sale , Wednesday, March 26 
 
 1 Six octagon cups and saucers and a tea pot 
 
 2 Six octagon tea cups and saucers, a tea pot and stand, and a sugar 
 bason 
 
 3 Four small figures of the sciences, and 2 pomatum pots 
 
 4 A nurse and child, 2 small figures and two melons 
 
 5 Three dishes and 8 plates wrought pattern in landskip 
 
 6 Two small porringers and covers enamell'd with birds 
 
 123 
 
APPENDIX 
 
 7 A set of 8 tea cups and saucers, 8 coffee cups and saucers, a tea 
 pot and stand, a slop bason, a sugar bason, a cream ewer and a plate, all 
 in flowers 
 
 8 Four old leaves in flowers and two small cabbage leaves for desart 
 
 9 Nine fine old leaves in flowers 
 
 10 Four beautiful large apples for desart 
 
 11 Four fine small melons for desart 
 
 12 Four small figures love in disguise and 2 perfume pots 
 
 13 Eight octagon tea cups and saucers, a tea pot, and a sugar bason 
 
 14 Ditto 
 
 15 Two fine Eels and two dishes 
 
 16 Two small sauce boats and plates 
 
 17 Two basons, covers and plates 
 
 18 Three small figures of the Italian theatre 
 
 19 Three ditto, and 2 pomatum pots 
 
 20 A large round dish, 2 ditto less, and 2 oval ditto wrought 
 pattern and flowers 
 
 21 Two quart, 2 pint, and 2 half pint mugs in flowers 
 
 22 Six water cups and saucers in flowers 
 
 23 Two beautiful figures playing on the violin and guitar 
 
 24 Two fine large ice pails in flowers 
 
 25 Eight octagon tea cups and saucers, a tea pot and a sugar bason 
 
 26 Six small and 1 large saucers, 6 tea cups, a slop bason and a 
 plate, a tea pot and a cream ewer, and a white sugar dish and cover 
 
 27 A fine basket work’d dish with leaves, and 4 oval compotiers in 
 flowers 
 
 28 Twelve desart plates scollopt in flowers 
 
 29 Four small roses and leaves for desart 
 
 30 Two small fig leaves and two lettices 
 
 31 Two fine coss lettices and two leaves 
 
 32 Eight tea cups and saucers, 8 coffee cups and saucers, a tea pot 
 and stand, a slop bason, a sugar bason, a cream ewer and a plate, all in 
 flowers 
 
 33 Three small figures of the Italian theatre 
 
 34 Ditto and two pomatum pots 
 
 35 A fine small oval tureen and dish sprig handles 
 
 36 Two large sauce boats and plates 
 
 37 Two quart, two pint, and two half pint mugs 
 
 38 Two large porringers and covers 
 
 39 Two ditto 
 
 124 
 
SALE CATALOGUE OF 1755 
 
 40 Two fine Eels and two dishes 
 
 41 A fine groupe of figures, Pantaloon and Columbine 
 
 42 Eight octagon tea cups and saucers, and a tea pot 
 
 43 Ditto 
 
 44 A large round dish, 2 ditto lesser, and 2 oval ditto wrought 
 pattern in flowers 
 
 45 A fine large wrought pattern compotier, and four less with 
 birds 
 
 46 Four fine large apples and leaves for desart 
 
 47 Four fine artichoaks for desart 
 
 48 Twelve desart plants finely enamell'd with India plants 
 
 49 A set of 8 tea cups and saucers, 8 coffee cups and saucers, a tea 
 pot and stand, a slop bason, a sugar bason, a cream ewer and a plate, all 
 in flowers 
 
 *49 A very fine large HIGH VASE decorated with laurel leaves 
 
 50 Two large porringers and covers with insects 
 
 51 Two fine basons with covers and plates 
 
 52 A beautiful round inkstand compleat in flowers 
 
 53 A most magnificent PERFUME POT ornamented with sett- 
 ing dog and rabbits chased and gilt 
 
 54 Four small sunflower leaves and 4 chickens for desart 
 
 55 Four small melons for ditto 
 
 56 A most neautiful large high JAR, embossed with white flowers 
 and RICHLY GILT 
 
 57 Two fine porringers and covers with insects and gilt edges 
 
 58 Ditto 
 
 59 A set of 8 tea cups and saucers, 8 coffee cups and saucers, a 
 tea pot and stand, a slop bason, a sugar bason, a cream ewer and a plate, 
 all in flowers 
 
 60 Five dishes of two sizes India plants 
 
 61 Ten DESART PLATES TO DITTO 
 
 62 Eight tea cups and saucers, a tea pot and stand, a small slop 
 bason, a sugar bason and a plate 
 
 63 A fine tureen in the form of a Hen and CHICKENS big as 
 the life and a dish properly ornamented 
 
 64 A large fine scollopt dish with a green handle and 4 small ditto 
 FOR DESART 
 
 65 Four fine deep vine leaf dishes in flowers 
 
 66 Two fine artichoaks for desart 
 
 67 Ditto 
 
 68 Four small ducks in different postures 
 
 125 
 
APPENDIX 
 
 69 Two fine small ice pails enamell'd in flowers 
 
 70 Two ditto larger 
 
 71 Ten tea cups and saucers, a tea pot and stand, a sugar bason 
 and a cream ewer nurl'd 
 
 72 Six tea cups and saucers, a tea pot and stand, a sugar bason and 
 a cream ewer 
 
 73 Two fine carps and 2 dishes to ditto 
 
 74 Two fine large basons, covers and plates 
 
 75 Two small sauce boats and plates 
 
 76 Four small musical figures 
 
 77 An EPARGNE finely ornamented with flowers, figures, <$cc. 
 on a glass stand 
 
 78 Two fine basket work'd dishes and 2 deep vine leaf dishes for 
 desart 
 
 79 Two fine cabbage leaves and 2 large melons 
 
 80 Twelve desart plates in flowers scollop'd 
 
 81 Six small figures of love in disguise 
 
 82 Six small tea cups and saucers, a tea pot and stand, a slop bason, 
 a sugar bason, a cream ewer and plate nurl'd 
 
 83 Eight tea cups and saucers, a tea pot, a slop bason, a sugar bason, 
 a cream ewer and a plate nurl'd 
 
 84 Two quart, 2 pint, and 2 half pint mugs in flowers 
 
 85 Two fine porringers with covers and gilt edges 
 
 86 Two large ditto brown edges 
 
 87 Two fine large ice pails in flowers 
 
 88 Two ditto 
 
 89 Four large pine apples 
 
 90 Two small fig leaves and 2 small cabbage lettices 
 
 91 A compleat set for a chimney piece, consisting of 7 fine jars 
 and beakers, beautifully painted with flowers and gilt 
 
