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Exploring the Variety of Random
Documents with Different Content
 and Candlesticks, compleat Tea and Desert Services, Caudle and
Chocolate Cups, &c. of the newest and best Patterns. To be viewed on
Monday and Tuesday, and ‘till the Time of Sale. To be Sold by Auction
by WILLIAM HUNTER, Sworn Broker, No. 59, New Bond-Street.—
Printed by Joseph Good, Stationer, &c., No. 79, Fleet Street.”
At the back of the title are the conditions, thus:—
“Bedford-Street, Covent-Garden, March 9, 1785.—Conditions of the
Sale.—I. The Goods are all to be taken away without any Allowance at
the Buyer’s Expence, on or before the 14th day of March, 1785, and
paid for on delivery.—II. Buyer’s Notes, approved of by the proprietor,
will be taken payable four Months after date.—III. The Proprietor will
allow a discount of 2½ per Cent. to those who chuse to pay ready
money.—IV. Such goods as shall not be taken away as aforesaid, the
Proprietor shall be at liberty to re-sell without further notice, either by
public sale or private contract; and all losses attending such re-sale
shall be made good by the respective Buyer or Buyers at this Sale.—V.
If any dispute shall arise between any Bidders concerning any lot,
such lot to be put up again.—VI. The Buyer to pay Six-pence per lot
deposit, in order to bind the bargain, which is not returnable.”
Then follows:—
A CATALOGUE, &c.
LOT. £ s. d.
1 A Tythe pig group, 1 pair of large gardeners, 1 pair of 3 11 0
Jupiter and Juno, 1 pair of Harlequin and Columbine, and
2 pair of basket boys
2 A set of 3 jars, decorated with natural flowers, and gilt
3 Five dozen of small boys
4 A pair of large singers, 1 pair of sitting pipe and guitar 3 17 0
figures, 1 pair of less ditto, 1 pair of sporting figures, and
12 boys
5 A compleat set of tea china, double shape, enameled with 5 5 0
roses, festoons of green husks, and purple and gold
border, 40 pieces
6 Two Cupid groups, 1 pair of large Bacchus and Ariadne, 1 5 14 0
pair of pheasant figures, and 12 boys
7 Six double shape caudle cups and stands, enameled with
Dresden flowers, and gilt
8 A pair of figures Shakspeare and Milton 3 3 0
9 Two second size Dianas, 1 pair of piping shepherds, 1 pair 4 15 0
of large gardeners, 1 pair of sporting figures, and 1 pair
 of Mars and Venus
10 Two breakfast sets, enameled fine blue and white, 15 3 5 0
pieces each
11 A figure of Andromache, 1 pair of figures Diana and Apollo, 6 1 6
1 pair of boys riding on goat and panther, and 2 pair of
small singers
12 A very elegant compleat set of tea china, Devonshire shape, 10 10 0
enameled with roses, and richly finished with fine blue
and gold, 41 pieces
13 A pair of figures Andromache and Plenty, 1 pair of 4 15 0
haymakers, 1 pair of Mars and Minerva, and 2 basket
boys
14 A pair of Madona groups, and 2 pair of sitting fruit and 3 6 0
flower figures
15 Twelve very elegant cups and saucers, slop bason, cream 6 13 0
ewer, and 4 plates
16 A large pastoral group, and 1 pair of groups Poetry and 5 15 6
Music
17 Five dozen of small boys
18 A beautiful breakfast set, fluted, enameled fine blue and 3 18 0
gold, 18 pieces
19 A pair of grotesque Punches, 1 pair of sitting figures, 1 set 3 15 0
of standing seasons, and 1 pair of gardeners
20 Two groups of the four seasons, 2 pair of fruit and flower 4 18 0
figures
21 A compleat set of tea china, plain shape, enameled, fine 8 8 0
blue and gold border, the Prince of Wales’s pattern, 41
pieces
22 A breakfast set handled cups, small waved flute, 18 pieces 2 0 0
23 Twelve French shape cups and saucers, ditto 2 2 0
24 A pair of figures Diana and Apollo, and 1 set of small 4 10 0
elements
25 A set of large antique seasons, 1 pair of large singers, 1 4 1 0
pair of pipe and guitar figures, and 2 pair of basket boys
26 A compleat set of tea china, white and gold, 41 pieces
27 Six very elegant caudle cups covers and stands, enameled 6 0 0
with flowers and fine blue and gold
28 A group of Poetry, 1 pair of Mars and Venus candlesticks, 1 4 12 0
pair of piping shepherds, and 1 pair of boys riding on
goat and panther
29 A pair of large pipe and guitar candlesticks, 1 pair of 4 0 0
garland shepherds, and 1 pair of large pipe and guitar
figures
30 A figure of Falstaff, a figure of Neptune, 1 pair of large 5 4 0
gardeners, and 2 figures of Prudence
31 A very capital compleat set of tea china, fluted, richly 14 14 0
enameled with fine blue and gold, 41 pieces
32 A compleat set of tea china, waved shanked, enameled with
roses, festoon of red husks, and green and gold border,
41 pieces
33 A group of Jason and Medea before Diana, and 1 pair of 5 5 0
groups, Poetry and Music
34 A figure of Diana, two pair of pheasant figures, 1 pair of 5 5 0
boys riding on goat and panther, 3 pair of small music
figures, and 4 busts
35 Six half-pint basons and stands, slop bason, sugar box, 2 6 0
cream ewer, and 2 plates, enameled fine blue and white
36 A beautiful compleat desert service, enameled with roses, 26 5 0
and fine blue and gold borders, consisting of 24 plates,
13 comporteers, 1 pair of cream bowls, covers, stands,
and spoons
37 A figure of Justice, 1 set of small elements, 1 pair of Cupids, 4 8 0
and 12 boys
38 A group of Jason and Medea before Diana, 1 pair of pipe 4 17 0
and guitar candlesticks, and 2 pair of haymakers
39 A pair of figures Shakspeare and Milton, and a figure of Mr. 4 14 6
Garrick
40 An elegant compleat set of tea china, new shape, white and 8 8 0
gold, 41 pieces
41 A figure of Andromache, 1 pair of Bacchus and Ariadne, 1 4 15 0
pair of pipe and guitar figures, and 1 pair of fruit and
flower
42 A pair of Madona groups, a pair of large gardeners, and 1 4 8 0
pair of sitting figures
43 A very elegant bason and ewer, richly ornamented with fine 2 10 0
blue and gold
44 A compleat set of tea china, Devonshire shape, enameled 5 5 0
with roses, festoons of red husks, and green and gold
borders, 41 pieces
45 A pair of pipe and guitar candlesticks, one pair of Mars and 4 9 0
Venus figures, 1 pair of pipe and tabor, 1 pair of sporting
figures, and 1 pair of small pipe and guitar
46 A pair of Mars and Venus candlesticks, 2 pair of sacrifice 4 0 0
figures, 6 Cupids, and 12 small boys
47 A group of Poetry, and 1 pair of figures Andromache and 4 7 0
Plenty
48 A beautiful dejune, enameled fine blue and gold 3 13 6
49 A compleat set of tea china, waved shanked, enameled with 6 6 0
festoons of coloured flowers, and green and gold border,
41 pieces
50 A figure of Falstaff, 1 pair of grotesque Punches, 1 set of 4 11 0
Seasons, and 1 pair of Cupids riding on goat and panther
51 Two Cupid groups, 2 pair of large music figures, 4 seasons, 5 8 0
and 4 busts
52 A large figure of Britannia, 1 figure of Justice, and 1 figure 4 19 0
of Falstaff
53 A very elegant breakfast set of plain shanked, enameled 4 9 0
fine blue and gold, 18 pieces
54 A ditto 4 9 0
55 A tythe pig group, 1 set of standing seasons, 1 pair of Mars 4 3 0
and Minerva, 1 pair of large gardeners, and 12 small boys
56 A pair of Madona groups, 2 pair of sacrifice figures, 1 small 5 3 0
group, and 3 pair of small music figures
57 A compleat set of tea china, new embossed, enameled with 6 6 0
a fine blue and gold border (the Queen’s pattern) 41
pieces
58 Six caudle cups, covers and stands, ditto 3 12 0
59 A pair of large groups 4 4 0
60 A pair of groups, Poetry and Music, and 1 pair of boys riding 4 7 0
on goat and panther
61 Two figures of Diana, 1 pair of sitting pipe and guitar 4 13 0
figures, and 2 pair of music figures
62 A very elegant compleat set of tea china, fluted, richly 14 14 0
ornamented with fine blue and gold, 41 pieces
63 A figure of Falstaff, 2 pair of Cupids, 1 set of standing 3 15 0
seasons, and 12 small boys
64 A compleat desert service, enameled fine old japan pattern, 20 0 0
consisting of 24 plates, 13 comporteers, and 1 pair of
cream bowls, covers, stands, and spoons
65 A large pastoral group, 2 figures of Diana, and 1 pair of 5 5 0
large singers
66 A pair of groups, Poetry and Music, and 1 pair of large pipe 4 4 0
and guitar figures
67 A very elegant set of tea china handled cups, white and 8 18 6
gold, 41 pieces
68 A group of the Virtues, and 1 ditto of the quarters 4 4 0
69 Five dozen of small boys
70 A compleat set of tea china, fluted, enameled fine blue and
gold, 41 pieces
71 A set of small elements, 2 pair of large gardeners, 1 pair of 5 3 0
sporting figures, and 3 pair of basket boys
72 Two sets of breakfast sets, small waved flute, enameled fine 3 19 0
blue and white, 17 pieces each
73 A compleat set of tea china, waved shanked, white and
gold, 41 pieces
74 A pair of spring candlesticks, 1 pair of boys ditto, 1 pair of 4 10 0
haymakers, 1 pair of Mars and Venus figures, 1 pair of
small singers, and 2 pair of buck and doe
75 Six Devonshire shape caudle cups, covers, and stands, 3 12 0
enameled fine green and gold
76 Two figures of Neptune, 3 pair of large fruit and flower 5 16 0
figures, 6 squarrels, and 12 boys
77 A set of 3 vauses, enameled with flowers, and green and
gold
78 A pair of figures Andromache and Plenty, and 1 pair of large 4 12 0
pipe and guitar candlesticks
79 A very elegant compleat set of tea china, peacock pattern, 11 11 0
enameled fine blue and gold, 41 pieces
80 A tythe pig group, 1 pair of Jupiter and Juno, 2 pair of 4 11 0
Harlequin and Columbine, 1 set of standing seasons, and
12 small boys
81 A pair of groups, Poetry and Music, and 1 pair of boys riding 4 7 0
on goat and panther
82 A breakfast set of bell-shape cups with handles, enameled 3 13 0
fine blue and gold, 18 pieces
83 A ditto 3 13 0
84 A set of elements, 1 pair of singers, and 1 pair of Mars and 5 8 0
Venus figures
85 A pair of figures Shakspeare and Milton 3 3 0
