The ceramic art of Great Britain from pre-historic times down to the present day, Volume 2 (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 2 (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
Before Mr. Bloor’s time it had been the constant plan of the
Duesburys--so worthily tenacious were they of their reputation, and of
keeping up the high and unblemished character of their works--to allow
none but _perfect_ goods to leave their premises, and no matter
how costly the article, or how trivial the fault (frequently so trivial
as to be only perceptible to the most practised eye), all goods which
were not perfect were stowed away in rooms in the factory, and had
accumulated to an enormous extent. When Mr. Bloor took the concern,
this stock of seconds goods became an almost exhaustless mine of wealth
to him. Having to pay the purchase money by instalments, he found the
easiest method of doing so was to finish up these goods, take them to
different large towns, and there sell them by auction, and also to
have sales at the manufactory; one of these sales, in 1822, continued
twenty-five days. By this means Mr. Bloor amassed large sums of money,
as the “Derby china” found ready and liberal purchasers wherever it
was thus offered. This system, however, though it had a temporary
good, produced a lasting evil. The temptation to produce large
quantities of goods specially for auction sale was so great as not to
be withstood, and as by this means they were disposed of “with all
their imperfections thick upon them,” less care was devoted to their
manufacture, and the decline of the works, principally from this cause,
commenced.
Mr. Robert Bloor was assisted in his works by his brother Joseph, by
whom the “mixing” was mainly done, and from 1828, when Mr. Robert
Bloor’s health began to fail, they were carried on for him by a manager
named Thomason. The two brothers died within a short time of each
other. Robert, who had lost his mind for many years before his decease,
died in 1845, and Joseph the year following. The works then passed
into the hands of Mr. Thomas Clarke, who had married a grand-daughter
of Robert Bloor’s, who discontinued them, and sold most of the models,
&c., to the Staffordshire manufacturers--the greater bulk going into
the hands of Mr. Boyle, a manufacturer, of Fenton, who was son of Mr.
John Boyle, and for a short time before his death a partner with the
Wedgwoods. The final dissolution of the old works took place in 1848,
when a number of the workmen naturally migrated into Staffordshire and
Worcestershire.
Public-domain text, read in full here on John Shaqi.
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