John Dwight 1671 - 1703:
John Dwight established a factory at Fulham in 1671 and tests from
excavated shards found at the site revealed a glassy type of
porcelaneous material, but probably firing and glazing difficulties
did not allow for any commercial production.
Pomona Factory at Newcastle under Lyme 1744 - 1754 :
Williams Steers of Hoxton took out a patent for the manufacture of
porcelain in 1744 which states, "... transparent earthenware in
imitation of porcelain or china after a method entirely new ...".
Some 2000 shards were excavated in 1970 and some glassy type of under
glaze blue items have been reconstructed but no pieces are known
outside of these museum items.
Chelsea 1744 - 1770 and Chelsea-Derby 1770-1784 :
The Chelsea factory was started in the village of that name by
Nicholas Sprimont who, up until then, had been one of the Huguenot
silversmiths in London. Right from the very start Sprimonts glassy
type of porcelain was aimed at the upper classes and so only a very
small amount of underglaze blue decorated Chelsea is found. The
production of the factory can be, generally, divided into four groups
according to the mark used at the time.
The four main marks used by Chelsea are: Incised triangle, raised
anchor ,red anchor and the gold anchor. The earliest items made were
of a glassy paste but some bone ash was added about 1758 around the
early years of the gold anchor period. Marks can generally be relied
on but quite a lot of "gold anchor" marked pieces that are
fakes or copies are seen.
Nicholas Sprimont did not always enjoy good health and the factory
was sold, eventually, to James Cox in 1769 and the some eight months
later to William Duesbury of Derby fame.
The Chelsea-Derby factory spans the years 1770-1784 and was under
the control of William Duesbury. Wares were still made at Chelsea and
some may have been decorated at Derby. Marks during this times include
a gold anchor, an intertwined anchor and D and a crown and anchor. The
factory at Chelsea was closed in 1784 and what was left moved to
Chelsea Porcelain by Elizabeth Adams (B & J)
Chelsea Porcelain at Williamsburg by J.C.Austin
Flowers and Fables, a survey of Chelsea Porcelain 1745-1769 by
Derby 1747? -
The date of commencement of the Derby factory may never be known
but it is thought to be around 1747/1748 and started by Andrew Planche,
a Huguenot goldsmith who had moved up from London. The first products
of this factory include some very finely modelled figures that are
classified as "dry edge" due to glaze free areas around the
William Duesbury I, from 1756, and his son William Duesbury II,
from 1786, were the driving forces behind this successful factory,
which at first made a glassy type of porcelain, and later on some bone
ash was added. No marks appear on early Derby, but from about 1760
some patch or pad marks are found on the bottom of wares and figures.
These were small "scars" left from pads which supported the
items in the kiln. From 1770 model numbers are found incised into the
bases of figures. From the 1770s the familiar crown and D mark starts
to appear and lasts through till the 1820s.
Derby made more figures than any of the other factories and
probably accounts for over 50% of all English C18th figures. Another
strength of this factory was that from about the 1780s on the
Duesburys managed to employ some great artists to decorate their
porcelain and names such as Billingsley, Robertson, Complin, Boreman,
Askew , "Quaker" Pegg etc. often add a premium the the value
of Derby pieces today.
Recommended reading :
Derby Porcelain by John Twitchett (B & J)
Derby Porcelain by Barrett & Thorpe
Derby Porcelain Figures by Peter Bradshaw 1750-1848 (Faber)
Derby Porcelain 1748 - 1848 an illustrated guide by John Twitchett
(soon to be released)
Bow 1747 - 1776
Heylyn and Frye took out a patent in 1744 but production probably
did not start till about 1747. What inspired the founders at Bow to
include bone ash in their recipe is not known but it was to prove to
be a significant ingredient both for Bow and the factories that
followed. The Bow factory was situated on the East side of London and
did not aspire to the type of trade that Chelsea pursued, preferring
to produce wares for the growing middle class market. Their products
included much blue and white wares together with polychrome decorated
pieces and a large range of figures. Pieces of Bow are often thickly
potted and can show brownish stains where there are exposed areas such
as chips etc. Factory marks were not often used but one can find mock
oriental marks on Chinoiserie styled blue and white pieces, and in the
1760 an anchor and dagger mark was used which may be the mark of an
Recommended reading :
Bow Porcelain by Adams & Redstone ( Faber)
Bow Porcelain the Geoffrey Freeman Collection by A .Gabszewicz
Bow Porcelain Figures by Peter Bradshaw
Limehouse 1745 - 1748
The existence of a factory at Limehouse had been known since 1927,
when researchers found old advertisements from the "Daily
Advertiser". The advertisement states "..the proprietors of
the Limehouse ware give notice that they now have a large assortment
at their Manufactory, near Dick Shore in Limehouse...". Other
documents reveal that Joseph Wilson was the proprietor of the factory
at 20 Fore Street, Limehouse.
A glassy type of porcelain was made and the products were mainly
decorated in under glaze blue. Some polychrome wares were made but
they were probably outside decorated in Holland or by Dutch decorators
in England. Following the 1990 excavation by Dr Bernard Watney and
others, the existence and products of this factory could be proved,
and a class of wares that had previously been given to William Reid
can now be called Limehouse.
A creditors meeting was held in 1748 which heralded the end of this
Recommended reading :
Limehouse Wares Revealed, by the English Ceramic Circle with the
collaboration of the Museum of London.
Lunds Bristol 1749 - 1752
This short lived factory was started in Bristol by Benjamin Lund
and William Miller in 1749 following the granting of a licence to Lund
to mine soap rock in Cornwall. The wares produced using this
"soapy" type of soft paste were painted with underglaze blue
and decorated in the Chinoiserie style whilst some were left in the
white. The painting was usually slightly blurred and sometimes the
images will have three dots in the landscape (the three-dot painter).
Kiln failures and under capitalisation probably led to the demise of
The factory came under the notice of Richard Holdship (one of the
partners of the newly formed Worcester factory) in 1752 and he
arranged to take over Lunds licence for the mining of soap rock.
Holdship was instrumental in Worcester acquiring the factories stock,
utensils and effects and also the services of Lund and probably some
other workers. Occasionally the word Bristol or Bristoll is found
moulded to the base of wares and to the back of a figure.
There are no specific books on Lunds Bristol but all books on
Worcester will have good references to this factory.
The Worcester factory was started by a group of fifteen subscribers
in 1751. Included in their number were Richard Holdship, William Davis
and Dr John Wall. Worcester had probably made porcelain in 1751 with
some difficulty and it was fortunate for them that the vigilant
Holdship allowed them to acquire the Lunds licence, knowledge and
probably some stock, as well as Lund himself moving to Worcester.
Soapstone soft paste porcelain proved to be the best of the soft paste
recipes and Worcester produced a porcelain which did not craze and
which could survive the addition of boiling water to tea pots ( other
factories notably Derby had problems with their tea pots flying, ie.
breaking, on the addition of boiling water). Worcester produced a fine
range of wares including printed wares ,both under and over glaze,
scale decoration in blue, red, yellow and pink and of course under
glaze blue painting. Whilst their main opposition at Derby were
producing a lot of figures it is surprising that Worcester made just a
The periods of Worcester in the C18th and early C19th can generally
be divided into the Dr Wall period 1752-1776, the Davis period
1776-1783 and the Flight and various Barr’s periods 1783-1840.
Worcester used a large range of marks, the most recognisable being the
crescent marks, both open and hatched, the fret mark and the script
and printed W. It should be noted that some Worcester under glaze blue
painted patterns have their own unique mark.
In 1840 the Worcester factory merged with Chamberlains, later to
become Kerr & Binns and then Royal Worcester.
Recommended reading :
Worcester Blue and White Porcelain 1751-1790 by Branyan, French
& Sandon (B&J)
Caughley and Worcester Porcelains 1775-1800 by Geoffrey Godden
Worcester Porcelain 1751-1793 by Henry Sandon
Dictionary of Worcester Porcelain Vol .1 1751-1851 by John Sandon
The Zorensky Collection by S.Spero & J.Sandon
James Giles China and Glass Painter 1718-1780 by Stephen Hanscombe ISBN 0-9550159-0-1
The Early james Giles and his Contemporary London Decorators by Stephen Hanscombe ISBN 978-0-9550159-2-2
Girl in the Swing Factory or the St. James Factory of Charles
In 1962 Lane and Charlestone "isolated" a group of
porcelain that had previously been given to Chelsea, and gave it the
name of the Girl in the Swing. This name was taken from a figure in
the V & A Museum which shows a girl in a swing supported by two
leafy trunks. The paste is glassy like Chelsea’s but with a greater
percentage of lead and with some other modelling differences. The
products of the factory are decorated in polychrome , or left in the
white. Some wares and figures were made but the main production seems
to be "toys", ie. perfume bottles, etuis, patch boxes etc.
