Spode History

Spode and The Movies

2012-02-13T15:21:00.003Z

It is that time of year with the BAFTAs and the Oscars in the news so it seemed appropriate to mention Spode and The Movies!

In the 20th century the Spode company embraced the new technology of film as a promotional and marketing tool. There were films raging from the 1930s to the 1980s from reel film to VHS but Spode didn't quite make it into the DVD era, although work was going on at the time of the company's demise to rectify this.

Page from a promotional booklet (detail) c1902

The interest in photography had started early with the Copeland owners of the Spode company in the mid-19th century. One of the oldest images in the Spode Archive is a formal portrait of W T Copeland, as President of Bethlem Hospital, (collection number SMT 2000.910). I dated this to between about 1864 and 1868. Now very faded it seems to be printed on a sort of fine chamois leather.

There is a vast collection of photographs of all sorts in the Spode Archive now deposited at the Stoke-on-Trent City Archives. So vast, that with a few exceptions, it is largely uncatalogued and not listed. The earliest photos of the factory were taken by one of the Copeland family with an interest in this newfangled technology between c1899 and 1902. These were nitrate negatives which are subject to spontaneous combustion - not ideal to have in a paper archive store. So in 1996 when discovered in store these were carefully copied, new negatives made with a set of prints and the originals then taken away for specialist disposal. I later discovered that the photos were used for a promotional give-away booklet from about 1902. This series of photos (collection numbers in a range PH ###.1996) is not complete but also includes family photos of the Copelands.

In 1998 the reel films were sent by the Spode Museum to the British Film Institute (BFI) for consideration for their archive as this is the best place for this type of archive material to be stored. The BFI selected which films they wanted to include in their archive returning the unwanted ones. So the best old Spode films are deposited with the BFI.

As part of the agreement the BFI offered to transfer 3 of the films to VHS. Two films from the 1960s were chosen plus another from the 1930s. This latter was something of a bonus as it was not one belonging to the Spode Museum! Coincidentally, at the time of the Spode deposit with the BFI, a private deposit was made by the family of a film maker. After the muddle was sorted out the Spode Museum was allowed by the family to have a copy on VHS for internal use.

The film, A Peep into a Well-known Pottery Works, was made in 1931. The BFI now (2012) have this listed as a 'promotional film' for Spode on their online catalogue but I think this is probably incorrect as I remember this as a film commissioned by Kodak to record 'dying industries'. The pottery industry was supposedly one of these. It actually took another 78 years for Spode to 'die' but this is a wonderful film. It was accidentally listed by the BFI as belonging to Spode but this happy error led to the discovery by the museum of an unknown silent film not commissioned by Spode.

Ronald & Gresham Copeland, still from Clay, Hands & Fire, 1935

The silent film Clay, Hands and Fire of 1935 is a Spode commissioned film and follows the making of modern Spode through all its processes based on a great historical tradition. The still shown on this page shows two Copeland partners in the firm discussing an antique Spode icepail - one of a pair now in the Spode Museum collection.

A History of Excellence was another promotional film commissioned by Spode and later reissued to sell in the Museum Shop in the late 1990s as a souvenir for visitors to the new museum. Made essentially for marketing purposes some of the historical facts are not quite correct but this is an excellent, professionally made film from, I think, about the early 1980s. It was narrated by famous actor Sir Michael Hordern (1911-1995). Occasionally it is incorrectly dated to 1998 from the reissue which is after the death of the narrator.

You can see early 20th century film under the heading Spode Factory on the excellent webpages of Staffordshire Past-Track and snippets of A History of Excellence on YouTube.

Spode and Cabbage

2012-02-06T09:43:00.002Z

Cup and saucer, pattern 2061, c1814 V and A collections

Plate, pattern 1698, c1812 V and A collections

Spode's pattern 2061 on the lovely stone china body was also known as Cabbage pattern. This was perhaps a colloquial name from the workers at the Spode factory. Jam Tart and Stop and Go are 2 others but that would be another story......

Cabbage pattern was first recorded in about 1814 and made probably until the 1960s - a popular and successful pattern produced in various versions. The pattern is a copy of a Chinese porcelain design based on the so-called 'tobacco leaf' studies. The architect Frank Lloyd Wright chose a service of Cabbage pattern for use in his own home.

The stone china body in its modern version was called fine stone and only discontinued in about 1991. It nearly always featured Chinese style patterns.

A much more spectacular but similar design based on a Chinese porcelain leaf pattern is pattern 1698 of about 1812 which I think is gorgeous. Perhaps it is unfair to call this a cabbage....

This Spode pattern 1698 is much, much less common - I have actually never seen a piece in the 'flesh', only in photographs and of course the record in the Spode pattern books of the period whilst working as curator at the Spode Museum.

Metal Tray, 2011

There is a neat circle of design influence here as pattern 1698 is a 19th century Spode copy of an 18th century Chinese porcelain design. In the 21st century on a visit to Bath recently I saw a place setting of the Chinese porcelain pieces in the Holburne Museum. And across the city at No. 1 Royal Crescent after a whistle-stop tour minutes before closing, I saw a modern reproduction on a tray in this pattern and made the fastest ever purchase as the lights were being dimmed!

Are there any more Spode and Cabbage connections? Well yes. In the late 19th century Spode brought out a shape called Savoy - not connected with the grand hotel in London but, you've guessed it, cabbage. Made from the late 1800s to the 1970s it was initially produced in undecorated white bone china so that the beautiful quality of Spode's China, translucent and very white, was shown at its best. A huge range of items was made and catalogues from the early 1900s show table centrepieces, sweetmeat trays, comports, cruet sets, jardinières, and teapots. By the 1930s surface patterns began to be produced on Savoy shape, often featuring roses, which were particularly successful in North America.

Savoy salad bowl, date unknown

The 20th century adaptation of Savoy shape had less cabbage detail but was still recognisable as the crinkly leaved vegetable. Less moulded detail meant that the pretty patterns could fit better - the earlier undecorated version was very detailed.

In 2003 the Savoy shape was used along with other leaf shapes from the 1800s I found in the Spode archive to develop a new design called New England. This comprised a range of different leaf shapes in plain white showing the beauty of Spode's bone china. New England comprised pieces to use as serving dishes and could be used alone or with a favourite patterned Spode service.

Spode and Marketing

2012-01-17T16:54:00.000Z

Sorrento pattern, 1961 catalogue page

Marketing and sales literature forms an important part of any business archive and the Spode Archive is no exception. When produced most of this type of material was regarded as 'throw-away' literature valid for a short period only before patterns were discontinued or prices changed. At Spode the price lists, which could change quickly, were often in a separate publication to be used in conjunction with an illustrated catalogue. The illustrated catalogue, which was more expensive to produce, then had a longer life but could still be regarded as current. Often separated over decades it is exciting to marry up documents from the past to make more sense of them.

Over the years marketing literature was added to the Spode Archive in a haphazard way - by chance and by luck. There are gaps and duplicates but material dates from the late 1800s up to 2008. Whilst curator at the Spode Museum I began to add current literature in a more formal way. From about 1996 to 2008 the catalogues, price lists and Product Information Guides (quaintly referred to as PIGs) are nearly complete. As I got to know the collection I was able to spot gaps and then look out for papers long forgotten in old offices and storerooms onsite. Also I asked staff to look out for things irrelevant to them that the museum might treasure and gradually managed to build up a more comprehensive collection of this material. Many staff were interested in the company's history and were very helpful in supplying old papers.

For the researcher marketing and sales material can be fascinating giving an insight into dates of production, fashion, prices and business practice. But its very nature can make it unreliable when looking for purely historical facts. The Spode company tended to use c1770 as the date the business was established by Josiah Spode I as this was the only way they could present the complicated early history in a succinct way - there is much more to it than a simple date. They also preferred to present the young Josiah Spode I as apprentice to one of the best potters of the mid-1700s when this was not so.

Serious researchers should always consult original documents, rather than marketing literature, to help dispel myths which have grown up over the years. A commercial company would not always have the time to do in-depth research. Spode with a historical consultant and, later, a dedicated museum was helped to get the facts straight for use in its publicity material. It is known companies can round dates up or down to create anniversaries, or even make a guess, and to gloss over or omit anything not so advantageous to the company image - all in the marketing cause!

Although there is a sort of consistency in getting dates wrong at Spode in many marketing and sales publications there were also some exceptionally good give-away booklets and brochures produced, particularly from the latter part of the 20th century when there was a desire to get things right. It often depended on attention to detail by an individual.

Cup making with a jolley, 1975

So much Spode marketing material was produced over the years it sometimes turns up at flea markets, on the web and in bookshops and is worth looking out for. Spode Never Out of Fashion is one such booklet. It was first issued in 1975 and then again in 1981. As a free give-away item many thousands were produced over the years. Never Out of Fashion was the slogan of the company which accompanied the logo at the time. Other slogans from the late 20th century were Spode the Original and Only Spode is Spode.

Intended to help market and sell Spode's product worldwide Spode Never Out of Fashion is a little book full of interesting and extremely accurate information. Its attention to detail and accuracy suggest it was researched and compiled by Robert Copeland who, as well as a partner in the firm, was Marketing and Sales Director and was able to combine his skills in this field with those of a researcher with a passion for Spode history. The booklet includes history of the company, some current patterns, manufacturing processes and even 'principal ceramic colour groups' plus a little note about marketing and distribution. The text is accurate and informative and illustrated throughout in black and white.

Engraving, printing, & transferring, 1975

The whole complicated process of ceramic manufacture is detailed from the arrival of raw materials through to distribution. I suppose it was intended to both entertain and inform Spode's customers, whether retailer or individual end-user, and it proved just how much hand craft and care went into Spode products. All part of the marketing message.

Descriptions, flowcharts, images and graphs are all packed into this little publication. Modelling, making, decorating, engraving, printing, glazing, painting, gilding and groundlaying are some of the processes described with a particularly good series of images for the engraving, printing and transferring processes.

If you are interested in ceramic processes through the ages then the last book written by Robert Copeland is a must. Manufacturing Processes of Tableware during the Eighteenth and Nineteenth Centuries is detailed on the booklist on my Spode A to Z.

Spode and Charles Dickens

2012-01-03T12:35:00.000Z

A Plated Article (cover detail)

In 1852, 160 years ago, Charles Dickens, the famous author, visited the Spode factory then under the ownership of the Copeland family. Dickens was by now a man who today we would describe as a celebrity and it must have been an exciting day for all those at the factory in Stoke. Dickens being Dickens he published a story about his visit to the factory in his magazine Household Words. It was called A Plated Article. His story is told from the point of view of the plate and it takes you on a tour through the factory. For those with special interests in techniques of manufacture at this period it is fascinating and also describes how mocha ware is made.

You can read the story in full online on many websites during this bicentenary year of Dickens' birth. As well as reading this story you can also get involved helping to edit his works on the website Dickens Journals Online - just click the link which takes you to Volume V page 117 and simply read the relevant Spode pages ......or explore further. A Plated Article was published separately by the Spode company in many versions over the years. Little books with simply the article itself were produced or a booklet could include company history and product detail with images of Spode pots illustrating the pages.

