FOR EWO RD 7 C HIS book has been written to en I able the enthusiastic collector of China , even after he has passed hi s hi through apprentices p , and acquired a c certain amount of experien e , to form a correct judgment of that branch of ceramics embraced under the designation of Ol d r English Porcelain . Though not prima ily d I d r intende for the expert , have en eavou ed to set d own in concise form the data which are essential to all who submit our English Porcelains to a close an d critical study . Not only has a careful investigation been made of the actual wares , but also of the d d an d stan ar authors on the subj ect , past present : Wherever their experience might add di th e r to the luci ty of text , their wo ks d an d r h as have been consulte , every sou ce d been acknowle ged . To facilitate ready reference the factories FOREWORD d al an d have been arrange in phabetical , rd not in chronological o er . One feature I d will not , believe be foun in any other r d book on English Ce amics , that of iscussing under separate an d regul ar headings the d I chief istinctions of each factory . have treated these points succin ctly under the titles of History , Paste , Glaze , Decoration , r r N d Production , Cha acte istics , ote Artists , d an d r . r Chronology , Ma ks This o er has d r d been a he e to throughout the volume , an d the reader will thus quickly learn to turn to the requisite paragraph or heading when seeking special in formation regarding r any factory . The illust ations have been chosen from more or less homely or simple pieces of practical value in the Victoria an d Albert Museum at South Kensington . A d d d a etaile escription accomp nies each , r r together with full pa ticula s as to size , r an d r n ma ks , thei locatio in the Museum ar e r l cases . These simple pieces mo e ikely to come within the purchasin g power of the amateur than the rare an d costly objects which have been so frequently reproduced in works on English Porcelain . vi FOREWORD an d i Collectors , beg nners especially , should make a point of studying the wares exhibited at museums or galleries . It is an excellent training for the eye , particularly in judging blue and colours generally . r l I The bibliog aphy wil , trust , be of service to those who desire to investigate more thoroughl y the History of English P orce lain . My thanks are due to Mr . W . n Tyrrell , not only for drawi g the marks B on specimens at the ritish Museum , but also for his permission to reproduce examples from the collection belonging to Co . Messrs . Sampson , Low , Marston , . t Ltd , to Mr . Alber Amor, for permission to reproduce the marks in his catalogue of the Trapnell Collection of Bristol an d m Ply outh China ; and to Major Garrett , of the Coalport Factory , for the interesting series of reprints from the actual plates of a the Coalport Factory m rks , which he has d ‘ permitte me to reproduce . r I am greatly ind ebted to my friend M . d Frank Stevens , who has not only been goo enough to read my manuscript and to select and supervise the photography of the V1] FOREWORD illustrations , but has also offered several val uable suggestions which I have been glad d ‘ to a opt , and supplied the useful chrono logies , commentary on the plates and classi ficati on r ma ks , as well as the chronograph an d the chapter which accompanies it . H . W . L . H LOUG TON , SEX ES . P R E FATORY N OTE ON TH E I L L U STRATI O N S A N D MA R K S HE photographs which accompany the text have been selected from the un rivalled collection of 1 English Porcelains , in Rooms 39 (Schrei ber) and 1 40 at the Victoria and Albert Museum , South Kensington . These rooms are always of easy access to the collector , who would d o well to compare the illus t rati on s with the actual pieces in the galleries . In every instance the room number and case letter (or number) , together with the catalogue number , are i g ven , so that even an occasional visitor to these two rooms will readily be able to fin d the particular obj ect . Care also has been taken only to illustrate such pieces as might be likely to fall into the hands of the ordinary collector whose means preclude the purchase of costly or elaborate PREFATORY N OTE r i n pieces , which so f equently appear handbooks on porcelain . The dimensions of each piece are given , so that the reader may gain some approximate idea of its Size . h W ere pieces bear marks , these have been l ” d d photographed ful size , and inclu e in W s the plate here possible . In many case a faintly impressed mark has been found impossible to reproduce satisfactorily . All marks are recorded in th e ' d escri pti on s where e they exist . If the pi ce is unmarked this is likewise noted . In several instances the pieces illustrated S how signs of warping in the firing , and h s ot er imperfections . The e have been d d S specially inclu e , to how the collector what may reasonably be expected in this u direction from special factories . As m ch may be learnt from an imperfect piece as from one which is without a flaw usually the imperfect piece is the m ore instructive . r As a rule , prefe ence has been given to useful d omestic ware over elaborate figures , as being the cheaper an d more usual output k of our British ilns . PREFATORY N OTE g The reproduction of coloured and highly glazed porcelain by photography has always r d d r d f p esente consi e able i ficulties , owing r an d to the ha shness of the high lights , the blindness of the photographic plate to r certain colours , more particula ly yellow an d r d r e . The photographs he e repro d uced have al l been taken on colour sensitive fil rs plates , with suitable light te , so that the renderin g of the colours in monochrome is as accurate as possible . The marks which are frequently found on English porcelains must not always be regarded as the sole test of origin or d u m excellence . Many goo pieces are r d an d r b ad ma ke , as many or even mo e specimens are to be found bearing marks of d the highest reputation , impose by the misdirected skill of the ingen ious merchant . Twp r in fakes classes of ma k , however , may always be regarded with some d egree r r d d of ce tainty . (i) The imp esse , incise , d or embossed mark , place on the object , when the paste is wet , prior to the first n an d d r firi g , (ii) the un erglaze ma ks , usually d in blue , applie to the body when in biscuit X1 PREFATORY N OTE fu form . The doubt l marks , are those painted over glaze in gold or enamel . They can be easily reproduced at the d present day , without risk of amage to the piece . A genuine mark may even be r removed , in o der to give place to a more valuable one . These points should always be borne in mind when the question of a mark presents itself . Those marks which appear in the illustrations have been arranged system ati call r y , and classified as (i) factory ma ks , corresponding to the “ trade mark ” of the present d ay . These may be either “ ” S single , such as the ign of Tin which appears on the output of Plymouth , or r d r an d va ie , as in the case of the c oss ” r . B , which we e both employed at Bristol They very frequently shed an in teresting sid elight on the history of a factory . Thus the anchor combined with the letter D d r in icates the fusion of the Chelsea wo ks , (whose mark was an anchor) with those of Derby (the letter D standing for either r Du esb ur r r r . De by or y , the p op ieto ) Pieces thus signed would necessarily date from xi i PREFATORY N OTE 1 0 h 77, . when the purc ase took place The Visit of George II to Derby in 1 773 left its record in the crown whi ch was used from that time onward . Factory marks are all of primary importance . ’ : S (ii) Workmen s marks igns , letters , or f numerals . These appear in pro usion on an d Worcester ware , though interesting , do not afford any very precise information . ’ B For example , the painters marks at ristol number consecutively from one to twenty four . Of these only two have been assigned No . I n n . to defi ite painters to He ry Bone , 2 . an d No . to William Stephen or Stevens W1 d e They furnish , however , a field for speculation to the collector whose in clina tion leads hi m to trace and identify th e work of any particular artist .