Derby, Porcelain Candlestick Depicting Mars, Patch Period, ,?.1765

Derby Porcelain Figural Candlestick Depicting Mars circa 1765, in full armour, sconces above

The base, of swirled rococo scrollwork. Three 'patch marks' on the base.

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.

Height 26 cm

924 g

Condition: socket and bobèche spin freely around the metal rod; crack to the socket; restoration to one tip of the bobèche; small losses to flowers and petals; restoration to neck; hairline crack to the front of the skirt; hairline crack to the cape right underneath the skirt both to the yellow and lilac sides; crack to the right leg; cracks to the purple flag; restoration to the supporting column in the centre, to base and where the helmet feather meet the column; fleabites along the edge of the base.

Otherwise excellent antique condition with minimal loss of paint and gilding.

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.