Victorian Villa
18th Century Elegance
The 18th century emphasis on elegant dining was perhaps most obvious in the fashion for elaborate dessert services. This began in Europe and spread to wealthy British households by 1750.
Dining tables were laid out with porcelain dishes and glass stands used to display jellies, fruits and ices. Figures made from sugar paste were used as decorations and porcelain manufacturers soon began to make their own versions. The writer Horace Walpole noted in 1753: ‘Jellies, biscuits, sugar plumbs, and creams have long since given way to harlequins, gondoliers, Turks, Chinese and shepherdesses of Saxon China.’
1
PAIR OF FIGURES
1755-1760
The earliest porcelain figures were made for the dessert courses of grand dinners. They replaced sugar paste figures which had been
made since medieval times. Figures of men and women in Turkish dress were popular because they brought a touch of the exotic
to the home.
Porcelain
Made at the Bow porcelain factory
Cecil Higgins Art Gallery No. C.173 & C.174
2
TUREEN IN THE SHAPE OF AN APPLE
1752-1756
Tureens shaped like animals and vegetables were used in dessert courses for serving stewed fruit, creams and ice creams. They
might have originally been designed to stand on leaf-shaped dishes to protect the tablecloth underneath.
Porcelain
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.291
3
TUREEN IN THE SHAPE OF A PARTRIDGE
1752-1756
Porcelain
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.292
4
TUREEN IN THE SHAPE OF A PIGEON
1752-1756
Porcelain
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.300
5
TUREEN IN THE SHAPE OF A CAULIFLOWER
1752-1756
Porcelain
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.303
6
DESSERT PLATES AND TUREENS
1755-1760
Porcelain
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.312 & C.313, C.322-325
7
STAND FOR SWEETMEATS
About 1760
This stand would have been used as the centrepiece of a grand dessert service. The term ‘sweetmeat’ was used for several different types of sweet delicacies, including cakes and pastries, sweets, and nuts and fruit preserved in sugar.
Porcelain
Made at the Derby porcelain factory
Cecil Higgins Art Gallery No. C.372
8
WINE GLASSES
Mid 19th century
Glass
Cecil Higgins Art Gallery No. G.97 & G.98
9
CANDLESTICKS
1747
Silver
Cecil Higgins Art Gallery No. M.22 & M.23
10
KNIVES AND FORKS
Late 18th century
Silver gilt and porcelain
Cecil Higgins Art Gallery No. M.204-205 & M.208-209
Tureens
For about 10 years from 1750, tureens (serving dishes) shaped like animals and vegetables were a popular part of dessert services used for grand dinners. Part of their appeal lay in the surprise of removing the lid to reveal sweet dishes like stewed fruit or ice cream inside.
Tureens like these were first made in Germany or France before the trend was taken up by porcelain manufacturers in England. The fashion only lasted about ten years but during this time manufacturers tried to outdo each other, making them as elaborate and realistic as possible.
1
TUREEN IN THE SHAPE OF A SWAN
1752-1756
Porcelain with a gilt metal band
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.296
2
PAIR OF TUREENS IN THE SHAPE OF PIGEONS
1752-1756
Porcelain
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.298 & C.299
3
PAIR OF TUREENS IN THE SHAPE OF DRAKES
1752-1756
Porcelain
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.304 & C.305
Small is Beautiful
1
SNUFF BOX
About 1760
Snuff is a scented tobacco-based powder which was popular with men and women in the 18th century. A pinch would be taken between thumb and forefinger and then inhaled through the nose.
Germany
Porcelain and silver gilt
Made at the Meissen porcelain factory
Cecil Higgins Art Gallery No. C.920
2
NÉCESSAIRE
About 1800
Nécessaires held all the ‘necessary’ equipment that a lady might need. This one includes items that are familiar today, such as tweezers and bottles for various beauty potions, as well as less familiar objects, including a spoon for removing earwax.
The Netherlands
Ormolu (gilded brass or bronze) and garnet
Cecil Higgins Art Gallery No. M.188
3
BONBONNIÈRE
About 1760
The Chelsea porcelain factory made bonbonnières in several different designs, including male and female heads. The insides of their bonbonnières were usually painted with sprays of flowers.
