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II
CHELSEA CHINA

The origin of Chelsea china is like that of the celebrated Charles James Harrington Fitzroy Yellowplush, “wropped in mystry.” The southwestern corner of London has always been connected with the making of pottery in some form or another. To-day Messrs. Doulton carry on the tradition of Lambeth and Vauxhall. Battersea was famed for its enamelled ware, and Fulham had a factory established by John Dwight, M.A., of Christ Church, Oxford, the inventor of porcelain in England, to whom a patent was granted in 1671 for his manufacture of porcelain and stone ware.

Tradition, with a light heart, circulated the fable that the origin of the Chelsea works was owing to the clay that was brought as ballast in ships from Chinese ports. In a “Life of Nollekens” this absurdity finds its way into print, but for all that it is utterly without foundation. “The cunning rogues produced very white and delicate ware, but then they had their clay from China, which, when the Chinese found out, they would not let the captains have any more for ballast, and the consequence was that the whole concern failed.”

Equally foolish and erroneous statements have been made about other of the English factories, and the difficulty of sifting real facts from a mass of chaff in such factories as Bow or Lowestoft is very great.

In the early days of Chelsea, and, by the way, the exact date of the establishment of the factory is not known, the clay was obtained from Cornwall. Dr. Martin Lister, in a work published in 1699, mentions the fact that an inferior kind of porcelain was made at Chelsea, probably little better than opaque glass. It is known that a manufactory of glass was set up at Chelsea by some Venetians under the auspices of the Duke of Buckingham. It is interesting to note that the Chelsea mark of an anchor is identical with that of Venice. In 1745 the works at Chelsea had attained a Continental fame, inasmuch as the French company, in petitioning for the establishment of a factory at Vincennes, urged that its aim was to counteract the importation of English and German ware.

1745 is a very convenient date, as we then come on surer ground. The earliest dated example of English porcelain known has the word, “Chelsea, 1745,” scratched on it under the glaze, and is also marked with a triangle. We reproduce this mark in our list of Chelsea marks.

Life was given to the Chelsea factory by the patronage of George II., who did much to encourage its work. He procured workmen, models, and materials from Saxony and Brunswick, and thus enabled Chelsea to enter into competition with the best designs and productions of Dresden and SÈvres. The Duke of Cumberland took a warm interest in the factory, and contributed an annual sum to its revenue. In 1750 we find the Chelsea works in the hands of Nicholas Sprimont, a foreigner of considerable artistic taste, who established the reputation of Chelsea. The best period of Chelsea ware is from this date till the year 1765. Porcelain made between these two dates is always much sought after, and brings considerable sums under the hammer. For instance, in February, 1902, at Christie’s, a Chelsea teapot, painted with birds and trees in colours, in spiral panels, with borders of gilt flowers, fetched £96 12s., and a pair of vases, 11¹/₄ inches in height, square shaped, the four panels painted with male and female Chinese figures, sold for £588. In July, 1902, a figure of a Chelsea shepherdess, brought £33 12s.

There is little doubt that at this time there were being manufactured at Chelsea some very fine specimens of porcelain. Horace Walpole writes, in 1763, “I saw yesterday a magnificent service of Chelsea china, which the King and Queen are sending to the Duke of Mecklenburg. There are dishes and plates without number, an epergne, candlestick, salt-cellars, sauce-boats, tea and coffee equipages, et cetera. In short, it is complete, and cost £1,200.”

One pleasing feature is the fact that Mr. Sprimont made a handsome fortune by his skill and industry as a director. During his time, it is said that “the china was in such repute as to be sold by auction, and as a set was purchased as soon as baked, dealers were surrounding the doors for that purpose.” This fanciful scene of competing dealers striving to secure a specimen of Chelsea almost before it was cooled from the furnace is too picturesque to be literally true.

We reproduce a figure of a carpenter, eight inches high, coloured, marked with anchor in red (p. 29). This specimen of Chelsea is now at the Bethnal Green Museum. We give an illustration of a beautifully decorated vase in the collection at the British Museum, representing the Death of Cleopatra. The French style of design is singularly evident in this example (p. 31).

Of the marks on Chelsea china, it may be observed that the earlier specimens, in the days when they imitated blue and white Oriental models, are unmarked. Later the anchor appears, embossed in a raised oval, impressed on the bottom of the piece, and bearing the anchor in relief. Various forms of the anchor are used, and in varying colours, apparently according to the caprice of the workman, who drew it with his hair-pencil. Red is the colour most commonly used, and the best pieces are mostly marked in gold, with the anchor more carefully drawn.

Specimens with the double anchors are very valuable, as this was a mark only used on very high-class pieces.

The triangle is one of the marks of Bow, and the little milk-jugs in the form of a goat, decorated with raised flowers, were attributed to Bow, on account of this mark, but the last mark we give shows beyond dispute that the triangle was also used as a Chelsea mark.

