of Adams China:
in 1769, William Adams & Sons is among the oldest names
in the Staffordshire pottery industry. Some sources describe
William Adams as a favorite pupil of Josiah Wedgwood, but
it is well known that in the 1780s, Adams began production
of Jasper wares to rival that of Wedgwood's. In the 18th and
19th centuries, Adams was a leading manufacturer of earthenwares,
Parian creamware, and Jasper wares. Many patterns, such as
the popular Singapore Bird, show considerable Oriental influence
with their pale green Calyx glazes recreating the celadon
glazes of ancient Chinese dynasties. Adams Ironstone, with
its timeless appeal, is characterized by a lovely handpainted
style that highlights its shapes and colors. In 1966, Adams
china became part of the Wedgewood group and Adams tableware
continues to appeal to casual and fine china lovers alike.
of Coalport China:
and craftsmanship have been the hall marks of Coalport since
the firm was founded in the mid-eighteenth century. They have
earned for Coalport a distinguished reputation which is respected
a studio of highly qualified designers produces patterns and
ceramic models which continue to delight all those who cherish
the highest standards. These artists are sometimes inspired
by ideas in Coalport's beautiful and rare old pattern books
which date back to the eighteenth century. The result is the
singular continuity of ideas so beloved by Coalport admirers.
old books can be found the original drawings for "Hong
Kong", which is as popular now as it was more than 150
as 1801 Coalport dinner services were selling at two hundred
guineas (a sum equivalent to several thousand pounds today),
and in 1841 Queen Victoria ordered from Coalport a large,
richly decorated dessert service which was presented to Tsar
Nicholas I of Russia. It was exhibited at the Great Exhibition
of 1851 and caused a sensation.
of Coalport goes back to 1750 when Squire Brown of Caughley
Hall in Shropshire began producing wares using clay and coal
from his estate. On his death he was succeeded by his nephew
who was joined in 1772 by Thomas Turner, the originator of
the Blue Willow pattern in England and an eminent engraver.
was sold in 1799 to John Rose who had founded a ceramic manufactory
at Coalport, a village on the bank of the River Severn. In
1820 he received the Gold Medal of the Royal Society of Arts
for a new felspar china with leadless glaze, a discovery which
was a major life-saver as well as a fillip to business.
Coalport moved from Shropshire to Stoke-on-Trent, its home
today, and in 1967 it became a member of the Wedgewood Group,
since when it has continued to flourish.
of Denby China:
Pottery Company dates back to 1809. It was named for the village
of Denby, located in rural Derbyshire, England. The discovery
of clay during the construction of a turnpike road, in 1806,
led to the formation of the company. Denby's first products
were bottles and jars made of salt-glaxed stoneware. Denby
continues to make a wide range of tableware and kitchenware
in the 1990s. Many of the original handcrafting methods that
Denby used in the beginning, such as handpainting, hand glazing
and hand turning, are also still in place in the manufacture
of its products.
of Flintridge China:
China Company was founded in 1946 in Pasadena, California.
Flintridge took its name from two materials necessary for
making china: "flint" and "kaolin." Kaolin
is a Chinese word meaning "high hill" or "ridge"
where the finest clay is made. Flintridge China featured both
a rich, ivory-toned body that was translucent as well as a
white, translucent china known as "Bon-Lite." Many
Flintridge patterns were offered in a variety of colors, with
more than a dozen color options available. In 1970, the Gorham
Division of Textron, Inc., acquired Flintridge; the purchase
resulted in the discontinuation of most Flintridge patterns
over the nest few years. A few Flintridge patterns continued
to be made by Gorham for many years, including the popular
Black Contessa which was discontinued in 1994.
of Franciscan China:
effort to explain the evolution of Franciscan's embossed,
hand painted dinnerware, a brief chronology of Gladding, McBean
and Company history prior to 1940 is necessary.
an exceptional clay deposit was discovered in Lincoln, California
(Placer County). This area of land was purchased by Charles
Gladding, Peter McBean, and George Chambers who formed Gladding,
McBean and Company (GMcB), parent company of Franciscan Pottery.
Dr. Andrew Malinovsky developed a high talc, one fire body,
using non crystalline amorphous flux. This innovative ceramic
material was patented as "Malinite" and was to be
use in the ceramic body of tile.
experimental work had started at the Lincoln plant aimed at
producing a pottery line using the "Malinite" body.
The dinnerware and art ware were to be made in solid colored
Frederick J. Grant, a chemical engineer, suggest to Mr. Atholl
McBean (son of Peter McBean) that the company consider dinnerware
production if plant room were available. Mr. Grant was later
hired in 1934, as manager of the new GMcB pottery department
at the Glendale Plant. Complete lines of art pottery, colored
tableware and kitchenware were to be produced. In August,
the first mimeographed price list was published. The trade
name of Franciscan Pottery was chosen for the line in order
to honor the padres who helped to settle California.
of 1935, the first catalog containing photographs of Franciscan
Pottery was published. By the end of the year, the Glendale
plant pottery department had 283 different shapes in regular
the prolific Glendale plant had produced at least fifteen
patterns of dinnerware and nine lines of art ware. Marketing
indications suggested a new dimension in dinnerware. The company
moved quickly to design, produce and market a totally new
line of embossed, hand painted, dinnerware. This concept was
a complete departure from anything previously produced by
the years of 1940 and 1983, many new patterns were introduced
into Franciscan pottery. In 1962, Gladding, McBean and Company
merged with Lock Joint Pipe Company in September. The name
was changed to Interpace.
1979, Wedgwood Limited of England, purchased the entire forty
five acre property on Los Feliz Boulevard on the outskirts
of Glendale and renamed the facility Franciscan Ceramic, Inc.
The purchase included all existing patterns and equipment.