Porcelain and silver gilt
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.330
4
BONBONNIÈRE IN THE SHAPE OF A KNEELING CAMEL
About 1760
Porcelain
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.335
5
CHATELAINE
Mid 18th century
Chatelaines are decorative clasps which ladies and their housekeepers would wear hung from their waists. They had clips and chains for useful objects, like keys and scissors. This example also has two vinaigrettes, which would have held small sponges soaked in a scent. These could be sniffed to disguise unpleasant smells and ward off faintness.
Pinchbeck (an alloy of copper and zinc mixed to resemble gold)
Cecil Higgins Art Gallery No. M.142
6
SCENT BOTTLE
About 1760
This scent bottle is shaped like a tulip with a butterfly on the stopper. It is exactly the kind of object that would have been kept on a wealthy lady’s dressing table to keep her expensive perfume safe.
Porcelain
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.332
7
PATCH BOX
About 1765
Small boxes like this were designed to hold beauty patches. These were small dark patches that a lady would put on her face to emphasise her pale skin. The patches varied in shape from simple spots, stars and crescents to more intricate designs like animals and insects.
Porcelain
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.355
8
PATCH BOX
About 1765
Small decorative objects, or ‘trifles’, like this patch box were popular gifts. They might be given to a lady by an admirer as a token of their affection. Enamel boxes like this, which was made in the West Midlands, imitated more expensive porcelain boxes.
Copper and enamel
Possibly made at the Bilston enamel factory
Cecil Higgins Art Gallery No. A.3
9
SCENT BOTTLE IN THE SHAPE OF A DOVECOT
About 1760
Porcelain
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.333
10
BODKIN CASE
About 1760
A bodkin case was a decorative container in which a lady could keep a needle and sewing accessories.
Porcelain and ormolu
Made at the Chelsea porcelain factory
Cecil Higgins Art Gallery No. C.334
11
BONBONNIÈRE
About 1760
In the 18th century regular trips to the dental hygienist weren’t an option. To mask the smell of bad breath, ladies would carry around tiny lozenges flavoured with roses, violets, liquorice, mint or cloves. They kept them in decorative containers called bonbonnières, from the French bonbon (meaning sweets).
Silver gilt and enamel
Possibly made at the Battersea or Bilston
enamel factories
Cecil Higgins Art Gallery No. A.15
In Memory of a Loved One
12
BROOCH
19th century
Bog oak, a type of fossilised wood from peat bogs, was a popular material for making mourning jewellery. Like jet it has a very dark colour, although it has a matt rather than a shiny finish.
Bog oak
Cecil Higgins Art Gallery No. A.131
13
NECKLACE
About 1870
Jet mourning jewellery was made popular by Queen Victoria, who wore it after the death of Prince Albert. Jet is the fossilised remains of trees that grew over 135 million years ago. A big industry in jet mining and carving grew up around the North Yorkshire town of Whitby in the 19th century.
Whitby jet
Cecil Higgins Art Gallery No. A.115
14
BUTTONS
About 1920
Onyx with crystal stones
Made by Boucheron, Paris
Cecil Higgins Art Gallery No. A.108
15
PENDANT IN THE SHAPE OF A CROSS
1860-1869
The design of a piece of mourning jewellery was just as important as the materials that were used. This cross is formed from thorn branches entwined with holly. To the deeply religious Victorians, these were Christian symbols that represented the suffering of Jesus Christ.
Ivory
Hull Grundy Collection
Cecil Higgins Art Gallery No. A.129
16
BROOCH
About 1850
Oak leaves stood for strength or enduring love, while an empty acorn cup stood for the inevitable end of love.
Ivory
Hull Grundy Collection
Cecil Higgins Art Gallery No. A.128
17
BROOCH
About 1850
Bog oak
Hull Grundy Collection
Cecil Higgins Art Gallery No. A.187
18
BROOCH
About 1870
Jet
Hull Grundy Collection
Cecil Higgins Art Gallery No. A.143
19
BROOCH
1850-1885
Jet
Cecil Higgins Art Gallery No. A.136
20
BROOCHES
About 1830
Enamel, gold, silver and brilliants
Hull Grundy Collection
Cecil Higgins Art Gallery No. A.96a-b
21
LOCKET
Mid 19th century
Mourning jewellery often featured flower designs. The forget-me-not was one of the most commonly used flowers.