A Plated Article (inside cover)

But Dickens was not just a visitor to the Spode company he was also a customer and ordered his specially commissioned 'badged' table services from Spode in 1867. He chose designs in patterns D4680, an elegant gold decorated breakfast pattern, and dinner ware in pattern D4970. The latter is a simple border design of 2 lines and Dickens had a crest with his initials CD added to the pieces in gold. A black and white illustration can be seen on page 29 of Spode & Copeland Marks & Other Relevant Intelligence by Robert Copeland. A record of the design D4970, 'badge' and the date of invoice recorded as 'invoiced June 3th 1867' (sic) is in the Spode archive in the 2nd Arms Book on page 113.

Dickens' Seal

It seems Dickens did not actually have a formal coat of arms granted by the Royal College of Arms but used a crest anyway! He also used it on his personal seal and as the design for his book plate - an example of which is in the Berg Collection in New York Public Library.


Dickens book plate

A piece of the dinner service is in the Spode Museum's collection (collection number WTC 1587) and, possibly, even the tiny hand engraved copper plate from which the crest was printed. In the Spode archive there is a letter from Dickens' son confirming the ware belonged to his father. Spode customer records are rare in the archive so a plate with CD on it could have been made for anybody with those initials - confirmation from a family member was useful. Also it was not known that Dickens had also ordered pattern D4680 until an enquirer approached the museum with a piece some years ago.

In 1970 to mark the centenary of Dickens' death Spode produced a presentation plate using the badge from his dinner service, but now set in a stylised shield, with a portrait of the great man in the plate centre. The centre was engraved by one of the best ever Spode engravers - Frank Boothby. The close-up on this page shows the stunning result of his engraving work but I do not know from what portrait this engraving was taken.

Dickens Plate, 1970

Dickens Plate, detail, 1970

From the mid-1960s to about the mid-1980s Spode specialised in what they called 'presentation' plates and also vases. They may even have started the idea. High quality bone china pieces, in satin lined boxes and with an information leaflet about the object, made fine expensive gifts for individuals and also for corporate gifts fashionable in that era. Pieces were produced for example for a big anniversary of a famous cathedral, Wimbledon Lawn Tennis Club celebrations, army and RAF anniversaries, Royal occasions, privately commissioned pieces or those which Spode simply thought would sell successfully. There was even a plate in cobalt blue and gold celebrating the enlargement of the EEC!

The secret of the success behind these pieces was a combination of detailed research, usually by Robert Copeland, superb skill and attention to detail in the design, the very high quality of Spode's bone china and decoration and elegant packaging and marketing material.

Update to 'Spode - A Short History'

2011-12-19T13:25:00.001Z

Detail of a print from the V and A collections

For those interested in the history of the Spode company I have updated one of my first Spode blogs: Spode - A Short History

You can find more references for further study and a more comprehensive Factory 'Family' Tree.

The V & A Museum in London has a fabulous collection of Spode from all eras - have a look through their collection pages and enjoy a feast of beautiful pottery. I found the bone china dinner and dessert ware in the collection especially interesting as the Spode Museum didn't have such a complete dinner service in bone china in its collection when I worked there. What's more, this one also belonged to the Spode family - a sure sign of high quality product! It is hand painted with many different flower groups within a striking blue border.

Spode, Christmas Tree in the Modern Era and the Pattern Books

2011-12-16T14:12:00.000Z

Triangular Tray and backstamp, 1986

Recently I have had chats with collectors who have asked questions about the more recent Spode pieces decorated with the famous Christmas Tree pattern.

I have written in these pages about some of the backstamps used for this pattern and last year about Christmas Tree pattern itself.

In 1938 when the pattern was first produced it looked as though only a plate was going to go into production for one year with the words 'Wishing You a Merry Christmas 1938' printed in brown on the back. However such was the enthusiasm of the American market for this new design that as early as September 1938 it had been decided the motto was to be omitted as well as extending the design to a whole range of tableware - the rest is history! Details of some of the variations of the design are given in my earlier blog about Christmas Tree.

Pattern Safe, 2002 (detail)

There are over 75,000 patterns recorded in the Spode pattern books of which Christmas Tree is just one. Each time a variation was made to a design a new and unique pattern number was allocated. This was the practice from about 1800 to about 1998.

So in 1938 when Christmas Tree was given a crimson band rather than green it had a new number; when it was decorated on Marlborough shape (with a wavy edge to the plate) rather than Kailas shape (with a plain edge to the plate) it had a new number. This was a sort of quality control which prevented any mix-up in orders and kept the high quality of the Spode product consistent.

The pattern books were regarded as 'commercially sensitive' by the Spode company until the early part of the 21st century. They were treated with respect and usually had a dedicated member of staff responsible for keeping records up to date working in the Pattern Safe. This door to this room was very heavy, thick, low and metal like a typical safe door - I always had to remember to duck when entering also having eaten a hearty breakfast to have the strength to actually pull it open! The safe door and lock date from about 1840 but how long this secure room was used as the pattern safe is not recorded but certainly not from the start of the books' history in c1800.

Recording in the pattern books changed little in principle from about 1800 to probably about the 1980s and was administered by the Spode company. Even when the Spode Museum Trust was formed in 1987 and then the museum registered in about 1999 the contents of the pattern books still belonged to the Spode company and the museum only looked after their physical well-being. By the end of the 1990s and the early 2000s the company no longer entered patterns in the pattern books; computers gradually came in and I would expect that patterns were recorded somehow on these but this latter record did not come to the museum.

Detail of a pierced design, early 2000s

So all this preamble is to explain the complication of finding what new shapes, borders and versions of Christmas Tree pattern were produced in the modern era. Variations were no longer given a unique pattern number so most have S3324 - whatever their appearance. So for those who collect the variations in the pattern in the recent past the bad news is that it is difficult to be sure just what items were produced in Christmas Tree but the good news is that from about 1995 to 2008 I collected all the new sales, marketing and publicity material produced by Spode and these are deposited at the Stoke-on-Trent City Archives and are part of the Spode Archive. More bad news though is that no research has been done to extract the information from these papers which of course were not produced for the benefit of collectors. Any such research would take quite a while to complete.

70th Anniversary plate, new shape, new border, 2008

Pierced ware made in the early 2000s was inspired by late 18th century Spode museum pieces in which the design was hand cut into the clay before its first firing. The modern version of cutting was developed by Spode and was machine-cut by a type of sand blasting - very clever.

Another point to remember is that cutlery (flatware in the US), glass and non-ceramic hanging decorations were not made by Spode and there is no record at all for any of these items which were mostly exclusive to the USA market.

Spode and Christmas Tree Backstamps

2011-12-11T17:52:00.001Z

Fig 1 Backstamp 1920-1957

It's that time of year again ...so click Christmas Tree to swot up on this famously popular 20th century pattern from Spode. First introduced in 1938, mainly for the US market, the pattern was in production until the close of the Spode factory in 2009 and is still produced in 2011 under the Spode brand from Portmeirion.

The mark in Fig 1 shows the backstamp which will appear on older pieces of Christmas Tree. This style of backstamp was used from about 1920 to about 1957. It will appear on other patterns too but only on Spode's earthenware. Watch out - there are several versions of this backstamp from different dates! They are listed in Spode and Copeland Marks and Other Relevant Intelligence which can be consulted for full information on Spode backstamps.

Fig 2 Backstamp 1986

The backstamp in Fig 1 shows that it was not applied to the pot very well. The pattern and the backstamp were printed from a hand engraved copper plate via thin tissue paper. The pattern was then hand coloured. When this particular backstamp was applied a crease was accidentally made in the tissue from which it was printed and so the word COPELAND was distorted. This backstamp can be used in conjunction with any impressed datemarks to find an even more accurate date.

A similar backstamp with a date letter in the top left hand corner was used until 1963 - these are often hard to decipher.

Fig 3 Candlestick 1980

The Spode company name changed from W T Copeland & Sons Ltd in 1970 when it became Spode. (Ownership had been out of the Copeland family since the mid-1960s). The backstamp in Fig 2 has a lot of detail: the Spode company name; the country of manufacture; the pattern number S3324; the pattern name and a red workman's mark. The K following the pattern number is the datemark for 1986.

Fig 3 shows a candlestick of early 19th century design decorated with Spode's Christmas Tree in 1980. Spot what's missing! Yes - the Christmas tree...this is a small piece so no room for the tree. But even with just mistletoe and holly it is still recognisable as the famous Spode pattern. Fig 4 shows the record of the Hand Candlestick available in at least 3 sizes (the 4th is not filled in with detail) from Spode's 1820 Shape Book.

Hand Candlestick 1820

Spode and Italian Backstamp

2011-12-01T10:40:00.002Z

1. Backstamp for Italian pattern c1891 -1970

Illustration 1 shows a Spode backstamp, or mark, in an oval style frequently used on one of Spode's most famous blue printed patterns - Italian.

Many collectors like to find out the date of their pieces and, using a combination of backstamps, datemarks and styles of the shapes of pieces made in this pattern, it is occasionally possible to date pieces accurately. For example if the piece is simply marked SPODE (illustration 2) the piece can be dated from c1816 when the pattern was introduced to 1833 when the company name changed. (Note that the mark was in use from about 1810 but as the Italian pattern was not introduced till about 1816 this starts the date range for the piece.)

2. Backstamp c1810-1833

Italian pattern was in production by the Spode company from 1816 to 2009 and when you reach the late 19th century and move through the 20th century things get a bit tricky when trying to accurately date pieces. The backstamp in illustration 1 was used for a very long time. Probably introduced in about 1891 it was used until 1970. By 1847 the Spode company was owned by the Copeland family but they often incorporated the Spode name to perpetuate the brand and use it for marketing purposes sometimes prefixing pattern names with the word Spode's as in this case.

As Italian pattern was produced for such a long period over different ownerships of the company many marks are used but the most commonly used is that in illustration 1. To narrow down the date look for datemarks and think about the style of the piece too - for example a Utility style teapot is going to have a narrow date range in the mid-20th century; an elaborate, tall tea urn would date from around the 1890s to the 1910s; a table lamp for electric power probably after 1930; etc

There is no particular clear reason or any consistency in the application of backstamps and datemarks used by the Spode company throughout its whole history. Whilst this can be frustrating for collectors it can be great fun working out the details and using your detective skills to pull all the evidence together.

Josiah Spode I and Thomas Whieldon in 1749

2011-11-26T18:09:00.001Z

Spode I, print (detail), 1958

Recently in the UK apprenticeships, or rather lack of them, for young people have been in the news. This reminds me that very often it is recorded in published works, Spode company publicity material, on TV and on the web that Josiah Spode I (1733-1797) was 'apprentice to Thomas Whieldon'. This oft-repeated claim is more fiction than fact.

It arises from an entry in Thomas Whieldon's notebook for 9th April 1749 (collection of the Potteries Museum & Art Gallery, Stoke-on-Trent). It shows a hiring record of 'Siah Spoude' - our Josiah Spode I. It is quite clear from the entry that this is not the record of an apprenticeship. These are noted by Whieldon in quite a different way for other boys elsewhere in his notebook.

You can see an old black and white photo here of the entry. It says: 'hired Siah Spoude to Give him from this time to Martlemas next - 2/3 or 2/6 if he Deserves it'. Martlemas, also known as Martinmas, is the 11th November and a traditional hiring time. Spode I's 'wages' are written in shillings and pence. The conversion to decimal money in use today in the UK gives us 12½p for 2/6. There is a currency converter on the National Archives web pages if you feel the need to work out its worth in today's money!

