6. Coffee-pot, workshop of Thomas Astbury, Lane Delph, 1765 —1770, Łańcut, Pałace
been repeated from one of the coffee-pots; in the decoration on both, almost alike, coffee-pots we
find a woman with a rake10 and a man with a pitchfork—identical with the relief on the tea-cup
(Fig. 2,3).11 The vessels examined above, marked and unmarked, are of shapes typical of the
workshop of Thomas Astbury. Despite the difference in methods of ornamentation the careful
technical finishing as also the pains taken in order to achieve a craiet, balanced composition of de-
coration draw our attention. Of a different kind is the last of the objects from the workshop of
Thomas Astbury—the cylindrical tea-pot with a ball-knap. The reliefs placed on it differ from the
elegant composition of decoration on the coffee-pots and the tea-cup and saucer. Its technical
finish is somewhat different, above all much less painstaking: the traces of the metal stamp
which had touched the surface of the tea-pot are polished with less care and the drawing of the
figurę12 is rubbed (c. f. the fragment of the tea-pot with fragments of the tea-cup). This tea-pot
bears a mark 13 different from the pieces discussed above. This difference suggests to me the
cjuestion whether diversity of marks in the same workshop cannot be explained as signatures of
authorship of a number of different persons employed in the manufacture.
10. See R.M. Price, o.c, p. 313.
11. It is an extremely interesting, and most probably not knowa in the producls of Thomas Astbury, interposition of an cxotic
figurę of the type of chinoiserie (Fig. 8) besidc typical, ,rural"figurcs.
12. Cf. the same, hetterfinished, figurę of a woman in outdoor dress and a hat with plumes; Gizelda Lewis, A Picture History
ofEnglish Pollery, London, 1956, p. 92. (the dress of the woman dates the piece to nbout 1770).
13. R.M. Price, o.c, mark II f. ...
18
been repeated from one of the coffee-pots; in the decoration on both, almost alike, coffee-pots we
find a woman with a rake10 and a man with a pitchfork—identical with the relief on the tea-cup
(Fig. 2,3).11 The vessels examined above, marked and unmarked, are of shapes typical of the
workshop of Thomas Astbury. Despite the difference in methods of ornamentation the careful
technical finishing as also the pains taken in order to achieve a craiet, balanced composition of de-
coration draw our attention. Of a different kind is the last of the objects from the workshop of
Thomas Astbury—the cylindrical tea-pot with a ball-knap. The reliefs placed on it differ from the
elegant composition of decoration on the coffee-pots and the tea-cup and saucer. Its technical
finish is somewhat different, above all much less painstaking: the traces of the metal stamp
which had touched the surface of the tea-pot are polished with less care and the drawing of the
figurę12 is rubbed (c. f. the fragment of the tea-pot with fragments of the tea-cup). This tea-pot
bears a mark 13 different from the pieces discussed above. This difference suggests to me the
cjuestion whether diversity of marks in the same workshop cannot be explained as signatures of
authorship of a number of different persons employed in the manufacture.
10. See R.M. Price, o.c, p. 313.
11. It is an extremely interesting, and most probably not knowa in the producls of Thomas Astbury, interposition of an cxotic
figurę of the type of chinoiserie (Fig. 8) besidc typical, ,rural"figurcs.
12. Cf. the same, hetterfinished, figurę of a woman in outdoor dress and a hat with plumes; Gizelda Lewis, A Picture History
ofEnglish Pollery, London, 1956, p. 92. (the dress of the woman dates the piece to nbout 1770).
13. R.M. Price, o.c, mark II f. ...
18