Gold and opal
Object No. BMT(c).985
22
BROOCH
19th century
A popular design for jet mourning jewellery was a hand holding a spray of flowers.
It isn’t clear why the hand making up this brooch is empty.
Jet
Hull Grundy Collection
Cecil Higgins Art Gallery No. A.160
23
BROOCH
About 1840
Just as there were rules about what kind of clothes could be worn at different stages of mourning, the type of jewellery that could be worn also changed. Jewellery made with diamonds or seed pearls, representing tears, set in black enamel was thought to be appropriate for ‘first’ mourning.
Gold, enamel and seed pearls
Hull Grundy Collection
Cecil Higgins Art Gallery No. A.95
24
EARRINGS
1870-1875
Jet with silver wire
Cecil Higgins Art Gallery No. A.116a&b
25
BRACELET
1860-1875
Hair was to make mourning brooches. It was also woven together to make bracelets and rings.
Hair and gold
Hull Grundy Collection
Cecil Higgins Art Gallery No. A.142
26
BROOCH AND RING
About 1843 (brooch), about 1830 (ring)
This memorial brooch and ring commemorate Mary Ann Higgins, who died in 1829 aged 14. Mary was the sister of Cecil Higgins’ father.
Enamel, gilt, glass and plaited hair (brooch)
Gold and enamel (ring)
Cecil Higgins Art Gallery No. A.199 & A.200
27
RING
19th century
Gold and hair
Object No. BEDFM 1966.106
28
RING
About 1770
Mourning and memorial jewellery wasn’t invented by the Victorians. Although it became more widely worn in the 19th century, there are plenty of examples from earlier periods. This ring commemorates Ellery Sydenham, who died in May 1770 aged just 10.
Gold, hair and diamonds
Cecil Higgins Art Gallery No. M.345
29
BROOCH
1800-1830
Mourning jewellery made with pieces of hair from the departed was quite literally a way of keeping a loved one near. Brooches like this, where a lock of hair is woven into a knot design, were thought to be suitable for the period of ‘half’ mourning.
Glass, silver and hair
Hull Grundy Collection
Cecil Higgins Art Gallery No. A.117
All in Good Taste
Porcelain figures were first made in Europe at the Meissen factory in Germany from the 1730s, where many were based on popular engravings of the time. They were originally made as table ornaments for the dessert courses of grand aristocratic dinners. From the mid 18th century they began to be displayed on mantelpieces, wall brackets and in cabinets to ‘make a room look neat and furnished’.
Other continental and English porcelain factories made their own figures, imitating or copying Meissen originals. In England these decorative objects were aimed at the fashionable middle classes, while more affordable pottery figures were also available.
Figure Sets
Sets of figures based on themes such as the five senses, the four seasons and the continents were popular with both continental and English porcelain factories and consumers, while pottery versions were also made. Allegorical and mythological figures were also popular subjects.
1
FIGURE OF DIANA
About 1765
Porcelain
Made at the Derby porcelain factory
2
GROUP OF LEDA AND THE SWAN
About 1765
Porcelain
Made at the Derby porcelain factory
3
FIGURE OF NEPTUNE
About 1770
Porcelain
Made at the Derby porcelain factory
4
THE FOUR CONTINENTS
About 1760
Porcelain
Made at the Derby porcelain factory
5
THE FOUR SEASONS
Late 18th Century
Earthenware
Made in Staffordshire
Men and Women
The Meissen porcelain factory in Germany made porcelain figures representing men and women in idealised forms. Other continental and English porcelain factories produced their own versions, often copied from Meissen originals. The figures included musicians, ladies and gallants, dancers, gardeners, figures in Turkish dress and Chinese figures.
There were original English versions, such as Bow’s figures of popular actors and actresses from the time, which were probably designed to be displayed on wall brackets. Staffordshire potters also made more affordable pottery versions of figures.
6
FIGURES OF MUSICIANS
About 1750
Porcelain
Made at the Meissen porcelain factory, Germany
7
GROUP OF A LADY AND GALLANT
About 1740
Porcelain
Made at the Meissen porcelain factory, Germany
8
GROUP OF A LADY AND A GALLANT
1755-1760
Porcelain
Made at the Bow porcelain factory
9
FIGURES OF DANCERS
About 1765
Porcelain
Made at the Bow porcelain factory
10
FIGURE OF AN ACTOR
About 1750
This figure is thought to represent the actor Henry Woodward (1714-1777) playing ‘The Fine Gentleman’ in Lethe by David Garrick (1717-1779).
Porcelain
Made at the Bow porcelain factory
11
FIGURE OF AN ACTRESS
About 1750
This figure is thought to represent the actress Kitty Clive (1711-1785) playing ‘The Fine Lady’ in Lethe by David Garrick (1717-1779).
Porcelain
Made at the Bow porcelain Factory
34
FIGURES OF GARDENERS
About 1770
Porcelain
Made at the Plymouth porcelain factory
35
FIGURES OF GARDENERS
About 1770
Porcelain
Made at the Fulda pottery and porcelain factory, Germany
36
FIGURES OF GARDENERS
About 1760
Earthenware
Made by Ralph Wood (1715-1772)
37
FIGURE OF A TURK
About 1750
Earthenware
Made in Staffordshire
38
FIGURE OF A TURK
About 1744
Porcelain
Made at the Meissen porcelain factory, Germany
39
FIGURE OF A TURK
About 1760
Porcelain
Made at the Derby porcelain factory
40
FIGURE OF A CHINAMAN
1752-1756
Porcelain
Made at the Chelsea Porcelain Factory
41
FIGURE OF A CHINAMAN
1735
Porcelain
Made at the Meissen porcelain factory, Germany
42
FIGURE OF A CHINAMAN
1752-1756
Porcelain
Made at the Chelsea porcelain factory
Commedia dell’Arte
The Commedia dell’Arte was a form of improvised street theatre which developed in Italy in the 16th century and spread throughout Europe. In the 1730s and ‘40s Meissen produced a great variety of figures based on the easily recognisable characters. The idea was taken up by other continental and English porcelain factories, with figures available individually or as part of sets.
12
FIGURE OF BRIGATELLEN
About 1750
Porcelain
Made at the Höchst porcelain factory, Germany
13
FIGURE OF SCARAMOUCH
About 1745
Porcelain
Made at the Höchst porcelain factory, Germany
14
FIGURE OF PIERROT
About 1760
Porcelain
Made at the Kelsterbach porcelain factory, Germany
15
FIGURE OF PIERROT
About 1755
Porcelain
Made at the Chelsea porcelain factory
16
FIGURE OF HARLEQUIN
About 1745
Porcelain
Made at the Meissen porcelain factory, Germany
17
GROUP OF HARLEQUIN FAMILY
About 1740
Porcelain
Made at the Meissen porcelain factory, Germany
18
FIGURE OF HARLEQUIN
About 1755
Porcelain
Made at the Bow porcelain factory
19
FIGURE OF COLUMBINE
About 1765
Porcelain
Made at the Kloster-Veilsdorf porcelain factory, Germany
20
FIGURE OF HARLEQUIN
About 1765
Porcelain
Made at the Kloster-Veilsdorf porcelain factory, Germany
Animals
The trend for porcelain animals began in Germany at the Meissen factory. The chief modeller, Johann Jachim Kändler (1707-1774), had access to a royal menagerie where the extensive aviaries allowed him to model all sorts of different birds. The idea of animal figures was taken up by porcelain factories in England and more affordable earthenware versions were also made.
21
FIGURE OF A PARROT
1749-1752
Porcelain
Made at the Chelsea porcelain factory
22
PAIR OF WAXWINGS
About 1739
Porcelain
Made at the Meissen porcelain factory, Germany
23
FIGURE OF A PHEASANT
1749-1752
Porcelain
Made at the Chelsea porcelain factory
24
PAIR OF JAYS
About 1739
Porcelain
Made at the Meissen Porcelain Factory, Germany
25
FIGURE OF A RAM
1752-1756
Porcelain
Made at the Chelsea porcelain factory
26
FIGURE OF A RAM
1760
Earthenware
Made by Ralph Wood (1715-1772)
27
FIGURE OF A PUG DOG
1755-1760
Porcelain
Made at the Derby porcelain factory
28
FIGURE OF A PUG DOG
Mid 18th century
Porcelain
Made at the Höchst porcelain factory, Germany
Street Traders
The Meissen porcelain factory made series of small figures representing street traders, based on contemporary engravings which depicted ordinary working people. The idea spread to other continental porcelain factories while in England similar figures were made at Chelsea where they were often copied from Meissen originals.