86 A compleat set of tea china, white and gold, 41 pieces
87 A group of 2 Baccants, 1 figure of Andromache, and 1 4 14 0
figure of Neptune
88 A figure of Diana, 2 pair of sitting pipe and guitar figures, 1 4 8 0
set of grotesque seasons, 1 pair of Jupiter and Juno, and
12 boys
89 A pair of Madona groups, 1 set of quarters, and 2 pair of 4 4 0
basket boys
90 A pair of figures Andromache and Plenty, and a pair of pipe 4 18 0
and guitar chandeliers
91 A figure of Falstaff, 1 set of small elements, 2 Cupids and 2 4 14 0
pair of sporting figures
92 Five dozen of small boys
93 A group of 3 virgins distressing Cupid, and 2 Cupid groups 5 16 0
94 A figure of Diana, 1 pair of haymakers, 2 pair of small 3 4 0
gardeners, 5 desert gardeners, 4 busts, and 12 boys
95 A tythe pig group, 1 pair of sitting pipe and guitar figures, 1 3 2 0
pair of Harlequins, and 3 pair of basket boys
96 A group of Poetry, 2 pair of small elements, and 1 pair of 4 11 0
sitting pipe and guitar figures
97 A figure of Justice, 1 pair of piping shepherds, 1 set of 4 12 0
standing seasons, and 1 pair of grotesque figures
98 A pair of large groups 4 4 0
99 A pair of Madona groups, 2 pair of sitting fruit and flower 4 7 0
figures, and 3 pair of small music figures
100 A pair of figures Diana and Apollo, 2 pair of large gardeners, 4 14 0
and 1 pair of sitting figures
101 A set of large French seasons
102 A pair of pipe and guitar candlesticks, 1 pair of spring ditto, 3 3 0
and a set of standing seasons
103 Æsculapius and Hygiæa, 1 pair of sacrifice figures, 4 pair of
small Turks, 2 pair of salutation figures, 2 basket boys, 13
birds, 2 dogs, and 4 boys
104 A group of Poetry, 2 pair of sporting figures, and 1 pair of 4 2 0
boys riding on goat and panther
105 A pair of large ice-pails, white and gold 5 5 0
106 A group of Jason and Medea, 1 pair of large singers, 1 pair 5 1 0
of Mars and Minerva, and 2 pair of basket boys
107 A compleat set of tea china, white and gold, 41 pieces
108 A group of Poetry, 8 antique seasons, 1 pair of sitting 4 14 0
figures, 1 pair of music figures, and 12 boys
109 Four elegant broth basons, covers, and stands, enameled 3 0 0
fine blue and gold pearl border
110 A pair of Madona groups, 1 pair of Jupiter and Juno, and a 4 1 0
set of sitting seasons
111 Twenty-two sundry small figures
112 A beautiful bason and ewer, and 2 punch jugs, with covers, 3 18 0
enameled fine blue and gold
113 A large pastoral group, 4 antique seasons, and a pair of
large gardeners
114 A pair of groups Poetry and Music, and a pair of boys riding 4 7 0
on goat and panther
115 A breakfast set, small flute, enameled with a fine blue and 4 3 0
gold pearl border, 18 Pieces
116 A compleat set of tea china, new embossed, enameled with 6 6 0
a fine blue and gold border, 41 pieces
117 A pair of figures Andromache and Plenty, a pair of Cupids, 4 13 0
and 2 pair of sitting pipe and guitar
118 Five dozen of small boys
119 A compleat desert service, enameled, fine old Japan 26 5 0
pattern, consisting of 24 plates, 13 comporteers, and 1
pair of cream bowls, covers, stands, and spoons
120 A figure of Falstaff, 2 pair of Bacchus and Ariadne, and 1 5 18 0
pair of boys riding on goat and panther
121 Twelve new shape cups and saucers, 1 slop bason, sugar- 2 0 0
box, cream ewer, and plate, enameled with fine blue
springs, and narrow blue border
122 A very elegant compleat set of tea china handled cups, 12 12 0
richly enameled with fine blue and gold scrole border, 41
pieces
123 A group of the virtues, 1 pair of large Bacchus and Ariadne, 5 3 0
1 pair of haymakers, and 1 pair of sitting figures
124 A tythe pig group, a set of standing seasons, a pair of 4 2 0
Cupids, a pair of gardeners, and 3 pair of basket boys
125 Twelve chocolate cups and saucers, enameled with festoons 3 18 0
of green husks, and pink and gold border
126 A beautiful dejune, enameled, with vauses, &c. and fine 4 4 0
blue and gold
127 A pair of figures Shakspeare and Milton, and a pair of sitting 4 4 0
pipe and guitar figures
128 A figure of Falstaff, and a set of elements 4 5 0
129 Two breakfast sets, enameled fine blue and white 4 6 0
130 A pair of pipe and guitar candlesticks, and a pair of spring 2 3 0
ditto
131 Six elegant caudle cups, covers, and stands, enameled fine
blue and gold
132 Two breakfast sets, enameled fine blue and white, 18 4 6 0
pieces each
133 Two Cupid groups, a pair of singers, and a pair of boys 4 11 0
riding on goat and panther
134 A figure of Falstaff, 4 small elements, and 2 pair of Jupiter 4 13 0
and Juno
135 A beautiful compleat set of tea china, enameled with 10 10 0
festoons of gold husks, and fine blue and gold border
(Prince of Wales’s pattern)
136 A pair of large groups 5 15 0
137 A pair of figures Shakspeare and Milton 3 2 0
138 Six elegant caudle cups, covers, and stands, enameled fine
blue and gold
139 A breakfast set, enameled with blue and gold springs, and 3 13 0
blue and gold border, 18 pieces
140 A pair of large pipe and guitar candlesticks, and a set of 3 18 0
small French seasons
141 A tythe pig group, 1 pair of large gardeners, 2 pair of sitting 3 14 0
pipe and guitar figures, and 3 pair of basket boys
142 A compleat set of tea china, white and gold
143 A season group, 1 pair of Bacchus and Ariadne, and 3 odd
figures
144 A pair of large Bacchus and Ariadne, 1 pair of boys riding on 4 16 0
goat and panther, 1 pair of large fruit and flower figures,
3 pair of small ditto, and 1 pair of basket boys
145 A compleat set of tea china, peacock pattern, enameled 8 8 0
green and gold, 41 pieces
146 Four caudle cups, covers, and stands, enameled with roses, 2 8 0
festoons, and purple and gold border
147 Two large pastoral groups 4 4 0
148 A pair of figures Andromache and Plenty, and 1 pair of 3 17 0
grotesque Punches
149 Five dozen of small boys
150 A elegant compleat set of tea china, white and gold, 41
pieces
151 A group of Jason and Medea before Diana, 1 pair of large 4 13 0
singers, 1 pair of large gardeners, and 1 pair of sporting
figures
152 A large pastoral group, and 1 pair of pipe and guitar 3 17 6
candlesticks
153 A beautiful compleat desert service, enameled with roses 26 5 0
and fine blue and gold borders, consisting of 24 plates,
13 comporteers, and 1 pair of cream bowls, covers,
stands, and spoons
154 A figure of Andromache, a pair of antique seasons, a pair of 4 13 0
Bacchus and Ariadne, a pair of sacrifice figures, and a
pair of fruit and flower
155 A compleat set of tea china, white and gold, 41 pieces
156 Five dozen of small boys
157 A large group of three virgins, a pair of large seasons, and 2
pair of music figures
158 Six chocolate cups and saucers, enameled with fine blue 3 6 0
and gold borders, and 6 ditto, enameled with Dresden
flowers and gold edge
159 Four basons, covers, and stands, enameled with red husks, 3 3 0
and fine blue and gold border
160 A group of Baccants, and 2 pair of large elements 5 14 0
161 A pair of figures Andromache and Plenty, and 2 pair of 4 4 0
sporting figures
162 A compleat desert service, enameled fine old blue and gold 18 18 0
Japan pattern, consisting of 24 plates, 13 comporteers,
and a pair of cream bowls, covers, stands, and spoons
163 A pair of Mars and Venus candlesticks, 2 pair of haymakers, 4 6 0
and 1 set of quarters
164 A very elegant compleat set of tea china, enameled with 8 8 0
roses, and fine blue and gold border, 41 pieces
165 Twelve breakfast basons and stands, slop bason, sugar box, 4 10 0
and 12 bread and butter plates, white and gold
166 A tythe pig group, 2 pair of small singers, 2 pair of sporting 3 16 0
figures, and 3 pair of basket boys
167 A group of three virgins, a pair of large seasons, and a pair 5 15 6
of Bacchus and Ariadne
168 A compleate set of tea china, enameled fine blue and gold,
41 pieces
169 A group of the quarters, 1 pair of large elements, and 6 4 18 0
antique seasons
170 A pair of Madona groups, and 2 pair of Mars and Minerva 3 18 0
171 A compleat set of tea china, white and gold dontel edge, 41 4 4 0
pieces
172 A Cupid group, a pair of season groups, and 2 pair of small 5 0 0
Bacchus and Ariadne
173 Five dozen of small boys
174 A very elegant compleat set of tea china, fluted, richly 14 14 0
enameled with fine blue and gold, 41 pieces
175 A pair of pipe and guitar chandeliers, 1 pair of garland 4 2 0
shepherds, and 1 pair of French shepherds
176 A pair of Welch taylors, 2 pair of sporting figures, 2 pair of 4 8 0
small gardeners, and 1 set of sitting seasons
177 A compleat desert service, enameled with groups of 25 0 0
flowers, and fine blue and gold vini border, consisting of
24 plates, 13 comporteers, and 1 pair of cream-bowls and
stands
178 A pair of figures Andromache and Plenty, 1 pair of fruit 4 2 0
flower figures, and 1 pair of sacrifice figures
179 A figure of Diana, 1 pair of sitting pipe and guitar figures, 2 3 19 0
pair of Harlequin and Columbine, and 2 pair of basket
boys
180 An elegant compleat set of tea china, 41 pieces
181 A group of the 4 seasons, 1 set of French seasons, 2
antique seasons, and 6 small Turks
182 A Cupid group, 1 pair of Bacchus and Ariadne, 6 antique
seasons, and 12 boys
183 A set of 5 large vauses, enameled compartments, with
figures, and richly gilt
184 A group of poetry, and 1 pair of large figures 3 6 0
185 A pair of groups Poetry and Music, and 4 odd figures
186 Five dozen of small boys
187 A tythe pig group, 1 set of standing seasons, 1 pair of 3 11 0
sitting figures, and 2 pair of small gardeners
188 A pair of boy candlesticks, 2 pair of large gardeners, 1 pair 3 18 0
of sitting pipe and guitar figures, and 2 pair of small fruit
and flower
189 Sundries
190 Ditto
191 Ditto
192 Ditto
193 Ditto
194 Ditto
195 Ditto
196 Ditto
197 Ditto
198 Ditto