Whieldon type teapot V & A

On 9th April 1749 Spode I was just 16 but at this period in history it is probable he would have already had ten years or so experience working in the pottery industry and, showing aptitude for it, would rapidly be attaining the skills of a master potter. With these skills he could get a job with one of the most successful potters of North Staffordshire at the time - Thomas Whieldon.

Whieldon's notebook records entries for several more hirings of Spode I. He must have been valued by Whieldon as he receives gradually increasing weekly wages as well as 'earnest' - money to bind the bargain. Spode I continued to be associated with Thomas Whieldon who acts as witness to the agreement between him and one of his business partners. Later generations of the families intermarry.

Why should such archive material be so continually misinterpreted?

The answer perhaps lies with an initial incorrect interpretation by early Spode researchers. It is then used in the 1930s for Hayden's book on Spode written as a commission for the Spode company. The story was emphasised further by publication in 1970 of the book by Whiter then a director of Spode. The ease with which this 'rags to riches' story could be summarised in a couple of sentences was tempting and became a constant in marketing material for the Spode company whose primary interest was commerce not historical research. It would seem too that the company felt happier with the idea of their founder being apprentice to one of the industry's great figures. For some reason it was preferable to the truth that Spode I simply got a job with Whieldon. To me the fact that a young boy who had humble beginnings worked hard enough and was good enough to get not just one job with Whieldon but continuous hirings, negotiated partnerships to fund his fledgling businesses and then eventually was able to buy his own factory, run his own company and train his sons to a high standard is just as fascinating and remarkable.

Books on Spode

For further research you can find a booklist on my Spode A to Z. The books illustrated here books are available to use at the Stoke-on-Tent City Archives. Don't forget to consult Peter Roden's NCS Journal article (Volume 14 1997) for the facts on Spode I's early life. This is also summarised in Copeland's latest edition of 'Spode & Copeland Marks...'

With thanks in particular to Peter Roden for 'righting this wrong' and for his detailed Spode research.

Spode and Printing...and Hogarth

2011-11-08T11:36:00.006Z

Hogarth's House 2011

On the day that Hogarth House reopened after refurbishment and redisplay it seemed appropriate to mention Spode and printing. William Hogarth (1697-1764) rose from humble beginnings to become a great British painter and engraver and Sergeant Painter to the King. November 8th 2011 saw the culmination of a restoration project with his house reopening to the public. Hogarth produced prints from his paintings using engraved copper plates - Hogarth himself was a master engraver. Click Hogarth for an image of the man.


Copper plate and tools, Hogarth House

Paul Holdway engraving Italian pattern, 2006

Engraving to produce prints is similar to that for producing pottery. For prints the engraving is engraved the wrong way round as can be seen in the illustration showing a Hogarth engraving (Hogarth House, Chiswick). You can see copper plates and engraving tools from the Spode Museum in Room 143: Making Ceramics at the V & A in London. You can also see an excellent set of images showing a shortened sequence of transfer printing a large kettle in Italian pattern from the magazine Country Living New York with whom I worked on a project in 2006/2007. This fabulous set of photos helps to explain the transfer printing process.

Backstamp, Spode soup plate, 181

In about 1784 Josiah Spode is thought to have perfected the technique of underglaze blue printing on earthenware in Stoke, Staffordshire - a technique which eventually brought blue printed pottery, with which we are so familiar, to the masses. Spode's copper plates are engraved the right way round as the engraving is transferred from the copper plate to the pot via a piece of thin paper, hence the term transfer printed or, particularly in the USA, transferware. A name which seems to have been used in the early 1800s is 'blue ware' as can be see in the image of a backstamp from 1816.

I am always amazed at the skill of the engraver engraving on a flat two-dimensional copper the design for a three-dimensional coffee pot!

Postcard, Leg Bath, Lange Lijsen pattern c1820

Initially Spode's blue printed wares were for the well-to-do and this is shown in the type of wares produced such as a leg bath or rouge pot. However by the mid 1800s blue printed ware was everywhere and made by many manufacturers. Spode's however remained supreme with high quality pottery bodies, glazes, printers and transferrers and, of course, skilled engravers, many of whom had served long apprenticeships. Spode continued to use copper plate engraving until about 2008, long after most manufacturers had abandoned the technique. In 2006 I took a series of photos of Paul Holdway, Head Engraver at Spode, working on a engraving for Italian pattern. As well as a master engraver Holdway is co-author with the late David Drakard of the indispensable book Spode Transfer Printed Ware 1784 - 1833 pubd. Antique Collectors' Club, 2002, ISBN 1 85149 394 8. In this book you will find everything you need to know about Spode's printed wares including history and technique. For further information please also see the Spode Exhibition Online and the web pages from the Transferware Collectors Club.

A last word on this tenuous Hogarth link to Spode - he was famous for his satirical prints which can be now seen on display at Hogarth House - and yes there is a sort of Spode connection. Spode produced ware printed with satirical prints (but not by Hogarth) on pottery during the Napoleonic Wars. They are illustrated in the Drakard & Holdway book and are so rare that when the first edition was published pieces of pottery were unknown but the engraved copper plates were in the Spode collection. In the later edition items had been discovered and are illustrated.

The copper plates in the museum collection used to number about 25,000 items dating back to the late 1700s when I was at Spode. Although some have now been lost the remainder are under the care of the Spode Museum Trust and I hope all will be preserved - research through them is incomplete and it is still not sure what fascinating new information may be found and what may be of interest in the future. Researching in them in about 2002 I found new information to tell us more of the history of Spode and I am convinced there is more yet to be revealed.

Spode and the 'Spode Saga'

2011-11-02T10:40:00.015Z

The 'Spode Saga' - intrigue, scandal, feud? No, the name of the Spode in-house magazine produced in the 1950s!

Cover and contents page, 1954 edition

Whilst working as curator at the Spode Museum I salvaged a few dog-eared copies of this magazine from old workshops on the factory and catalogued them into the archive. Recently I was delighted to find copies for sale at a local fleamarket. These magazines were produced a few years after World War II when rationing was still in place and the factory was struggling to find its place in the 'new world' which had emerged in the late 1940s and early 1950s. Archive records and minute books show the discussions and difficulties at this time with the urge to modernise the factory and embrace the new generation of Copeland family coming on board as young directors yet faced with falling demand and recession, particularly in overseas markets. The cover and contents page of the 1954 edition are illustrated together here. The design on the contents page is the border of a pattern called Spode's Byron. A little about this pattern will appear on my Spode A to Z soon.

Happy Birthday 'Cordie'

The 'Spode Saga' magazines are perhaps a surprise to outsiders. They are a fantastic snapshot of life at a pottery manufacturer embracing the whole range of events and people connected with the world famous company. They have input from the Copeland family who owned the company, and heads of departments, as well as a big participation from the 'workforce'. Many family groups worked at Spode from its earliest days until the end of production in 2009 and this was very much the case in the 1950s. So we see births, birthdays, marriages, retirements and deaths recorded. These include recollections of long-serving employees such as Mary Cordwell, known a Cordie, celebrating her 80th birthday in 1954 in an article 'I remember...No5 Miss Mary Cordwell'. It seems she was still working and tells her story of working at Spode from 1914 mentioning a royal visit by King George V and Queen Mary to the factory and being taught how to curtsey by Lady Swettenham (Mr Ronald Copeland's sister).

Inside the 1954 edition

Saggar Makers Bottom Knocker

Reports of new innovations at Spode and new designs rub shoulders with reports of factory outings, sports and social clubs. Specialist clubs for photography, and the new-fangled TV along with the famous Spode choir are all active at this period. Royal visits and those of other VIPS are detailed. A series of studies on Staffordshire churches runs through a few of the magazines and in 1953 there is a feature on beautiful Hawkesyard Priory, once the home of Spode IV. There are portraits of current employees at work and a report of a 'Belle of the North' beauty contest; long service awards with gold watches awarded to those of over 50 years service including Frank Simpson (I think he was a fireman?) having served 64 years. Jokes, puzzles, cartoons (click the caption to the Saggar Makers Bottom Knocker cartoon for more information about this skill) and games are scattered through the pages. If you want to know about life at the Spode factory in the 1950s the 'Spode Sagas' are a delightful and informative study.

Three extracts I love from 'Spode Saga' in July 1952 are:

'It has been noted that the new electric truck still requires a convoy of three able bodied men, whereas Herbert still pushes the old wooden one around without help'. (The factory site is about 8 acres and rails probably still exist under the current tarmac used from the 1830s to transport goods around the site pulled by a horse).
Also on the subject of transport there is an appeal to buy Nobby the Railway horse 'who has been coming to the factory for many years with Arthur Royce. Nobby is a celebrity in his own right because he has won numerous medals at shows....' The article continues with an appeal for money to buy the horse 'so that he may have a peaceful retirement'.
WANTED: New members for the Spode T.V.Society..... This slowly increasing group has now established itself as the elite organisation on the factory. Any unfortunate visitor not, of course being a proud possessor, is very soon made aware of his shortcomings and is, of necessity of course, quite speechless. At today's meeting it was proposed, seconded and unanimously agreed that in the occasions when the picture fails (which apparently happens at the most dramatic moments) T.V loses most of its attraction.

Spode and Paintings

2011-10-23T10:59:00.010+01:00

If you would like to see images of Josiah Spode II (1755 -1827) then you can quite easily. Visit the wonderful website Your Paintings.

Snippet of portrait:
Josiah Spode II

The PCF's Logo

This is a fantastic, on-going project covering all the oil paintings in public ownership in the UK. In the last few years I have been privileged to work for the Public Catalogue Foundation (The PCF) on this mammoth task. With their partners the BBC, The PCF now has 79,000 (and rising) publicly-owned works of art online. They are now easily accessible and searchable through title, subject, artist and collection. You can even get involved by helping to tag paintings - it is great fun! Help tag the nation's paintings.

So, if you search on Spode on the Your Paintings website you may come across Josiah Spode II. And you can also see Josiah Spode II in Hunting Costume.

You may be surprised to find Silver and Spode and then go on to enjoy more paintings by Sam Spode mentioned in my blog Spode and Dogs

On the Your Paintings website under Galleries & Collections you will find all those from Staffordshire listed. Not only are there paintings from the whole of this county but also specifically from the Spode Museum. Whilst Curator there I worked on behalf of the collection with The PCF to include the small collection of 4 paintings from the Spode Museum in the project - there is a portrait of W T Copeland here. I then went to work for The PCF in a new job after leaving Spode in 2008. Amongst other work for them I specifically worked for them as Coordinator on the Derbyshire, Sheffield, and Aberdeen catalogues.

Don't forget to visit the Potteries Museum & Art Gallery and look through all 688 images of their artworks.

English Roses in a Spode Teacup

I recently found this artist Jeanne Illenye on the web. Jeanne's glorious and exquisite still life paintings often feature Spode as can be seen in the image here, courtesy of the artist, of a painting entitled English Roses in a Spode Teacup. This shows a Spode London shape teacup and saucer printed in Italian pattern. Click on the caption to the image to see more of her paintings featuring Spode - enjoy and be tempted!