29
FIGURE OF A PRINT SELLER
1760s
Porcelain
Made at the Ludwigsburg porcelain factory, Germany
30
FIGURE OF A GOOSE SELLER
About 1760
Porcelain
Made at the Furstenberg porcelain factory, Germany
31
FIGURE OF A DRUNKEN FISHERMAN
About 1755
Porcelain
Made at the Meissen porcelain factory, Germany
32
FIGURE OF A BROOM SELLER
1760-1765
Porcelain
Made at the Capodimonte porcelain factory, Italy
33
FIGURE OF A MAP SELLER
About 1755
Porcelain
Made at the Chelsea porcelain factory
Taking tea
In the 18th century tea was expensive and reflected the status of those who drank it, as did the elegance and richness of the equipment needed to serve it. Tea fuelled the fashion for visiting, where women in polite society would call on each other and take tea together. The desire to impress others with expensive and beautiful tea sets led to great demand for imports of fine china from overseas and the gradual introduction of English alternatives. As tea became more affordable, cheaper versions were produced, allowing every household to own a teapot.
Canisters and Caddies
The high price of tea was reflected in the containers in which it was stored. Early canisters were small in size and kept in locked chests. As tea was made by the lady of the house in front of her guests, rather than in the kitchen by servants, they were often highly decorative.
14
TEA CANISTER
About 1750
Earthenware
Made in Bristol
15
TEA CANISTER
About 1765
Porcelain
Made at the Worcester porcelain factory
19
TEA CADDY
1787
Engraved with the crest of the Rev. George Calvert (1787-1865). Rev. Calvert left several items to his niece Caroline, Cecil Higgins’ mother.
Silver
Made by Andrew Fogelberg (1727-1815) and Stephen Gilbert, London
20
TEA CADDY
About 1790
Tortoiseshell, silver and ivory
27
TEA CADDY
About 1790
Satinwood and paper
28
TEA CANISTER
About 1790
Earthenware
Made in Leeds
45
TEA CADDY
About 1790
Satinwood, glass and paper
48
TEA CHEST
Late 18th Century
Wood with silk lining
Armorial China
Before British potters were able to match the quality of Chinese porcelain, the finest tea-drinking equipment was imported from China along with the tea itself. Wealthy families could have their porcelain personalised by sending drawings of their coats of arms to China to be hand-painted onto tea and dining services.
24
CUP AND SAUCER
About 1723
Likely to have been made for the marriage of Peter
Burrell, a former sub-governor of the South Sea Company, to Amy Raymond, daughter of Hugh Raymond, a captain with the the East India Company, in 1723.
China
Porcelain
25
TEAPOT AND STAND
1750-1770
The family motto painted onto this teapot is misspelt, probably because of a mistake in translation when the family’s coat of arms was sent to China. It should read ‘Loyal Au Mort’ (Loyal until Death) but instead reads ‘Loyal Au Moat’.
China
Porcelain
Teacups
Early teacups were influenced by Chinese tea bowls with no handles. By the 1740s manufacturers were making teacups with handles, with both types remaining in use until the more practical handled teacup became the norm.