Following recent research in the archives of Sevres this factory
has now, been firmly given to Charles Gouyn, a Huguenot , and former
associate and partner of Nicholas Sprimont at Chelsea.The critical
document found by Bernard Dragesco in the French archives reveals that
Charles Gouyn "... left with the loss of part of his funds and
makes at his house in St James Street very beautiful small porcelain
figures...". The statement of course means that he left the
There are no marks associated with this factory.
Recommended reading :
There are no specific books but all books on Chelsea will have a
reference to the Girl in the Swing
Longton Hall 1749 - 1760
In 1749 William Jenkinson "obtained the art, secret or mystery
of making a certain porcelain ware in imitation of china ware"
and started production at Longton in Staffordshire.In 1751 he had been
joined in partnership by William Littler and William Nicklin. A glassy
type of soft paste was made and decorated both in polychrome and under
glaze blue. Naturalistic forms are common with leaf and vegetable
forms often found. Figures were made and are often referred to as
"snowmen figures" due to their slightly melted look which
tends to blur their features. Flower painting is often done by a
recognisable hand as are castles and buildings painted by the
"Castle painter". Unusual and sometimes clumsy handle forms
help with identifying the products of Longton Hall. "Littlers
blue" a distinct blue which sometimes ran into the glaze is
another characteristic of the factory.
There are no distinct factory marks but the crossed "L"
is often cited as a Longton Hall mark but this may now belong to the
West pans concern.
Following the dissolution of the partnership the factory closed in
1760 and a massive sale of 90000 pieces was held at Salisbury.
Recommended reading :
Longton Hall Porcelain (Faber) by Dr Bernard Watney.
West Pans : 1764-1777 :
After the dissolution of the Longton Hall partnership William
Littler and his wife went to West Pans in Scotland and started another
porcelain making concern. The glassy paste at West Pans produced much
the same sort of wares as at Longton Hall with "Littlers
Blue" continuing to bleed into the glaze. The crossed "L"s
of Longton Hall may well belong as a mark to West Pans. Lack of both
funds and quality probably led to the downfall of this factory .
William Littler returned to Staffordshire in 1777 and became
associated with Ralph Baddeley at Shelton.
The crossed "L"s may prove to be a West Pans mark.
Longton hall porcelain by Dr Bernard Watney
Vauxhall 1751 - 1764 :
In 1751 a licence to mine soaprock was taken out by Nicholas Crisp
of London, a jeweller, and John Sanders of Lambeth, a potter, and by
1752 nearly 30 tons had been used by this licence. The soft paste
porcelain was of the soapy type with some added calcium. It is
interesting to note that John Bacon (later a R.A.) was employed at the
factory and may have been a modeller and decorator of figures. Wares
and figures were produced in underglaze blue and polychrome and indeed
a polychrome printing technique was used at Vauxhall.
John Sanders died in 1758 leaving Crisp to carry on till 1763 when
he became bankrupt. Nicholas Crisp’s unfortunate circumstances were
probably not precipitated by the porcelain factory but by other
business interests. The stock was finally sold up in 1764. Nicholas
Crisp is next found at Bovey Tracey. Following excavations carried on
in 1980 and 1987 at the Vauxhall site a group of porcelain previously
given to William Ball of Liverpool can now carry the Vauxhall label.
There are no factory marks for Vauxhall.
Recommended reading :
no specific books for this factory
The Liverpool Factories: 1754 -
A small city, small factories, different family members concerned
with different factories, the itinerancy of workers and decorators has
all helped to add to the confusion that has and may still be the
Liverpool factories. The porcelain factories at Liverpool produced a
great variety of wares and some figures. The main production was with
blue and white but also printed wares, over and under glaze, were made
as well as polychrome decorated pieces.
There are no factory marks for the Liverpool concerns although a
mark on later wares is seen sometimes in underglaze blue with the
Liverpool factories in chronological order:
phosphatic paste (bony)
probably a manager
John & Jane Pennington
Seth Pennington & John
Made in Liverpool Liverpool Pottery & Porcelain 1700-1850 an
exhibition catalogue Liverpool Porcelain by Dr Bernard Watney
The Liverpool Porcelain of William Reid by Maurice Hillis and Roderick
Lowestoft 1757-1799 :
The Lowestoft factory situated on the east coast, in Suffolk, was
started by five partners in 1757.The best known of them is Robert
Browne who may have picked up some ideas by working at the Bow factory
prior to the establishment of Lowestoft , as both Bow and Lowestoft
used a phosphatic (bony) type of soft paste. The first products of the
factory up until 1768 were all under glaze blue painted wares with
both under glaze blue printed and polychrome wares made afterwards.
