A PAIR OF DERBY PORCELAIN CANDLESTICKS of THE 'BASKET SHEPHERDS' c.1765

A PAIR OF DERBY PORCELAIN CANDLESTICKS of THE ‘BASKET SHEPHERDS’ c.1765 This product data sheet is originally written in English. TWO DERBY PORCELAIN FIGURAL CANDLESTICKS , CIRCA 1765 , one portraying a gentleman with a basket , the other a lady with fruit and flowers, both against a backdrop of bocage, with candlestick sconce holders apparent at the tops ‘Patch marks’ on the base. Rare pair of figurines. Similar figurines were sold at Christie’s in 2015. https://www.christies.com/en/lot/lot-5913102 This figurine appears to be part of a unique collection of porcelain Derby figurines, which has been meticulously gathered over many years The Derby Porcelain factory has its roots in the late 1740s, when Andrew Planché, a Walloon Huguenot refugee, started making simple porcelain toys shaped like animals in his back yard. In 1756 Staffordshire enameller William Duysbury and banker John Heath started a new porcelain factory with Planché and this was to grow out to the largest factory of its time, buying up the bankrupted Chelsea and Bow factories, as well as the stock of several other workshops including that of James Giles. The combination of various traditions, porcelain making skills and sophisticated clients enabled Duesbury to create one of the best porcelain factories of the 18th and 19th Centuries, which after many ups and downs is still operative today. The reputation of the factory’s output was at its 18th century peak and in self-published advertising material, the “Derby Porcelain Manufactory” was proclaiming itself to be “the second Dresden”. Duesbury maintained what would now be termed “retail space” independent of the Chelsea works, at a former pub – The Castle Tavern – in Bedford Street, Covent Garden. This was both a warehousing facility and an exhibition area, and was the shopfront for what had by now become “a very thriving and lucrative trade”. Derby porcelain was hand painted, some with with imari patterns, in London at the Chelsea pemises and the output from this dual operation is Chelsea Derby. Ultimately, the Chelsea site was closed down and the name Derby continued in increasingly splendid isolation, to the point where continued Royal patronage afforded Duesbury license to append a crown to his trademark, Royal Crown Derby Porcelain was born. It’s worth noting that Duesbury also used representations of the marks used on Sevres, Dresden and Berlin-made porcelain, as he considered his own wares to be superior to every other source other than those three. Antique British porcelain is never perfect. Kilns were fired on coal in the 1800s, and this meant that china from that period can have some firing specks from flying particles. British makers were also known for their experimentation, and sometimes this resulted in technically imperfect results. Due to the shrinkage in the kiln, items can have small firing lines or develop crazing over time, which should not be seen as damage but as an imperfection of the maker’s recipes, probably unknown at the time of making. Items have often been used for many years and can have normal signs of wear, and gilt can have signs of slight disintegration even if never handled. Some minor scratches, nicks, stains and gilt disintegration can be normal for vintage items and need to be taken into account. Gentleman: height 26 cm, 1440 g Lady: height 26 cm,1238 g Excellent antique condition . Man – few hairline cracks; losses to bottom tip of jacket at the front; crack to column behind the yellow breeches; restoration to right foot; restoration to left foot and part of the calf; restoration to left swirl of rocaille base, looking from the back; restoration to base of column; minor and medium losses to leaves and petals; restoration to some parts of the bocage, mainly on the top; excess of glazing to bottom of basket and in several places on the base; possible restoration to the hat; several small chips and fleabites to the reverse of the base; restoration to part of the right hand; restoration to at least a part of the basket. Woman – likely restoration to hat and hair, possibly the face; restoration to neck extending to underneath the bow; restoration to flowers in basket; two hairline cracks and two bigger cracks to reverse of base; restoration to bocage on reverse, mostly on top and long the left side; crack to rocaille swirl behind the woman’s right foot; small chip and two hairline cracks to the blue swirl to the right side of the woman’s left foot. I have tried to describe the condition of the lot as fully as possible, as you can see from the extensive detail. However, please review all the photos carefully, and if you are in any doubt, please don’t hesitate to ask for further examination or additional photos. Item will be sent fully tracked and insured. Duesbury maintained what would now be termed “retail space” independent of the Chelsea works, at a former pub – The Castle Tavern – in Bedford Street, Covent Garden. This was both a warehousing facility and an exhibition area, and was the shopfront for what had by now become “a very thriving and lucrative trade”. Derby porcelain was hand painted, some with with imari patterns, in London at the Chelsea pemises and the output from this dual operation is Chelsea Derby. Ultimately, the Chelsea site was closed down and the name Derby continued in increasingly splendid isolation, to the point where continued Royal patronage afforded Duesbury license to append a crown to his trademark, Royal Crown Derby Porcelain was born. It’s worth noting that Duesbury also used representations of the marks use Duesbury maintained what would now be termed “retail space” independent of the Chelsea works, at a former pub – The Castle Tavern – in Bedford Street, Covent Garden. This was both a warehousing facility and an exhibition area, and was the shopfront for what had by now become “a very thriving and lucrative trade”. Derby porcelain was hand painted, some with with imari patterns, in London at the Chelsea pemises and the output from this dual operation is Chelsea Derby. Ultimately, the Chelsea site was closed down and the name Derby continued in increasingly splendid isolation, to the point where continued Royal patronage afforded Duesbury license to append a crown to his trademark, Royal Crown Derby Porcelain was born. It’s worth noting that Duesbury also used representations of the marks use Antique Yes Year Manufactured 1765 Style Rococo Production Technique soft-paste porcelain Production Style Art Pottery Time Period Manufactured 1750-1799 Colour Multicoloured Material Porcelain Handmade Yes Country/Region of Manufacture United Kingdom Theme BASKET SHEPHERDS Era Georgian (1714-1837) Original/Licensed Reproduction Original Product Line Patch period Type CANDLESTICKS Brand Derby Subject PORCELAIN FIGURAL CANDLESTICKS