Spode and Pineapples

2011-10-06T10:23:00.004+01:00

What connection can Spode possibly have with pineapples? In 2011 this exotic fruit has become almost common place finding its way into UK supermarkets and, chopped up, included in pre-prepared lunchboxes. Over 200 years ago it was a thing of wonder and you could show off your wealth with the purchase of pineapples or even by cultivating them on your grand estate. You could then display the fruit in the centre of a well-laid dessert table arranged on a specially made stand by that supreme ceramic manufacturer - Spode!

Underside of stand

The pineapple stand shown with the pineapple in situ is made from bone china and is in Flower Embossed shape. It was made in about 1813 and is marked Spode in red. The 'embossed flower' decoration is actually part of the mould from which the object is made and is left as the pure white of the bone china looking striking against the fashionable apple green colour of the period. The groups of pink roses and leaves are hand painted and the whole finished with gilding. There is even more to this showy piece as the underside is also decorated. The fashion for laying dessert wares onto mirrors on a table meant that any usually hidden gilding or painted detail could be seen - truly a design full of opulence. Dessert services from Spode could comprise hundreds of pieces so other items were probably made in this design and a whole spread would have looked magnificent whether in use or on show.

The pineapple would still have had a woody stem attached to it when picked and this slotted through the central hole of the stand so it did not topple over. Slices from another pineapple or other fruits were laid around the edge to serve to guests. There are stories of when the catering was provided by an outside firm for a grand occasion (rather than in-house) such was the expense of the pineapple at this time that the whole fruit was rescued and carried off to be used as the uneaten centrepiece for another occasion at another location! At the Lost Gardens of Heligan in Cornwall they revived the growing of pineapples in 1997 relearning the skills and reviving the 'pineapple pit' presenting one of the first fruits grown to the Queen for her 50th Wedding Anniversary.

Technical detail of a thrown and turned 'Pine Pedistall', 1820

Another design of pineapple stand was also produced by Spode at the same period. It can be seen in a drawing from the Spode 1820 Shape Book where it is described as 'Pine Pedistall' and was available in 2 sizes. On the web at Spode Exhibition Online you can view the relevant pages of the Spode 1820 Shape Book and you can also page through the whole book. Although the 'Pine Pedistall' looks a little uninspiring here I have seen one in this style although they are very rare. It is part of the collection of the Spode Museum generously given as a gift to the collection in about 1997. It was decorated in the most beautiful Imari style in Spode's pattern number 1609.

Courtesy of the V & A Ceramics Collection

Another Spode pineapple stand is this wonderful white one in the collections at the V & A in London. This is a very elegant design beautifully crafted in all respects - shape, pattern and quality of manufacture. The simple decoration enhances the pure white of the bone china simply consisting of stylised pineapple leaves painted and gilded. I see from the website V & A Ceramics that this was part of the Gulson Bequest which means it is highly likely this piece belonged to the Spode family.

Fashions come and go and sometimes objects are so far removed from our everyday knowledge that their use is misunderstood and often objects are discarded. The 'Pine Pedistall' is one of these and there are others made by Spode which I will blog about in the future or add to my Spode A to Z. The first of these is an article about Pyramids...intrigued? Click Spode A to Z...look under P

If your curiosity is stirred by unusual objects from Spode you can consult Ceramic Bygones and Other Unusual Domestic Pottery by Robert Copeland, published by Shire in 2000. You can see the front cover of my treasured copy here with the lovely dedication from the author.

To find out more about the cultivation and growers of pineapples in the 18th century visit Nursery Gardeners to read about the Scott brothers.

Spode and Dogs

2011-09-23T18:20:00.022+01:00

I saw this beautiful Art Deco greyhound in a private collection whilst in Scotland recently and was allowed to photograph it for use here. It was produced by Spode as part of the new Velamour range introduced in 1932.

It is cast from a mould for which the original model was so exquisitely modelled that the greyhound's ribs are clearly detailed! Although not famous for the style Spode did Art Deco very well and figures and surface patterns were produced in high quality designs.

The stylised shapes in Velamour suited this simple creamy white matt glaze. The production of this range was interrupted by World War II (1939-1945) when restrictions were placed on pottery companies in terms of their production. After 1947, when Velamour came back into production the greyhound was one of the items which was discontinued. Pieces in the Velamour range were marked with a specific printed backstamp as can be seen in the illustration. If you look carefully you can sometimes find an impressed shape number beginning with a K. The large greyhound has shape number K448 also illustrated.

A small greyhound was produced in a sleeping position, which can be seen in the catalogue page, with shape number K449. This one is is also exquisite and fits in the palm of your hand. I have only ever seen one. Figures in the range were often derived from items which had been produced by the firm in the 19th century. They were using their archive of papers and pots to produce new designs to follow the latest trends. In this case a pair of greyhounds in life-like style. In the 19th century pair one dog has its paws straight out in front and the other has it paws crossed. I have seen these undecorated in beautiful Parian ware, which imitates marble, and also in earthenware painted in natural colours. A page from an old catalogue for Velamour is also shown here with some of the other attractive Art Deco animals as well as the two greyhounds bottom right of the page.

Other dogs were produced in the 19th century including bloodhounds in Parian ware and also a full size earthenware pug which used to sit in my office at Spode! Dogs feature in Parian groups too. There are several surface patterns which feature dogs including, in the 20th century, patterns O2155 and O2156 of about 1938 with Scottie dogs and spaniels respectively.

A quirky connection between Spode and dogs is that the artist Sam Spode (1798-1872) specialised in paintings of racehorses and greyhounds. He was the younger son of Samuel Spode in turn the younger son of Josiah Spode I founder of the Spode company. By coincidence I have recently been working for The Public Catalogue Foundation and you can see some of the outcome of their work partnering the BBC here Sam Spode paintings in public collections

An even quirkier connection between Spode and dogs is if you Google 'Spode greyhound' you will find that not only are there paintings by Sam Spode, or attributed to him, but you will also discover that there are many show greyhounds today including the name Spode!

For information on Sam Spode the artist please see the magazine 'Antique Collecting' (October 2011 ISBN 0003-584X pages 10 -15) which includes Peter Roden's excellent article with a number of full colour images of paintings.

More on Dating Spode Pieces in the early 1800s

2011-09-04T13:27:00.003+01:00

The statistics for these pages show that most people visit to find out about dating pieces and to understand about backstamps (company marks). You can revisit the first blog on this subject on 6 Jan 2011 by clicking Dating Your Spode Pieces to find information about dating pieces with examples of Spode backstamps. There are hundreds of recorded backstamps on Spode wares in the history of the company so I will add occasional information about different ones. The best book for Spode backstamps is detailed at the end of this blog.

The image top left shows the backstamp from a plate decorated in Portland Vase pattern printed in green. It shows a printed mark (in the same green as the pattern is printed in) as well as an impressed mark.

The impressed mark was stamped into the clay by hand when the plate was first made prior to it being fired when the clay was still malleable. At this period in ceramic manufacture blank, undecorated pieces once fired could be stored for some time before they went on to be decorated. In this particular case there was a company name change between the manufacture of the blank undecorated piece, marked with the Spode name, and the decoration of the piece when it had received its first (biscuit) firing!

This is how to put together the backstamp and pattern information to date this piece. Spode marks in various forms were used up to the change of ownership to Copeland and Garrett in 1833. The Copeland and Garrett partnership dates from 1833 to 1847. The Portland Vase pattern was introduced in about 1832. So the Copeland and Garrett mark must be post 1833 but having the Spode mark too suggests a date at the beginning of the partnership of c1833, rather than later, which also fits with the date of introduction of the pattern.

To the left is another Copeland & Garrett backstamp. This time printed underglaze in a blue-green and dating from c1838 to 1847. The pattern number 7487 is handpainted in red onglaze. This pattern number was first recorded in the Spode pattern books in about 1846 so with the two marks together the piece can be dated to c1846-1847. The other impressed mark like an O is probably a workman's mark and can tell us no more.

Note that dating can rarely be accurate and most dates given will usually be prefixed with the word about or the symbol c.

Backstamps can sometimes be very difficult to decipher as can just be seen in the image bottom left which shows a printed mark on a piece of Copeland and Garrett agate ware. Generally until well into the 20th century all marks were applied by hand whether printed, handpainted, impressed or embossed and human error can creep in. Wrong numbers can be painted on for the pattern number in a moment of absentmindedness; the S of Spode can be omitted in error from a printed mark giving a maker of PODE! (A poorly applied Spode mark can be seen bottom right - this also shows a printed workman's mark some of which are detailed in the book mentioned below.) And the angle of the tool for an impressed mark held too acute so part of the mark can be missing. This all adds to the fun of detective work when reading the backstamp on Spode wares.

Spode & Copeland Marks and Other Relevant Intelligence by Robert Copeland; published by Studio Vista; 1993, 1997 (2nd edition revised and enlarged); ISBN 0-289-80172-9

The Spode Throwing Wheel

2011-08-22T10:32:00.003+01:00

This photograph was taken in March 2010 at Gladstone Pottery Museum in Longton, Stoke-on-Trent. (Part of the Stoke-on-Trent Museums). It shows a hand turned throwing wheel from the 18th century. I saw this wheel in action demonstrating this old technique when David Rooke was the potter there in the 1970s.

To see the current range of Rookes wonderful ceramics click Rookes Pottery

The power for the thrower is provided by turning the large wheel in the foreground usually by a young girl or boy. The power is transferred via rope to the thrower at the other end.

To see a definition of throwing click Potbank Dictionary: letter T

This particular throwing wheel in the photograph above is highly significant to Spode enthusiasts as it is actually the Spode wheel - perhaps used by those two important Spodes: Josiah Spode I, founder of the company, and his son Josiah Spode II.


Hand turned throwing wheel in operation, 1827

To see the whole of the early 19th century book from which the engraving to the left is taken click A Representation of the Manufacture of Earthenware 1827

For the whole Spode 1820 Shape Book (from which the illustration below left is taken) visit Spode Exhibition Online. You can use the link on my Other Useful Websites panel on the right or click here to go straight to the manuscript Spode 1820 Shape Book


Technical detail of a thrown and turned Herculaneum shape scent jar, 1820

Herculaneum shape scent jar

Chinese Rose pattern

2011-08-08T15:43:00.005+01:00

Chinese Rose pattern was one of the most popular of Spode's colourful patterns on earthenware in the 20th century. Millions of pieces must have been made and there were several variations to the pattern each given its own unique pattern number in the Spode pattern books now in the Stoke-on-Trent City Archives.

This early 20th century design was derived from an old Spode pattern which in turn was taken from an 18th century Chinese porcelain design.

There was something of an outcry at the pattern's withdrawal from production in 2007 from retailers and collectors alike. It is a clever design which appealed to both modern and traditional tastes which accounted for its huge success. It is also a pattern selected by prop buyers which is seen in stage settings covering a wide range of periods in TV and film dramas!

Chinese Rose, Spode catalogue c1938

The illustration to the left is from a Spode catalogue of about 1938. The Spode brand is clearly seen in 2 styles on the page. These styles were the forerunners of the new logo designed in 1970 (detailed elsewhere in these pages) but also harped back to early 19th century marks on the Spode product itself.

