Chelsea Flower Show at www.japanese-home-gardens.com

Transfer-printed Chelsea ware was of rare occurrence, although possibly some Chelsea porcelains were sent to Battersea to receive the transfers.

Royal Horticultural Society is one of the all-time greats. In addition to The Garden, the monthly magazine, a membership includes a free pass to the Chelsea Flower Show, and the seed exchange that covers the world with 1,200 entries. —Vincent Square, London SW1P 2PE, England. Scottish Rock Garden Society publishes two fine bulletins per year and sponsors a seed exchange of surprising diversity with 3,200 entries. Membership is $12 per year.

The Chelsea factory is supposed to have made the first piece of soft-paste porcelain in England, about 1745. A small milk jug was produced during that year, when the Chelsea works were controlled by two Frenchmen most of whose employees were likewise French. This French management lasted until 1763, during which time the productions of tableware, vases, and ornamental figures were often inspired by Chinese and Dresden forms, the finish being in a creamy paste with a satiny texture. Other types clearly showed the influence of Vincennes and Sevres, with rich ground colors such as dark blue and claret, and panels painted with pastoral scenes, bouquets, exotic birds, heavy gilding, and extravagant rococo Vase handles and bases—in a word, overdecoration. In 1769 the Chelsea factory was sold to some Derby potters, whose work was mostly in the Japanese taste (Kaiyetnon) with paintings of flower sprays, insects, and other old Japanese patterns. Of the figures for which the Chelsea works were so justly noted, the earliest were the undecorated examples, not always distinguishable from the Bow examples which they probably imitated. Next in date to these came the statuettes with quiet coloring and little or no gilding. Last came the richly decorated and heavily gilt pieces. Portrait pieces were modelled from statuary, pictures, and prints, and first-rate artists were employed in their production. Snuff bottles, scent flasks, flowers, and seals were also among the daintiest of all the Chelsea wares. Many of these bore gallant French inscriptions. From 1770 until 1784, during the Derby-Chelsea period, the original wares of both factories continued to be made; but finally the rococo forms gave way to the colder effects of the classical revival, while in the Decoration lapis lazuli, Derby blue, gold stripes, medallions, and biscuit reliefs made their appearance. Transfer-printed Chelsea ware was of rare occurrence, although possibly some Chelsea porcelains were sent to Battersea to receive the transfers.