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
George II. gave the Chelsea establishment his countenance and earnest
support, and did much to encourage its works, and to ensure its
success. He procured for it workmen, models, and materials from the
State of Saxony, and thus enabled the factory to produce works of
such high merit as to successfully rival the productions of Sèvres
and Dresden. This royal patronage of course produced its results, in
procuring the patronage of many of the leading men of the day. Thus,
the Duke of Cumberland not only took it under his special care, but
allowed a sum of money annually for its furtherance and support. In
1750 it belonged to M. Nicholas Spremont, or Sprimont, a foreigner
of considerable taste and talent, who did much towards establishing
its already acquired reputation. At this time the productions of the
establishment must have been of a particularly high order. In Watkins’s
“Life of Queen Charlotte,” it is stated that “there are several rooms
in Buckingham Palace full of curiosities and valuable movables, but not
ranged in proper order. Among other things I beheld with admiration a
complete service of Chelsea china, rich and beautiful in fancy beyond
expression. I really never saw any Dresden near so fine. Her Majesty
made a present of this choice collection to the duke, her brother--a
present worthy of so great a prince.” Horace Walpole, too, in 1763,
wrote, “I saw yesterday (March 3, 1763) a magnificent service of
Chelsea china, which the king and queen are sending to the Duke of
Mecklenberg. There are dishes and plates without number, an epergne,
candlestick, salt-cellars, sauce-boats, tea and coffee equipages, &c.
In short it is complete, and cost £1,200.”
In the Lansdowne MSS.[57] in the British Museum is a curious document
relating to the Chelsea works, which, being particularly interesting,
I here give in full. It is entitled “The case of the Undertaker of the
Chelsea manufacture of Porcelain Ware.”
“Many attempts towards this art have been made in Europe for a
long course of years past; the success which has been met with
at Dresden has revived these pursuits in many parts of Europe.
“The Empress Queen has a manufacture of her own.
“The French King has one, and has patronised and encouraged
several; the King of Naples has one; the late Duke of Orleans
was, at the time of his death, and had been for many years,
engaged very earnestly in this pursuit, but none have come up to
the pattern they have been endeavouring to imitate.
“Several attempts have likewise been made here; few have made
any progress, and the chief endeavours at Bow have been towards
making a more ordinary sort of ware for common uses.
Public-domain text, read in full here on John Shaqi.
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