 92 Two figures of a shepherd and a shepherdess 
 
 93 Six tea cups and saucers, a tea pot, a slop bason, a sugar bason, 
 a cream ewer and plate nurl'd 
 
 94 Eight tea cups and saucers, a tea pot and stand, a slop bason, a 
 sugar bason, a cream ewer and a plate 
 
 95 A pair of fine toilet candlesticks with birds and flowers 
 
 96 A fine TUREEN in the form of a double PIGEON as big AS 
 life and a white basket work’d dish to ditto 
 
 97 Two fine large artichoaks for desart 
 
 98 Two fine pine apples for ditto 
 
 126 
 
SALE CATALOGUE OF 1755 
 
 99 Twelve desart plates in flowers 
 
 100 Eight tea cups and saucers, 7 handle cups, a tea pot and stand, 
 a sugar bason, a slop bason and a cream pot 
 
 101 Four fine leaves and 4 cabbage lettices 
 
 102 Four curious coss lettices and 4 leaves 
 
 Sixteenth and last Day's Sale , Thursday, March 27 
 
 1 Eight cups and saucers, and a tea pot 
 
 2 A round dish 3d size , 2 ditto 5th size, and 2 oval ditto 5th size, 
 wrought pattern in flowers 
 
 3 Two large sauce boats and plates 
 
 4 Two large porringers and covers 
 
 5 Four fine deep vine leaf dishes 
 
 6 Six round water cups and saucers 
 
 7 Two fine pine apples for desart 
 
 8 Two small artichoaks for ditto 
 
 9 Twelve fine desart plates in flowers 
 
 10 Six tea cups and saucers, 6 coffee cups and saucers, a tea pot and 
 stand, a slop bason, a sugar bason, a cream ewer and a plate 
 
 11 Two small ice pails, enamelled with birds 
 
 12 A fine round tureen, cover and dish, sprig handles and flowers 
 
 13 Pantaloon and Columbine finely grouped 
 
 14 Six cups and saucers, 6 chocolate cups, a tea pot and stand, a 
 small slop bason, and a plate, all different patterns, and a white sugar 
 dish and cover 
 
 15 Eight nurl'd saucers, 6 cups, 5 handled cups, a tea pot and stand, 
 
 a cream ewer, and a white sugar dish 
 
 16 Two fine large ice pails chased 
 
 17 Two SMALL DITTO 
 
 18 Two quart, 2 pint, and 2 half pint mugs 
 
 19 Two fine basons, covers and plates 
 
 20 Six water cups and saucers scollopt edges 
 
 21 A fine tureen in the form of a HEN and CHICKENS big as life 
 and a dish properly ornamented 
 
 22 Two large sauce boats and plates 
 
 23 Two fig leaves and 2 cabbage lettices 
 
 24 A compleat set of tea cups and saucers, 6 coffee cups and saucers, 
 
 a tea pot and stand, a slop bason, a sugar bason, a cream ewer and a plate, 
 
 FINELY ORNAMENTED WITH birds 
 
 127 
 
APPENDIX 
 
 25 A fine basket work'd dish, with green leaves, and 4 oval com- 
 potiers 
 
 26 A pair of exceeding fine toilet candlesticks, with birds and 
 flowers 
 
 27 Two porringers and covers gilt edges 
 
 28 Two fine large basons, covers and plates 
 
 29 Two small sauce boats and plates 
 
 30 Four small roses and leaves for desart 
 
 31 Four apples and leaves for ditto 
 
 32 A large round dish, 2 ditto less and an oval ditto, wrought pattern 
 
 33 Two small sauce boats and plates 
 
 34 A curious groupe of figures representing Europe and Asia 
 
 35 Two ditto Africa and America 
 
 36 A compleat set of 6 tea cups and saucers, 6 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer 
 and a plate, enamell’d with birds 
 
 37 A compleat ink stand enamell’d in flowers 
 
 38 Two fine partridges 
 
 39 Ditto 
 
 40 Four small figures of Cupids 
 
 41 A fine small oval tureen and dish sprig handles 
 
 42 Two small ice pails 
 
 43 Two large sauce boats and plates 
 
 44 A curious perfume pot with 3 Cupids in flowers 
 
 45 Two fine large artichoaks for desart 
 
 46 Four fine ducks 
 
 47 Two ice pails in flowers 
 
 48 Two groupes of figures, a man and a woman with a bird’s nest, 
 and its companion with a bird cage 
 
 49 Two fine colly-flowers and 2 leaves to ditto 
 
 50 Two fine round pierced baskets with handles 
 
 51 A basket work’d dish with green leaves, 2 wrought dishes and 
 2 oval compotiers 
 
 52 A very curious TUREEN in the form of two fighting cocks 
 big as the life 
 
 53 Twelve fine soup plates wrought pattern figures and landskip 
 
 54 Two fine cabbage lettices and leaves 
 
 55 Four coss lettices and leaves 
 
 56 A most beautiful HIGH JARR, enamell’d with flowers 
 and richly gilt 
 
 128 
 
SALE CATALOGUE OF 1755 
 
 57 Twelve fine desart plates chased in flowers 
 
 58 Six fine figures love in disguise 
 
 59 Two small ice pails in flowers 
 
 60 Two quart, 2 pint, and 2 half pint mugs 
 
 61 Two porringers with gilt edges 
 
 62 Six water cups and saucers scollopt edges 
 
 63 Four fine cabbage lettices and leaves 
 
 64 A groupe of a man and woman with a bird's nest 
 
 65 A fine tureen in the form of a double pigeon in a basket work'd 
 
 dish 
 
 66 A large and magnificent LUSTRE beautifully ornamented 
 with FIGURES and CURIOUS FLOWERS in a superb taste 
 
 67 Two fine musical figures 
 
 68 A compleat set of 8 tea cups and saucers, 8 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer and 
 plate, enamell'd in birds 
 
 69 Four very fine apples 
 
 70 Four round dishes wrought pattern gilt and enamelled in 
 landskip and figures 
 
 71 A large round TUREEN, COVER and DISH, of an exceed- 
 ing rich BLUE ENAMEL, with gold flowers, &c. 
 
 72 Twelve SOUP PLATES to ditto 
 
 73 Twelve TABLE PLATES to ditto 
 
 74 Eight fine water cups and saucers with birds 
 
 75 Four fine coss lettices and leaves to ditto 
 
 76 A man and woman with a bird's nest finely grouped 
 
 77 An oval tureen and dish in flowers 
 
 78 Two porringers and covers with insects 
 
 79 Two fine carps and 2 dishes to ditto 
 
 80 Two fine large artichoaks 
 
 81 Two very fine colly-flowers and plates 
 
 82 Two fine cabbage leaves and two melons 
 
 83 Six tea cups, nine scollopt saucers, 7 cups with handles, a slop 
 bason, a plate, a stand, a teapot, a cream ewer and a white sugar dish 
 and cover 
 
