Throughout Britain, the market for such goods was thriving. In October 1760, the Leeds Intelligencer newspaper included an advertisement from Robinson and Rhodes that offered “… a good assortment of Foreign China and a great variety of useful English china of the newest improvement, which they engage will wear as well as foreign and will change gratis if broke with hot water.” The English potters became so famous that ceramic factories throughout Europe readily employed craftsmen from Staffordshire, Bristol, London, and other cities famous for their potteries. In 1784, Samuel Jones, an employee at the Wedgwood factory, wrote to Georges Bris of Douai in France, “Sir, I take this opportunity of offering my service to you if you think it will be of any service to you I understand that you want some workmen in the Different Branches of poting and I have it in my power to serve you. . . .”
In other parts of Europe, there was less demand for tea things, but potteries made other essential wares in similar materials to suit the middle and working classes. France was the first European country to import and manufacture creamware, and the first factory was established at Pont-aux-Choux in Paris. In 1743, Claude-Imbert Gérin was granted a 10-year privilege to establish a royal manufacture of faience in Faubourg Saint-Antoine, Paris, to imitate English-style creamware. In Central Europe, as the neoclassical style spread during the mid-18th century and influenced all the applied arts, creamwares like those being produced at Wedgwood were shaped with the elegant curves of classic Greek design. In Bohemia, the potteries in the Saar area developed around the coal mines (the proximity to a ready supply of coal as well as clay was another reason so many English potteries were established in Staffordshire) and produced creamwares decorated with moulded relief ornaments or painted decoration.