Figs. 47 to 50.—From the Museum of Practical Geology.

A few months before Mr. Duesbury’s death—which, as I have
stated, took place in November, 1786—he took his son William into
partnership, and the business was carried on under the style of
“Messrs. William Duesbury and Son.” It thus appears upon the title-
pages of the sale catalogue of 22nd September in that year, but is
altered back to “Mr. William Duesbury” alone in that for 21st
December following. For some years before the death of his father
the younger Mr. William Duesbury had devoted himself untiringly to
the advancement of the works. No man could have been more highly
respected, both by his workmen and by all who knew or had
dealings with him at home and abroad, than was this second William
Duesbury, and under his care the works continued to grow in
importance with an astonishing rapidity, and soon became by far the
most prosperous and most successful in the kingdom. The
connection which had previously been formed with the principal
families, from royalty downwards, spread and increased, and among
the hundreds of names of purchasers on the sale sheets and other
papers, I come across, at random, those of the King, the Queen, the
Prince of Wales (afterwards George IV.), who was a large customer
for dessert, tea, coffee, and other services; the Duchess of
Devonshire, William Pitt, Sir Hugh Pallisser, the Margravine of
Anspach, the Duke of Northumberland, Lord Howe, and indeed
almost every title then in the peerage. Besides this, several ladies of
distinction painted groups of flowers and other pictures on porcelain,
supplied to them for the purpose by Mr. Duesbury, who afterwards
fired and finished them for their own special use. Of these ladies,
Lady Margaret Fordyce, Lady Plymouth, and Lady Aubrey executed
some beautiful drawings, which probably may still remain in their
families. Lord Lonsdale also had twenty-four plates painted with
landscapes in Cumberland, from his own sketches, and many other
noblemen and gentlemen did the same; many sets of china being
painted with views of different parts of the estates of those for
whom they were manufactured. Bronze figures of horses—probably
originally belonging to the famous Duke of Newcastle, whose work
on Horsemanship is the finest ever produced—were lent to Mr.
Duesbury from Welbeck Abbey; and Lady Spencer also sent some
choice moulds for working from. Altogether the Derby works, during
the latter part of the first Mr. Duesbury’s time, and during the life of
his son, were, as I have said, the most successful, the best
conducted, and the most fashionable establishment of the kind in
the kingdom.