Having told of the rise and progress of Chelsea, we have regretfully to chronicle its fall. The following contemporary advertisement is mournful reading: “To be sold by auction, by Mr. Burnsall, on the premises, some time in March next (1764), at the Chelsea Porcelain Factory, everything in general belonging to it, and all the remaining unfinished pieces, glazed and unglazed; some imperfect enamelled ditto, of the useful and ornamental; all the materials; the valuable and extensive variety of fine models in wax, in brass, and in lead; all the plaster moulds, and others; the mills, kilns, and iron presses; together with all the fixtures of the different warehouses; likewise all the outbuildings, etc., etc. And, as Mr. Sprimont, the sole possessor of this rare porcelain secret, is advised to go to the German spaw, all his genuine houshold furniture, etc., will be sold at the same time.

“N.B.—Soon after, when everything is sold belonging to the manufactory and the large warehouse cleared, there will be some most beautiful pieces of the truly inimitable Mazarine blue, crimson, and gold, that Mr. Sprimont has thought deserving finishing; that will be sold at Chelsea, as the whole remaining and the last produce of that once most magnificent porcelain manufactory.”

This was in 1764, but no purchaser came forward, and the factory lingered on till 1769, when again we find it advertised, and the end of Chelsea china is very near, Mr. Sprimont having entirely left off making the same. Josiah Wedgwood had some idea of purchasing some of the Chelsea china: “There’s an immense amount of fine things,” he writes to Bentley. But at this date, Mr. William Duesbury, of the Derby manufactory, took over the Chelsea works as he had previously taken over those of Bow, and carried them on for some years until 1784, when he pulled down the buildings, and removed all that was useful to his factory at Derby, and thus the manufacture of Chelsea china came to an end.

The earliest examples of Chelsea china were in imitation of the ordinary blue Delft patterns, but later, Oriental patterns were very successfully copied, both in blue and white, and in mixed colours. Both SÈvres and Dresden were then adopted as models, and with very fine results. The colours were remarkably vivid, and only skilful artists were employed, the specimens they turned out being exquisitely decorated and finely conceived. The fine vases in the French style in imitation of SÈvres, with gros bleu, crimson, turquoise, and apple-green were made from 1760 to 1765.

Later, debased French forms were copied and an over elaboration was employed which marked the decadence of Chelsea. This over elaboration in art often marks the period of its decline. When wood engraving attempted to copy the refinements and delicacy of steel engraving it exceeded its limitations. To-day the glass-blower of Venice commits the same blunder when he, with false art puts lace patterns on his glass ware.

The two most important specimens of Chelsea china, both from their size and quality, are undoubtedly the “Chesterfield” vase, and the “Foundling” vase. They are two feet high, with bold rococo scroll handles, surmounted by dome-shaped covers; they are painted with pastoral subjects on white medallions. The reverse sides are painted with exotic birds of rich plumage, and the body or ground of the vase is of a rich gros bleu colour. The former was bought for £2,000 by the Earl of Dudley, and the latter, which was a gift to the Foundling Hospital, was sold by the Governors to the same nobleman, and they are now both at Dudley House. We give an illustration of the celebrated “Foundling” vase.

The raised flowers arranged in vases and ornamental figures were a feature of Chelsea ware; butterflies, bees, and other insects were introduced among the leaves, and the modelling was always well done. We reproduce a characteristic piece of Chelsea with delicate work, and exhibiting many of the individualities of Chelsea design (p. 27).

As the earliest specimens of Chelsea were unmarked they can only be judged by the body, the general style of workmanship, and the glaze. The ordinary Chelsea marks we have already given, but we now give the marks which were used by Mr. Duesbury for a time when he was proprietor both of the Derby works and those of Chelsea. This ware is known as “Derby-Chelsea” ware, and is very much sought after. There are some finely enamelled plates in the Victoria and Albert Museum with the mark we give. They are magnificent specimens of the Derby-Chelsea and are scarcely distinguishable from their Oriental prototypes except in the softness of the paste.

It is interesting to remember that Dr. Johnson thought he could discover a means of further perfecting the Chelsea china. He applied to the proprietors, who allowed him to fire his compositions in their ovens at Chelsea. The worthy lexicographer attended there about twice a week and stayed all day, accompanied by his housekeeper, who brought a basket of provisions with her. Nothing, however, came of the experiments.

In taking leave of Chelsea we must remember that its success was an encouragement for the formation of manufactories in other parts of the country during the closing years of the eighteenth century. The workmen trained there under Sprimont found their way to Derby and to Worcester, and to parts of Staffordshire, and carried their experience with them. If for nothing else Chelsea deserves to be remembered as an art centre; and although Sprimont broke down in health and had to go to the “German spaw,” and leave his pictures to be sold at Christie’s, for all that, Chelsea spelt success.

Characteristics of Chelsea China.

The glaze is a softer milky white, and is not so thick as that on Bow pieces. It is carefully finished in every detail. The figure subjects are not so crudely painted as those of Bow. Three spots unglazed are sometimes found on Chelsea plates and dishes, caused by the three points on which pieces have rested. Chelsea china is remarkable for its great weight. The bases and rims, particularly of smaller pieces, are ground quite smooth. Just above the rim black specks and small tears of the coagulated glaze are noticeable. As in Bow, an insect or spray was sometimes cleverly painted over flaws and defects.

SALE PRICES.

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