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
has received a due degree of fire in the second baking.
“In witness whereof I, the said William Cookworthy, have
hereunto sett my hand and seal this Eleventh day of July, in the
Eighth year of the reign of our Sovereign Lord George the Third,
by the grace of God of Great Britain, France, and Ireland, King,
Defender of the Faith, and so forth, and in the year of our Lord
One Thousand Seven Hundred and Sixty-eight.
“WILLIAM (L. S.) COOKWORTHY.
“Signed, sealed, and delivered by the within-named William
Cookworthy, in the presence of
“GEORGE LEACH,
“J. STOVE.
“And be it remembered that on aforesaid Eleventh day of July, in
the year above-mentioned, the aforesaid William Cookworthy came
before our said Lord the King in his Chancery, and acknowledged
the Specification aforesaid, and all and everything therein
contained and specified in form above written. And also the
Specification aforesaid was stampt according to the tenor of the
statute made in the sixth year of the reign of the late King and
Queen William and Mary of England, and so forth.
“Inrolled the Fourteenth day of July, in the year above written.
“SAMUEL CHAMPION, a Master Extraordinary.”
It is natural to suppose that the finest and best goods of the
Plymouth Works were produced in the six years which intervened between
the enrolling of this specification and the removal of the Works to
Bristol, previous to their sale to Champion. The progress of the
manufactory had hitherto been great and satisfactory, but continuing
at the same rate of improvement, the perfection to which the best
productions arrived could only have been attained a very short time
before its close.
Cookworthy determined to make his porcelain equal to that of Sèvres and
Dresden, both in body, which he himself mixed, and in ornamentation,
for which he procured the services of such artists as were available.
To this end he engaged a Mon. Saqui, or Soqui, from Sèvres, who was
a man of rare talent as a painter and enameller, and to whose hands,
and those of Henry Bone, a native of Plymouth, who there is reason
to suppose was apprenticed to Cookworthy, and afterwards became very
celebrated, the best painted specimens may be ascribed. Besides these
several other artists were employed, but they were principally engaged
in painting in blue, while Saqui and Bone painted the high-class birds
and flowers.
Public-domain text, read in full here on John Shaqi.
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 — John Shaqi
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