 84 A curious figure of A woman holding a perfume pot 
 
 85 A round tureen and dish enamell'd in flowers 
 
 86 Twelve fine scollopt soup plates 
 
 87 Four fine artichoaks 
 
 88 Twelve desart plates wrought pattern in flowers 
 
 129 
 
 K 
 
APPENDIX 
 
 89 Two fine figures of a river god and goddess 
 
 90 A set of seven JARS and BEAKERS very finely enamelled 
 and the beakers richly fill'd with curious flowers 
 
 91 Four fine artichoaks for desart 
 
 92 Four fine coss lettices and leaves 
 
 93 Two fine figures of fishermen with nets 
 
 94 A compleat set of 8 tea cups and saucers, 8 coffee cups and 
 saucers, a tea pot and stand, a slop bason, a sugar bason, a cream ewer and 
 a plate, enamell'd in figures 
 
 95 A groupe of figures of a man and woman dancing 
 
 96 Ditto 
 
 97 A large round tureen and dish enamell'd in flowers 
 
 98 Six fine soup plates 
 
 99 Two musical figures of a man and a woman 
 
 100 Four fine artichoaks for desart 
 
 101 Two musical and two turkish figures 
 
 102 Twelve table knives, and twelve forks 3 pronged, neatly mounted 
 with silver, in a shagreen case 
 
 103 Twelve desart knives and forks ditto 
 
 Finis 
 
 130 
 
SELECTED BIBLIOGRAPHY 
 
 Bemrose, William. Boiv, Chelsea and Derby Porcelain. 1898. 
 
 Burton, William. A History and Description of English Porcelain. 1902. 
 Chaffers, William. Marks and Monograms on European and Oriental Pottery and 
 Porcelain. 1863 and onwards. 
 
 Church, A. H. English Porcelain. 1885 (revised ed. 1904). 
 
 Franks, Augustus W. “ Notes on the Manufacture of Porcelain at Chelsea.” 1862. 
 
 ( Archaeological Journal , xix., 340.) 
 
 Haslem, John. The Old Derby China Factory. 1876. 
 
 Hobson, R. L. Catalogue of English Porcelain in the British Museum. 1905. 
 
 ,, „ Worcester Porcelain. 1910. 
 
 Jewitt, Llewellynn. The Ceramic Art of Great Britain. 1878. 
 
 Marryat, Joseph. A History of Pottery and Porcelain. 1850 (3rd ed. 1868). 
 Nightingale, J. E. Contributions towards the History of Early English Porcelain. 
 1881. 
 
 Rackham, Bernard. Catalogue of the Schreiber Collection in the Victoria and Albert 
 Museum. Vol. I. Porcelain. 1915. 
 
 Rackham, Bernard. Catalogue of the Herbert Allen Collection of English Porcelain. 
 
 1917 - 
 
 Reeks, Trenham, and Rudler, F. W. Catalogue of the Pottery and Porcelain in the 
 Museum of Practical Geology, Jermyn Street. 1871. 
 

 
 
 
INDEX 
 
 Aisop, subjects from, 41, 43, 58 
 Agriable Le(on, L', 53 
 Analyses, 23, 36, 52 
 Apollo, figures, 53, 57 
 Astbury, John, 20 
 Atalanta, group on vase, 44 
 Aveline, 38 
 
 Bacon, John, R. A., 17, 57 
 
 Balechon, J. J., 38 
 
 Battersea, 16, 17 
 
 Beckford, 65 
 
 Berghem, 11 
 
 Bessborough, Lord, 55 
 
 Birds, figures of, 39 
 
 Biscuit figures, 11, 63 
 
 Blemont, Barthelemy de, 43 
 
 Blue and white, 4, 6, 42 
 
 Blue, mazarine, 11 
 
 Bocages, 53 
 
 Bolton, 19 
 
 Bone-ash, use of, 51 
 
 Bottger, J. F., 4 
 
 Boucher, 9, n, 38, 43, 53, 55 
 
 Bow, 4, 16, 17, 21, 31, 51, 58, 65 
 
 Bowcocke, John, 19, 37 
 
 Bristol, 58 
 
 Britannia, figures, 25, 53 
 British Museum, 44, 49, 62 
 Broderip, E. F., 62 
 Buen Retiro, 33 
 
 Burnsall’s rooms, 47, 48, 50, 51 
 Burslem, 20 
 Bustelli, F., 26 
 
 Camden, Lord, 50 
 Campbell, R., 16 
 Capodimonte, 33 
 Cavendish, Lady, 37 
 Chandelier, 10 
 Chantilly, 4 
 
 Charity, Roman, 51, 52, 53 
 Charles III of Naples, 55 
 Charlotte, Queen, 49, 54, 65 
 Chatham, Lord, 50 
 Chelsea Church, view of, 56 
 Chelsea-Derby, 63 
 Chesterfield vase, 49 
 China, clay from, 18 
 Chinese Imari, 6 
 Chinoiseries, 38, 54 
 Christie’s sale-rooms, 51, 54, 58 
 Cibber, 5 
 
 Cimon and Pera, see Roman Charity 
 
 Claret colour, n 
 
 Classical revival, 49, 63 
 
 Clock, 54 
 
 Cockpit Hill, 61 
 
 Commedia dell' Arte, 6, 8, 37, 40 
 
 Conway, 50 
 
 Cooper’s Company, bowl, 65 
 Cox, James, 51, 61 
 
 Crawfish salts, 21, 39, 42 
 Crispe, 17 
 
 Cumberland, Duke of, 31, 32, 43 
 
 “ D. 1750,” mark, 62 
 Dated specimens, 27, 37, 58, 65 
 Delany, Mrs., 43 
 Diamond, Dr., 33 
 Diana, group, 64 
 Dingwall, Lt.-Col. K., 22 
 Dogget’s coat and badge, 22 
 Donaldson, John, 38 
 Dossie, Robert, 15, 16 
 Dresden, 4, 31 
 Du Barry, Madame, 10 
 Dudley, Lord, 49, 54 
 
 Duesbury, William, 32, 51, 58, 61, 63-65 
 Dutch peasants, 40 
 Dwight, John, 15 
 Dyer, Richard, 19 
 
 Eccles, Herbert, 36, 51 
 Enamellers, outside, 19, 22 
 Exotic birds, 9 
 
 Fable subjects, 41, 43, 58 
 Factory, site of Chelsea, 56 
 Fanlasievugel, 9 
 Faulkner, Sir Robert (sic), 31 
 Fawkener, Sir Everard, 31, 32, 37, 47 
 Fonthill, 65 
 
 Ford’s sale-rooms, 34, 56 
 Foundling Hospital, 48 
 Fox, Henry, 32, 37 
 Frankenthal, 53 
 Frederick, Prince of Wales, 25 
 