1984, Wedgwood Limited of England eliminated all jobs, closed the
Glendale plant, and moved production to England. The site has subsequently
been sold and leveled, thereby ending 109 years of California pottery
Gladding, McBean & Co., began production of Franciscan dinnerware
in 1934 at their plant in Glendale, California. Gladding, McBean
& Co. formed in 1875 to produce sewer tile for the then expanding
American West. Over the years they acquired several regional potteries
and expanded their product lines several times to include roof tile,
decorative art tiles, garden pottery, and art pottery.
the dinnerware line was sold as Franciscan Pottery and included
solidly colored, bright earthenware in the casual style of Mexican
folk pottery. This informal tableware was a warm friendly note in
the midst of the Great Depression and the company selection of the
Franciscan name, an allusion to Franciscan monks, further played
into the Southwest imagery. 1930's Franciscan patterns, with names
like El Patio, Coronado and Montecito, enhanced the California casual
style and sold well. The name was altered to Franciscan Ware in
the late 1930's to allow for a more upscale and broader image. Shortly
thereafter, the company introduced raised relief, handpainted patterns
that proved hugely successful. Two of these, Franciscan Apple (1940)
and Franciscan Desert Rose (1941) are the only continuously produced
Franciscan patterns, and remain in production today. Franciscan
Desert Rose has become the most sold American dinnerware of all
time. Other handpainted patterns such as Ivy, October and Fresh
Fruit became quite popular during this time. One of the most desirable
and difficult to find Franciscan patterns for collectors is Wildflower,
a handpainted and many colored tribute to the flora of the American
west. It was produced for no more than three years.
The entry of
Gladding, McBean & Co into the dinnerware market was made possible
in part by the arrival of Frederic and Mary Grant. Frederic was
a ceramics engineer and previously had been president of the Weller
pottery in Ohio. Mary was a successful stylist whose designs drove
the first two decades of production at Franciscan. A number of other
artists created designs and modeled shapes but the Grants worked
together in their successful control of Franciscan products.
Some of the
best of the Grants influences can be seen in their Metropolitan
Museum of Art in New York's Thirteenth Exhibition of Contemporary
American Industrial Art in 1934. Two objects designed by the Grants
appeared in this exhibition as Gladding, McBean products: a large
satin gray bowl and a lemon yellow vase. In the same exhibition
of 1940 "a bowl and platter designed by Mary K. Grant: made by Gladding,
McBean & Co." was again honored. This acclaim for Mary's work continued
in 1951 when an exhibition called Good Design by the Museum of Modern
Art, New York selected the Encanto shape for exhibition. Encanto
shapes went into production as fine china and sold with great success
throughout the 1950's. Extensive advertising and numerous new patterns
on the shape kept the classic shapes alive and vital in the market
their Fine China line in 1942. This was marketed as Franciscan Masterpiece
China after 1958 and production continued in the United States until
1978. The Franciscan name appeared on fine china from around the
world after that time, but will bear a backstamp indicating the
country in which it was produced.
The 1950s marked
the departure of the Grants and the arrival of other design influences
for Franciscan. The Eclipse "American Modern" shaped patterns of
1954 included Starburst. Starburst would prove a radical departure
from prior tradition and used an irregular shape and abstract radiant
stars resulting in a very modern earthenware pattern. Today it is
collected as some of the best design work from the Modern 1950's.
In 1954 designer
George James created an artware line for Franciscan called Contours.
It used fine china forms, two tone colors and fluid, graceful shapes
to create bowls, covered dishes, trays, candlesticks and more. The
contours line was very "new" for Franciscan in the 1950's quest
By the 1960's
and 1970's "casual dinnerware" made of earthenware was very popular
and surpassed the sales of fine china of all types. Franciscan followed
this trend, successfully marketing various patterns on their Hacienda
shape in '60's colors of harvest gold and avocado green. In the
'70's informal earthenware lines such as Franciscan Madeira and
Picnic rose to popularity.
the competitive ceramics market and the entry of plastic onto Americans
dinner tables by having production of china made in Japan beginning
in 1960. The Japanese Cosmopolitan fine china and earthenware Whitestone
lines were marked changes for this historically California based
to pentacles of acclaim often in it's history. Noteworthy are the
1961 order by Jacqueline Kennedy for Masterpieces China to be used
on Air Force One and the 1969 selection by the Richard Nixons of
Franciscan Masterpieces China for service aboard the Presidential
yacht. Other orders for special services for royalty from around
the world were also filled.
A series of
mergers and sales contributed to the closure of the American Franciscan
factory in 1984. In 1962, Franciscan became part of a large ceramic
giant, International Pipe and Ceramics Corporation, known as INTERPACE.
In 1979 Josiah Wedgwood & Sons, LTD of England acquired Franciscan
from INTERPACE, and renamed the company Franciscan Ceramics, Inc.
American production of Franciscan Ware ceased in 1984, following
the announcement to relocate all Franciscan production to England.
In the year 2000 "Johnson Brothers/Franciscan, a member of the Wedgwood
Group" markets Franciscan china in the U.S. from production facilities
around the world.
of Gorham China:
company was founded in 1831 by Jabez Gorham. Initially, Gorham
manufactured only sterling flatware and holloware. Later,
from 1970 to 1984, the Gorham Division of Textron, Inc., made
fine china dinnerware in Pasadena, California, at a plant
formerly occupied by Flintridge China Company. Gorham purchased
Flintridge in March of 1970 and for few years continued to
make some Flintridge patterns. Eventually Gorham began producing
their own china designs many of which were made to coordinate
with their sterling silver patterns. In 1984, Gorham ceased
manufacturing its own china and began importing it from Japan.
In the early 1990s, Lenox, Inc. of Lawrenceville, New Jersey,
purchased Gorham and continues to make various Gorham China
of Haviland China:
D.G. & D. Haviland & Company of New York, a china importing company,
was created by David and Daniel Haviland in 1838. David moved to
Limoges, France where he unwittingly reinvented the French fine
china manufacturing process by both manufacturing and decorating
whiteware blanks at the same location. Another brother, Robert,
joined the company in 1852 and the name was changed to Haviland
at one time, two Haviland brothers with individual china companies,
which sometimes causes confusion. The American Civil War closed
the original New York office in 1863. David's sons, Theodore and
Charles Edward worked together in France, enjoying a great measure
of success until 1891. At that time irreconcilable differences caused
them to dissolve Haviland & Company.
reopened Haviland & Company, but the Great Depression closed its
doors in 1931. Theodore also opened his own porcelain factory, Theodore
Haviland & Company, in 1936. He later bought the "designs, trademarks
& rights" of Haviland & Company and restored the original name.
Haviland patterns, such as Appleblossom, are known for their delicate
floral sprays. Also, some of the backstamps contain origin of manufacture
names (New York or France) which can be helpful in identifying the
time period in which the Haviland Company manufactured the pattern.
your Haviland Pattern:
to the great work done by Arlene, Dick, & Dona Schlieger
there is now a way to identify you unnamed Haviland China.