The range of wares made were ,generally ,for the middle class market
and some figures were also made. Towards the end of the century
Lowestoft made mugs etc. bearing the words "A trifle from
There are no factory marks for Lowestoft but one can sometimes find
a numeral in underglaze blue on the inside of the foot rim.
Recommended reading :
Lowestoft Porcelain by Geoffrey Godden (A.C.C.)
Lowestoft Porcelain in the Norwich Castle Museum Vol. 1 Blue &
White by S.Smith
Lowestoft Porcelain in the Norwich Castle Museum Vol.2 Polychrome by
Early Lowestoft Porcelain by C.Spencer.
William Cookworthy,a chemist in Plymouth, was the first to make
hard paste porcelain in England. He had found the two essential
ingredients, kaolin and petunse or china clay and china stone on the
property of Thomas Pitt. He encountered difficulties in manufacturing
his wares in that some pieces slumped, the porcelain sometimes came
out a grey colour and the fabric sometimes showed signs of wreathing
or tearing and his under glaze blue often did not fire to a good
A factory mark of the alchemists sign for tin which looks like a
cross between a 2 and a 4 is found on some pieces. The factory was
moved to bristol in 1770 where some of the production problems seem to
have been solved.
When Cookworthy retired in 1774 the running of the factory was
taken over by Richard Champion who had been a partner in the works at
Plymouth. Some of the problems ,like wreathing, still occurred but the
quality was generally better than at Plymouth.
The patent to produce hard paste porcelain was due to run out in
1782 and in seeking to extend the patent he was opposed by the
Staffordshire potters and Josiah Wedgwood. However he had limited
success in that he was given the right to use the materials only for
the production of transparent porcelain. Some goods are marked either
with an overglaze cross or B which may occur with a potters or gilders
number. Champion, after flirting with bankruptcy in 1778,eventually
managed to dispose of his patent to a consortium of potters from
Staffordshire in 1781 and this new factory was to become New Hall.
Recommended reading :
Cookworthy’s Plymouth and Bristol Porcelain by Severne MacKenna
Baddeley Littler 1777-1785 :
This group of porcelain was previously given to the Liverpool area.
Geoffrey Godden has for some time ,quite effectively, argued that
William Littler, after the failure of his West Pans concern ,moved to
Staffordshire and helped Ralph Baddeley make porcelain. This porcelain
was a type similar to the glassy paste of West Pans. This group of
porcelain was, for a while, known as the "Caddy Class"
because of a label that was attached to a tea caddy once owned by
Enoch Wood. This label states that it was given to Enoch Wood by
William Fletcher who recalled that it had been made by William
Littler. Known items belonging to this group are usually in polychrome
but some under glaze blue painting and printing occur. No factory
marks are recorded.
Recommended reading :
No specific books on this factory.
New Hall 1782-1835 :
A group of potters from Staffordshire acquired the patent from
Richard Champion to make hard paste porcelain in 1782 and the life of
the patent ran till 1796. New Hall made a range of goods in both
underglaze blue and polychrome decoration. In the C18th the production
was mainly in tea wares with fairly simple decoration.
In about 1790 the firm introduced a system of pattern numbers which
can be helpful in identifying New Hall wares. A change was made in the
paste in around 1814 when bone china was introduced. The style of
decoration changed also into the early C19th when fashion were for
more brightly decorated wares. Marks other than pattern numbers are
rarely found on New hall but sometimes after about 1815 the words New
Hall appear within double concentric circles. In 1835 an auction was
held to dispose of all the stock following the leasing of their
Recommended reading :
New Hall Porcelain by David Holgate (Faber)
A Guide to New Hall Porcelain Patterns by A.de Saye Hutton (B & J)
New Hall Pattern Book by Patricia Preller
New Hall Porcelains by G.A.Godden. Printed by A.C.C. ISBN 185149 463 4
Caughley 1775-1799 :
The Caughley factory was started near Broseley in Shropshire by
Ambrose Gallimore and Thomas Turner,the latter having had some
experience at Worcester. The type of paste used here was of the
soapstone variety and generally shows an orange like translucency.