 Gardner, Dr. Bellamy, 22 
 Gamier, Dr. George, 48 
 George II, 31 
 George III, 38, 54, 63, 64 
 Gilding, types of, 32 
 Giles, J., 19 
 
 Glaisher, Dr. J. W. L., 22 
 “ Goatand bee ” jugs, 19, 20, 66 
 Gouyn, Charles, 24-27, 41 
 Greenwich, 16 
 Grounds, coloured, 9 
 
 Hamilton sale, 58 
 Hamilton, Sir William, 63 
 Hanbury Williams, Sir Charles, 32, 37 
 Hanway, Jonas, 17 
 Harlequinade, 6 
 Heath, Christopher, 61 
 Heath, John, 51, 61, 62, 65 
 Hertford, Francis, Marquis of, 31 
 
 133 
 
INDEX 
 
 Hill, Aaron, 15 
 “ Hob in the Well,” 5 
 Holland House, 37 
 Holmes, George, 58 
 Hondekoeter, 54 
 Hughes, 10 
 
 Hurdy-gurdy players, figures, 38, 40 
 Hurlbutt, 22 
 Hyam and Co., 25 
 
 Naples, King of, 33 
 Nevill, Lady Dorothy, 27 
 Newcastle-under-Lyme, 16 
 Nollekens, 18, 57, 66 
 Nurse, Palissy, 43 
 
 O’Neale, O’Neil, 58 
 Orleans, Duke of, 33 
 
 Ilchester, Lord, 32 
 Imari, 4, 6, 36 
 India plants, 9, 62 
 Italian comedy, 6, 8, 37 
 
 Japan patterns, 5, 36 
 Jason and Medea, 64, 65 
 Johnson, Dr., 65 
 Joicey Bequest, 23 
 Jones, china dealer, 51 
 
 Parr, Samuel, 20 
 Patterns, Japanese, 5 
 Perseus group, 41, 64 
 Pierrot, 40 
 Pieta, group, 52 
 Planche, Andrew, 61, 62 
 Pococke, Dr. Richard, 16 
 Pompadour, Madame de, 10 
 Poterat, E., 3 
 Powys, Mrs., 43 
 Printing, transfer, 18, 35 
 
 Kakiemon, 5, 6, 25, 36 
 Handler, 7, 26, 40, 53 
 Kauffmann, Angelica, 11 
 Keys, Samuel, 18 
 King, H.M. the, 54 
 
 Lacework on figures, 63 
 Lagrave, 24 
 Lambeth, 16 
 Landscapes, green, 55 
 Lansdowne MSS, 33 
 Lawton, Thomas, 20 
 Leda, 43 
 
 Limehouse, 16, 17 
 Liverpool, Lady, 54 
 London Museum, 23 
 Longton Hall, 58, 61, 62 
 Louis XV style, 64 
 Lustre, 10, 43 
 Luynes, Due de, 19 
 
 Macdonald, Mrs. A. R., 20 
 Madonna and Child, 40 
 Madrid, 33 
 
 Mann, Sir Horace, 49 
 
 Map-seller, figure, 40 
 
 Maria Walburga of Saxony, 55 
 
 Marie Antoinette, 53 
 
 Marks, 62, 64 
 
 Mason, 31, 34, 50 
 
 Maypole group, 40 
 
 Mazarine-blue, n, 43 
 
 Mecklenburg-Strelitz, Duke of, 49, 55 
 
 Medici porcelain, 3 
 
 Meir, Richard, 20 
 
 Meissen, 4, 6, 1 1, 26, 31, 37, 38, 40, 42, 55-58 
 
 Mennecy, 4, 26 
 
 Modellers, Chelsea, 57 
 
 Monk, satirical figure, 57 
 
 Monkey figures, 8 
 
 “ Moons,” 21, 35, 52 
 
 Morgan, Octavius, 31 
 
 Muses, figures of, 53, 57 
 
 Music Lesson group, 53, 57 
 
 “ R,” mark, 57 
 Radford, Mrs., 34 
 Read, R. W., 34 
 Reinicke, Peter, 37 
 Reynolds, C. W., 27 
 Rodney, Lord, 65 
 Roman Charity, 51-53 
 Rose Pompadour , 10 
 Roubiliac, 57 
 Rouen, 3 
 
 Rouquet, 17, 32, 33 
 Rubens, n, 53 
 Russell, William, 20 
 
 Saint Cloud, 4, 26 
 Salt-box, man playing on, 44 
 Savoyard, figure, 40 
 Scent-bottles, 56 
 
 Sehauessen, 7 
 
 Schreiber collection, 21, 22, 25, 42, 49, 50, 53, 65, 66 
 
 Seals, 56, 57 
 
 Seasons, figures, 53 
 
 Sevres, 10, 52, 55, 63, 64 
 
 Shaw, Simeon, 19 
 
 Silver shapes, 20, 26 
 
 Simpson, Aaron and Carlos, 19, 20 
 
 Singeries, 8 
 
 Smith, J. T., 18, 57 
 
 South Kensington Loan Exhibition, 33, 49, 54, 55 
 
 Sprimont, N., 24, 25, 27, 31, 33, 35, 47, 48 
 
 Stables, S., 24, 25 
 
 Stepney, 16, 17 
 
 Strawberry decoration, 62 
 
 Strawberry Hill, 49, 65 
 
 Table decorations, 7 
 Teniers, 11 
 Thomas, Francis, 51 
 Thomson, Miss Emily, 54 
 Thrale, Mrs. 65 
 Tiffin, W. F., 66 
 Toys, porcelain, 56 
 Transfer printing, 18, 35 
 Trembleuse saucer, 55 
 Triangle mark, 20 
 
 134 
 
INDEX 
 
 Una, figure, 53 
 
 Venice, anchor mark, 11 
 Victoria, Queen, 54 
 Vincennes, 4, 10, 19 
 
 Wedgwood, Carlos, 20 
 Wedgwood, Josiah, 63 
 Wilkes, figure, 50 
 Willett collection, 20 
 Windsor, 43 
 Worcester, 16, 58 
 
 Wales, Frederick, Prince of, 25 
 Wales, George III as Prince of, 38 
 Walpole, H., 21, 42, 49, 65 
 Ward, Thomas, 20 
 Watteau, 9, 54, 55 
 
 Yorke, Colonel, 33 
 
 Zoffany, 63 
 
 Printed in Great Britain by Butler & Tanner, Frome and London, 
 

 
 
 
 
PLATES 
 


 
 
 
PLATE 6. 
 
 Fig. i. Salt-cellar dated 1750 and mark on same. 
 
 H. 2 ins. (See page 21.) 
 
 In the collection of I)r. and Mrs. Bellamy 
 Oardn er. 
 