The description of the pattern is in 1930s style and great fun - just click the image to see it clearly. The page also gives details of the pattern number, the pottery body and the shapes on which it was produced at that time. These catalogues were really for the high class retailers who stocked Spode wares and not for the general public's use.

More specific details about this pattern plus more images can be found on the woolliscroft.org web pages then click on the Spode A to Z.

Spode and Golf

2011-07-17T21:19:00.003+01:00


Spode Golf Prize,1814

The Open Golf Championship 2011 finished today after a stormy competition in Kent at Royal St George's.

The Spode factory produced many items associated with golf for a period of nearly 200 years. Early pieces often fetch record breaking prices as antiques and 20th century pieces are always popular with golf enthusiasts.

Spode cup and saucer, c1980s

Spode Golf Wares, c1890s

You can find more about Golfing Designs from Spode on the woolliscroft.org web pages then click on Spode A to Z

Ceramic Cities Exhibition

2011-06-26T10:54:00.003+01:00

Spode coverdish, pattern 2954 c1814

When looking at the history of the Spode and the company's early production in the late 1700s and early 1800s you will find that many designs and shapes were influenced by Chinese porcelain. A large part of the Spode business was producing high quality 'matchings' - pieces to complete or extend existing Chinese porcelain services and whole 'new' designs in the Chinese style to fulfil customers' requirements.

Many of Spode's designs retained oriental influences right up to 2009 and the closure of the factory when, ironically, they were manufactured in China.

Spode pattern 3143 c1820

Ceramic Cities: dialogues in design at the Potteries Museum & Art Gallery in Stoke-in-Trent is a wonderful exhibition telling the story of two countries and two cities: Jingdezhan and Stoke-on-Trent.

The exhibition runs until September - full details from the Potteries Museum website: http://www.stokemuseums.org.uk/pmag/exhibitions/002055.html

The exhibition contains a feast of pots of both Chinese and English from the earliest times to contemporary ceramics. There are of course Spode pieces there and these are shown alongside their Chinese porcelain design source. There are items from private collections showing how individuals were enthused by oriental ceramics and some of these collections have been given to the museum.The contemporary pots are quirky and fun.

My favourites? Apart from the Spode, of course, and the film of manufacturing Chinese porcelain, I think the three pots used for the promotion of the exhibition as above. I have an interest in studio pottery and here are three pots perfectly displayed but amazingly dating from the 10th century to mid-20th century. This shows the oriental influence on the 20th century studio potters but also shows how hard it is to learn these different types - thank goodness there are highly knowledgeable museum experts out there to help us.

One of my favourite studio potters? Chris Prindl in Devon - have a look at his website showing his contemporary work influenced by Japanese designs: http://www.prindlpottery.co.uk/pots.htm

Porcelain teapot, c2008 by Chris Prindl

Pots of Orchids - The Spode Bateman Connection

2011-06-23T22:33:00.000+01:00

When? Thursday July 14th 2011 at 3.30pm

What? Here is a reminder about my forthcoming talk: Pots of Orchids. I am presenting this talk as one of a series of talks, by a number of different speakers, for the James Bateman Bicentenary. Organised in conjunction with the Potteries Museum and Art Gallery, The National Trust Biddulph Grange and The Staffordshire Gardens and Parks Trust.

Spode and orchids might be thought of as an unlikely and unexpected combination so come and find out more about it!

How do I get tickets?

Please purchase tickets in advance at £6 each not from me but from:

The National Trust

Biddulph Grange Garden

Grange Road

Biddulph, Staffordshire

ST8 7SD

Telephone: 01782 517999

Email: biddulphgrange@nationaltrust.org.uk

http://www.nationaltrust.org.uk/main/w-biddulphgrangegarden

Where is it?

The Potteries Museum and Art Gallery

Bethesda Street, Cultural Quarter

Stoke-on-Trent

ST1 3DW

Telephone: 01782 232323

Who is James Bateman?

http://en.wikipedia.org/wiki/James_Bateman

Check out fuller details from my blog of 13th May 2011

Spode A to Z

2011-06-07T16:13:00.000+01:00

This is what the page looks like now

I have started a Spode A to Z which sits on the woolliscroft.org website.

To access it please use the woolliscroft.org link on the Other Useful Websites panel to the right. Once on the woolliscroft.org website you will find a tab entitled Spode A to Z. You can see what this webpage looks like in the image to the right.

At present this is very new but will slowly grow and allow me to add more detailed information than can be put here about all sorts of Spode history.

Titanic Spode

2011-05-31T08:08:00.015+01:00

Dessert plate, pattern R4331,
White Star Line badge in detail (top)
for Oceanic Steamship Navigation Company

I heard on BBC Radio 4's early headline news this morning that it is the 100th anniversary of the launch of the ship Titanic from Belfast. Ten months on there was disaster for crew and passengers on board this ship, which is well documented, as it sank on its maiden voyage.

Through its ships chandlers, White Star Line who owned Titanic, commissioned all sorts of items to furnish their ships from carpets to chandeliers, furniture to bed linen and of course ceramics.

The Spode company manufactured wares which have been found on the Titanic during exploration of the wreck site. There is no record in the Spode business archive mentioning the ship and associated wares but it is now known that some of the most expensive patterns were chosen for this magnificent ship.

It is not unusual for the Spode company to be unaware of where the pots produced at the factory ended up. The Spode company often dealt with a 'middle man' in this case a ships chandler. It is likely the latter organised a stock of all sorts of items from which the required pieces would be called off when a new ship was commissioned.

It is an odd quirk of fate that without the terrible disaster for this magnificent ship and interest in its story many decades on then few would be aware of the Spode and other decorative arts associated with it.

For more information on Spode and the White Star Line go to this address via a search engine http://woolliscroft.org/51.html or go to the woolliscroft.org link in the Other Useful Websites panel to the right and find my new (and slowly growing) Spode A to Z.

See this website for more information about other ceramics and the Titanic http://marconigraph.com/titanic/china/mgy_china.html

Spode and Orchids - A Date for Your Diary

2011-05-13T23:11:00.002+01:00

When? Thursday July 14th 2011 at 3.30pm

What? Here is advance notice of my new talk called Pots of Orchids. This is one of a series of talks, by a number of speakers, associated with the James Bateman Bicentenary celebrations in conjunction with the Potteries Museum and Art Gallery, The National Trust and The Staffordshire Gardens and Parks Trust.

Spode and orchids might be thought of as an unlikely and unexpected combination. Here is a glimpse of what I will include:

· A little history of the Spode company under both Spodes and Copelands.

· A look at botanical influences on Spode designs.

· Connections with local man James Bateman are explored, explaining specific associations with his mammoth book The Orchidaceae of Guatemala & Mexico. This includes details of my discovery of fragments of this important botanical work, its identification, rescue and conservation.

· Then we look at 200 years of exquisite orchid designs on Spode pots.

Who else is speaking?

Find more out about all the talks which are part of these celebrations of the James Bateman Bicentenary at http://lecturelist.org/content/view_lecture/9693

How do I get tickets?

Please purchase tickets in advance at £6 each not from me but from:

The National Trust

Biddulph Grange Garden

Grange Road

Biddulph, Staffordshire

ST8 7SD

Telephone: 01782 517999

Email: biddulphgrange@nationaltrust.org.uk

http://www.nationaltrust.org.uk/main/w-biddulphgrangegarden

Where is it?

The Potteries Museum and Art Gallery

Bethesda Street, Cultural Quarter

Stoke-on-Trent

ST1 3DW

Telephone: 01782 232323

Email: museums@stoke.gov.uk

http://www.stokemuseums.org.uk/pmag/exhibitions/002058.html

Who is James Bateman?

http://en.wikipedia.org/wiki/James_Bateman

Happy Birthday Mr Spode II!

2011-05-08T08:58:00.000+01:00

Happy Birthday Mr Spode II!

Naive portrait Josiah Spode II
on a Spode ceramic plaque
taken from a formal painting in oil

Josiah Spode II was born on May 8th 1755.

He married Elizabeth Barker in 1775. In 1778 he embarked on something of an adventure and moved with his wife and young family from rural North Staffordshire to the capital city, London. Here he set up not just a new home but a new business, which went onto huge success, to retail and market the product from the Spode factory in Stoke.

To work in London he needed to be a member of a Guild. There wasn't one for this new-fangled ceramic business...so he joined the Spectacle Makers' Company. The Spodes set up their home and business at 29 Fore Street.

A road map, 1766.
Perhaps Spode II used something
similar for his journey to London.

Spode and Royal Weddings

2011-04-29T08:42:00.001+01:00

It's seems appropriate on Royal Wedding Day 2011 to give a mention to the Spode/Royal connections!

The first Royal Warrant to the company came in 1806 and many have followed since. Spode has had customers from royal families all over the world.

Here is a plate from the dessert service commissioned by HRH the Prince of Wales to mark his wedding in 1863 to Princess Alexandra. The detail of the ware is that it was a dessert service on fully pierced Festoon Embossed shape, with panels of oranges and blossom alternated with panels of roses painted by C. F. Hürten, with a linked AE monogram in the centre for Edward and Alexandra. Beautiful gilding completed the design.

There were many pieces in the service including huge centrepieces supported by parian figures.

Spode - The After Life

2011-04-23T13:17:00.003+01:00

Even I was persuaded to have my photo taken

Photographer Christopher Huthwaite is in the process of a project featuring the old Spode factory and people who worked there. A work in progress, you can see more of this fascinating project using his web pages Spode - the after life.

For some it was hard going back. I chose to leave to take up a new job but others did not and had worked at the factory all their lives. Many worked not just with friends but members of their family.

Spode and Charles Ferdinand Hürten

2011-04-21T15:14:00.001+01:00

Charles Ferdinand Hürten, (1821/1822 - 1901), was a German artist who had been trained at Cologne and later moved to Paris. He was noted for his superb fruit, flower and foliage painting and in about 1858* he was persuaded to come to work at Spode, at that time trading under the name of W.T. Copeland. (*as mentioned in Spode & His Successors by Hayden. Earliest written record in the Spode Museum Trust's archive papers suggests 1860 - see below). Hürten may have been the only artist to have his own studio at Spode. It is thought he was allowed to paint freely on any type of ware. There are examples in the collection of the Spode Museum Trust of architectural and fireplace slabs; huge exhibition pieces and saggar marl plaques, as well as delicate flowers painted on earthenware and as on the finest eggshell china. He was also allowed to sign his work which was in great demand. Hürten was paid an annual salary whereas often the artists were paid for each piece they painted. Such was the demand for his wares that other artists were taught to paint in his style.

vase, detail, c1862

A few years ago I carried out some research and found further information from a number of sources. Copies of agreements between Hürten and the Spode company, then owned by the Copeland family, are in the Spode Museum Trust's archive. On 5th June 1860 an agreement was drawn up between'.....Mr. William Taylor Copeland Manufacturer of China, Earthenware etc at Stoke upon Trent....represented by his son Mr. Alfred Copeland.....and Mr. Charles Ferdinand Hürten, painter on china, in Paris...........Article 1. Mr Hürten engages himself to start within thirty days to Stoke upon Trent to place himself at the order of Mr. Copeland as painter of fruits and flowers, to work in the manufactory of china under the superintendence of Mr. Copeland or his representative during all the days of work and at the hours used at the manufactory.....from 8½ in the morning (8.30am) up to 6 o'clock at night with one hours' liberty during the daytime for the dinner as is the custom of the place....Art. 3. this engagement is to last for the period of five years...Art. 4. ....1st: payment of £21...as indemnity for Mr. Hürten, himself, his family journey and moving expenses and payment of the same agreement again for his return after the expiration of the said five years.....2nd: Annual payment of £320... for wages payable per month every last day of the month.........'