Fig. 51.—“King’s vase,” Museum of Practical Geology.

Constant application to business, and the wear and tear of the
brain from incessant anxieties, about 1795 made such fearful inroads
on the health of Mr. Duesbury, that he was induced by his friends to
take into partnership a Mr. Michael Kean, a very clever miniature
painter, an Irishman by birth, who brought his talents to bear on the
works, and by his skill in designing and drawing added much to the
beauty of the articles manufactured. His connection however, seems
to have been a source of still greater anxiety to Mr. Duesbury, whose
mind gradually gave way under his load of care. In 1796 Mr.
Duesbury died, and after a time Mr. Kean (who had for a time the
management of the business for the widow and her young family)
married the widow, but not long after, from reasons into which it is
needless to enter, as they do not affect the narrative, withdrew
hastily from the concern, and the works were then continued for,
and afterwards by, the third William Duesbury. Mrs. Duesbury, by her
second marriage (with Michael Kean) had a family of five children.
She died in 1829, after having passed a not altogether happy life.
This third William Duesbury (grandson of the founder of the works)
was the eldest son of William Duesbury by his wife, Elizabeth
Edwards. He was born in 1787, and on the 26th September, 1808,
married Annabella, daughter of William E. Sheffield, Esq., of the
Polygon, Somers Town, London, and for a time the concern was
carried on under the firm of “Duesbury and Sheffield.”
In 1815, Mr. Duesbury leased the premises to Mr. Robert Bloor,
who had been a clerk to his father, and had carried on the business
during Mr. Duesbury’s minority, and the entire concern ultimately
passed into his hands, and was carried on by him for the first few
years with much judgment and skill.