 Fig. 2. Three “ goat and bee ” cream-jugs, 
 one dated 1745. H. 4J ins. (See 
 page 20.) 
 
 In the collection 0/ Lord and Lady Fisher. 
 


 
 
 
 
PLATE 7. 
 
 Coffee-pot with “ raised flowers ” in 
 colours. Triangle mark. H. 9J ins. 
 
 (See page 21.) 
 


 
 
 
PLATE 8. 
 
 Fig. i. Cane-handle. H. 3 ins. (See page 21.) 
 
 In the collection of Mrs. Radford. 
 
 Fig. 2. Britannia bemoaning the death of 
 Frederick Prince of Wales (d. 1751). 
 
 H. 7 ins. (See page 25.) 
 
 In the collection of Mrs. Radford. 
 


 
PLATE 9. 
 
 Tea-pot. Chinaman riding a parrot. 
 
 Triangle mark. H. 6j ins. (See page 
 21.) 
 
 In the collection of Mr. Wallace Elliot. 
 
b 
 

PLATE io. 
 
 Group of lovers. Mark, a trident in- 
 tersecting a crown, in underglaze blue. 
 
 H. 9 ins. (See page 22.) 
 
 In the Franks Collection, British Museum. 
 


 
 
 
 
 
 
 
 
 
 
 
 
PLATE ii. 
 
 Fig. i. Figure of a girl. H. 7J ins. (Seepage 
 22.) 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 Fig. 2. Dancing girl and boy with hurdy-gurdy. 
 
 H. 5 1 ins. (See page 22.) 
 
 Victoria and Albert Museum. Given by Lt.- 
 Co I. K. Dingwall, D.S.O., through the National 
 Art-Collections Fund. 
 

 
 
 
 
 
 
 
 
 
PLATE 12. 
 
 Fig. I. Figure of Kuan-yin, in imitation of 
 blanc de Chine porcelain. Raised anchor 
 mark. H. 4^ ins. (See page 36.) 
 
 In Ihe collection 0/ Mrs. Radford. 
 
 Fig. 2. Cup with prunus-blossom in relief, in 
 imitation of blanc de Chine porcelain. 
 Raised anchor mark H. 3 ins. (See 
 page 36.) 
 

 
 
 
 
 
 
 
 
PLATE 13. 
 
 Fig. 1. Chinese musician. H. ins. (See 
 page 38.) 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 Fig. 2. The Doctor, from a set of Italian comedy 
 figures. Raised anchor mark. H. 7^ 
 ins. (See page 37.) 
 
 In the collection of Mrs. Radford. 
 
c 
 

 . 
 
 
 
 
 
 
PLATE 14. 
 
 Fig. 1. Pair of pheasants. Raised anchor mark 
 in red. H. 5^ and 4J ins. (See page 
 39 -) 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 Fig. 2. Goose, peacock and blackcap. Raised 
 anchor mark, in the two latter cases 
 in red. H. 4I to 7} ins. (See page 39.) 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 Fig. 3. Pair of jays. Raised anchor mark in 
 red. H. 6J ins. (See page 39.) 
 
 In the collection of Mr. Alfred E. Hutton. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
PLATE 15. 
 
 George III as Prince of Wales (1751-60). 
 
 H. 11 ins. (See page 38.) 
 
 In the collection of Mrs. Radford. 
 

 . .. . 
 
 
PLATE 1 6. 
 
 Winter. H. 12 ins. (See page 
 In the collection of Mr. 
 
 38.) 
 
 F. E. Sidney. 
 

PLATE 17. 
 
 Hurdy-gurdy player ; from a Meissen 
 model. Raised anchor mark. H. 6 ins. 
 
 (See page 38.) 
 
 In the collection of Mr. C. H. B. Caldu-ell. 
 
' ' 
 
 / 
 


 ' 
 
 
PLATE 1 8 . 
 
 Fig. i. Chinese group and figure. Marks, raised 
 anchor and raised red anchor respectively. 
 
 H. 8 1 ins. and 3f ins. (See page 38.) 
 
 In the collection of Mr. Alfred E. Hutton. 
 
 Fig. 2 . L es Delices de I’Enfance, engraved by 
 J. J. Balechon after Boucher. (See 
 
 page 38.) 
 

 
 
PLATE 19. 
 
 Fig. 1. Teapot of silver shape, the leaves green 
 and yellow, the spout pink, handle 
 pink and turquoise. H. 5 ins. (See 
 page 41.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
 Fig. 2. Leaf-shaped dish, purple edge and 
 veining ; flowers in colours. Red 
 anchor mark. L. 1 1 ins. (See page 
 4 1 -) 
 
 In the collection of Dr. and Mrs. Bellatny 
 Gardner. 
 

 

 
PLATE 20. 
 
 Fig. i. Cream-jug of peach-shaped section, 
 with Kakiemon decoration, “squirrel 
 and vine ” pattern. H. 2§ ins. (See 
 page 36.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
 Fig. 2. Two cups and saucer, flowers in colours 
 and pink and green acanthus leaves in 
 relief. Red anchor mark. Cups, H. 
 
 1 J ins., 2\ ins. Saucer, D. 5^ ins. (See 
 page 41.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
 Fig. 3. Cream-jug, flowers in colours, green 
 handle, brown rim. H. 3! ins. (See 
 page 41.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
&L,- 
 

 
 
 
 
 
 
 
 
 
 
 
 
PLATE 21. 
 
 Fig. i. Cup and saucer, Oriental flowers and 
 butterflies. Cup, H. 2 ins. Saucer, 
 
 D. ins. (See page 44.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner . 
 
 Fig. 2. Plate, imitating Japanese Imari porce- 
 lain, underglaze blue, red, yellow, green 
 and gold. D. 12 ins. (See page 36.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
e 
 


 
 
PLATE 22. 
 
 Fig. i. Barrel-shaped mug, flowers in colours, 
 purple edge. H. 3! ins. (Seepage 41.) 
 
 In the collection of Lt.-Col. G. B. Croft' Lyons. 
 
 Fig. 2. Plate, painted in colours in imitation of 
 Chinese porcelain of the famille rose. 
 
 D. 7 ins. (See page 4.) 
 
 In the collection of Mr. Herbert Allen. 
 


 
 
 
 
 
 
 
 
 
 
 
PLATE 23. 
 
 Fig. 1. Candlestick, one of a set of six, colours 
 and gilding. Gold anchor mark. H. 
 
 7 4 >ns. (See page 55.) 
 
 In the collection of Lt.-Col. O. B. Croft Lyons. 
 
 Fig. 2. Plate with Aisop’s fable of the Fox, the 
 Dog and the Cock. D. 9 ins. (See 
 
 page 41.) 
 