They have published six books with detailed drawing of over
1200 patterns. They have put a number with each pattern that
the world refers to as the Schleigher Number. Thanks to their
painstakingly detailed work, you now have a chance to replace
your treasured Haviland pattern.
on identifying or replacing your discontinued unnamed
Haviland contact one of the following:
Road, Redlands, CA 92374 - (909) 798-0412
Eldorado, Decatur, IL 62522 - (217) 428-7212
of the History of Haviland China:
formed the Johann Haviland Company in 1907 in Waldershof,
Germany. Early products included everyday china, hotel china
and high quality china for home use. In 1924, Johann Haviland
was sold to Richard-Ginori and the name of the firm was changed
to "Porzellanfabrik Waldershof AG." Rosenthal China
of Germany purchased the Waldershof factory in 1937 and began
producing fine china for export to the United States. This
dinnerware was marked "Johann Haviland, Bavaria, Germany."
In the 1970s and 1980s, many Johann Haviland patterns were
sold in grocery stores as premiums, distributed by the Johann
Haviland Corporation of Des Plaines, Illinois. Some of these
patterns carry either a Bavarian or Thailand back stamp. Johann
Haviland China was made at the Waldershof factory until the
of Hutschenreuther China:
China Karl Mangus Hutschenreuther established one of the first private
porcelain decorating factories in Germany in Hohenberg, Bavaria
to decorating white ware, Hutchenreuther wanted to produce his own
patterns, and after an eight year struggle with the Bavarian Government
(which was not interested in creating competition for the state-owned
factory), Hutschenreuther received the necessary permission to begin
production in 1822. Upon his death in 1845, his son Lorenz founded
his own Hutschenreuther Porcelain company in Selb. Son Christian
and widow Johanna also worked to carry on the company tradition.
In the early
part of the 20th century, Hutschenreuther grew quickly by absorbing
factories at Altrohlau (1909), Arzburg (1918) and Tirschenreuth
(1927). The branches of the company were united in 1969. Hutschenreuther
was a trend-setter and enabled Germany to gain an excellent reputation
in the European china industry. The Hutschenreuther "Mark of the
Lion" is a symbol of excellence that continues to this day.
of Johnson Brothers China:
at a small factory called Charles Street Works in Hanley,
Stoke-on-Trent, England the two sons of Robert Johnson, Frederick
and Alfred, established a partnership called Johnson Brothers
for the manufacture of durable Earthenware, which they called
"White Granite". In 1888, the elder brother Henry
joined forces. In addition to manufacturing well-potted white
ware, they began producing under-glaze printed ware for which
they became famous.
the increased demand for pottery after the Civil War, they
opened up two new factories in Hanley close to their original
factory. By 1898, they had five different factories producing
tableware. In 1899 and 1909, new mills were constructed to
supply Johnson Brother's own factories and outside customers
in the trade with prepared Flint and Cornish stone for use
in pottery bodies.
brother, Robert, had joined the company by 1896 and set up
an office in New York City. He traveled across the country
with dinnerware samples in order to further stimulate the
demand for Johnson Brother's products in North America. Alfred
left the company by this time, while the sons of the founders
began to become involved. With the new efforts from the family
members, they began to concentrate on expansion efforts, overseas
markets and the improvement of business methods. By 1913,
they began to focus their efforts on the German market where
they opened a plant for production to increase business and
for a reduction in labor and freight rates. This project was
terminated at the start of World War I and was never to be
re-established in later years. During the war period from
1914-18, business became extremely limited due to a large
majority of the labor force joining the Forces and the danger
of naval transportation.
start of the Twenties, new shapes, patterns, and bodies were
introduced and the "Dawn" range of colored bodies
began for which Johnson Brothers became very well known. New
methods were developed for making halloware items which allowed
for a more rapid production over the old method of using pressed
clay. At the end of the Twenties, the grandsons of the founders
entered the business.
the Thirties was seen the closure of the Charles Street Works,
the original factory. It was not until the mid-Thirties that
the factories got under full production. At the end of the
Thirties, was seen the development of modern systems of firing
using electricity as fuel rather than raw coal and new brick-built
tunnels using an automatic ware-propelling system replaced
the traditional "Bottle Ovens." The more accurately
controlled firing system meant better quality and less loss
and the conditions for the wokers was much more superior than
before. A new mold-making department and making shops accompanied
the construction of the electric kiln.
the second world war there was a delay in the construction
of the new Tunnel Kilns which was resumed and linked with
plans to improve production processes afterwards.
of Lenox China:
Lenox China as it is known today was founded by Walter Scott Lenox
& Jonathan Coxon Sr. as the Ceramic Art Company in 1889 in Trenton,
New Jersey. Their intent was to form a fine china company to rival
the best in Europe. Lenox china quickly became recognized as some
of the highest quality china produced in this country. In 1894,
Mr. Lenox purchased the entire company from his partner and renamed
the business Lenox, Inc. The Lenox Company was operated with an
art studio atmosphere with many talented designers and artisans.
Lenox china received great publicity in 1917, when Walter Scott
Lenox was commissioned by President Woodrow Wilson to produce a
1,700 piece White House dinnerware service. Lenox china was also
the dinnerware of choice for Presidents Franklin D. Roosevelt, Harry
S. Truman, and Ronald Reagan. Lenox then began production of crystal
in 1965 when they bought Bryce Brothers of Pennsylvania. Bryce Brothers
was known for their distinctive use of color in glassware. Today,
Lenox crystal is the official crystal for the Vice President of
the United States, United States Embassies, the White House, the
State Department and Congress. Lenox also opted to coordinate china
and crystal patterns rather than completely separate the design
departments of the different divisions. One coordinated pattern
example is Lenox Weatherly china and Lenox Brookdale crystal. This
idea of coordinated patterns, in conjunction with aggressive marketing
techniques, allows Lenox china and crystal to remain very popular
with new brides.
is now the only major producer of fine china in the United
States and is known for the absolute uniformity of its glaze,
its translucency, its perfectly applied design, its true and
consistent color and its durability. Today Lenox China product
is still handcrafted to the same high standard of perfection
set by the company's founder in the 1800's. The Oxford plant
with over 275 employees, is recognized as one of the best
manufacturing facilities owned by Lenox, Inc.
