Chelsea ware is remarkable for its deep rich claret-coloured grounds. This colour was first used on the Chelsea porcelain in 1759. Turquoise-blue, pea-green, and Mazarine-blue were also, though in a lesser degree, peculiar to Chelsea ware. The early pieces are without gilding, which is more of a distinguishing mark of the later productions. The paste, the enamel, the colour, and technique are all perfect in their way, but the art and design of the objects do not by any means equal the workmanship; this was of course due to the false taste of the period, when the rococo element in design was fashionable everywhere (Fig. 78). Vases, statuettes, scent bottles, compotiers, bowls, cups, saucers, animals, birds, fruit, and flowers were made by Sprimont in an extravagant style of design. In 1769 William Duesbury, of the Derby porcelain works, purchased the Chelsea manufactory, and six years later he acquired the Bow porcelain works. A less extravagant style of design and decoration characterized the Chelsea-Derby productions, a specimen of which is seen in the cooper’s bowl, Fig. 79. [Illustration: Fig. 78.—Chelsea Vase; Jones Collection. (S.K.M.)] The Bow China factory was owned by two partners, Weatherby and Crowther, in 1750; the former died in 1762, and the latter failed in the business in 1763. Duesbury, of Derby, bought up the Bow works in 1776, when he removed the moulds and models. Chelsea and Bow ware are very similar in design and appearance, and consequently a difficulty exists in classifying doubtful pieces. There are a great many examples of Bow porcelain in the Schreiber gift in the South Kensington Museum, and Professor Church is of the opinion that they are mostly authentic specimens. The Chinese-shaped vase with the rococo and Louis-Seize decorations is a typical example of the Bow porcelain (Fig. 80). [Illustration: Fig. 79.—Bowl of Chelsea-Derby Porcelain.] [Illustration: Fig. 80.—Bow Porcelain Vase. (S.K.M.)] [Illustration: Fig. 81.—Derby Statuette.]