Fig. 52.
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.
 At this time, however, several of the old hands—actuated by the
laudable desire of securing the continuance of a business which for a
century had been so successfully carried on, and of continuing it as
one of the trades of their native town—clubbed together (to use a
characteristic expression), and commenced business on their own
account. They each and all threw into the common stock what
knowledge, experience, money, and tools, &c, they possessed, took
premises in King Street (on the site of old St. Helen’s Nunnery), and
under the name of “Locker and Co.” commenced making “Derby
china,” and adopted, very properly, a distinctive mark, which shows
this epoch in the works. It is a somewhat curious circumstance, that
on the site of the old china works the modern Roman Catholic
nunnery of S. Marie was erected; while on the site of the old
nunnery of St. Helen, the present china works are now carried on.
Great difficulties were encountered by this band of workmen, but
their zeal and determination overcame them.
Mr. Locker (who was a native of Blackfordby, and had been clerk
and warehouseman at the old works in the latter part of their
existence) died in 1859, and the works were next conducted under
the style of “Stevenson and Co.,” and “Stevenson, Sharp, and Co.,”
till the death of Mr. Stevenson, when the style was changed to that
of “Hancock and Co.,” and the works are now continued by Mr.
Sampson Hancock, and bid fair, if not to rival the early glory and
success of the works, at least to do credit to the town of Derby, in
which they are situated. Some of the productions are highly
creditable to the taste and skill of the men, and show that “ye art of
making English china,” imparted to William Duesbury in 1756, is not
forgotten, but remains with his successors to the present day.
One of the last large services made by Bloor was a magnificent
dessert made for her present Majesty, and some large additions to
that set, and pieces for replacing, have been from time to time made
by the present owners of the works, which are still therefore as fully
entitled to the name of “Royal” works as any of their predecessors.
The marks used by these later firms will be found engraved on page
93; I give them to complete the chronological series. The name of
Courtney, which appears on one of these marks, was Bloor’s agent.
Having now gone through the History of the works, it only
remains to speak of the artists employed, and of one branch of the
manufacture, that of “Biscuit,” which requires more than a passing
notice. This material was a discovery of, and quite peculiar to, the
Derby Works, and the secret of its composition is still preserved. To
it the beautiful material Parian thus owes its origin. One of the Derby
workmen having engaged himself to Mr. Copeland, was trying
experiments to recover the secret of the biscuit composition, when
instead of it he produced accidentally that which has been named
“Parian,” and in which all the exquisitely beautiful figures and groups
that characterise their, and other equally admirable, productions
have since, with modifications and improvements, been worked. It is
pleasant thus to know, that although the art of making Derby biscuit
figures has been discontinued, the Parian has sprung from it, and
was first produced by a Derby man. Nothing could exceed the
sharpness and beauty of the biscuit figures as produced in the best
days of the Derby Works, and some examples, for delicacy and
fineness of modelling, and for sharpness of touch, have never, in any
ceramic material, been surpassed, or scarcely equalled.
Transfer printing on china appears to have been introduced at
Derby in 1764—some years before even Wedgwood printed his own
ware, but while he was in the habit of sending it off to Liverpool to
be printed by Messrs. Sadler and Green. The process, however, did
not obtain much favour at Derby, and Mr. Duesbury evidently found
it better, and more satisfactory, to adhere to hand-work in all his
goods. The person who introduced the process, and whom he
engaged to carry it on, was Richard Holdship, of Worcester, who, by
deed, covenanted for the sum of £100 paid down, and a yearly sum
of £30 so long as the works continued on his process, to impart in
writing to Messrs. Duesbury and Heath his secret process for making
china according to proofs already made by him at the Derby Works;
to supply them with all sufficient quantities of soapy rock at fair
prices; and to print all the china or porcelain ware which might have
occasion to be printed. The engagement with Holdship lasted, at all
events, many years, but during that time the printing evidently was
not much followed, as in his letters to his employers he is constantly
complaining of having no work for his presses, and in having no
goods made according to his process. He had an assistant named
William Underwood, and in one of his letters he values his press at
ten guineas in cash, and his copper-plates at a large amount, while
he says “for his process for Printing Enamell and Blew, he hath been
offered several Hundred Pounds.” His stock of enamel colours, 151
lbs. in weight, he offers to sell for £35. It is needless to write more
in this place of Holdship’s connection with Derby, as I have already
given more full particulars in the first volume, page 232. At one time
John Lodge, the eminent engraver, engraved some plates for printing
at Derby. The following is his bill for some engraving done in 1771:—
Mr. Deusberry Dr. to John Lodge,
£ s. d.
Engraving a Plate of Chinese Figures 0 10 6
Copper to do. 0 2 6
To Engraving Eight Borders 0 16 0
Copper to do. 0 1 11
To Engraving two Plates for Cups and Saucer 1 1 0
Copper 0 4 5
To Engraving two Plates for Cup and Saucer 1 1 0
Copper to do. 0 2 4
To Engraving two Plates for Small China 1 4 0
Copper to do. 0 5 10
£5 9 6
Sept. 28, 1771.
Recd. the Contents in full of all demands, John Lodge.
Fruit dishes, and other articles were at one time made with open-
work reticulated rims or sides; a raised “Dresden” flower being
placed on each of the outer sections in much the same manner as
was characteristic of one period of Worcester work. These were
made both in blue and white, and in enamel; they are somewhat
scarce.
 Fig. 53.
In 1789 Mr. Duesbury endeavoured to introduce batt-printing into
his manufactory, and for that purpose prevailed on his former
assistant, J. Hancock, then in Staffordshire, to inquire into and
describe to him the process. I must not omit to say that earthen
ware, called the “Cream Ware,” very closely resembling Wedgwood’s
celebrated “Queen’s Ware,” was made at Derby for a short time, and
was of great beauty. Specimens of this ware are of great rarity.
In 1790 Mr. Duesbury invented a machine for exhibiting the
contraction of earthen bodies when in the fire; this he had
constructed by Spooner and Son.

Figs. 56 to 58.
The marks used at the Derby China Works may be thus briefly
summarised. The simple writing letter is said to have been the
first mark used by William Duesbury. The , which stands either as
the initial of Derby or of Duesbury, conjoined with the anchor of
Chelsea is the distinctive mark of the Chelsea-Derby period—the
period when William Duesbury, who had purchased the Chelsea
works, carried on both the manufactories, and, later, produced
goods at Derby from the Chelsea moulds. Two or three varieties of
this mark, according to the taste or whim of the workmen, occur
(see Figs. 56, 57, and 58).

Figs. 59 to 61.
Two other marks, the one a surmounted by a crown, and the
other an anchor, similarly surmounted, are said to have denoted
respectively the articles made at this period at Derby and at Chelsea
(Figs. 59 to 63). Now and then the first of these is met with in
connection with the anchor (Fig. 63).

Figs. 62 to 67.
The most usual mark is that of the letter D, with crossed swords,
dots, and crown, of which several varieties occur. Sometimes the
initial is the writing letter , and sometimes a Roman capital D,
and the crown also varies according to the caprice of the painter.
Figs. 64 to 67 show some of the varieties.

Fig. 68.
 A variety of this, in which a and a are conjoined, denotes
the period when the works, in their later days, were carried on by
Duesbury and Kean. It was, however, only very sparsely used. For
some years, at all events up to about 1825 or 1830, Mr. Bloor
continued to use the old mark of the Duesburys—the crown, cross
daggers with dots, and D beneath—but about that period
discontinued it, and adopted instead a mark with his own name (Fig.
68). It is well to note, that down to the discontinuance of the old
mark, it had invariably been done with the pencil, by hand, but that
those adopted by Mr. Bloor were printed ones. The first printed mark
I believe to be Fig. 69, and somewhat later the same was used, but
slightly larger in size (Fig. 71). Other marks are shown on the
engravings. Figs. 74 and 75 have an old English surmounted by a
crown; another (Fig. 76) a crown, with a riband bearing the word
DERBY in Roman capitals beneath it.

Figs. 69 to 73.

Figs. 74 to 78.