Copies of this agreement were in English and in French and witnessed by Alfred Copeland and Thomas Battam; also by Victor Taglier for Hürten. A similar agreement was drawn up in 1870 so Hürten obviously felt happy enough to outstay his five years! His salary increased to £350 per annum and the offer of payment of £21 remained if he chose to return to Paris. This time it was witnessed by Edward Capper Copeland and Will Lambert.

Correspondence in the Spode Museum Trust's archive, donated by members of the family, reveals a little of Hürten's life. In 1860 Hürten ordered some pottery for his personal use at home and of course it came from Spode! The invoice from W.T.Copeland is dated September 26th 1860 and lists items such as 1 tobacco jar Rockingham Gold lines, 2 blue glaze matchpots Gilt, 2 black glaze matchpots Gilt, 2 Statuary (now known as parian ware) Sleeping Children in Cot . Hürten spent £1.2s.3d (about £1.11p). At the bottom of the invoice is a list of items given as 'a Present from Mr. Copeland'. This included a table service for 8 persons in Honeysuckle brown, Breakfast and Tea ware and toilet ware. At this time Hürten was living in Penkhull Terrace not far from the factory in Stoke. A note shows the bill was paid in October that year.

In 1864 one of the partners in the firm, Alfred Copeland, writes to Hürten from London

'My Dear Mr. Hürten,

Accept my best and heartiest thanks for your most splendid gift. It is the most beautiful specimen of the kind I think I ever saw and I assure you my wife and I shall greatly treasure it for the kind donor's sake. I never regret the day you and I became acquainted, and I trust you may still remain in Staffordshire with us for many years. I thank you again for the beautiful and delicate Déjeuner set you have given me......'

Writing again a year later in 1865 Alfred Copeland is excited by a vase arriving in London from Stoke:

'......I cannot allow this week to close, without my acknowledging that the large Vase that has recently arrived from Stoke is truly magnificent, and we all, my father, Mr. Battam and myself are delighted with the result of your labours. I consider it the finest of your production and it does you infinite credit. You have grouped your flowers in beautiful variety and kept the colouring perfectly truthful and in good taste. The tone and feeling throughout is retained in every particular. I am pleased to say many good judges are surprised at this work and I am proud of it. I trust you are well and attempting to surpass....what you have already executed....'

Copies of letters from 1868-1871 from Hürten to members of his family in Germany are also in the Spode Museum Trust's archive papers originally in German and translated into English. They are mainly about money, family illnesses and criticisms of lack of letters in return - just like any family! Hürten's daughter Emma married Lucien Besche another important Copeland artist. He painted a plaque of Hürten, dated January 1st 1878, which is in a private collection.

Hürten was not only an accomplished artist but also prolific. The Spode Museum Trust holds many items. Additionally, when in operation up to 2008, the museum received enquiries about various items painted by Hürten - all are without exception superbly painted pieces. Very few items are actually recorded in the archive as they were often specially commissioned, unlikely to be repeated, with no need for them to be entered in the pattern books. Order books and invoice records do not survive. Occasionally oil paintings unconnected with the firm turn up.

CFH monogram,
dessert plate, c1888 (detail)

Hürten's work, which was signed C. F. Hürten or C.F.H., was exhibited at various International Exhibitions including Paris Exhibition in 1889 when he was in his 70th year. He worked for Spode until the 1890s. Family sources though have suggested the mid-1880s; but I found sketches in an Original Sketch Book (collection no SMT 2000.287) which are dated 1887 as well as pieces he painted date marked 1892 (eg collection no WTC 1012). Traditionally he is thought to have stayed at Copelands till c1897 and this seems more likely. He signed a special commemorative book (collection no Mss 485) for William Fowler Mountford Copeland in 1895 as the first signatory in the Painters & Gilders section and I noticed not in the Past Employees section.

Slab, with full signature (detail)

One of the finest examples of Hürten's work is a dessert and tea service commissioned by the Prince of Wales on the occasion of his marriage in 1863. The 196 piece service took about three years to complete. Hürten painted the orange blossom, fruit and flowers in the panels on the dessert plates. Examples are in Spode Museum Trust's collection. Other pieces in the collection are large pressed vases, pierced desert wares, centrepieces, vases and plaques. Hürten painted wares for very many wealthy Spode customers including royalty. One such customer was Mr. Macfarlane who had a new magnificent mansion in Glasgow described in The Art Journal 1875 ....the frieze of the heating room of the Turkish Baths, which was lined with tiles or plaques, was painted with tropical plants and flowers arranged in a masterly and effective manner....painted in sepia by Hürten...the whole of the plants represented are without exception studies from nature sketched and arranged for the purpose from the plants themselves in the magnificent conservatories of the Duke and Duchess of Devonshire at Chatsworth....

My research in the Spode Museum Trust's archive has shown that not only was Hürten a superb artist and china painter he was also a designer. Evidence of his designs are in a book Prints Borders and Sprays dating from about 1867 (collection no. SMT 2000.143) and some of these went on to be developed into familiar patterns produced by transfer printing and therefore available to less wealthy customers. There are also some of his flower sketches in the archive in Original Sketch Books.

There is no doubt that the Spode company under the Copeland family, by employing Hürten, moved into another dimension with the quality of their wares which were already famous, sought after and award winning. Hürten, and the other premier artists, employed by the company all had their own specialism sometimes working together on one piece. Not only were they skilful as painters but their knowledge of ceramic colours, which did not show their true colour until after firing, and their ability to paint in stages, as each different colour was fired at a different temperature, means their abilities are often underestimated.

Compiled and researched by Pam Woolliscroft, with thanks to Robert Copeland, Bill Coles, Vega Wilkinson and the Spode Museum Trust

Spode in Somerset

2011-04-20T22:25:00.000+01:00

Thank you to the Castle Cary Ceramics Group in Somerset for their welcoming and friendly audience for my Spode talk in early April.

Detail of a slop bowl in pattern 333, c1803

I really enjoyed speaking to such a knowledgeable group and was delighted to see so many beautiful Spode pots brought along to discuss afterwards.

There were one or two I didn't want to let go of after the discussion! This included a cup in pattern 333 of about 1803. An easily remembered pattern number and a delightful, elegant pattern in grey with beautiful gilded detail.

'..........I would like to thank you on behalf of the Castle Cary Ceramics Group for your superb presentation last week. All the members enjoyed the afternoon enormously and I think you will agree that you had a large and enthusiastic audience.'

'It was delightful to see you again today, and I so enjoyed your professional presentation......' Michael Bailey

Spring is here...

2011-04-03T17:57:00.001+01:00

Bulb Pot,
Tower pattern, c1820

There has always been a strong connection between Spode wares and plants dating from the earliest production in the late 1700s through to the end of production in 2009. Botanical subjects feature on many of Spode's ceramic wares particularly from the early 1800s onwards. But also there are many wares made specially to hold certain types of plants - Garden Pots and Stands and Bowpots (sic) recorded in the 1820 Spode Shape Book, large lily pans and oblong plant troughs in catalogues from the late 1800s/early 1900s. Dessert services decorated with botanical subjects from Curtis's Botanical Magazine and specialist orchid holders and pots decorated with orchids in the mid-19th century.

At this time of year with spring flowers emerging it is nice to be reminded that there is little new to be found in plant pots - a specialist bulb pot was made by Spode in the early 1800s.

Illustrated here is one made in about 1820 decorated in Tower pattern. The shape is identical to those available in ceramic and glass today.

More images of flower pots made at the Spode factory in the 20th century can be seen in the illustration in my blog of February 27th 2011 on the catalogue page from c1911. Lily pans and plant troughs feature too of the sort which probably graced conservatories of grand houses.

Aesop's Fables Pattern

2011-03-26T12:28:00.000Z

I was recently enjoying reading a 44 Scotland Street novel by Alexander McCall Smith. It is worth buying just for the title alone - The Unbearable Lightness of Scones. The Spode connection is that part of the tale features a 'blue Spode teacup'. These books are illustrated throughout with drawings by Iain McIntosh.

The 'blue Spode teacup' was illustrated with a Spode mug not a teacup - sorry I know I am being a bit pedantic here! Interestingly, and perhaps quite sadly, (I must get a life....as I can also tell you that TV's Poirot uses Spode too), I was able to identify the pattern in the black and white illustration. It is the lovely multi-scene pattern called Aesop's Fables in its late 20th century version.

So here is some background to this delightful pattern.

Spode soup plate, printed in green (not brown, sorry poor image)
featuring The Lion in Love, c1830

Backstamp to the above

Aesop's Fables pattern was first introduced in about 1830 at the end of the Spode period (c1770-1833). It is a multi-scene pattern which illustrates stories from the famous Aesop’s Fables series. The pattern had a specially engraved backstamp which incorporated the name of the fable illustrated on the piece. Pieces made after 1833 in the Copeland and Garrett period have an amended backstamp to incorporate the new name of the company.

Copeland & Garrett octagonal plate,
printed in green featuring
The Lion The Bear and The Fox, c1835
Courtesy Lovers of Blue and White
http://www.blueandwhite.com/

The designs were taken from illustrations used in the 1793 edition of the Reverend Samual Croxall's. The Fables of Aesop With a Life of the Author and Embellished with one Hundred Twelve Plates. Croxall was published many times and in many formats and illustrated by many artists.

The early Spode pattern is found mostly in green with other colours including blue being rare. A full list of subjects used can be found in Spode Printed Ware by D. Drakard and P. Holdway, published by Longman. ISBN 0‑582‑50314‑0

Extract from Copeland catalogue page
showing Fables, 1882

Later in 1879 three designs from Aesop's Fables were registered with the British Patent Office by the Spode company. These were: The Stork and the Frog with registered number 331597 on 28th January; The Eagle and the Tortoise with registered number 333235 on 12th March and The Pot and Kettle with registered number 333236 on 28th March. Although based on the same fables these are completely different but equally stunning designs and follow the style of the Aesthetic Movement of the period.

(The Victoria and Albert Museum is holding an exhibition from April to July 2011, called The Cult of Beauty - The Aesthetic Movement 1860 to 1900 which covers this amazing period of design http://www.vam.ac.uk/exhibitions/ )

In the late 1990s the pattern was reintroduced as part of Spode's Blue Room Collection and in 2002 as part of the Signature Collection on a large size dog bowl.

Happy Birthday Mr Spode!

2011-03-23T18:21:00.000Z

Happy Birthday Mr Spode!

Josiah Spode I was born on March 23rd 1733.

He was born in Lower Lane near Stoke in North Staffordshire, England.

Spode and The Old Bailey

2011-03-10T10:50:00.005Z

In 1778 Josiah Spode II went to London. At the age of 23, this eldest son of the founder of the Spode company, Josiah Spode I, was already an accomplished master potter trained by his father and by now heavily involved in the family businesses.