2
CUP AND SAUCER
1715-1720
Porcelain
Made at the Meissen porcelain factory, Germany
3
CUP AND SAUCER
1725-1730
Porcelain
Made at the Meissen porcelain factory, Germany
4
CUP AND SAUCER
About 1765
Porcelain
Made at the Chelsea porcelain factory
5
CUP AND SAUCER
1749-1752
Porcelain
Made at the Chelsea porcelain factory
7
CUP AND SAUCER
About 1760
Porcelain
Made at the Worcester porcelain factory
8
CUP AND SAUCER
About 1760
Porcelain
Made at the Worcester porcelain factory
9
CUP AND SAUCER
About 1755
Porcelain
Made at the Worcester porcelain factory
10
CUP AND SAUCER
About 1760
Porcelain
Made in Liverpool
11
CUP AND SAUCER
About 1765
Porcelain
Made in Liverpool
12
CUP AND SAUCER
About 1770
Porcelain
Made at the Worcester porcelain factory
13
CUP AND SAUCER
About 1765
Porcelain
Made at the Bow porcelain factory
16
CUP AND SAUCER
About 1770
Porcelain
Made at the Worcester porcelain factory
17
CUP AND SAUCER
About 1765
Porcelain
Made at the Worcester porcelain factory
18
CUP AND SAUCER
About 1770
Porcelain
Made at the Lowestoft porcelain factory
22
CUP AND SAUCER
About 1765
Porcelain
Made at the Worcester porcelain factory
23
CUP AND SAUCER
About 1770
Porcelain
Made at the Worcester porcelain factory
26
CUP AND SAUCER
About 1770
Porcelain
Made at the Cozzi pottery factory, Italy
30
CUP AND SAUCER
About 1775
Porcelain
Made at the Worcester porcelain factory
31
CUP AND SAUCER
About 1775
Porcelain
Made at The Hague porcelain factory, The Netherlands
32
CUP AND SAUCER
About 1780
Porcelain
Made at Le Nove porcelain factory, Italy
33
CUP AND SAUCER
About 1765
Porcelain
Made at the Worcester porcelain factory
40
CUP AND SAUCER
About 1815
Porcelain
Made at Josiah Wedgwood’s factory, Etruria, Staffordshire
41
CUP AND SAUCER
1825-1840
Porcelain
Made at the Coalport porcelain factory
44
CUP AND SAUCER
About 1815
Porcelain
Made at Josiah Wedgwood’s factory, Etruria, Staffordshire
Continental Teapots
Germany was the first European country to discover the secrets of porcelain, with the Meissen factory making products from around 1710. Their early tea wares were made by moulding or casting from Chinese originals. As they developed their techniques, their teapots became more ornate and were copied throughout Europe.
21
TEAPOT
Before 1725
Porcelain
Made at the Meissen porcelain factory, Germany
29
TEAPOT
1725-1730
Porcelain
Made at the Meissen porcelain factory, Germany
34
TEAPOT
1716-1727
Porcelain
Made at the Meissen porcelain factory, Germany
35
TEAPOT
About 1735
Porcelain
Made at the Meissen porcelain factory, Germany
46
TEAPOT
1725-1730
Porcelain
Made at the Meissen porcelain factory, Germany
49
TEAPOT
1710-1713
Opened in 1710, Meissen initially made red stoneware with similar properties to porcelain, before they discovered the secret of how to make true white porcelain. Their early shapes were made by moulding or casting from Chinese wares and featured either no decoration or simple reliefs of sprays of plum blossom as in this example.
Stoneware
Made at the Meissen porcelain factory, Germany
English Teapots
Early English porcelain teapots were not as sturdy as their continental counterparts. They had to be slowly warmed up before use as otherwise they might crack. It wasn’t until the 1750s that the Worcester porcelain factory made a body strong enough to cope with the thermal shock of boiling water. Early teapots were small because tea was expensive. As prices fell, teapots became larger. Potteries also began to make decorative earthenware teapots, which were available in most towns and cost the equivalent of one or two days’ wages for the ordinary person.
1
TEAPOT AND STAND
About 1775
Porcelain
Made at the Worcester porcelain factory
6
TEAPOT AND STAND
1770-1775
Porcelain
Made at the Worcester porcelain factory
36
TEAPOT
About 1760
Porcelain
Made at the Worcester porcelain factory
37
TEAPOT
1765-1770
Porcelain
Made at the Worcester porcelain factory
38
TEAPOT
About 1740
Earthenware
Made by John Astbury (1686-1783), Staffordshire
39
TEAPOT
About 1740
Saltglaze stoneware
Probably made by William Littler (1724-1784), Staffordshire
42
TEAPOT
About 1765
Porcelain
Made in Liverpool
43
TEAPOT
About 1765
Porcelain
Made at the Worcester porcelain factory
47
TEAPOT
About 1765
Porcelain
Made in Liverpool