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15 October 2018Worcester 1750-1900
17 September 2018Treasures of the Black Tent: Antique Tribal Rugs and Dowry Weavings of the Persian and Central Asian Nomads
09 July 2018The Paston Treasure
18 June 2018Anglo Saxon and Norman England-architecture and cultural change
21 May 2018Telling Time through the Ages
16 April 2018Cremona and the golden age of violin making
19 March 2018The Art Market : how does it work?
19 February 2018James Wyatt - Charlatan or Genius
15 January 2018Wonders of the Roman Empire-Off Limits
11 December 2017Nativity in Art from Giotto to Picasso.
20 November 2017The Gleaming Spires of London – an armchair tour of London’s finest buildings.
16 October 2017William Cobbett and James Gillray: Political and Personal Cartoons of the early C19th.
18 September 2017Nursery Notions: The Illustration, Music and History of Nursery Rhymes
19 June 2017Objects of Desire: Cabinets and Ornamental Boxes for the Collector
15 May 2017Contemporary Artist:Anthony Gormley and Anish Kapoor
10 April 2017 Vivaldi in Venice
20 March 2017The Glasgow Boys (this will follow the AGM)
20 February 2017Creating A Splash-The St Ives Society of Artists (1927-1952)
16 January 2017 Cobwebs of Fashion-Honiton Lace

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Worcester 1750-1900 Diana Lloyd Monday 15 October 2018

The Worcester factory began in c.1750 with its first major sale taking place on 20 September 1752. The factory benefited from the knowledge of an early Bristol soft paste porcelain factory which had utilized Soapstone from the Lizard Point in Cornwall. Potters and decorators from Bristol also clearly moved up to Worcester to help with the establishment of this excellent 'everyday' porcelain factory as the decoration on some of the beautiful sauceboats is extremely similar to designs on English Delftware of the period being made at Bristol. From the early years Transfer Printing was used on the porcelain first in grey/black or mauve, with underglaze blue only featuring after 1770. Worcester shows the influence from both China and Japan in the decoration used, the blue and white tea bowls and saucers usually having a very good colour, and some nice examples of Kakiemon also appearing on breakfast sets. A small number of figures were made possibly as a result in 1769 of the arrival of workers from Chelsea, which was in decline at that stage. The work of the 1770's and 1780's is amongst the most beautiful produced at the factory, with some outstanding vases for the Mantelpiece as well as a wide range of pieces for the dining room. Thomas Flight had been for some years been a London Agent, when he bought Worcester in 1783 and Martin Barr (1793 a partner) was experimenting with what became the Bone China formula in the last decades of the 18th century.

William Billingsley, well known for his flower painting worked at Worcester between 1808 and 1811, and the Regency period favoured a strong orange in the ground colour, mixed with rich blue and gold for the popular Imari designs and the finest work featured Topographical Views. In 1788 Robert Chamberlain leaves the factory to start his own works with his son Humphrey, and by 1791 are producing some fine pieces, in the style of the period. The fashion for Old Chelsea designs is particularly seen at Worcester in the second quarter of the 19th century and in 1840 the two factories amalgamate. In the middle of the 19th century some fine tea services were created, under the partnership of Kerr and Binns and by 1862 the Royal Worcester Porcelain Company was established and some very 'modern' pieces appeared in the last quarter of the 19th century. Essentially the importance of the 18th century factory will take up the first half of the lecture; with the second half will follow the styles and changing ownership of the 19th century.