Other marks, said to have been for one purpose or other—of

course as imitations—used at Derby, are the following:—
 Figs. 79 to 84.
In my own possession is a design, in pencil, by Mr. Duesbury, by
his own hand, for a mark, which I engrave on Fig. 84, although I
believe it was never adopted. At all events I have failed in
discovering a single specimen so marked. Mrs. Palliser, however,
engraves a mark as occurring on a cup and saucer, which somewhat
assimilates to it. She also gives, from a specimen in her own
possession, the word in writing letters. This, she states,
occurs “in black on a biscuit statuette;” but I fear the mark has been
added at a later date. Another mark, which has been described to
me, but of which I have not seen an example, is very similar to Fig.
84, but has the cross daggers and crown added, with the encircling
words “DUESBURY, DERBY,” Fig. 85. It may be well, en passant, to
notice a mark which appears on one of the copper-plates of the
Caughley works (see Vol. I., p. 273). It is an anchor over the word
“Derby.” As the initials RH conjoined also appear along with the
anchor and word “Worcester,” and may mean either R. Hancock or
Richard Holdship, the probability is they belong to the latter (who
was connected with the Derby works), and that the anchor was
adopted in allusion to his name, hold ship—a very clever and
ingenious device. Another variety belonging to Mr. Robinson differs
slightly from these.

Figs. 84 to 89.
 On some services, notably on the royal service, mentioned on
page 88, Mr. Bloor had his name painted in full—

Messrs. Robert Bloor & Co.,

34, Old Bond Street,
on the back of plates, &c. The “Co.” in this instance was Mr. Thomas
Courteney, the London agent, through whom the order was
procured. His place of business was 34, Old Bond Street, and many
of the goods afterwards made for him bore the accompanying mark,
Fig. 91. Messrs. Locker & Co., at the modern King Street works, used
the mark, Fig. 92, and their successors, Stevenson, Sharp, and Co.,
the next one. The next firm, Stevenson and Hancock, used, in
accordance with my suggestion, and a sketch I made for them, in
1862, the old Derby mark of the crown, crossed daggers, dots, and
letter , with the initials of the firm S. H. (for Stevenson and
Hancock); this is still continued by the present sole proprietor,
Sampson Hancock—the letters S. H. being, fortunately, his own
initials.

Figs. 91 to 94.
Of the artists employed at the Derby China Works, the principal
modellers appear to have been Spengler, Stephan, Coffee, Complin,
Hartenberg, Duvivier, Webber, and Dear, and many others, including
Bacon the sculptor, were employed in London, and the models sent
down to the works.
Of the painters, the principal ones were Bowman, who was
originally of Chelsea, afterwards of Derby, and then again of London,
and who was one of the best flower and landscape painters of his
day; Billingsley, who received instruction from Bowman, and whose
flower pieces have certainly never been surpassed, or even equalled;
Hill, a famous painter of landscapes, who delighted in sylvan
scenery; Brewer, also an excellent landscape and figure painter, and
whose wife, Bernice Brewer, was also a painter; Pegg, who
surpassed in faithful copying of nature, in single branches and
flowers, and in autumnal borders; Samuel Keys, a clever
ornamentalist, who ended his days in the employ of Mintons; Steel,
who excelled all others in painting fruit; John Keys, a flower painter;
Cotton and Askew, two highly-gifted painters of figures; Webster,
Withers, Hancock (two, uncle and nephew), Bancroft and others as
flower painters; Lowton, clever at hunting and sporting subjects;
and Robertson, at landscapes.[17] But besides these, there were
many other really clever artists employed. It is pleasant, too, to
know, that “Wright, of Derby,” the celebrated portrait painter, the
contemporary and fellow pupil with Reynolds, lent his powerful aid
on some occasions,[18] in supplying drawings and giving advice, as
did also De Boeuff, Bartolozzi, Sanby, Glover, and many others of
eminence; and it is also interesting to add, that one of the
Wedgwood family, Jonathan Wedgwood, was at one time employed
at Derby. The draft of agreement between himself and William
Duesbury, dated 1772, is in my own possession, and by it he binds
himself for three years to work at “the arts of repairing or throwing
china or porcelaine ware,” for the sum of fourteen shillings per week.
A few brief notes upon some of the artists of the Derby works will
doubtless be of service to collectors; I therefore dot down the
following memoranda:—
J. J. Spengler, a Frenchman, had been occasionally employed in
London by Mr. Duesbury to model figures for him, and in 1790, on the
recommendation of Mr. Vulliamy, entered into an agreement to come
to Derby. Mr. Wallis, in his not very reliable account of the Derby
China Works, to which I have before referred, says Spengler “was
brought to Derby from London by Mr. Kean,” but this is an error. He
was in Derby years before Mr. Kean had any connection with the
works. The original agreements, dated July 13 and September 15th,
1790, are in my own possession (as are also a number of original
letters, accounts, and other documents connected with him), and is as
follows:—
“A Copy.

“A Memorandum. London, July 13, 1790.

