The date of founding of the Derby porcelain works is not exactly known, except that certain pieces of Derby ware have been advertised for auction “after the finest Dresden models” in 1756 and up to 1770, proving that the works must have been going on during these periods. According to Professor Church, William Duesbury, the first of that name, was connected with the Derby works in 1756, and died in 1786. He was succeeded by his son of the same name, who took into partnership Michael Kean in 1795. This W. Duesbury died in 1796. The works were carried on by another William Duesbury until the year 1815, when they passed into the hands of Robert Bloor, who carried the manufactory on until 1848, when it ceased. Locher, a manager of Bloor’s, started another factory after this which still exists to-day. The Derby coloured porcelain statuettes are imitated more or less from Dresden ware, even to the Dresden marks of the crossed swords (Fig. 81), which marks are copied by a great many porcelain manufacturers. The cup and saucer (Fig. 82) is a specimen of early Crown Derby. The borders are deep blue and the festoons pink. Some of the names of the painters who were engaged at the Crown Derby works are:—F. Duvivier (1769), P. Stephan (1770), R. Askew (1772), J. J. Spengler (1790), and W. J. Coffee (1791). Askew was a clever figure painter. Deep blues, reds, and greens, with lavish gilding, and ornament of a very conventional character, are found on some of the late Derby cups, saucers, and plates. WORCESTER porcelain was first made by a company consisting of fifteen shareholders, formed in the year 1751 by Dr. Wall and Mr. W. Davis, the inventors. The name given to the early ware was the “Tonquin porcelain of Worcester.” These works have been going almost without interruption under different names of proprietors until the present day. [Illustration: Fig. 82.—Crown Derby Covered Cup and Saucer.] Vases and other objects in Worcester porcelain of the early period were decided imitations of Chinese and Japanese wares, but at the same time they were dignified examples both as to form and decoration compared with the meaningless rococo designs of Chelsea and Bow. The vase (Fig. 83), in the Schreiber Collection, is Oriental in form and decoration, but has a restrained character of its own that is not usually met with in the contemporary wares of the period. [Illustration: Fig. 83.—Worcester Vase. (S.K.M.)] The vases are the chief glory of Worcester ware; in colour they are exceedingly rich, having grounds of “gros bleu,” turquoise, pea-green, maroon, and a fine shade of yellow; gold is also used in modified proportions.