It began in
1889. A young artist-potternamed Walter ScottLenox founded a company
dedicated to the daring proposition that an American firm could
create the finest china in the world. He possessed a zeal forperfection
that he applied to the relentless pursuit of his artistic goals.
years that followed, Lenox china became the first American
chinaware ever exhibited at the National Museum of Ceramics,
in Sevres, France. In 1918, Lenox received the singular honor
of being the first American company to create the official
state table service for the White House.
china has been in use at the White House ever since, commissioned
by Presidents and First Ladies of four different eras. Works
of Lenox may also be found in more than half our Governors'
mansions and in United States embassies throughout the world,
and they have been specially commissioned for gifts of state
occassion in the struggling early days of the firm, Walter
Scott Lenox took an eminent guest on a tour through the new
workshops. They stopped before a kiln and watched as craftsment
removed chinaware representing an investment of $2000 (quite
a large sum in those days). Lenox looked at the pieces with
his usual piercing scrutiny...and noticed a tiny flaw in every
one, possibly visible only to him. Before Lenox could voice
his dismay, the enthusiastic visitor cried out, "This
is exhilarating. Such excitement!" "Yes," Lenox
replied. Without hesistation, he then ordered everything that
had just come out of the kiln to be destroyed.
Collections today creates work in many mediums. In every case,
it maintains an unbending position regarding quality. The
collector will see this difference in the detail of each Lenox
hand-painted sculpture...in the fiery, hand-polished luster
of each Lenox crystal bowl or vase...and, of course, in the
flawless finish of every piece of Lenox china.
takes pride in offering works of uncompromising high standards
of quality, crafted with care and dedication by skilled artisans.
Our goal, in every case is to meet the highest expectations
of artistry and fine workmanship. Therefore, if you are ever
less than completely satisfied, Lenox will either replace
your work or refund your purchase price.
Protection Policy: If you ever break or damage a work you
own, Lenox will strive to satisfy you as well. If the edition
is still open and a replacement is available, Lenox will send
it to you at only one-half the current price of the work.
Lenox was founded by an artist, it has always placed special
emphasis on working with the very finest artistic talents
available. Perhaps the most celebrated of these in the company's
early history was William Morley, often considered the greatest
of all china painters. A woman from New Jersey once requested
that Morley create a service portraying the formal gardens
of Europe. She had no color pictures, but knew the gardens
intimately -- and by listening to her recollections, Morley
brought every flower and tree to life.
Lenox Collections conducts an ongoing search for great talent
and has extended its patronage to gifted artists of many different
lands. To earn the Lenox hallmark, the highest standards must
be satisfied. Every nature subject must be shown completely
true to life..each historical piece must be authentic in every
detail..and just as in Morley's day, all works must be infused
with the fire of imagination.
This quest for
excellence in artistry has earned Lenox the privilege of creating
authorized works for famed institutions throughout the world...from
the Smithsonian Institution in Washington, D.C. to the famed Palace
Museum in Peking's Forbidden City.
of Meakin China:
is no information on this china company at this
of Mikasa China:
China is not a manufacturer per se, but a distributor that has cultivated
relationships with more than 150 manufacturers worldwide to produce
its line of china, crystal, flatware and decorative accessories.
The Mikasa name is often licensed to other companies, and appears
on patterns made by Studio Nova/Savoir Vivre, Christopher Stuart,
and Oscar de la Renta. Many older Mikasa china patterns also bear
the name Narumi, a Japanese manufacturer. Mikasa, which translates
as "The Company," was established in America in 1948. The company
is based in Secaucus, New Jersey, and focuses on marketing and design
of its products. There is a wide variety of Mikasa china and tableware
available, including bone china, ceramics, stoneware, stainless
flatware, and casual and fine stemware.
Years. Established as an importing company in the 1930s, it
was not until the 1950s that the Mikasa China Company added
ceramic dinnerware to their list of imported products. Due
to its success over the following decades, dinnerware became
their primary product imported and distributed.
end of the 1950s, their dinnerware had grown increasingly
popular in department stores such as Bloomingdale's, Macy's,
and the May Company. In the 1960s they introduced the name
Mikasa which quickly associated with quality, value, and fashion.
Expansion. In the mid 1970s, Mikasa carefully designed a plan
for expansion. The plan broadened their assortment of products
and developed new avenues to sell their products.
purpose of the expansion plan was to diversify our product
selection. Sensing that their customers wanted more than just
dinnerware, they introduced an extensive assortment of crystal
stemware, stainless flatware, crystal server ware, table linens,
crystal gifts, picture frames, ceramic vases, and household
to their Mikasa brand name, they also introduced several other
brands each addressing a different lifestyle. Studio Nova
was designed for young (and young-at-heart) shoppers who use
dinnerware in a casual environment, often in the kitchen.
Home Beautiful was created to be very durable for day-to-day
casual living at budget-conscious prices. Christopher Stuart
was developed for the customer who wants a broad selection
of styles at a great value.
element of their 1970s expansion plan was to increase the
number of avenues in which they sold their product. Having
already found success in department stores, they opened a
tiny warehouse store in the area of their Secaucus, New Jersey
distribution facility in 1978. They continued to gradually
open stores during the 1980s and found that as they opened
them, consumer awareness of their brands and product diversity
Competitive Edge. Fashion has always been the component that
separates Mikasa from their competitors. Their style and pattern
selection is constantly changing tastes. They are able to
do this because, unlike other tabletop companies, they do
not own or operate any manufacturing facilities.
they out source (contact with privately owned factories) the
manufacturing of their products to approximately 150 factories
in over 20 countries throughout the world. This strategy affords
them the flexibility needed to adjust their production quickly
and efficiently in response to the changing needs and tastes
of their customers.
In little more than 50 years, Mikasa has made its mark in
the field of tabletop and home accessories in the United States.
They have become a fundamental part of department and specialty
stores tabletop sales and their Factory Stores span the United
States. (The tiny New Jersey store still exists - nearly 7
times its original size.) They operate distribution centers
on both the east and west coasts and our international ventures
are now taking them to Europe.
outside world, Mikasa is considered a classic American success
story. At Mikasa, they feel the best chapters are yet to come.
of Minton China:
Minton founded his factory in 1793/6 in Stoke-upon-Trent.
Minton was Spode's nearest rival. He was famous for Minton
ware - a cream-coloured and blue-printed earthenware maiolica,
bone china, and Parian porcelain; his factory was outstanding
in the Victorian period for its "art" porcelains.
He also popularized the famous so-called Willow pattern.
birds are from the "Willow Pattern" plate. In the
1820s he started production of bone china; this early Minton
is regarded as comparable to French Sèvres, by which it was
greatly influenced. Minton's was the only English china factory
of the 19th century to employ a Sèvres process called pâte-sur-pâte
(ie: painted decoration in white clay slip instead of enamel
before glazing). Minton also produced Parian figures. The
Minton factory was the most popular supply source in the 19th
century of dinnerware made to order for embassies and for
heads of state and the factory is still producing to the present
The Willow Legend
was once a Mandarin who had a beautiful daughter, Koong-se.