Although Caughley did seem to copy a lot of what Worcester did in
shapes and patterns they were also innovative in picking up on the
French style of decoration. Whilst Caughley is sometimes thought of as
being inferior to Worcester it can be argued that Caughley was
producing better quality wares in the last quarter of the C18th than
Worcester. The wares were fairly utilitarian and in the main under
glaze blue decoration either painted or printed. The polychrome wares
were probably decorated by Chamberlains factory at Worcester.
Caughley used a few marks. A capital S which sometimes has a small
x or o beside it, a capital C with a serif ( this can sometimes, if
not clear, be confused with the hatched crescent of Worcester), and
the impressed word "salopian". Some older books will give
the disguised numeral marks to Caughley but they firmly belong to
The works were sold to John Rose at Coalport in 1799.
Caughley & Worcester Porcelains by Geoffrey Godden
Some lesser known Factories:
"A" mark factory:
About thirty pieces with an A mark, either incised or painted, are
known and all of them have been found in England, which probably
indicates an English source. They appear to be a type of hard paste
with polychrome decoration in the European style. The decorations are
taken from Gravelot’s engravings which were printed in London in the
1740s and this suggests that the decoration may have been done in the
One theory, as to a source, suggests that they were made by
Alexander Lind who was working for the Duke of Argyll near Edinburgh
about 1750, and that the A stands for Argyll.
Recent research has offered the possibility that A marked porcelain
was the product of the first Bow patent and was made at Bow using the
imported clay known as unacker from America. It was first found by
Andrew Duche in the Appalachian mountains of Carolina and exported by
him to Bow.
Kentish Town 1755-1756 :
During Whitsuntide of 1755 John Bolton was prevailed upon by
William Kempson to leave the employ of Crisp and Saunders at Vauxhall.
William Kempson and Michael Alcock were button makers in Birmingham
and it was with the thought of porcelain making that they sought the
services of John Bolton. They were somewhat successful as apparently
some wares were made or decorated. This fact is gleaned from the
bankruptcy petition against Alcock and Kempson, which states that
monies were owed to tradesmen and labourers.
James Giles had a decorating establishment in Kentish Town and
later on he may have used the kilns of Alcock and Kempson.
Isleworth 1766-1800 :
Both Chaffers and Llewellyn Jewitt record the knowledge of this
factory in the late 1800s.
Following excavations on the site in very recent times (1997) a
small group of porcelain products have been drawn together under the
Isleworth banner of this "new" factory. The fabric is
phosphatic and some pieces that have previously belonged to Derby,
Lowestoft and Bow can now bear an Isleworth label.
The families involved were Joseph Shore and his two daughters, Ann
and Mary. Ann married Benjamin Quarman and Mary married Richard
Goulding. Goulding had been in Worcester and may have picked up
knowledge in porcelain there.
Recommended reading :
Isleworth Porcelain by Anton Gabszewicz and Roderick Jellicoe
Bovey Tracey 1767?
It appears that Nicholas Crisp, following his bankruptcy at
Vauxhall, was experimenting with porcelain at Bovey Tracey in 1767.
Crisp is mentioned several times in Cookworthy's correspondence....
whether Crisp was making porcelain in marketable quantities is
unclear,and to what extent his connection with Cookworthy ran is also
confused. Suffice it to say that there was some co-operation and
advice between the two in the years 1767/8.It is interesting to note
that Cookworthys comments on Crisp's porcelain suggest that it had a
yellowish tinge and that at a Phillips auction in London recently a
pair of sauce boats were sold which had a yellowish tinge and bore a
tentative attribution to Bovey Tracey.
Wirksworth China Factory 1772-1777 :
There was certainly a porcelain factory at Wirksworth during this
period as contemporary records mention invoices for materials,
advertisements for labour and sale of stock etc.. Josiah Wedgwood
mentioned this factory in1775 "...a china works, lately begun at
Wirksworth, by Mr Gell of Hopton who lately made some use of a fine
white clay found near Brassington in Derbyshire..."
Goods produced included tea and coffee wares, bowls, figures, jugs
vases etc. with on and under glaze printing being done. It is fair to
assume that, given that the Derby factory was only 13 miles away,
quite a number of workers from this factory would have been employed
at Wirksworth and taken their various skills with them. So that when
the products are identified we should probably look for some
similarities with the goods from Derby. Pierre Stephan and his son
John are both recorded as going to Wirksworth from Derby.
The factory was in decline by 1777 and sales notices in the Derby
Mercury tell of the disposal of equipment and stock. It is possible
that there is some connection between Wirksworth and the infant
factory at Caughley and that Turner may have bought some of the moulds