Belleek - Irish Porcelain

INTRODUCTION

Belleek is strategically situated on the River Erne, two and a half miles downstream from Lough Erne. In the past, the fast-flowing river tumbled over rapids and waterfalls in its rush to reach the Atlantic Ocean. At Belleek the river hurled itself over one such fall, at the foot of which was a calm pool with a large flat rock, known in Gaelic as Beal Leice, which literally translated to "the ford mouth of the flagstone".

Hundreds of years before any settlement, the flagstone was well known as a crossing place and Belleek's strategic significance is illustrated by the fact that the Vikings used to camp by the ford and later the Normans built two castles there (both of which were immediately destroyed by the natives). Throughout the early days of Irish history Belleek is mentioned again and again.

In 1610 Thomas Blennerhassett and his brother Sir Edward, of Norfolk, England, planters installed by the British, were granted two estates in Fermanagh and founded the town of Belleek. Francis Blennerhassett, son of Sir Edward, built a castle in the area, naming it Hassett's Fort. The family remained in Belleek until 1662 when the estate was sold to the Caldwell family.

Sir James Caldwell, the new owner, gave the castle its present name, Castle Caldwell, and through his line it succeeded to John Caldwell who, returning from military service in America and finding the estate and castle in virtual ruin, assiduously rebuilt it. In 1830 the estate was inherited by his eldest daughter, who had married Major John Colpoys Bloomfield. It was their son, John Caldwell Bloomfield, born in 1823, who was the principal founder of the Pottery.

In fact, the Belleek Pottery owes its origin to three men, John Caldwell Bloomfield being the first. The other two, with diverse backgrounds and interests, were Robert Williams Armstrong and David McBirney.

Armstrong, born in 1824, was an architect and civil engineer from County Longford who had settled in Dublin. He went to work in England and by the mid 1850s had built up a substantial practice working as architect to the potteries in the Midlands. In 1855 he met Bloomfield whilst working for the Worcester Porcelain Company, under the management of Kerr.

McBirney, born in 1804, was a merchant of Dalkey, county Dublin, and a highly successful businessman. He was a director of several railway companies and had other business interests including clothiers of Aston Quay and an Irish woollen warehouse.

Bloomfield was an enterprising landlord and always on the look-out for ways of helping the natives of Belleek to gain employment. Finding rich deposits of fine kaolin and felspar on his land, he became possessed with the idea of founding a porcelain factory which would provide local employment and enhance Ireland's prestige. at the 1853 Dublin International Exhibition, the Worcester Porcelain Co won the highest award for its exhibition of a dinner service called "Midsummer Night's Dream" Bloomfield produced from Belleek clay. However, in spite of its fine raw material, Ireland had nothing on show and it became even more important for Bloomfield to find the means of getting a pottery established.

Shortly after the 1853 Dublin Exhibition, Bloomfield and Armstrong met. With so much in common, they soon agreed to work together to build the Pottery. Bloomfield would provide the land at a nominal rent whilst Armstrong would design, build, and manage it. A financial backer was all that was needed and Bloomfield felt he knew the right man - David McBirney. Bloomfield and Armstrong's enthusiasm was such that McBirney was intrigued and travelled to the Worcester Porcelain Factory and then to Belleek. Soon afterwards he agreed to finance the venture. The pottery would be known as "D. McBirney & Co."

Rose Isle was the site chosen. the first notable non-military building constructed in Belleek, "a fine residence for the Dowager Lady Caldwell", had been on this island, and it was there that the Pottery's foundation stone was laid in July 1857. By the end of the year earthenware was in production, though the factory was not completed until June 1860. Costing some £40,000, Armstrong's design of the Pottery reflected his architectural skill and his understanding of pottery production. It was built to resemble a large country house with a facade of local cut stone and large well-lit rooms. figures vary but it seems that the Pottery was built to accommodate up to 500 employees. In fact no more than 250 have ever been employed there.

The site had many advantages. The island was on a bend of the river where the water could be harnessed to give up to 15,000 horse power, more than adequate to drive the water-wheel required for the Pottery. There were many unemployed people and a wealth of local resources - kaolin, felspar and other raw materials. Ballyshannon, a port three miles down stream, played an important role. Machinery for the Pottery was landed at the Salt Works Quay and transported by horse and cart to the Pottery. Most probably the coal required for the Pottery came by the same route until the railway reached Belleek in 1886, having taken nine years' effort and expense by McBirney and Bloomfield to get the line from Enniskillen extended to Ballyshannon via Belleek.

