The third stage
In 1845, Luis de la Riva y Cía., from Santiago de Compostela, took over the running of Sargadelos from the Ibáñez family.
More than 1000 families were working for the factory by 1849, the same year in which 205 carts and 22 schooners left with more than 100 kiln loads of chinaware. With four different kilns, 30 drying chambers, mills, nine large workshops and eight presses, this was the truly golden era of the first Sargadelos.
At this time exceptional qualities and varieties of tableware and figures were achieved under the direction of the Englishman Edwin Forester. Its excellent quality was due to the introduction of the porcelain known as opaque china
, differentiated by the quality of its manufacture and decoration with floral motifs, prints in sepia and chestnut tones, and hand painted motifs in greens, blues, yellows and pinks.
Other new techniques developed by the master ceramicist Forester included monochrome prints (with special emphasis on black) and impregnating colour on the bases of white chinaware pieces, with a gloss finish and slightly blue tint.
Typical pieces from this period include the Mambrús
, jars made with the figure of a seated man similar to the English Toby Jug
, and tableware illustrated with lithographic prints (possibly for the first time in Spain), of the Góndola
type: in the foreground, a garden, balustrade, staircase and decorative jug; behind them, a lake with a boat, and in the background a series of further whimsical architectural structures.