“That the Bearer, Mr. J. Spengler, has agreed to come
down to the Manufactory at Derby, to work as Modeller, &c, and to
receive for the first month after the rate of three Guineas per week,
and his expenses paid down by the Coach. His hours of work is to be
from Seven o’clock in the morning till the rest of the People in the
Manufactory give Over work in the Evening. It is further agreed on,
that after the expiration of the first Month, if the parties like each
other and they agree for a fixed time to come, The bearer, Mr. J.
Spengler, is then only to receive after the rate of two pounds ten
shillings per week from the first day he began to work in the
manufactory.
“Witness: (Signed) “For Mr. W. Duesbury.
“B. Vulliamy. “J. Spengler. “J. Lygo.”
He accordingly came to Derby and a more full agreement was
drawn up in September. On the 15th of that month he drew up and
signed a memorandum to the effect that as he knew nothing either of
the laws or language of England, he was to go to London to cause to
be examined the agreement made between himself and “Monsieur
Duesbury Maitre de la fabrique de Porcelaine a Derbey,” and should it
be found right, to return at once to Derby and sign and execute it; Mr.
Duesbury agreeing to pay the expenses of the journey and half the
loss of time at the rate fixed in the agreement. This memorandum,
which is well written, but in wretched French, is signed by “J.
Spengler” and by “Mr. Duesbury” thus:—
“Sep. 15th, ’90. As far as I can understand the French Language, I
conceive the above to be right.
Wm Duesbury.”
Spengler first went down to Derby in the beginning of August,
1790, soon after the date of the agreement of July 13th (having just
previously modelled a “Figure of Astronomy, in London,” for which Mr.
Duesbury paid him ten guineas, and for extra time expended over it at
Derby, in finishing, an additional two and a half guineas), and his first
pieces of work were “Figure with a Vase (Morning),” and its
companion, a “Figure with a Vase (Noon),” for each of which he was
paid seven guineas; and the “Three Graces,” for the time expended on
which he was paid six guineas.[19] Before long, unpleasantness arose
through Spengler’s inattention to work, breach of contracts, and
getting into debt, and in 1792 he left Derby surreptitiously.
Proceedings were taken by Mr. Duesbury; his goods (the inventory of
which, dated March 18th, is before me) were sold; and he was
captured at Ramsgate, and placed in the King’s Bench Prison. The
result of law proceedings was that Spengler entered into a fresh
agreement with Mr. Duesbury (I have the draft) by which he
covenanted “Not to lose more time in any one week than half a day,
sickness excepted, under the penalty of paying after the rate of 7s.
per day to Mr. D., Mr. S. to continue to serve Mr. D. to the best of his
skill (without working for any other person) until he shall have paid
Mr. D. the ballance due to him, and all lawful expences; Mr. D.
receiving two-thirds of his earnings, Spengler to have liberty to attend
any number of hours (that the manufactory is open for others) over
and above those work’d by himself and the rest of the other hands for
overtime, and to receive in the same proportion for such time as for
the regular day’s time,” and so on. He was, evidently, for the purpose
of carrying out the agreement, bailed out of the King’s Bench by a
friend, whose letters I possess, but by November of the same year
had again left his employment.[20]
Spengler was then again in the King’s Bench, from which, on the
31st of January, after other correspondence, he wrote a very pathetic
letter (in French, as all his letters are) to Mr. Duesbury, and ultimately
it appears that an arrangement was come to for him to work in
London. In 1794, fresh arrangements were again in progress
(Spengler, who was living at Chelsea, in the meantime having
continued to work for Mr. Duesbury), and much correspondence took
place; the result being that in February, 1795, Spengler returned to
Derby, under a fresh agreement, which, as it contains much valuable
information as to figures and groups, and prices for modelling them, I
give entire:—
“Heads of an Agreement to be enterd into between Wm. Duesbury of
Derby in the County of Derby & J. J. Spengler, Modeller, Viz.:—
“J. J. S. to serve Wm. D. his Exs. Adms. or Asss. in his Manufactory
at Derby for so long as W. D. his Exs. Adms. or Asss. shall have
occasion for the assistance of J. J. S. W. D. his Exs. Adms. & Asss.
reserving to themselves the power of Terminating this Agreement by
giving J. J. S. 1 Month’s notice at any time. J. J. S. to have the like
power of Terminating it at any time by giving 1 Ms. notice unless he
shall not be able in that time to complete any Set of work he may
have undertaken in which case J. J. S. to stop with W. D. his Exs.
Adms. or Asss. till such work is so finishd if required by W. D. his Exs.
Adms. or Asss.
“W. D. having been a great looser by J. J. S. under a former
Agreement, it is now agreed that W. D. his Exs. Adms. or Asss. shall
have the liberty to pay J. J. S. for his Work either by the day at four
shillings pr day of 10 hours (to be the same hours which other
Workmen work for a day from time to time in the Porcn. Manufactory
at Derby) or by the piece as aftermentiond at their option when any
piece of Work shall be finished.
“The prizes for each Male or Female Human Figure to be Modeld by
J. J. S. from any sketch either on paper or in Clay &c. as highly
finished as the Russian Shepherd Group—Palemon & Lavinia Group—
Blind Beggar & Daughter Do. modeld for W. D. by J. J. S. some time
since to be
£ s. d.
If 4 Inches high & not exceding 5 In. 6 6
„ 5 „ „ 6 „ 8 0
„ 6 „ „ 7 „ 11 6
„ 7 „ „ 8 „ 13 6
„ 8 „ „ 9 „ 16 0
„ 9 „ „ 10 „ 18 6
„ 10 „ „ 11 „ 1 1 0
„ 11 „ „ 12 „ 1 4 0
„ 12 „ „ 13 „ 1 8 0
„ 13 „ „ 14 „ 1 13 0
„ 14 „
„ 15 „
„ 16 „ and so on in proportion.
„ 17 „
„ 18 „
Intermediate Sizes in proportion.
“J. J. S. to go to Derby at his own expence & to begin work in 28
Days after his signing this Engagement. In the mean time Mr. Lygo to
pay him from the Time he signs this Agreemt. 5/- pr. Week to be
repaid by J. J. S. by Weekly Stoppages of Eight Shillings.
“J. J. S. in all other particulars to work at & be subject to the same
rules, orders, & regulations as the rest of the Workmen of the
Manufactory at Derby.
“All Sketches to be made whether in Clay or on paper, &c., under
the direction of Mr. D. his Exs.] Adms. or Asss]. by the day without
limitation of time. J. J. S. to do the best he can in this particular to
dispatch business.
“J. J. S. & W. D. agree hereby to execute regular articles of
agreements conformable to the above specified heads so soon as the
same can conveniently be prepared, under the Penelty of One
Hundred Pounds. Signd this 10th day of Jany 1795.
“SPENGLER
“Witness—Joseph Lygo.” “Modeler.
In a letter dated February 3, 1795, it is said “Spangler will set off
for Derby tomorrow, he intends walking as it will not be so expensive
and he may as well be walking to Derby as stay here doing nothing.”
How long he remained in Derby after this I have not ascertained but
as Mr. Duesbury died the following year, and things went very
awkwardly, it is probable he did not long remain.
Pierre Stephan, another Frenchman, was for some years a modeller
and china maker at Derby, and produced many lovely groups and
single figures. He removed to Jackfield, where he commenced a small
pot-works, producing not only earthenware, but encaustic tiles. His
son, Mr. Peter Stephan, is, at the time I write, a skilled modeller at the
Coalport China Works. (See page 305, vol. i.) By articles of agreement
entered into on the 17th September, 1770, “between Peter Stephane
of Derby in the County of Derby, Modeler and China or Porcelaine
Repairer of the one part and William Duesbury of the same place
China or Porcelain Manufacturer of the other part” he binds himself
for three years “to employ himself in the art of Modelling and
Repairing China or Porcelaine Ware” at £2 12s. 6d. per week. The
agreement is signed “Pierre Stephan” and “William Duesbury,” and is
attested by “Constantine Smith,” “Friederick Decuber,” and “Thos.
Morgan, Junr.”—names which will be found noticed elsewhere. In
1795 Stephan was at Shelton, and while there continued to model for
and send moulds to Mr. Duesbury.
Fidele Duvivier, a Frenchman, entered into an engagement with the