It has also been claimed that water transport on the Erne to Enniskillen and by the Ulster Canal to Lough Neagh, Belfast and Derry was a significant asset, but this seems unlikely. The Ulster Canal was constructed to narrower dimensions than other canals in Ireland, and goods transported on the canal had to be transferred to special narrow boats. Furthermore the canal was troubled by lack of water, often drying out completely during the summer months.

To begin with, production at the Pottery was confined to earthenware and a wide range of articles were made - high-quality domestic ware, floor tile, hospital sanitation ware and telephone insulators. Such was the range that on occasions pieces of earthenware turn up whose use is difficult to establish. Being cheaper to produce, earthenware was Belleek's most profitable line and many times was the lifeline upon which the future of the Pottery was to depend. However it was Bloomfield, Armstrong and McBirney ambition to produce porcelain, as they felt that it was only through porcelain that the pottery could achieve international recognition, and so in the early days the profit made from the sale of earthenware was ploughed into experiments on parian. The early attempts failed and it was not until late 1863, following the recruitment of William Bromley (foreman), William Gallimore (chief modeller) and other skilled men from Goss, that Belleek parian developed to a quality fit to be marketed.

Bromley and Gallimore were exceptionally qualified and experienced, and it is probable that they brought moulds with them as several Belleek parian pieces are very like those from Goss. Eventually, with the exception of William Henshall, most of these recruits left the pottery, either to return to Goss, as in the case of Bromley and Gallimore, or to go to the USA. However, their knowledge and skills had been passed on to the local people who seemed to have a natural talent for this fine work.

Even then the experiments were continued. Armstrong, always the perfectionist, would not allow products to be marketed unless they met with his approval. It is said barrel-loads of rejects were tipped into the Erne river.

At the 1872 Dublin Exposition the Belleek Pottery had the largest display area in the Irish and English industrial section, showing domestic tableware as well as nine parian statues and the double-spouted Chinese tea urn. Gold medals were gained in both categories and Belleek's future looked safe at last. It became fashionable and received commissions from Queen Victoria, the Prince of Wales and members of the nobility. Belleek's order books were full with exports to the United States, Australia and India, and it was also selling well at home. At the Melbourne International Exposition in 1880, the Pottery won yet another Gold Medal.

Then in 1882 tragedy struck. McBirney, now 78, caught a cold whilst visiting Cork and died. He had lost fortunes on the Belleek Pottery and a proposed railway system from Belleek to Sligo which never materialised. His heir was his son Robert who was living abroad and, having no interest in the Pottery, wanted it sold. Armstrong of course resisted, claiming a "gentleman's agreement" forming a partnership between himself and McBirney. However, nothing was on paper and Robert refused to recognise his claim. Armstrong had put his entire savings in the Pottery and was now faced with ruin. A fierce legal battle ensued, but this was cut short in 1884 by the untimely death of Armstrong. He was only 59.

As far as the Belleek Pottery was concerned, Armstrong and McBirney had achieved their aim. Belleek porcelain had achieved acclaim for Ireland and Irish porcelain was known throughout the world.

The Pottery closed for a short period as a mark of respect for Armstrong. Then it was put up for sale by public auction, where a group of investors bought it for a song. The price paid was £4,500 for a 999 year lease from 1858, with a £50 yearly rent. For this sum the investors purchased the Pottery, the entire stock, the water and the fishing rights. Mrs Armstrong was paid a paltry sum for patents she could claim were hers or her husband's.

In September 1884 the Pottery re-opened with a new name - Belleek Pottery Works. Joshua Poole came from Staffordshire to manage the works. The directors were only interested in the Pottery's profitability and were not prepared to continue backing endless experiments on  parian, so the production of earthenware was increased at the expense of parian. By the end of the fist year the Pottery had succeeded in making a profit - but at a price. Joshua Poole lasted only a few months and left, forced out by the workers wanted an Irishman and a Catholic. Many of the highly trained and skilled workers found their artistic temperaments clashed with the new regime and also left.

Joshua Poole was succeeded by James Cleary who remained until 1900. Trained by William Gallimore, he was responsible for modelling the Cleary pieces, and during his tenure the Pottery won a Gold medal at the 1887 Adelaide exhibition in Australia. In 1900 James' brother Edward, having trained and worked in the painting department, took over the management and in the same year another Gold Medal was won, this time at the Paris Exhibition, for the International Centre Piece modelled by Frederick Slater and taking six weeks to create.

