page_title: Chelsea porcelain factory
section_title: Gold anchor period (1756–1769)
hierarchical_section_title: Chelsea porcelain factory / Periods by marks / Gold anchor period (1756–1769)
caption_attribution_description: British, Chelsea; Vase; Ceramics-Porcelain
context_page_description: Chelsea porcelain is the porcelain made by the Chelsea porcelain manufactory, the first important porcelain manufactory in England, established around 1743–45, and operating independently until 1770, when it was merged with Derby porcelain. It made soft-paste porcelain throughout its history, though there were several changes in the "body" material and glaze used. Its wares were aimed at a luxury market, and its site in Chelsea, London, was close to the fashionable Ranelagh Gardens pleasure ground, opened in 1742.
  The first known wares are the "goat and bee" cream jugs with seated goats at the base, some examples of which are incised with "Chelsea", "1745" and a triangle. The entrepreneurial director, at least from 1750, was Nicholas Sprimont, a Huguenot silversmith in Soho, but few private documents survive to aid a picture of the factory's history. Early tablewares, being produced in profusion by 1750, depend on Meissen porcelain models and on silverware prototypes, such as salt cellars in the form of realistic shells.
  Chelsea was known for its figures, initially mostly single standing figures of the Cries of London and other subjects.
context_section_description: The influence of Sèvres was very strong and French taste was in the ascendancy. Although many existing types continued to be produced, the gold anchor period saw rich coloured grounds, lavish gilding and the nervous energy of the Rococo style.  As had been the case with imitations of Meissen Kakiemon, Chelsea began to imitate the Sèvres Rococo style just as Sèvres itself was abandoning it for more restrained shapes and decoration.  Chelsea garnitures of vases became very large and elaborate, some with as many as seven pieces in diminishing sizes.  The body now included bone ash, and a wider range of colours was used, as well as lavish gilding.  The glaze now had a tendency to drip and pool, as well as crazing, and had a slight greenish tint.
  In 1763, George III and Queen Charlotte sent the queen's brother Adolphus Frederick IV, Duke of Mecklenburg-Strelitz a large Chelsea service.  This commissioning of porcelain for diplomatic gifts was common among the ruler-owned European factories (and indeed in East Asia), but novel for England.  The service was praised by Horace Walpole, who said it cost £1,200, and is now mostly in the Royal Collection, who have 137 pieces.
  East Asian styles had returned in the red anchor period in the form of versions of Japanese Imari ware, but are more common with the gold anchor. These were to remain an English favourite, especially associated with later Crown Derby, and versions are still made today. According to at least one English authority the first Chelsea versions "greatly surpass in beauty their dull originals".
  Evidence suggests that production was low from 1763, perhaps because Sprimont wished to retire.  A sale in 1763 included at least some moulds and premises, as well as household furniture of Sprimont.  No dedicated sale was then held until 1769, when moulds were offered again.
  In August 1769, the factory was sold by Sprimont, whose health had been bad, and the next year it was purchased by William Duesbury of Derby porcelain who ran it until 1784; Sprimont sold the factory in August 1769 to a James Cox. Duesbury and his partner John Heath bought it in February 1770. The factory continued to operate in Chelsea but during this time the Chelsea wares are indistinguishable from Duesbury's Derby wares and the period is usually termed "Chelsea-Derby".  A final Chelsea sale (at Christie's) began on 14 February 1770.
caption: Pair of vases, c. 1762, in a Sèvres style.  The main scenes derive from paintings by François Boucher, via prints. Ht: 23 in. (59 cm)
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