elder Mr. Duesbury in 1769. The agreement (duly signed by both
Duesbury and Duvivier, and attested by “John Bosher” and “S.
Horrocks,”) is dated 31st October, 1769, and is “between Fidelle
Duvivier of the borough of Derby China or Porcelain Painter,” and
“William Duesbury of the same place China or Porcelain Manufacturer,”
and covenants that the former shall, for four years from that date,
“diligently and faithfully according to the best and utmost of his skill
and knowledge, exercise and employ himself in the Art of Painting
China or Porcelain Ware,” for the weekly wages of 24s.; Mr. Duesbury
agreeing, at the end of that time, to give him an additional five
guineas “in case he shall merit the same.” He became the principal
flower painter at the Derby Works, and his style was much followed
by the later painters. Duvivier remained some years at Derby, and
then left, being afterwards employed at Wedgwood’s and various
other places. In 1790, being then employed at the New Hall Works
(which see), he wrote the following letter to the then Mr. Duesbury,
and in consequence, I believe, he returned for a time to Derby:
—“Hanley green, the 1 novebr 1790, Mr. Dousbery, Sir,—take the
liberty Adressing you with a few lines, as mine Engegement in the
new Hal Porcelaine manufatory is Expierd, and the propriotors do not
intend to do much more in the fine line of Painting, therefor think of
Settling in new Castle under lime being engag’d to teech Drowing in
the Boarding School at that place, one School I have at Stone, so as
to have only three days to Spare in the week for Painting, wich time
Could wish to be employ’d by you preferable to eany other fabricque,
because you like and understand good work, as am inform’d, my
painting now to watt I did for your father is quit diferent but without
flatering my Self, Hope to give you Satisfaction, in Case you Schould
like to inploy me, Sir,—your anser will much oblige your Humble
Servant, Duvivier P.S. the conveyance would be much in fevoir for to
Send the ware to and from as ther is a waggon Every week from
darby to new Castle”
William J. Coffee, a modeller, who “made his mark” at Derby, was
the son of William Coffee, who worked either at Hempel’s or Triquet’s
pottery at Chelsea, and afterwards entered into domestic service in a
gentleman’s family. Coffee was, I believe, brought up to some branch
of the business with his father at these Chelsea works, and was
afterwards employed at Coade’s Lambeth Pottery.[21] He first came
down to Derby, I believe, about the year 1791, and agreements were
entered into between him and Mr. Duesbury. I believe he at first came
as a kiln-man. He does not, as a modeller, seem to have made much
head-way at first, and even in 1794 the London agent wrote, “I do
not much admire Mr. Coffee’s modelling from what I have yet seen.
The figure No. 359 is one of the most stupid looking things I ever
saw, and the figure of Apollo in group No. 379 is very vulgar about
the bosom, for sure never such bubbys was seen and so much
exposed—the design is pretty enough.” Soon after this a fresh
agreement was entered into as to prices to be paid for figures
according to size by the piece, or at day’s wages; Mr. Duesbury
covenanting to have the option of paying him after the rate of 3s. 6d.
per day for each day of 10 hours that he works at the manufactory,
“or at the rate of 7s. for any single human figure of 6 inches high,
whether standing or in any other action, which if standing would be 6
inches high; and that all figures shall be roughed out naked in correct
proportions before draped;” three pence for every half inch additional
in height being paid, and so on. On the 30th of January, 1795, a fresh
agreement was entered into:—“Memorandum—Whereas Heads of an
Agreement between Wm. Coffee and Wm. Duesbury were Executed
by W. C. and W. D. wherein 6 Months notice was agreed upon
between them when either wished to close the Agreement—It is
hereby agreed between W. D. and W. C. that the said Agreement shall
be cancell’d, and this Agreement stand in its place viz—W. C. shall
Modell for W. D. untill the 6th of July next at the prizes which shall be
paid by W. D. to the Modeller he has now engaged to come down who
is to have 4s. pr. day for such work as he shall do by the day and
various prizes by the piece in proportion to their value when he works
by the piece in lieu of by the day—NB—This Agreement is not to be
construed to imploy that W. D. has agreed to raise W. C.’s wages by
the day above 3s. 6d. when he shall chuse to imploy W. C. by the day
in preferance to his working by the piece—Signed this 30th of Jany.
1795. NB—W. C. remarks, that he would wish to know before he
begins any piece of work whether the said work is to be Executed by
him by the day or by the piece, W. D. certifies by this proviso that
such was always his intention—W. Coffee, W. Duesbury, Witness,
Charles King.”
In the same year Coffee left Derby, and engaged himself with Sir
Nigel Gresley, Bart., and Mr. Adderley, at their china works at Burton-
on-Trent,[22] and immediately wrote as follows to Mr. Duesbury:
—“Burton on Trent J 4 1795, Sir,—My being your Debtor makes it my
Duty to inform you immediately of my arrival here and likewise of my
engagement with Sir Nigel Gresley and Mr Adderley lest you should
suppose that I had forgot the Obligation I lie under to you—but am
extremely sorry to understand that you meant to injure me respecting
my Business as that would totally deprive my honest intention of
paying you, the mode of which I shall be happy to submit to your own
satisfaction when I wait on you, I intend as soon as possible.—I am
sir your h servant, W. Coffee.” To this Mr. Duesbury returned a manly
letter, denying the imputation, asking for the name of Coffee’s
informant, and assuring him that he has only to make the mode of
 repayment quite convenient to himself. In the same year the father of
Coffee thus wrote:—“London Sepr 9th 1795, Sir,—My Son since He left
you has been at Work near your Manufactory for Sir Nigel Gresley
which He says He inform’d you of at the time—having finished all
there was to do there He is now return’d to London and out of
Employ. As I was very sorry for his leaving you and severely reflected
on Him for it—He now assures me that He shou’d be extremely happy
to serve you again—for a constancy if you thought proper under an
Article for a Term of Years—at the lower rate of 18 or 17 Shillings pr
week—He gave Sir Nigel the greatest satisaction both in His behaviour
and in His Business—as a proof of which Sir Nigel has offer’d to give
Him the best of Characters at any time it shou’d be requir’d of Him—
therefore Sir you cou’d be satisfied in that respect at any time you
pleas’d—hoping whatever may have happen’d at any time
disagreeable your goodness will forget—Your condescention in
favouring me with an Answer directly will much oblige Sir Your most
humble Servant William Coffee P.S. He is wiling to repair or do what
work you think proper. I will attend Mr Ligo hopeing your kind
Answer.” The result was that Coffee returned to Derby; worked at the
china factory as of old; and afterwards commenced business on his
own account in Derby. Here he produced terra-cotta figures of
considerable merit and in tolerable variety. Of these, a wolf, a lion, a
dog, and others are strikingly good. He stamped his productions with
his name, “w. coffee, derby,” and occasionally the number, or the date.
He also gave lessons in modelling, and turned his attention to oil-
painting and sculpture. His statue of Æsculapius, on the roof of the
Infirmary at Derby, was his principal work. It was executed in or about
1810.
Richard Askew was employed at the Chelsea works when taken to
by Duesbury, and came from there to Derby in 1772. His name occurs
regularly in the “weekly bills” at Chelsea where he received 4s. 2d. a-
day wages. The following is an account for extra work done by him:—
£ s. d.
2 Perfume pots in figuars 1 16 0
2 Row wagons in figuars 1 10 0
£3 6 0
Recid. £2 2s.
April the 30, 1771. Richard Askew.
Robert Askew, his son, was employed at Derby in 1772, and in that
year, along with John Laurence, absconded from his employment, and
was advertised three different times in the Birmingham newspapers.
In 1794 Askew, “enamel painter of Birmingham,” was living in
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