The early 80's also saw the start of a long running dispute with the Erne Drainage Board. In an attempt to control the water levels of Lough Erne and drain the land around the lake shore, they blasted away the waterfalls at Belleek and built sluice gates in lieu. Before doing so they undertook to keep the Erne at a level suitable to drive the Pottery's all important water-wheel but the factory had constant water problems thereafter and eventually the Directors took the dispute to court and won.

However, it was too late. These problems, the consequences of war, and empty order books all had their effect and the workforce dwindled from 180 to 46. In September 1919 the Pottery was up for sale again and a year later, Bernard O'Rouke, a wealthy mill owner from Dundalk, offered the Directors £10,000 for the Pottery. They accepted on the one condition that the property had to continue as a pottery and should not be converted for any other use.

Now called Belleek Pottery Limited and with new Directors, new life was injected into the Pottery, A succession of managers were appointed and, though most did not stay for very long, one or two had a significant effect on the development of the Pottery. Derrigan came from Stoke-On-Trent but only stayed for two years. He was succeeded by K.E. Loed from Hungary who modernised the works and put much effort into reviving trade abroad, particularly in the United states. He introduced a number of new ranges and also engaged the services of Madame Boroniuxz, a fellow Hungarian. Madame Boroniuxz introduced the Celtic range, taking inspiration from the Book of Kells. K.E. Loed ideas were good but the old markets no longer existed and it proved difficult to find new outlets so soon after the war. In 1925 J.F. Dolan took over the management until his death in 1931. He was followed by Michael Dolan who managed the Pottery for a year before a Mr Upton came out from England and held the job for two years. He made cuts to the parian and concentrated on earthenware, so much so that he became known as "the earthenware man". Mr Upton also added the words "Melvin Ware" to the trademark for earthenware. During this period Belleek sold its water rights to the Erne Drainage Board and the dispute with them was finally settled. Also, in 1930, a fire destroyed the Company's records and most of the history of the form was lost.

Then in 1934 Harry Arnold took over as manager and the Pottery at last entered a stable and continuous period of management. Harry managed for seven years before handing over to his brother Eric Arnold in 1940. Eric kept the position for 26 years. It was his tenure which saw the Pottery through World War II. This period was very hard and once more the Management turned to earthenware for survival. Earthenware required less china clay and lower firing temperatures and was therefore easier and more economic to produce, especially as the raw materials were hard to obtain and coal was rationed. Production had to be reduced and exports became almost non-existent. Despite these difficulties, with some ingenuity, small amounts of parian and especially baskets continued to be produced. Hot spots in the kilns and, once installed, the very high and even temperatures required for firing of parian at last became possible. Production of earthenware ceased.

After many years of struggle the Pottery seemed to have found its way again. Now the Pottery could hardly keep up with the demand, with the order book full for both domestic and overseas markets. In 1952, after nearly one hundred years of coal burning, during which time the Pottery must have consumed thousands of tons of coal, electric kilns were installed. The Pottery had full employment with  a compliment of 240 workers - the largest number ever employed there.

However, by 1982 the Pottery was fighting for survival again. This time the Northern Ireland Industrial Development Board rescued it. Roger Troughton was appointed Managing Director and the work force, which in 1981 totalled 250, was reduced to around 120. With these and other efficiencies the Pottery was once again on a firm footing and put up for sale again. Roger Troughton headed a consortium which successfully bought it and with his influence the Collectors Society was formed and gathered momentum. In 1982 the first official Collectors' Tour took place and Commander Fred Gray became the first recipient of the coveted "Hall of Fame" award.

Then in 1988 Powerscreen International, an engineering company, purchased the pottery from Troughton. Barry Cosgrove was installed as the Managing Director and a major improvement programme was carried out with the International Fund for Ireland. Now the Belleek Pottery, with a new Visitors' Centre, a restaurant, museum and an audio-visual theatre, attracts over 70,000 visitors a year.

Finally, in March 1990 George Moore, originally from Drogheda, now settled in California, purchased the Pottery from Powerscreen.

Belleek Index ¦ Introduction ¦ Marks ¦ Parian Statues & Busts ¦ Centre Pieces ¦ Vases, Spills & Cornucopias
Miscellaneous Figurines & Ornaments ¦ Baskets ¦ Candlesticks Lamps ¦ Mirrors
Jardinières, Flower Pots & Wall Brackets ¦ Lithophanes ¦ Holy Water Fonts ¦ Jugs
Comports, Dessert Services ¦ Crested ¦ Tea Sets ¦ Christmas Plates ¦ Appendix I - Tea Sets
Appendix II - History & Names ¦ Catalogue 1904 ¦ Catalogue 1949

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