Chelsea

137 years ago today, April 13, 1886 - Chelsea design patent, Homer Laughlin and Elljah Chetwynd.

In 1886, Homer Laughlin announced his newest shape "Chelsea" -- in competition with the fine translucent porcelain china coming out of England at Chelsea.

• January 17, 1886, Crockery and Glass Journal:

“Mr. Laughlin’s new shape is at last finished, and the mold makers are now hard at work getting ready a good supply of molds for each piece. Mr. Laughlin has named it ‘Chelsea’.”

• February 28, 1886, Crockery and Glass Journal:

"Mr. Laughlin will make a full line of think dinner and tea services in his new ‘Chelsea’ shape, as well as medium thick hotel china."

• March 4, 1886, Crockery and Glass Journal:
“Homer Laughlin is getting along nicely in the working up of his Laughlin china clay. … The fact that Mr. Laughlin will make thin china has occasioned some excitement in ceramic circles, and quite a number of manufacturing potters have expressed a wish that he may succeed. Of this there is now no doubt for Mr. Laughlin is a most thorough potter, and while the way to producing a ware that will compare favorably with Haviland’s is a rough road for an American potter to travel, yet Mr. Laughlin will get there. … As has been stated in these columns, a surprise awaits those interested in ceramics when the ‘Chelsea’ shape in Laughlin china appears on the market.…”

• March 11, 1886, Crockery and Glass Journal:

“…It is translucent and entirely vitrified like French China.”

• March 25, 1886, Crockery and Glass Journal:

“Homer Laughlin has just gotten through the glost kiln the first installment of the porcelain, and when we say that it has exceeded all expectations we are only putting it mild—very mild. Your reporter was taken in tow, and the first of the new Laughlin china that met his eyes was a beaker set, consisting of a tray, water jug, and two beakers, in the handsome new ‘Chelsea’ shape. The delicate color, which is about that of milk or lump sugar—neither a white nor a cream— was so noticeable as to secure admiration at first glance. There was just that uniformity of color, in fact, in all the ware which is so much sought after by the artistic potter, and has always been from the ages down through the history of ceramics so hard to obtain. In fact, the tint is so very nice and uniform that it is really all that they can expect or desire. …”

“…no longer a question of doubt that the very finest, thinnest, and most translucent of vitreous china can be produced in bulk in any quantities desired from American materials. In fact, America is more favored in that respect than England, for we have some of the most important factors here that are not to be found in England. …”

“…Turning up one of the saucers, our attention was called to their new trademark for the Laughlin china. Every china works has always had its own peculiar brand. Those of England have had the ‘Anchor’, the ‘Bow and Arrow’, Haviland’s the well known ‘C. F. H.’ and ‘H & Co.’ The trade-mark of the Laughlin china will be a horseshoe over crossed swords, with the lettering ‘Laughlin China’ on the face of the horse-shoe. The design is quite pretty and shows up very nicely. The trade-mark is quite small in size — about the size of a silver dime — yet very distinct. …”

• June 6, 1886, Crockery and Glass Journal:

“... The first public exhibition of the Laughlin china has just been made in the show windows of one of the leading houses... and there has been a constant congregation of people around — sometimes so great that it was impossible to get near enough to get a peep at the display, which consists of two 125-piece dinner sets, new ‘Chelsea’ shape; decorated in Mr. Laughlin’s very best manner. ...”

• September 25, 1886, Crockery and Glass Journal:

“Homer Laughlin’s china works are rushed very much in vitreous china, Chelsea shape. The trade is calling for it in all directions. The same can be said for Laughlin’s premium white granite. The factory was never operated stronger, and the demand for shipment of goods never greater. In art pottery Mr. Laughlin is still climbing the ladder of fame and getting out elegant new pieces every week. Some of the art work from the Rookwood Pottery was placed on exhibition in a prominent place (W. L. Thompson music store) in this city a few days ago. It was pretty to look at, but as the work is done at a very soft heat, it can hardly be called rightly art pottery along side the hard vitreous china slip decorations and underglaze colors Mr. Laughlin is producing every week. When a piece of ware is given a hard white granite fire it tests the art and skill of the pottery producing it. Any skilled painter can draw a fine picture in oil colors, submit it to be a bake heat and secure beautiful, yes lovely effects, but it is not art pottery.”

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