 In the Schreiber Collection, Victoria and Albert 
 Museum. 
 

 
 
PLATE 24. 
 
 Dish, painted in the Meissen style ; gold 
 rim. Red anchor mark. D. i8f ins. 
 
 (See page 41.) 
 
 In the Victoria and Albert Museum. 
 

 
 
 
 
 
 
 
 
PLATE 25. 
 
 Fig. I. Dish, landscape in purple in the Meissen 
 style. Red anchor mark. L. 8 ins. 
 
 (See page 41.) 
 
 In the collection of Lt.-Col. O. B. Croft Lyons. 
 
 Fig. 2. Dish, harbour scene in colours in the 
 Meissen style, brown rim. L. 8 ins. 
 
 (See page 41.) 
 
 In the collectim of Mr. Herbert Allen. 
 
/ 
 

 , - .. 
 
 ' 
 
PLATE 26. 
 
 Fig. 1. Tureen in the shape of a bundle of 
 asparagus. Red anchor mark, also the 
 numeral 51. H. 4,! ins. L. 7 ins. 
 
 (See page 41.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
 Fig. 2. Tureen in the shape of a rabbit. Red 
 anchor mark, also “ No. 1.” H. 9 ins. 
 
 (See page 41.) 
 
 In the Schreiber Collection, Victoria and Albert 
 Museum. 
 

 
 
 
 
 
 . 
 
 
 
 
PLATE 27. 
 
 Fig. 1. Plate, fruit in colours, gilt rim. 
 
 Gold anchor mark. D. 8 ins. (Sec 
 page 41.) 
 
 In the collection o) Dr. and. Mrs. Bellamy 
 Gardner. 
 
 Fig. 2. Plate, flowers in colours, brown rim. 
 
 Red anchor mark. D. 9§ ins. (See 
 page 41.) 
 
 In the Victoria and Albert Museum. 
 
 ( Jermyn Street Collection.) 
 
; r i 
 
 s • • r 
 
 7 \* " .• ■ ' ' . 
 
PLATE 28. 
 
 Sweetmeat tray, centrepiece in two 
 parts. H. 14 ins. (See page 42.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
'ill 
 

 
 
 
 
 
 
 
 
PLATE 29. 
 
 Vase. H. 11 ins. (See page 42.) 
 
 In the Franks Collection, British Museum. 
 


 
 
 
 
PLATE 30. 
 
 Fig. 1. Plate, painted in underglaze blue. 
 
 D. 8f ins. (See page 42.) 
 
 In the collection of Mr. E. F. Broderip. 
 
 Fig. 2. Basket painted in underglaze blue. 
 
 L. gl ins. (See page 42.) 
 
 In the collection of Mr. K. F. Broderip. 
 

 
 
 
 
PLATE 31. 
 
 Ratcatcher and Pierrot. Red anchor 
 mark. H. 5} ins. and 6 ins. (See 
 page 40.) 
 
 In the collection of Lord and Lady Fisher. 
 

 
 
PLATE 32. 
 
 Hurdy-gurdy player and dancing 
 peasant. Red anchor mark. H. and 
 7$ ins. (See page 40.) 
 
 In the collection of Lord and Lady Fisher. 
 


 
 .. 
 
 
PLATE 33. 
 
 Pedlar and map-seller. Red anchor 
 
 mark. H. 74 ins. (See page 40.) 
 
 In the collection of Mrs. Radford. 
 
h 
 

 
PLATE 34. 
 
 Fisherman with a basket. Red anchor 
 mark. H. 9| ins. (See page 40.) 
 
 In the collection of Lord and Lady Fisher. 
 

 
 
PLATE 35. 
 
 River god. Red anchor mark. H. 
 
 5 i ins. (See page 40.) 
 
 In the collection of Mr. Alfred E. Hutton. 
 

 
 
PLATE 36. 
 
 River goddess. Red anchor mark. 
 
 H. 5^ ins. (See page 40.) 
 
 In (he collection of Mr. Alfred E. Iludon. 
 

 
 - 
 
 
 
PLATE 37. 
 
 Ceres. Red anchor mark. H. 12J 
 ins. (See page 40.) 
 
 In the collection of Lord and Lady Fisher. 
 
I 
 
r 
 
PLATE 38. 
 
 Group of figures dancing round a may- 
 pole. Red anchor mark. H. 14 ins. 
 
 (See page 40.) 
 
 In the collection ol Lord and Lady Fisher. 
 

 
 
 
PLATE 39. 
 
 Madonna and Child. Red anchor mark. 
 H. 8£ ins. (See page 40.) 
 
v» 
 
PLATE 40. 
 
 Group of figures with fruit. Red 
 anchor mark. Also an anchor in gold. 
 
 H. 6 J ins. (See page 40). 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
PLATE 41. 
 
 Milkmaids and boy. Rad anchor 
 mark. H. 6| ins. (See page 40.) 
 
k 
 

 ■ ■ ■ y* • 
 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 
PLATE 42. 
 
 Perseus and Andromeda, colours and 
 gilding. Red anchor mark. H. ii| 
 ins. (See page 41.) 
 
 In the collection of Lord and Lady Fisher. 
 
F:.r - 
 

 
 
 
 
 
 
PLATE 43. 
 
 Scent-bottles, some bearing French 
 mottoes. 
 
 1. The Fox and the Crow. 
 
 2. Fruit and flowers. 
 
 3. Two amorous doves. 
 
 4. Cupid sharpening his arrows. 
 
 “ IL ENTRERA MIEUX.” 
 
 5. A fountain: “FONTAINE 
 
 D’AMOUR.” 
 
 6. Boys distilling a love potion. 
 
 H. 2i to 3§ ins. (See page 56.) 
 
 In the collection of Mr. R. W. M. Walker. 
 


 . 
 
 j 
 
 
PLATE 44. 
 
 Four scent-bottles. 
 
 1. Chinese lady. 
 
 2. Priest reading a book inscribed 
 “ TOTA FIDE.” 
 
 3. Nun. 
 
 4. Friar. 
 
 H. 3I to 3! ins. (See page 56.) 
 
 In Vie collection of Mr. 11. W. M. Walker. 
 
PLATE 45. 
 
 Six scent-bottles, some with French 
 mottoes, 
 
 1. Chinese family ; the boy holding 
 an apple “VOUS ERITE LA 
 POMME.” 
 
 2. Provender for the monastery. 
 
 3. Cupid with a heart. “MON 
 CCEUR EST HEUREUX.” 
 
 4. Mazarine-blue ground with gild- 
 ing and figure-subject in colours. 
 
 “POUR LA PLUS BELLE.” 
 
 5. Mazarine-blue ground with gild- 
 ing ; flowers in colours. 
 
 6. Mazarine-blue ground with gilding ; 
 birds in colours. 
 
 H. 3} to 3! ins. (See page 56.) 
 
 In the collection of Mr. R. W. M. Walker. 
 