He employed a secretary, Chang who, while he was attending
to his master's accounts, fell in love with Koong-se, much
to the anger of the Mandarin, who regarded the secretary as
unworthy of his daughter.
was banished and a fence constructed around the gardens of
the Mandarin's estate so that Chang could not see his daughter
and Koong-se could only walk in the gardens and to the water's
edge. One day a shell fitted with sails containing a poem,
and a bead which Koong-se had given to Chang, floated to the
water's edge. Koong-se knew that her lover was not far away.
soon dismayed to learn that she had been betrothed to Ta-jin,
a noble warrior Duke. She was full of despair when it was
announced that her future husband, the noble Duke, was arriving,
bearing a gift of jewels to celebrate his betrothal.
after the banquet, borrowing the robes of a servant, Chang
passed through the guests unseen and came to Koong-se's room.
They embraced and vowed to run away together. The Mandarin,
the Duke, the guests, and all the servants had drunk so much
wine that the couple almost got away without detection, but
Koong-se's father saw her at the last minute and gave chase
across the bridge.
escaped and stayed with the maid that Koong-se's father had
dismissed for conspiring with the lovers. Koong-se had given
the casket of jewels to Chang and the Mandarin, who was also
a magistrate, swore that he would use the jewels as a pretext
to execute Chang when he caught him.
the Mandarin's spies reported that a man was hiding in a house
by the river and the Mandarin's guards raided the house. But
Chang had jumped into the ragging torrent and Koong-se thought
that he had drowned. Some days later the guards returned to
search the house again. While Koong-se's maid talked to them,
Chang came by boat to the window and took Koong-se away to
on a distant island, and over the years Chang became famous
for his writings. This was to prove his undoing. The Mandarin
heard about him and sent guards to destroy him. Chang was
put to the sword and Koong-se set fire to the house while
she was still inside. Thus they both perished and the gods,
touched by their love, immortalised them as two doves, eternally
flying together in the sky.
of Noritake China:
the late 19th century the previously closed society of Japan
opened its doors to international trade. Baron Ichizaemon
Morimura, an important representative of Japanese commerce
during that era, recognized the potential for exports to the
United States. In 1876 he established Morimura-kumi to ship
china and other gift items to America, distributed through
a wholesale and retail store in New York.
Morimura soon realized that the American market was ripe for
fine china dinnerware manufactured in Japan. In order to ensure
that his exports were of the highest quality, however, he
decided to control production by building his own factory.
To that end, he founded a new company called Nippon Toki Gomei
Kaisha in the village of Noritake, near Nagoya, on January
then, Noritake has steadily built its reputation as the world's
premier manufacturer of tabletop products. From the very beginning,
the china took the name of the town where the factory was
built, and became so popular that the company officially changed
its name to Noritake Company Limited in 1981.
its history Noritake has developed tools and machinery designed
to improve china manufacturing technology. Many of these are
now marketed by separate Noritake divisions. Grinding wheels
were first manufactured in-house for polishing china. Since
1939, however, they have been marketed for industrial uses
and today realize greater worldwide sales than Noritake china.
Similarly, industrial ceramics, electronic components and
even the unique roller hearth kiln, created by Noritake to
make china production more effcient, have become important
segments of the company's international business.
continues to pursue new markets and new industries through exhaustive
research and development. Indeed, the pioneering spirit of Baron
Morimura lives on in the creative ideas and dedicated commitment
to excellence that have grown from the tiny village of Noritake
to touch the lives and careers of millions throughout the world.
of Noritake History
China Noritake China was founded as The Noritake Company in 1904
by the Morimura family, which also produced white porcelain under
the company Morimura Gumi, a pioneer in Japan’s foreign trade industry.
Prior to 1963, the company was known as Nippon Toki Kaisha, Ltd.
but was then given the English name Noritake Company, Ltd. Noritake
takes its name from the village of Noritake in Nagoya City, Japan,
where the principal company office was located. Early Noritake china
dinnerware featured the "Hand Painted Nippon" design around the
familiar wreath-circled "M" (which stands for Morimura) on the backstamp
of most pieces. "Noritake" appears on backstamps of other pieces,
with either "Japan" or "Made in Japan" present on most of these.
The United States has always been the largest customer of Noritake
China, and the U.S. helped Noritake stay in business following World
War II. Noritake China was called Rose China from 1945 to 1948,
because of concern that a shortage of raw materials and skilled
labor would affect their high quality standards. In 1956 Noritake
China began to diversify its product line with the addition of stainless
steel flatware. Crystal glassware was added in 1961, and earthenware
and stoneware were added in 1971. Today Noritake china is known
throughout the world for its quality and elegant design.
of Oxford China:
is an American china company. It was purchased by Lenox China company
in recent years.
of Rosenthal China:
(1855-1937) began business in 1884 by purchasing white ware from
Hutschenreuther and selling designs, handpainted by his wife Maria,
door to door. In 1891, he established a factory in Asch, Bohemia
and began production of white ware for use in his workshop. From
1897 to 1936, Rosenthal acquired factories in Kronach, Marktredwitz,
Selb, Waldenburg, Sophienthal, and Waldershof. The popularity of
the Maria White and Moss Rose patterns helped the business grow
rapidly. By the time of WWII, Rosenthal operated 10 companies and
employed over 5,000 people. When the war ended, Rosenthal’s son,
Phillip, returned to Germany where he modernized out of date factories
and reestablished lost markets. Phillip quickly rebuilt the business
by reaching new markets interested in the modern shapes and artistry
of his dinnerware. To this day, Rosenthal continues to work with
leaders in fashion and design to create unique tabletop designs.
of Royal Albert China:
is no information on this china company at this
of Royal Doulton China:
on the eve of Waterloo, John Doulton was taken into partnership
by the widow Martha Jones who had inherited from her late
husband a pottery in Vauxhall Walk, Lambeth, by the side of
the Thames. Her foreman John Watts was also taken into partner
ship and the firm became Jones, Watts and Doulton.