Gibson's Road Map,1766

This young entrepreneur was not off on a day trip or even a fact finding mission. He was leaving rural North Staffordshire to go to the capital city with his young family. He was travelling with wares made at the Spode factory to set up a new home and a separate retail business in London to sell Spode and other manufacturers' wares. Quite an adventure!

To work in London he needed to join a guild. As there was no guild connected to this new industry of potting, he joined the Guild of Spectacle Makers.

Above is the style of 18th century road map Spode II perhaps used to find his way to London on this adventure. Once there he would continue the Spode business practice of selling to the wealthy and find not only new customers but also pick up and follow the latest trends, make important contacts and keep an eye on the competitors.

Old Bailey Online, 24 Feb 1790

Putting flesh on the bones of this fascinating part of the Spode story is difficult. As far as we know there is no Spode family correspondence but this is where the Old Baily Online project comes to our aid. In February 1790 a record with reference to theft from Mr Spode is recorded. At the suspect's house, amongst other things an oval black teapot is discovered.

Black basalt coffee pot,c1800

A very elegant engine turned, black basalt, Spode coffee pot is illustrated which gives some idea of the style of the teapot in question. (Shards of almost full size similar pieces have been discovered during random 'digs' on the Spode site and are in the collection of the Spode Museum Trust). William Copeland, the first of the Copeland dynasty to be associated with the company is giving this evidence. Giving his evidence at the trial, Spode II mentions fine blue painted goods hidden, ready for theft, and has them marked so he can see what happens to them to try to catch the thief.

Old Bailey Online, 24 Feb 1790

'Fine blue painted goods' c1790

This link http://www.oldbaileyonline.org/browse.jsp?id=t17890909-59&div=t17890909-59&terms=spode#highlight leads you to another dramatic eventful day in Spode II's life which is great fun to read.

More can be found at http://www.oldbaileyonline.org/ not just about the Spodes but other famous people and perhaps your ancestors too.......

Spode and Tower Pattern

2011-02-27T21:37:00.011Z

Ponte Salaro
from Views of Rome and Its Vicinity
1796-1798

Someone recently pointed out to me that if you search Tower on this blog you got Italian! This was not as bad as it seemed as it simply took you to a Tower reference in my blog on Italian pattern. But this must have been disappointing to someone wanting to know about the world-famous Tower pattern by Spode. So I thought it time to put something here for collectors of this much-loved old pattern.

Tower pattern was introduced c1814 and was derived from a printed illustration (left) in the book by Merigots Views of Rome and its Vicinity published c1796-1798.

Tower depicts the Bridge of Salaro, near Rome. The bridge which originally had a keep built on top of it survives although it is now underneath the main route leading out of Rome to the airport.

Covered Dutch Jug,
Tower,c1820

Tower pattern was printed in a variety of colours during its almost 200 year production history but particularly in blue and later in pink. The original pattern was transfer printed in 'medium Ultramarine blue' which is quite pale. In about 1860 it was produced in a darker, 'flowing' blue known as Royal Saxon blue or flow blue. In about 1894 the pattern was printed on Gadroon shape, based on designs of Georgian silver, in dark Royal blue (also known as Zaffres blue) which became very popular and was still in production in 2001.
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Plate for toast, 2 compartments
for jam and marmalade,
printed in pink, Gadroon shape, c1920s

In about 1923 a version was printed in pink especially for the markets in the United States and this was still in production in 2001, possibly later. Between about 1962 and 1973 the pattern was produced in a Light blue but was not particularly, successful.

The pattern has been produced in many, many versions over the years. Blue and pink remained the most popular versions but it is known in brown and green, in plain printed versions as well as with hand enamelling and sometimes with the addition of gilding. The date of introduction of these other colours is not yet discovered.

Sometimes the border was used with other centres including nursery rhyme designs. For example pattern number 2/4797 of c1900 which is described as Tower border with Nursery Rhyme Centre. Game and fish centres were produced with Tower border too.

Pink Tower Fish Centre and
Blue Tower Game Centre,
1962 Catalogue for August Warnecke,
Spode agents in Germany

Photo of catalogue page,
c1911, very large pieces
many printed in Tower

The pattern was adapted in so many different ways it has never been estimated just how many! The Spode pattern books record some of these variations with the printed and hand coloured designs often giving very bright cheerful designs.

So this shows how a design from the early 1800s was developed and evolved into something with great versatility, changing with fashion and the wish of the consumer. These variations in design probably reached a peak in the 1920s and 1930s. The pattern was used to decorate a huge variety of objects. Not only dinner, tea and dessert wares but also toilet wares including bidets, various invalid wares, garden furniture, large garden pots and many other ornamental wares.

The production of Tower by Spode ceased completely with the closure of the factory in 2009 but production probably finished a year or so earlier but there is no exact documentation.

Campaign to Save the Wedgwood Museum

2011-02-16T18:57:00.011Z

The Award Winning Museum in Stoke-upon-Trent

is at risk of forced sale and dispersal.

The world famous and internationally important Wedgwood Museum and its collection is under threat.

To sign up click SIGN UP TO SAVE THE WEDGWOOD MUSEUM to find out the latest, full details and for links to twitter, facebook etc

Click on the link to go their campaign website.

You may have already seen details in the national press and here is your chance to get involved by joining the campaign.......and to see who is already a supporter and to join some famous names.

The Josiah Spodes: Pottery Pioneers

2011-02-13T09:52:00.012Z

Thanks to everyone who came to the lecture on

12th February 2011 - a full house!

The Stoke-on-Trent Archives 3rd Annual Ceramic Lecture in February 2011 entitled

The Josiah Spodes: Pottery Pioneers.

Thank you for kind comments received which include:

..........Thanks for a very interesting talk at the library this morning - well up to your usual standard. As mentioned in the questions, I really enjoyed the photo of Robert Copeland trying out the foot-bath. I also noticed a distinct resemblance between Robert and his distant ancestor William Copeland. Regards, Phil

........many congratulations on your lecture yesterday......

.....I really enjoyed your very professional presentation......

Pam Woolliscroft giving the inaugural
Stoke-on-Trent City Archive
Annual Ceramic Lecture, 2009

Precis of the lecture:

The father, Josiah Spode I, started from nothing to create a successful pottery business. The son, Josiah Spode II, took the business to new success and accolade. From humble beginnings this father and son team achieved worldwide success in just a few decades of the late 1700s/early 1800s.

This lecture looked at their important roles at the beginning of the Staffordshire Pottery Industry to become, arguably, the most successful 19th century pottery business in Stoke-on-Trent.

I brought together their inspiring story using well-known publications together with more recent independent research as well as my own observations.

The Josiah Spodes: Pottery Pioneers. A Public Lecture!

2011-01-16T13:21:00.009Z

The Stoke-on-Trent Archives 3rd Annual Ceramic Lecture in February 2011 entitled

The Josiah Spodes: Pottery Pioneers.

Pam Woolliscroft giving the inaugural
Stoke-on-Trent City Archive
Annual Ceramic Lecture, 2009

This is a fresh look at their important roles at the beginning of the Staffordshire Pottery Industry to become, arguably, the most successful 19th century pottery business in Stoke-on-Trent. I bring together their inspiring story using well-known publications together with more recent independent research as well as my own observations.

Postcard showing bone china toy tea service with tray, pattern 3157, c1821

To give you an idea of the scale, the tray is the about size of the postcard!

Toys were miniatures but not necessarily playthings - perhaps something a lady of wealth would collect. Spode toys in the early 19th century are of very high quality in both manufacture and decoration.

Dating Your Spode Pieces

2011-01-06T14:49:00.001Z

Putting a date to your Spode pieces can be difficult. Here are some tips.

Using the archive and published books you can learn about different backstamps (company marks) on Spode pieces. This though can only be a guide to a date - it is not an exact science and some backstamps were used for many, many years. Learning about styles and shapes can also help date pieces, particularly on the older pieces from the early 1800s when many were not marked.

Spode used hundreds of different styles of backstamps in its nearly 250 year history. There are few recorded dates for the introduction and use of them. Robert Copeland carried out the most reliable and detailed research of backstamps used by the company and his 'marks book' is a necessary requirement for the serious collector! Spode & Copeland Marks and Other Relevant Intelligence is discussed in my Recommended Reading 3 posted on this blog December 14th 2010. In this book you will find over 300 backstamps described. More have been discovered since and are occasionally published by the Spode Society in their publication The Review. I also recorded some of those used in profusion between 1995 and 2008 in the Spode Museum Trust Archive now at the Stoke-on-Trent City Archives.

As a general dating guide it will help to know there are 4 distinct periods of ownership of the Spode company. A brief description and sample backstamps follow:

Painted backstamp

c1807

c1770 to 1833: the company was known as Spode. Pieces were not always marked and sometimes just a pattern number appears and no Spode name at all. Painted marks are often in red and marks can also appear printed usually in blue or black, (although other colours were used) or impressed into the clay so appearing colourless. It is possible to have a combination of all three!

To the left is the image of a backstamp with the Spode name, the pattern number 967 and another small red cypher, which is a workman's mark.

Printed backstamp
c1835-45

1833 to 1847: the company was known as Copeland and Garrett. Marks appear with this name printed or impressed and often include ‘late Spode’. This means formerly Spode as the name continued to be used because the Spode brand had become so well-known. To the right is an unusual backstamp which includes the name of the pottery body ( ie recipe). You may also find pieces which are impressed Spode and then printed Copeland & Garrett. The undecorated pieces were already made and marked Spode prior to the name change in 1833.

Printed backstamp with
painted pattern number c1880

1847 to 1970: the company was owned outright by the Copeland family and a variation on Copeland or W. T. Copeland was used often again in conjunction with the Spode mark.

In 1970, to celebrate the bicentenary of the founding of the company, the name reverted to Spode with a new logo designed by John Sutherland Hawes. This is the name used until the closure of the factory in 2009. (see below left and Spode Logo blog)

Printed backstamp
with datemark A3 for 2003

Datemarks.
A great help to dating wares from the late 1800s to 1963 is that there are often impressed marks on pieces which give you the month and the year. These are usually on flat pieces, for example on a saucer but not on a cup.

They can look insignificant and be difficult to read but once you know what to look for then you can date a piece quite accurately. (From c1770 - 1870 datemarks were not used except around the 1860s when a series of impressed marks was used for which the full code is not known!)

Impressed datemark T over 23
for August 1923

From 1870 to 1963 impressed datemarks were used - on earthenware from 1870 until 1957 and on bone china and fine stone from 1870 until 1963. These take the form of a letter over two numbers, for example J over 33, which would give you a date of January 1933. Remember other numbers and letters appear on pieces which are not datemarks so you have to be certain they appear as one letter above two numbers. See the comments below to learn how to read these more easily

The following gives the letter code for each month: J = January; F = February; M = March; A = April; Y = May; U = June; L = July; T = August; S = September; O = October; N = November; D = December

Datemarks after 1963 until 1976 are indicated by a printed letter associated with particular backstamps and are a little complicated. There are several series of letters and a different letter is used to indicate the year depending on whether the body is bone china, fine stone or earthenware.

By 1976 the date letters were the same for bone china, fine stone and earthenware starting at A as follows: A to N for 1976 to 1989; no letter O was used; P to W for 1990 to 1997; no letter X was used; Y to Z for 1998 to 1999

In 2000 a new series of letters began - the year 2000 was given the mark A0, 2001 was A1 etc until the close of the factory in 2009.

