In 1785 Duesbury associated with himself his son, the second William Duesbury, and then followed the most successful period of the work, being in reality the Crown Derby epoch _par excellence_. After the death of the elder Duesbury, the second William Duesbury became sole owner of the Derby works, but failing health compelled him to take Michael Kean into the firm as partner. After the death of the younger Duesbury, Kean assumed control of the whole works, but his mismanagement soon resulted in the sale of the factory to Robert Bloor in 1810. This marked the commencement of a new dispensation, and after this date the trademark became "Bloor-Derby." For a time things went on in the old way, but soon Bloor, in his eagerness to amass a fortune, yielded to temptation and began to put on the market ware that had been accumulating in the storehouse for sixty years, and which Planche and the Duesburys had considered of inferior quality and discarded. This ware he decorated with so-called Japan patterns, to hide defects and, to make a bad matter worse, he used for coloring the flowing under-glaze blue, which was wholly unsuited to the soft glaze of the Delft ware, and was sure to "run" in the glost oven. The train of ruin was now well laid, and by 1822 Bloor was forced to resort to auction sales in the factory, in order to dispose of his output. The result was an utter loss of reputation for factory and product, and before the manufacture had reached the century mark of its existence, Derby china was relegated to the past. Many beautiful specimens of Crown Derby were imported to this country, one of the finest being in Mrs. William C. West's collection at Salem, showing the head of Bacchus with grapevine and wreath decoration, the whole beautifully colored. Expressive of the greatest heights which English pottery reached, is the ware of Wedgwood, and a review of his achievements forms the most interesting chapter in the history of England's ceramic art. Of a family of potters, Josiah Wedgwood early exhibited the traits which later made him so justly famous, and a review of his life from the age of eleven years, when he was put to work in the potworks, as a thrower, until his death in 1795, covering a period of fifty-four years, is a review of the most remarkable story of progressiveness in a chosen profession ever recorded. During the early days of his pottery making, about five years after his apprenticeship had expired, Wedgwood became associated with Thomas Whieldon, a potter who had attained considerable success in the manufacture of combed and agate wares, and the period of their partnership, which ended in 1759, was of benefit to both. One of Wedgwood's first successes was made at this time, in the invention of a green glaze which Whieldon used with excellent effect on his cauliflower ware.