Doulton was just out of apprenticeship with one of the most
important of the early commercial potteries of England, the
Fulham manufactory founded by the great John Dwight in the
latter quarter of the 17th century, where the making of stoneware
in its true, vitrified form was brought to a high degree of
perfection. Thus began the long and distinguished history
of the Royal Doulton Potteries and it is not surprising that
the earliest years of the firm's existence were devoted to
the making of articles ranging from decorative bottles to
drain-pipes in that very challenging of ceramic materials,
John Doulton's son, Henry, however, who carried that tradition
of the Lambeth pottery to its zenith. By the time Queen Victoria
came to the throne, Doulton was established as a manufacturer
of domestic and industrial products in a fine stoneware body
that bore comparison with any in Europe. Within the first
ten years of Victoria's reign, by 1846, the Lambeth factory
was in the vanguard of the revolution in sanitation which
Chadwick and the great reformers of the day brought to metropolitan
England. Without the hard work and foresight of Henry Doulton
that revolution would have been best delayed by decades.
Henry (later to be knighted by Queen Victoria, the first potter
so honoured), acquired the small factory of Pinder, Bourne
and Company at Burslem, mother town of the Staffordshire potteries
and, the home of that unique and essentially English ceramic
body, bone china. The incursion of the Lambeth potter was
looked upon with little enthusiasm or favour by the proud
and insular men of Staffordshire. "In their view we Southerners
know little bout God and nothing at all about potting",
observed Henry Doulton.
relationship was uneasy and by no means profitable. But by
shrewd investment in men and plant he succeeded where more
timid men would have succumbed to local advice and given up
the unequal struggle. Early commercial success and artistic
renown came to the factory through domestic and art wares
made in earthenware and decorated in the limited range of
colours which that body permits under its lead glaze. But
Doulton's brilliant young art director, John Slater and his
forceful and enterprising manager, John C. Bailey, hankered
after the colourful effects produced on the Continent by the
on-glaze enamel decoration of so-called faience, maiolica
and delft wares; and on the now popular porcelain body. They
also sought the bone china body with which near neighbours
in Staffordshire were enjoying increasing success.
they wrung from a reluctant Henry Doulton permission to use
the new body and to spread their artistic wings. Soon they
were surrounded by one of the most outstanding teams of modellers,
decorators and painters in the world of ceramics. The fame
of the company and of its products became truly international,
and that fame was extended into the 20th century under a new
art director, Charles C. Noke, and through the talents of
a brilliant generation of artists who had grown to maturity
under the old guard of the Victorian period; Joseph Hancock,
Harry Tittensor, Edward Birks, Percy Curnock and others.
King Edward VII conferred on the company the double honour
of the royal warrant and the specific - as opposed to the
assumed - right to use the title "Royal". Along
he way the honours were won at the great international exhibitions
at Chicago and Paris and the range of products proliferated:
the much sought-after Sung and Chang wares, and Rouge Flambe,
in those rare colour-effects which western potters had tried
to simulate since the dynastic wares of ancient China first
found their way to Europe centuries before; figures and character
jugs reflecting the moods and fantasies of the world around
them; decorative and utility china, on earthenware and bone
china bodies, decorated both under the glaze and in a dazzling
array on on-glaze enamels.
war years saw the continued growth of the firm's product range,
of its renown and prosperity. In America, especially, the
name Royal Doulton became synonymous with the finest English
china. By the conclusion of the second world war, however,
a new spirit was abroad. Simplicity became the watchword in
domestic furnishing and decoration; art, as practised by the
great ceramic painters of the past, began to give way to the
concept of design; new decorative and manufacturing techniques
emerged to make fine china available at a price that millions
could afford where it had, hitherto, been the preserve of
the privileged. Jo Ledger, a product of the modern school
of designers, joined the company as its new Art Director in
the mid 1950's, and so another era began - an era in which
a healthy regard for past achievements and for the decorative
traditions associated with the finest of English tableware,
bone china, was allied to the fast-changing demands of the
present. In 1960 the company introduced a new product, English
Translucent China, developed over several years by research
team led by Richard Bailey, who was then Technical Director.
By evolving his fine, translucent body while eliminating the
costly ingredient of calcined bone from the clay mix, Royal
Doulton was able to offer many of the qualities associated
with the best bone china to the world's markets at a relatively
simply as Royal Doulton Fine China, the new tableware has
proved one of the outstanding successes of the firm's long
and eventful history. In 1966 it brought one of the first
Queen's Awards for Technical Innovation to the Doulton Company.
Alongside these firmly established bone china and fine china
tableware ranges, has sprung a revival of Doulton Lambeth
wares, motivated by modern man's sympathy towards his natural
environment. Royal Doulton's Lambethware oven to tableware
range captures the spirit of the present day in a series of
well-researched designs with a rural but progressive flavour.
day Lambethware range derives many practical advantages from
its rich inheritance. Its combination of tough, quartz-like
compounds with feldspathic Cornish stone gives it immense
strength; a startling robustness of appearance and feel. Modern
ceramic technology adds refinement of glaze and colour to
those qualities, plus the essential characteristics of inherent
resistance to chemical attack and to extremes of heat and
cold. The result is a tableware range with a refreshing, country
feeling whose keynote is practicality; the entire range is
oven and freezer proof and is unaffected by detergent or dishwasher.
Bone China, Fine China and Royal Doulton Lambethware are the triple
prongs of the commercial prosperity and fame which Royal Doulton
enjoys through the civilised world.
of the History of Royal Doulton China
Doulton China was founded in London, England, in 1815 by a potter
named John Doulton. Originally Mr. Doulton made only stoneware,
but his son, Sir Henry Doulton, expanded the company into many other
areas of ceramic products. By 1877, Royal Doulton china began to
be produced at their newly acquired factory in Stoke-on-Trent.
china pieces quickly became known throughout the world for their
distinctive design and quality. The company officially became Royal
Doulton in 1901, when Sir Henry Doulton was granted use of the word
"Royal" by King Edward VII. In the 1930’s, Royal Doulton also began
production of their world famous figurines. Today, what some people
term Royal Doulton China is actually seven ceramic factories making
fine dinnerware, crystal and figurines under the Royal Doulton name.
Through a variety
of mergers and acquisitions, the Royal Doulton Company now owns
and produces other famous brands including Minton, Royal Crown Derby,
Royal Albert, and Caithness Glass. With a workforce of 6,000 and
annual sales of around $370 million, Royal Doulton is one of the
world’s largest manufacturers of bone china, crystal, giftware and
figurines. They have an elaborate international distribution network
of trademark Royal Doulton products in the United States, Canada,
Australia, Asia Pacific and Continental Europe.
of Royal Worcester China:
a legend began on the banks of the Severn River in Worcester
England. Under the brilliant guidance of Dr. John Wall, a
group of local businessmen established a small atelier where
artists could work in the burgeoning new field of ceramics.
From the beginning, great emphasis has always been placed
on artistic expression and superb craftsmanship.
the artisans at Worcester were held in such high esteem that
King George III granted a Royal Warrant and Royal was added
to the company's name.
while its rivals at Bow and Chelsea have long since disappeared,
The Worcester Porcelain Manufactory became world famous and
is now one of the largest manufacturers of Fine Bone china
and Porcelain in England.
in a tribute to the quality of the wares produced at Worcester
for more than two hundred years: a quality which has remained
consistent throughout the many changes in fashion and technology.
For even today, as one English historian has said of its unique
heritage, "Worcester is one of the few enterprises where
the traditional craftsmanship of the eighteenth century survives."
successors carried on his high standards and today Worcester
pieces from the Flight and Barr, Chamberlain, Hadley, and
Kerr and Binns periods are as prized as the early Worcester
of Dr. Wall. Museums throughout the world reserve special
places for their collections of old Royal Worcester. Connoisseurs
recognize the superb quality and workmanship, the rich colorations
and graceful, softly-rounded shapes.
Worcester Fine Bone China has always has a unique silky feel
and fine even texture that makes it stand apart from other
English bone chinas. Dinnerware shapes follow the natural
form of clay on a jolly so they have a lighter, natural look,
a graceful femininity.
it contains 50% calcium phosphate derived from bone, Royal
Worcester Fine Bone China can withstand 17,000 pounds of pressure
per square inch. Gilding is always 22 ct gold, hand-burnished
to a soft, mellow luster that's lovely in candlelight.
World War II, the company was the first to introduce the concept
of oven-to-tableware made of Fine English Porcelain and Royal
Worcester remains the only British porcelain manufacturer
of note today. The appeal of the patterns and the quality
of the oven-to-tableware has lead to remarkable worldwide
success. Indeed, the demand has been so great that a new factory
has been built on the banks of the River Severn incorporating
the most modern equipment available.
patterns shown here are very much in the Worcester tradition.
Many of the shapes and designs are taken from the company's
treasure of old pattern books. Others illustrate, in a contemporary
way, that "unusual responsiveness to new ideas"
which characterized the company some two centuries
of Spode China:
The Spode china
factory was founded by Josiah Spode in Stoke-on-Trent in 1770. Spode
had been the manager of the factory for years that was owned by
Turner and Banks. When Turner died, Spode took over the factory.
By 1776, he was producing earthenware under the famous Spode name.
In 1797 Spode died, leaving a thriving business to his son, Josiah
Spode. Josiah Spode was succeeded by his son, Josiah Spode III.
He ran the business until he died in 1829. Spode was purchased by
a partner of Josiah Spode III, William Taylor Copeland, in 1833.
Mr. Taylor entered into a partnership with colleague Thomas Garrett,
and the firm was known as Copeland & Garrett until 1847. While the
company's name was changed from Spode, the high quality standards
set by the original Spode family were never compromised. The Spode
china factory has held royal warrants since 1806. The company was
sold to the Carborundum Company Ltd. by the Copeland family in 1966.
In honor of the company's 200th anniversary in 1970, the name was
changed back to Spode in honor of its founder, Josiah Spode. Spode
merged with the Worcester Royal Porcelain Company in 1976 to form
Royal Worcester Spode.
development of bone china by the Spode factory at Stoke-on-Trent
(1776-present), for wares of outstanding beauty and economy in the
Regency style of the early 1800s, ensured its preeminence among
commercial producers. Spode's nearest rival was Minton (1796-present),
outstanding in the Victorian period for its "art" porcelains.
Among Spode's chief followers in producing bone china for the mass
market were Davenport (c. 1793-1887); Wedgwood for a short period
between 1812 and 1822; Ridgway, New Hall, and Rockingham. A host
of lesser concerns served the expanding middle-class
of Syracuse China:
20, 1871, the Onondaga Pottery Company was incorporated in
Syracuse, New York. By 1890, they were turning out a "vitrified"
china that was white, thin, translucent, and stronger than
any European porcelain. In 1893, with a new stamp, "Syracuse
China" was introduced and awarded a medal at the World
Exhibition in Chicago, Illinois. In 1896, the company unveiled
its "rolled edge" china which became a standard
in the commercial food industry. For the next six decades,
Syracuse continued to expand and prosper until 1970 when the
company closed its consumer division, giving in to the cheaper,
Japanese imports. Today, Syracuse China stands as the largest
commercial pottery complex in the world.
of Villeroy & Boch China:
is no information on this china company at this
of Wedgwood China:
Josiah (1730-1795), English potter, whose works are among
the finest examples of ceramic art. In 1754 the English ceramist
Josiah Wedgwood began to experiment with coloured creamware.
He established his own factory, but often worked with others
who did transfer printing (introduced by the Worcester Porcelain
Company in the 1750s). He also produced red stoneware; basaltes
ware, an unglazed black stoneware; and jasperware, made of
white stoneware clay that had been coloured by the addition
of metal oxides. Jasperware was usually ornamented with white
relief portraits or Greek Classical scenes. Wedgwood's greatest
contribution to European ceramics, however, was his fine pearlware,
an extremely pale creamware with a bluish tint to its glaze.
18th century, the county of Staffordshire became the recognised
home of British porcelain and pottery makers, to the extent
that "Staffordshire" became the widely known name
for their products, and especially for the ornamental figures
which were produced. The most celebrated of all English porcelain-makers,
Josiah Wedgwood, who was descended from a family of potters,
set up his own business in Burslem in 1759, and rapidly established
was born in Burslem, Staffordshire, on July 12, 1730, into
a family with a long tradition as potters. At the age of nine,
after the death of his father, he worked in his family's pottery.
In 1759 he set up his own pottery works in Burslem. There
he produced a highly durable cream-coloured earthenware that
so pleased Queen Charlotte that in 1762 she appointed him
royal supplier of dinnerware. From the public sale of Queen's
Ware, as it came to be known, Wedgwood was able, in 1768,
to build near Stoke-on-Trent a village, which he named Etruria,
and a second factory equipped with tools and ovens of his
own design. At first only ornamental pottery was made in Etruria,
but by 1773 Wedgwood had concentrated all his production facilities
his long career Wedgwood developed revolutionary ceramic materials,
notably basalt and jasperware.
basalt, a hard, black, stone-like material known also as Egyptian
ware or basaltes ware, was used for vases, candlesticks, and
realistic busts of historical figures. Jasperware, his most
successful innovation, was a durable unglazed ware most characteristically
blue with fine white cameo figures inspired by the ancient
Roman Portland Vase. Many of the finest designs were the work
of the British artist John Flaxman.
