CHELSEA WARE (soft porcelain). There is doubt as to the date when the Chelsea (London) factory was started. Both 1730 and 1744 are claimed. The earliest dated Chelsea pieces (two extant "goat and bee' decoration milk jugs) have incised triangle and "Chelsea, I745' as marks. They are of such expert work manship as to create a supposition that the fac tory had been already operating for some years. Chelsea ware appears to have had a high repu tation and large sale in France as early as 1745. Charles Gouyn was manager of the factory in 1747. In 1750 Nicholas Sprimont held that post, to become proprietor by 1759. The Duke of Cumberland and Sir Edward Fawkener financed the works to their loss, but Sprimont became wealthy. Sprimont sold the factory to Charles Cox in 1769. The latter sold out the next year to William Duesbury, owner of the Derby porcelain factory. Duesbury ran the works till 1784, then transferred the entire plant to Derby. See DERBY.
Earlypieces (to 1749) were thick and badly potted, the frit (artifi cial) paste being difficult to manipulate. Nu merous pieces were white; no gilding was in use then. Decoration simple, with tend ency to Meissen (Dresden), Sevres and Chinese styles. Forms were often after silversmiths ware. From 1750 to 1753 we find Japanese patterns. Chelsea figures are said to show better finish than Baw ware and to be rather thinner in the face than Derby figures. The marks, bare of glaze, are a characteristic of this ware. The rococo scroll more often decorates the foot of the Derby and Chelsea figures, whereas the scroll itself forms the foot of Bow figures. In general there is so much likeness in Bow, Chel sea and Derby ware as to cause much discussion as to provenance of pieces. Differences in paste and glaze are the points connoisseurs de pend on largely.
Rococo vases, figures of Chinese, harlequins animals, Cupids, groups, dinner, tea, coffee and dessert services, epergnes, beakers, candlesticks, cups with stands, small seals rep resenting animals, hafts for table and dessert knives and forks, scent bottles, candle cups, etc. Figures vary from one inch to over two feet. Finest pieces are said to have been pro duced in Chelsea's last period.
Plain white and simple deco ration came first, with Oriental and Continental, especially Dresden patterns. Underglaze blue (cobalt) and enamel overglaze colors followed. Sprimont colors were very brillant compared with the Derby ware. Chelsea figures are very fine (some have the noted raised flower and foliage decoration) and came from the hands of such sculptors as Nollekins Senior, Roubilliac and Bacon. Kindler's and Acier's Meissen (see DRESDEN) figures were frequently closely copied. Beautiful decoration also was done by such painters as Zachariah Bowman, Sir Thomas Thornhill, Willinson ("exotic' birds), and by John Hall, later noted as en graver. Other artists were Boyer, Askew,
Barton, Gauron, Dyer and Mills. Chelsea's beautiful ground colors consist of the unique "Chelsea claret,' "mazarine" blue, pea-green, turquoise, termed "celeste,' etc. Her elaborate gilding is sometimes chased or even raised.
The large proportion of lead caused great brilliancy; it made the underglaze blue spread with its soft absorbent qualities, so as to form a lovely blue tinge over the entire surface. This plumbiferous glaze had a soft ness and richness that experts termed "lus "sensuous,' etc.; its softness often causes the surface to show wear. Late pieces often show cracks from defective firing.
Paste.—First paste was soft and of un even density, rendering it opaque in the denser portions and translucent in the remainder of the body. This created the appearance of the so-called "grease or when held up to light. Later (1757-69) the body becomes whiter and more evenly translucent (a phos phatic paste).
First "Chelsea, 1745' and incised triangle. Then anchor impressed in relief on oval medallion or painted (red), sometimes in gold. W. M. Binns says the gold belongs to last period. Next came two anchors (last re versed) touching, in red used to about 1758, then red or gilt till 1768. Oriental style pieces often have "Chinese seal' mark. The mark of trident and crown is on some pieces.
Period Dues bury substituted Derby features (see DERBY) in body, glaze, style (severely classic) and decoration. The wonderful Chelsea "claret)) color disappeared. Gold stripes were favored. Products were services, vases, etc., as before. Decoration ran to festoons and other floral motifs, figures, landscapes, biscuit flowers, medallions, masks, etc. The mark is an anchor with the script "D.' Bemrose, William, Chelsea and Derby (London 1898); Burton, William, History and Description of English Porcelain) (London 1902); Church, Sir Arthur Herbert, to the China made in England during the 18th Century) (London 1902); Franks, A. W., (Notes on the Manufacture of Porcelain at (Lou don 1863) ; Hobson, R. L. 'Porcelain, Oriental, Continental, and British' (London 1808) ; Jewitt, Llewellyn, 'The Ceramic Art of Great Britain' (London 1883) ; Mew, Egan, 'Chelsea and Derby-Chelsea' (London 1910) ; Nightin gale, James Edward, 'Contribution towards the History of Early English Porcelain' (Salisbury 1881) ; Solon, M. L., 'Brief History of Old English Porcelain' (London 1003) ; Tiffin, Wal ter F., 'Chronograph of the Bow, Chelsea and Derby Porcelain Manufactories' (Salisbury 1875).