I 
 

 
 
. 
 
 ...... . •• 
 
PLATE 46. 
 
 Fig. 1. Four Patch-boxes in the shape of heads, 
 some with brilliants inlaid to form the 
 eyes. Metal mounts, and bases of 
 Battersea enamel, etc. H. if to 2 J ins. 
 Scent-bottle in the form of two masked 
 faces, male and female. H. 3} ins. 
 
 (See page 56.) 
 
 In the collection of Mr. R. TV. M. Walker. 
 
 Fig. 2. Three Patch-boxes. 
 
 1. The British lion defeating the 
 Gallic cock. H. 2\ ins. 
 
 2. Boy with flute and sheep. H. 
 
 2f ins. 
 
 3. Venus blindfolding Cupid, colours 
 and gilding. H. 2' ins. (See page 
 56.) 
 
 In the collection of Mr. R. W. M. Walker. 
 

 

 
 
 
 
 
 
 
 
 
 
 
PLATE 47. 
 
 Fig. 1. Three toy figures. 
 
 1. Sportsman. Red anchor mark. 
 
 H. 2\ ins. 
 
 2. Woman on horseback. Red 
 anchor mark. H. 2 1 ins. 
 
 3. Man writing in book. Mark, 
 two red anchors. H. 2\ ins. 
 
 (See page 56.) 
 
 In the collection of Mr. It. W. M. Walker. 
 
 Fig. 2. Eight seals, with French mottoes. 
 
 1. Chinese ’cellist. “ JE VAIS AU 
 CCEUR.” 
 
 2. Pensive Cupid. “ JE PENSE A 
 VOUS.” 
 
 3. Cat. “JE PENSE A VOUS.” 
 
 4. Columbine. “ TOUJOURS 
 
 GAY.” 
 
 5. Harlequin. “ TOUJOURS GAY.” 
 
 6. Squirrel with nut. “ ACTI- 
 VITE.” 
 
 7. Cupid and a globe. “ JE SOU- 
 TIENS LE MONDE.” 
 
 8. Harlequin. “ L’AMOUR REND 
 BADIN.” 
 
 H. | to ij ins. (See page 56.) 
 
 In the collection of Mr. R. W. M. Walker. 
 
 Fig. 3. Four figures of gardeners ; colours and 
 gilding. 
 
 1. With wheelbarrow. Mark R. 
 incised. H. 2| ins. 
 
 2. With scythe. Gold anchor mark 
 , and B. incised. H. 2\ ins. 
 
 3. Raking. Gold anchor mark and 
 R. incised. H. 2J ins. 
 
 4. With roller. Gold anchor mark. 
 
 H. 2| ins. (See page 56.) 
 
 In the collection of Mr. R. W. M. Walker. 
 


 
 
 
 
 
 - 
 
 
PLATE 48. 
 
 Needle-cases, some bearing French 
 mottoes. 
 
 1. A birdcage on a pillar. “VOTRE 
 BEAUTE ME REND ESCLAVE.” 
 
 Gilding only ; the inscription in 
 red. 
 
 2. Cupid and two doves. Colours and 
 gilding. “ TOUJOUR HEUREUX.” 
 
 3. Two storks eating an eel among 
 bulrushes. No gilding. 
 
 4. Shepherdess ; below, Cupid with 
 hearts on a tray ; colours and 
 gilding, “RECEVEZ LE PLUS 
 FIDELLE.” 
 
 5. Harlequin ; below, a dove ; 
 colours and gilding, “ FIDELE 
 EN ABSENCE.” 
 
 6. Mazarine-blue ground with gild- 
 ing and birds in colours. 
 
 7. Columbine ; below, a caged bird ; 
 colours and gilding, “J’AIME 
 LA LIBERTE.” 
 
 8. Turkish lady ; below, roses in 
 colours on gold. 11 POINT DE 
 ROSES SANS EPINES.” 
 
 H. 4! to 5f ins. (See page 56.) 
 
 In the collection of Mr. R. W. M. Walker. 
 


 
 
 
 
 
 
 
PLATE 49. 
 
 Fig. 1. Cup and saucer, birds in colours, gold 
 rim. Gold anchor mark. Cup, H. 2§ 
 ins. Saucer, D. 5i ins. (See page 55.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
 Fig. 2. Cup and saucer, landscapes in green 
 camaieu, gold borders. Gold anchor 
 mark. Cup, H. ins. Saucer, D. 
 
 4f ins. (See page 55.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
 Fig. 3. Cup and saucer, mazarine-blue and gold, 
 flowers in colours. Gold anchor mark 
 on saucer. Cup, H. 2§ ins. Saucer, 
 
 D. 4f ins. (See page 55.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
w 
 
 

. 
 
 
 
 
PLATE 50. 
 
 Fig. 1. Plate, green scale pattern and gilding, 
 bird in colours. Gold anchor mark. 
 
 D. 8 ins. (See page 55.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
 Fig. 2. Cups and saucer, claret-colour and 
 gilding, flowers in colours. Gold 
 anchor mark. Cups, H. 2 ins., 2& ins. 
 
 Saucer, D. 5 ins. (See page 55.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
PLATE si. 
 
 Fig. i. Cup, mazarine-blue and gold. Gold 
 anchor mark. H. 3jj ins. 
 
 Cup, birds and fruit in colours on gold. 
 
 Gold anchor mark. H. 3 f ins. (See 
 page 55-) 
 
 In the collection of Mr. R. W. M. Walker. 
 
 Fig. 2. Tea-pot, sugar-basin and cream-jug. 
 
 Claret-colour with gilding and 
 
 subjects in colours. Gold anchor 
 
 mark. H. 3 ins. to 5$ ins. (See 
 page 54.) 
 
 Inthe Victoriaand ATtjert Museum. Bequeathed 
 by Miss Emily S. Thomson, of Dover. 
 
PLATE 52. 
 
 Bowl, colours and gilding. The lower 
 aspect shows a view of Chelsea Old 
 Church and site of the Pottery. Gold 
 anchor mark. H. 4L ins. D. io§ 
 ins. (See page 56.) 
 
 In the collection of Mr. R. W. M. Walker. 
 


 
 
 
 
 
 
 
 
 
 
PLATE 53. 
 
 Fig. i. Beaker, flowers in colours and gilding ; 
 
 round the middle, a band of pink. 
 
 Gold anchor mark. One of a pair. 
 
 H. 7f ins. (See page 55.) 
 
 In the collection of Lt.-Col. G. B. Croft Lyons. 
 
 Fig. 2. Covered porringer with stand, flowers in 
 colours and gilding, turquoise and gold 
 handles. Gold anchor mark. One of a 
 pair. H. 5! ins. D. 7J ins. (See 
 page 50.) 
 
