The ceramic art of Great Britain from pre-historic times down to the present day, Volume 1 (of 2) : $b being a history of the ancient and modern pottery and porcelain works of the kingdom and of their productions of every classJewitt, Llewellynn Frederick William
History
The ceramic art of Great Britain from pre-historic times down to the present day, Volume 1 (of 2) : $b being a history of the ancient and modern pottery and porcelain works of the kingdom and of their productions of every class
Jewitt, Llewellynn Frederick William
Pottery, British -- History
_The West Kent Potteries_ were opened in 1820, before which time other
works were in operation and carried on by the steward of Lord Sydney,
the owner of the estate, for the manufacture of wares for the use of
the estate. At Christmas, 1822, the works were taken by Mr. Pascall,
who continued to carry them on until January, 1869, when he died in the
ninety-second year of his age. Since then it has been carried on by his
sons, Messrs. Pascall Brothers, the present owners. The productions
of the works are the ordinary red-ware flower and root pots, sea-kale
pots, and other horticultural ware: building and paving bricks and
tiles; roofing and ridge tiles; drain, socket, and other pipes;
chimney-tops, &c. Messrs. Pascall are patentees of the famous West
Kent flower-pots with loose bottoms, celebrated for their convenience
for changing and examining the roots; and of the patent sea-kale pots
for growing sea-kale in hothouses. The works are extensive, and the
production of horticultural-ware is large.
CHAPTER VII.
Chelsea--M. Spremont--Sale of the Works to Duesbury--Removal
to Derby--Wages Bills--Simpson’s Works--Wedgwood’s
Works--Ruhl’s Works--Bow--Heylin and Frye--Weatherby
and Crowther--Craft--Sale of Works to Duesbury--Kentish
Town--Giles and Duesbury--Euston Road--Mortlocks and
others--Hoxton--Hammersmith.
“Chelsea buns,” “Chelsea pensioners,” and “Chelsea china” are surely
three things, each one in itself sufficient to make a place famous, but
when brought together, a three-fold fame must certainly attach to the
locality which has given them a name. With the buns and the pensioners,
however, I disclaim all connection in my present work. The former are
not sufficiently works of Art-manufacture to entitle them to a place in
our columns, and the latter are certainly not articles of _virtù_
which can be collected together and stowed away under glass shades by
the connoisseur. And yet the “Chelsea Bun-house” has its story--full
of interest and of incident--and the “Hospital” has a history and a
host of associations connected with it, which render these two places
memorable, and give them an imperishable interest. It is with the
“China”--the third of the matters I have named, and of whose story
the least is known--that I have now to do. The establishment of the
Bun-house, and its history to the latest time, is easily traced out and
written; the foundation of the Hospital, and the events which have from
time to time filled it with pensioners, are matters of record which
are easily gathered together; but the formation of the china works,
and many of the changes the establishment has undergone, are lost to
us, and will be difficult to recover. It is my object here to attempt
to get back so much as may be of the early history of the works, and
to throw together the scraps I have collected, into the form of a
narrative, which may become the nucleus of a larger and more extended
Public-domain text, read in full here on John Shaqi.
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