Wedgwood's death in Etruria on January 3, 1795, his descendants
carried on the business, which still produces many of his
designs. Wedgwood was the grandfather of the British naturalist
child of the potter Thomas Wedgwood, Josiah came from a family
whose members had been potters since the 1600's.
July 12, 1730, Burslem, Stoke-on-Trent, England. 1739 After
his father's death in 1739, he worked in the family business
at Churchyard Works, Burslem, becoming exceptionally skilful
at the potter's wheel. 1744 Became an apprentice to his elder
brother Thomas. However an attack of smallpox seriously reduced
his work (the disease later affected his right leg, which
was then amputated); the result of this inactivity, enabled
him to read, research, and experiment in his craft as a Master
Potter. 1752-3 In 1749 Thomas (Josiah's elder brother) refused
his proposal for partnership and Josiah formed a brief partnership
with John Harrison at Stoke-on-Trent, Staffordshire. 1754
Wedgwood formed a partnership with Thomas Whieldon of Fenton
Low, Stoke-on-Trent, probably the leading potter of his day.
This became a fruitful partnership, enabling Wedgwood to become
a master of current pottery techniques. He then began what
he called his "experiment book," an invaluable source
on Staffordshire pottery. 1759 After inventing the improved
green glaze which is still popular even today, Wedgwood finished
his partnership with Whieldon and went into business for himself
at the Ivy House factory in Burslem. 1765 Queen Charlotte's
patronage of Wedgwood's cream-coloured earthenware in 1765,
led the well finished earthenware which Wedgwood produced
to be called Queen's ware.
ware became, by virtue of its durable material and serviceable
forms, the standard domestic pottery and enjoyed a worldwide
market. Because the sale of his ware had spread from the British
Isles to the Continent, Wedgwood expanded his business to
the nearby Brick House (or Bell Works) factory. 1762 On one
of his frequent visits to Liverpool to arrange export of his
ware, Wedgwood met the merchant Thomas Bentley. 1768 The merchant
Bentley became his partner in the manufacture of decorative
items that were primarily unglazed stonewares in various colours,
produced and decorated in the popular style of Neoclassicism.
Chief among these wares were:- black basaltes, which by the
addition of special painting (using pigments mixed with hot
wax, which are burned in as an inlay), could be used to imitate
Greek red-figure vases; and - jasper, a fine-grained vitreous
body resulting from the high firing of paste containing barium
sulphate. 1771 Wedgwood built a factory called Etruria,
for the production of his ornamental vases. Later the manufacture
of useful wares was also transferred. (At this site his descendants
carried on the business until 1940, when the factory was relocated
at Barlaston, near Stoke-on-Trent, Staffordshire - the Etruria
site was used as part of the "National Garden Festival"
and Wedgwood's great house can still be seen as it has been
incorporated into an hotel. 1774 Evidence of the popularity
of Wedgwood's creamware is found in the massive service of
952 pieces made for Empress Catherine the Great of Russia
1775 Jasper's introduction in 1775 was followed by other wares
such as: - rosso antico (red porcelain), cane, drab, chocolate,
and olive wares. 1782 In 1782 Etruria was the first factory
to install a steam-powered engine.
The most famous artist he employed at Etruria was the sculptor
John Flaxman, whose wax portraits and other relief figures
he translated into jasperware.
Wedgwood's wares appealed particularly to the rising European
bourgeois class, and porcelain and decorated and glazed earthenware
factories suffered severely from competition from him. The
surviving factories switched to the manufacture of creamware
(called on the Continent faience fine or faience anglaise)
to try to imitate and compete with Wedgwood. Even the great
factories at Sèvres, France, and at Meissen, Germany, found
their trade affected. Jasperwares were imitated in biscuit
porcelain at Sèvres, and Meissen produced a glazed version
which they even called Wedgwoodarbeit.
The Royal Society:
Wedgwood's invention of the pyrometer, a device for measuring high
temperatures (invaluable for gauging oven heats for firings), earned
him commendation as a fellow of the Royal Society.
of the Wedgwood China Production:
has its origins in 1759, when Josiah Wedgwood established a pottery
near Stoke-on-Trent at the former Ivy House works in Burslem, England.
By 1761, Wedgwood had perfected a superior quality, inexpensive
clear-glazed creamware that proved very successful. Wedgwood moved
his pottery from the Ivy House to the larger Brick House works in
Burslem in 1764. Wedgwood china continued to grow in stature until
1766, at which time Wedgwood was appointed "Potter To Her Majesty"
by Queen Charlotte. Wedgwood immediately named his creamware "Queen's
Ware". Wedgwood china was produced at the Brick House works until
a new factory in Etruria, which began operating in 1769, the same
year he formed a partnership with Thomas Bently. Wedgwood's most
famous set of Queen's Ware, the 1,000 piece "Frog" service, created
for Catherine the Great, Empress of Russia, was produced at the
Etruria factory in 1774. By the late 1770s, the Wedgwood product
line included black basalt, creamware, jasper, pearlware, and redware.
luster was made from 1805 to 1815. Bone china was produced from
1812 to 1822, and revived in 1878. Fairyland luster was introduced
in 1915, but all luster production ended in 1932.
In 1906, a Wedgwood
china museum was established at the Etruria pottery. A
new factory was built at nearby Barlaston in 1940, and the museum
was moved to and expanded at this location. The Etruria works was
closed in 1950. During the 1960s and 1970s, Wedgwood acquired many
English potteries, including William Adams & Sons, Coalport, Susie
Cooper, Crown Staffordshire, Johnson Brothers, Mason's Ironstone,
J.& G. Meakin, Midwinter Companies, Precision Studios, and Royal
Today, the Wedgwood
Group is one of the largest fine china and earthenware manufacturers
in the world. Wedgwood's marketing strength centers on the breadth
of its wares - in style, type, and price range, varying from luxurious
fine bone china tableware to inexpensive earthenware and oven-to-tableware.
Design is an
essential factor. Wedgwood Group companies are served by a large,
highly qualified, and experience team of designers and modelers,
supplemented by contributions from eminent contemporary artists.
The company prides itself on the fact that its continuing success
is based upon skilled craftsmanship that is allied to advanced technology,
coupled with imaginative design, and supported by energetic marketing.
Over the year's, Wedgwood has received eleven Queen's Awards to
industry for export achievement.