The importance of Matthew Boulton items:

Blue John, named after the French words "bleu et jaune" for its striking blue and yellow hues, is more than just a mineral; it's a symbol of beauty, rarity, and social as well as design history. For centuries, artisans and craftsmen have used Blue John to create exquisite jewellery, ornamental pieces, and collector's items. The appeal of This exceptionally fine bowl by Andrew Elliot in Millers vein is in the museum at Treak Cliff Blue John lies not only in the stunning aesthetics but also in the rich history and tradition associated with them.

Because the decorative items became favoured by the aristocracy, from the late part of the 18 th century and this had the consequent effect of Castleton becoming a tourist destination, with Blue John Cavern opening to visitors from around 1777. Both Peak Cavern and Speedwell had shops selling Blue John items though neither had any direct connection with Blue John working. Primarily, Castleton was a lead-mining village, though mineral rights passed through several agents between 1791 and 1891. Most importantly the whole of Treak Cliff was leased to the partnership of Lowe and Eyre. There were a number of workshops within Derbyshire, turning bowls, chalices candlesticks, obelisks and jewellery. The annual output of Blue John was limited to three tons. In 1935, Treak Cliff Cavern was opened as a visitor attraction which gave a boost to public interest. Treak Cliff Cavern has been operated by the Harrison Family since then and they have established a wonderful museum, a workshop which produces fine Blue John items by Andrew Elliot, Jack Mosley and John Turner.

Historically, the decorative pieces were hand turned then decorated in ormolu, which is gilding over bronze. Matthew Boulton, whose pieces are sought after worldwide, entered into secret negotiations with John Whitehurst in1768, 4 where he asks that his name and Blue John be not mentioned in the same sentence. His operations were based in the Soho works in Birmingham, and he produced a small amount of ormolu for the grand houses. The term ormolu means to shape or mill gold, where a mixtire of gold and mercury were applied to the item, then exposed to extreme heat, where the mercury vapourised, leaving the gold adhered to the object. Boulton’s friendship with the architect Robert Adam led to Boulton making fixtures and fittings in this way. Significant historically because by the late 1760s, the arictocracy and newly rich industrialists were building stately homes. It was a business opportunity for Matthew Boulton and after the end of the Seven Years War, 5 he produced a catalogue of vases, candelabra, and other articles, based on the classical designs of Greece and Italy. Ornate, with swags, scrolls and foliate gilding his pieces were highly sought after and a number of stately homes including Chatsworth and Kedleston Hall had spectacular vases, and fire places made by oulton and designed the latter designed by Robert Adam. Boulton’s pieces are celebrated, desirable and out of reach for many. In a recent auction by Fellows a number of Matthew Boulton pieces were sold including this vase: