Sophia Crownfield's delicate floral drawings informed her range of patented wallcoverings and textiles for a variety of manufacturers.

The unpainted surface of this perfume burner draws attention to the milky whiteness of the ceramic body. In the mid-eighteenth century, the right to use gold on ceramics was the exclusive privilege of the Vincennes manufactory, compelling Mennecy and other French factories to focus on the sculptural aspect of their production. Unpainted, glazed porcelain became...