 In the collection of Lt.-Col. G. B. Croft Lyons. 
 
n 
 

 
 
 
 
 
PLATE 54. 
 
 Fig. i. Vase, turquoise-blue ground, with 
 gilding ; birds in colours. Gold 
 anchor mark. One of a pair. H. 7J 
 ins. (See page 55.) 
 
 In the collection of Lt.-Col. G. B. Croft Lyons. 
 
 Fig. 2. Set of three vases, painted with Chinese 
 ladies ; gold borders. Gold anchor 
 mark. H. 6f and 7f ins. (See page 
 55 -) 
 
 In the collection of Lt.-Col. G. B, Croft Lyons. 
 

 
 
 
 
PLATE 55. 
 
 Fig. i 
 
 Vase of Sevres form, the upper part Fig. 
 
 gold on white, the lower in colours on 
 a turquoise ground. One of a set of 
 three. H. 7 ins. (See page 55.) 
 
 In the collection of Lt.-Col. G. B. Croft Lyons. 
 
 2. Bottle, painted in imitation of a Chinese 
 original in red and gold. One of a pair. 
 
 H. 7V ins. (See page 4.) 
 
 In the collection of Mrs. Budford. 
 

 
 
 
PLATE 56. 
 
 Fig. 1. Vase, mazarine-blue ground with Fig. 2. 
 
 gilding and Cupids in the style of 
 Boucher in crimson. H. 6f ins. (See 
 page 55.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
 Derby-Chelsea Vase, blue enamel and 
 gilding. One of a pair. Mark 48 
 incised. H. 6 1 ins. (See page 63.) 
 
 In the collection of Lt.-Col. G. B. Croft Lyons. 
 

 
 
 
 
 
 •• . 
 
 
 
 !■). "i 
 
 
 
 ■ 
 
 
 . 
 
 
 
 
PLATE 57. 
 
 Vase from the set of seven known as the 
 “Dudley Vases.” Claret-coloured 
 ground with gilding and panel in 
 reserve ; Diana rescuing Arethusa 
 from the importunities of Alpheus. 
 
 H. i6f ins. (See page 54.) 
 
 In the collection 0/ Lord Bearsted. 
 
o 
 

 

 
 " 
 
 . - I 
 
 . 
 
 ' 
 
 
 
 
 
PLATE 58. 
 
 Two vases from the set of seven known 
 as the “Dudley vases.” Claret- 
 coloured ground with gilding and panels 
 in reserve. Diana asleep and a satyr, 
 and birds in the style of Hondekoeter. 
 
 Gold anchor mark. H. 13I ins. (See 
 page 54.) 
 
 In the collection of Lord Bearsled. 
 
•'■■■ ■■ 
 
,0 
 
 
 ' ■ . 'i 
 
 ■■ 
 
 
PLATE 59. 
 
 Fig. 1 
 
 Cupids as drummer and vivandier. 
 
 Colours and gilding. Gold anchor 
 mark. H. 4! and 4^ ins. (See page 
 53 -) 
 
 In the collection of Lord and Lady Fisher. 
 
 Fig. 2. Cupid with bagpipes and two marion- 
 ettes. Colours and gilding. Gold 
 anchor mark. H. 5^ ins. (See page 
 53 ) 
 
 Fig. 3. Pair of candlesticks. Colours and 
 gilding. Gold anchor period. H. 7 ins. 
 
 (See page 54.). 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
' • : a - 
 
 
 
 • • 
 
 
PLATE 60. 
 
 Apollo and Bacchus, perhaps Spring 
 and Autumn, from a set of the four 
 seasons ; colours and gilding ; gold 
 anchor mark. H. 7J ins. (See page 
 53 ) 
 

PLATE 61. 
 
 Lord Camden; colours and gilding; gold 
 anchor mark. H. 12^ ins. (See page 
 50 .) 
 
 In the collection of Lord and Lady Fisher. 
 
V 
 

 
 
PLATE 62. 
 
 Urania and Thalia, from a set of Apollo 
 and the Nine Muses, in colours and 
 gilding. Gold anchor mark and R 
 incised. H. 15A ins. (Seepage 53.) 
 
 In the collection of Lord Bearsted. 
 


 
 
 
 
 
 
 
 
PLATE 63. 
 
 Una or Britannia, colours and gilding. 
 
 H. 26 ins. (See page 53.) 
 
 In the collection of Mr. F. E. Sidney. 
 

 
 
 
 
PLATE 64. 
 
 Piela. The stand mazarine-blue and 
 gold. Gold anchor mark. H. 15 ins. 
 
 (See page 52.) 
 
 In the collection of Lord Clifford of Chvdleigh. 
 
- .. 
 
 
 
 
 t 
 
 
 
PLATE 65. 
 
 Fig. 1. Derby-Chelsea tureen, sprigs in green. 
 
 Polychrome knob and handles. Gold 
 borders. Mark D intersected by an 
 anchor in gold. H. 6| ins. (See 
 page 64.) 
 
 In the collection of LI. -Col. G. If. Croft Lyons. 
 
 Fig. 2. Derby-Chelsea cup and saucer, blue 
 enamel and gold, with green and gold 
 festoons. Gold anchor mark. Cup, 
 
 H. ij ins. Saucer, D. 5 ins. (See 
 page 64.) 
 
 In the collection of Dr. and Mrs. Bellamy 
 Gardner. 
 
'/ 
 

 
 
 
 
 
PLATE 66. 
 
 Fig. i. Derby-Chelsea teapot, colours and gild- 
 ing. Mark D intersected by an anchor 
 in gold. H. 5 ins. (See page 66.) 
 
 In the Victoria and Albert Museum. 
 
 Fig. 2. Derby-Chelsea plate, painted in imita- 
 tion of “Chinese Imari ” in underglaze 
 blue and famille verte enamels. Mark 
 D intersected by an anchor in gold. 
 
 D. 8f ins. (See page 64.) 
 
 In the collection of Lt.-Col. C. B. Croft Lyons. 
 

 
. 
 
 
 , . ' 
 
 . . i • V.. 
 
 . ■ ... 
 
PLATE 67. 
 
 Derby-Chelsea sugar-basin, turquoise 
 and gold, trellis pattern in colours. 
 Mark an anchor and D in gold. H. 
 5I ins. (See page 64.) 
 

 
 
 
PLATE 68. 
 
 George III, white biscuit, blue, crimson 
 and gold. Adapted from an engraving 
 after Zoffany. H. 14 ins. (See page 
 63 -) 
 
 In the Franks Collection, British Museum. 
 

 .. . 
 
PLATE 69. 
 
 Marks. 
 

 
 
 
 
 
 
 
 
 
 
 / 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
GETTY CENTER LIBRARY 
 
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