(NB in 1981 the date letter although allocated to the year was inadvertently omitted from the backstamps for the fine stone body and this body was withdrawn in 1993.)

Spode Shards from the Spode site showing backstamps c1800-1833

(A range of Spode shards can be seen incorporated in a mosaic in the entrance to

the Potteries Museum & Art Gallery)

The Spode Logo and the Spode Museum Trust Logo

2011-01-06T12:19:00.000Z

The famous red Spode logo was introduced in its well-known design in 1970.

This was an important year for the Spode company as it marked the bicentenary of the founding of the company by Josiah Spode I. He had been working as a potter in various businesses from the mid 1750s. Something of an entrepreneur he had juggled mortgages and business partnerships for several years but by 1770 was well-established at Stoke with his own successful pottery company.

By the end of the 1700s Spode I, and his son Josiah Spode II, had brought the company to the forefront of the British ceramic industry by this time firmly based in Staffordshire. Perfecting the underglaze blue printed ware, for which the company was famous; and, later, inventing their beautiful pure white, translucent bone china, this father and son team established Spode as a brand which endures.

Printed backstamp c1820

Early wares produced by the company in the late 1700s and early 1800s were often unmarked. There are several reasons for this: as a new brand the name was initially unknown; it cost money to apply the marks by hand onto pieces; and sometimes Spode made blanks - undecorated pieces - to sell to other manufactures who would then decorate them to complete their own order.

Gradually as the Spodes developed and established their brand and their pottery became highly desirable by all sorts of customers from royalty downwards the pieces began to be marked. One of the marks in the early 1800s was an elegant handpainted Spode in script - sometimes in upper case and sometimes in lowercase; usually neat and nearly always in red. Other marks at this time were printed and always elegant in design

The designer, John Sutherland-Hawes, was commissioned to produce a new logo (left) to mark the bi-centenary of the company in 1970. His brief was to present a uniform image of excellence. Taking inspiration from the early 19th century red painted Spode marks plus later printed adaptations he produced the 'Gothic' style logo in red which became world famous.

Whatever the ownership of the company the Spode brand endured and when the Copeland family owned the company from 1833 - 1970 the Spode brand was always used alongside their name often styled Copeland late Spode.

From 1970 the Sutherland-Hawes Spode logo design was used exclusively, enduring to the closure of the factory in 2009.

The Spode Museum Trust, an independent charity, had its own logo re-designed by Stephen Morris of Morris Nicholson and Cartwright in 2000. It cleverly combines Spode's famous Willow pattern with an illustration of the Spode factory at the end of the 1700s.

Spode and Italian Pattern

2010-12-29T16:16:00.010Z

The Italian pattern, also known as Blue Italian and Spode’s Italian, was introduced by Spode in about 1816 and was in continuous production until the closure of the factory in 2009. The design was immediately popular and remained a best seller. Over the years it was produced on a wide variety of shapes in earthenware, one Spode catalogue from the 1920s/1930s records over 700 different shapes available - quite a feat of production!

Spode Catalogue page c1900

Dinnerware was also produced on bone china until about 1976 and decorative wares until about 1986. Italian was also produced in black from about 1954 until about 1974 on decorative items. In 1962 a limited range of tableware was made in black with pattern number S3372.

In 1998 I calculated Blue Italian was still produced on a huge range of shapes - 58 tableware pieces, 10 cookware and 30 giftware.

Unlike many of the other classical scene patterns on pottery of the early 1800s, the origin of the view for the Italian pattern is not certain and the scene has puzzled collectors for many years. The Spode engravers derived many of their pictorial subjects from scenes which had appeared as prints. Publications of prints of scenes associated with the Grand Tour were the inspiration for many patterns produced at this time. Merigot's Views of Rome and Its Vicinity (published in 1796-1798) was the source for several Spode patterns, including Tower and Castle, but none of these views has been associated with Italian.

Spode Illustrated Italian
Price List 1930

Tilman Lichtenthaeler, a Spode collector and researcher, carried out an architectural quest to trace the building types in an attempt to unravel the mystery of the source of the Italian scene. He found there is no one place in Italy that corresponds to all the features included in the picture. The scene is a composition made up of several elements. The ruin on the left, although architecturally incorrect, might have been based on the Great Bath at Tivoli, near Rome. The row of houses along the left bank of the river is similar to those of the Latium area near Umbria, north of Rome. The castle in the distance is of a type which occurs only in Northern Italy in the regions of Piedmont and Lombardy.

The suggestion is that a travelling artist from Northern Europe made sketches of the scenes he encountered as he made his way through Italy. On his return home the sketches were combined into an attractive scene which, later, Spode used and chose to call the Italian Pattern. It is not possible to date this. There may even have been a print from a painting and then another painting taken from the print by a different artist.....

In 1989 the Spode Museum Trust purchased a late seventeenth century pen and wash drawing by an unknown artist. The rendering of the scene is very close to that of the Italian pattern and may well have been the original inspiration for the famous Spode design.

In 2007 and 2010 I received new information from a private researcher recording a painting of remarkable similarity to Spode’s Italian scene which was formerly in Schloss Paffendorf near Cologne.

Italian pattern
in green c1833

So, all this information can be researched further and perhaps the true origin of the design may one day be known. Most of this information can be found in the Spode Museum Trust's archive at the Stoke-on-Trent City Archive where more recent research will be added.

In the early 1800s most of the pieces produced in the pattern were on items which would have been for the wealthy - asparagus servers, huge meat dishes, enormous soup tureens with ladles, cruet sets, foot baths, etc. Many a graceful home used Spode's Italian. Variations on the pattern existed for example pattern 2635 of about 1818 uses the border of the design with a floral centre and is handcoloured over the blue print. Detail of another coloured version (no pattern number) can be seen below. A green version is also known dating from about 1833.

Saucer (detail), Italian pattern
printed in blue,
handcoloured in red, c1820

From its introduction as a Spode pattern Italian was an immediate success. Remarkably it retained its immense popularity for nearly 200 years and was a huge commercial success for the Spode company. The reason for its tremendous appeal is difficult to place but perhaps it is due to the unusual combination of a classical scene with a Chinese border. The border is a direct copy of an Imari design on Chinese export porcelain dating from about 1735. This unusual and difficult combination of oriental and western designs works perfectly in the Italian pattern.

By the end of production at the Spode factory much of the Italian pattern was produced overseas. In 2009 Portmeirion purchased the Spode brand. Italian is in production again with the Spode brand under the new ownership of the Portmeirion Group.

The Spode Museum Trust’s archive holds a great deal of material with reference to the Italian pattern – pattern books, catalogues, price lists, researches by individuals, collectors, enthusiasts and curators as well as marketing material up to 2008. Some Spode collectors collect just this pattern and some specialise further collecting only the oldest pieces dating from 1816-1833.

Cherries in Spode Blue Italian Bowl

The design crops up all over the place in fabrics and accessories as well as on TV sets for drama and even in 2010 on Channel 4's Big Brother. Watch out for it in many an old American film and also in modern TV dramas of all periods! It is also beloved by interior designers in both the UK and US and can been seen in many glossy magazines.

Lovers of this pattern should also see paintings by Jeanne Illeyne such as Cherries in a Spode Blue Italian Bowl shown here courtesy of the artist. Click on her name or use the link my Other Useful Websites panel on the right of this page to explore her work.

Thanks to all those who have shared their research and enthusiasm for this pattern over the years.

Spode Christmas Designs and a Bit of Christmas History

2010-12-07T10:53:00.002Z

As well as Spode's famous Christmas Tree pattern, first recorded in 1938, and discussed elsewhere on this blog, Spode produced many designs with a Christmas theme.

Prince Albert, consort of Queen Victoria (1837-1901), is credited with introducing the Christmas tree into the UK and from the late 1840s the Christmas festivities here began to assume a different style. The designs with which we are so familiar today were very new at this time but the combination of holly, robins, mistletoe and snow quickly became a much-loved and indispensable part of British tradition at Christmas.

Spode was probably one of the first ceramic manufacturers to follow these new trends producing patterns using holly borders entwined with mistletoe and seasonal flowers on serving platters as well as on toilet wares such as ewers and basins. Predating the change to the Christmas styles of today the earliest design in the Spode Museum Trust's archive dates from about 1811. Pattern number 1575 shows a holly border and a little later, in about 1828, a tile with pattern number B195 is recorded decorated with a border of holly.

Many more patterns with a Christmas/New Year theme begin to be recorded in the Spode pattern books from the late 1840s. Patterns begin to appear in a style with which we are familiar today. An example of one of the early Christmas patterns is a ewer and basin with an embossed holly pattern which was registered as a design with the British Patent Office on 6th December 1849 with registered number 64739.

Dish with design by Harrison Weir, c1861

A design, after a painting by Harrison Weir of a robin standing on a snow-covered branch, was produced in about 1861. The print of this centre had appeared in the Illustrated London News on December 25th 1858. Four designs with pattern numbers 8295, D579, D2033 and D2035 all using the holly motif were exhibited at the 1862 International Exhibition and illustrated in the Art Journal Catalogue.

By March 2003 I had found nearly 100 Christmas/New Year designs in the pattern books dating from 1848 to 1938 with designs on tableware, giftware, ornamental ware, toilet ware and tiles. A full list of these can be found the in the Spode Museum Trust's archive deposited at the Stoke-on-Trent City Archive.

Spode most famous Christmas pattern remains Christmas Tree and details of this pattern are entered in this blog on December 1st 2010. New product in this design made under the Spode brand can be bought from Portmeirion.

Spode's Christmas Tree Pattern

2010-12-01T11:20:00.021Z

It's December so only one pattern must be featured here - Spode's Christmas Tree!

Christmas Tree was one of the most important designs for the Spode company, successful from the moment of its introduction in 1938. Sales of this pattern, particularly into the US market, saved the company during lean times on more than one occasion. Sadly it could not do this 70 years on when the Spode company was in difficulties and closed in 2009.

Cup and saucer, Christmas Tree pattern, date unknown

The design has a lovely history. Sydney Thompson, sole agent for Spode in the US (Copeland & Thompson Inc, 205 Fifth Avenue, New York), spent a couple of months in Stoke-on-Trent each year at the Spode factory to develop new patterns for his market. This was during the 1930s and the Art Director of Spode was Thomas Hassall. He and Sydney Thompson would review the old Spode pattern books in their search for antique designs which could be revitalized and introduced on current shapes.

In May 1938, Mr. Thompson wanted a new design for the Christmas season and despite the many holly designs found in the pattern books none seemed appropriate. So Mr. Hassall asked Harold Holdway, one of the Spode designers and later to become Design Director, to produce a design. Soon he returned with a plate which had a central design of a Christmas tree with presents hanging from the branches.

When Harold Holdway was first asked to draw a Christmas tree he had to be rather inventive, as he had never seen one! In his first sketch all the presents were suspended from the tree. He amended it when Mr. Thompson, who liked the design, explained that in the US presents were heaped on the floor around the bottom of the tree with only shiny decorations on the tree itself. Harold also had no idea what they put at the top of the tree which is why the Spode Christmas tree has a Santa instead of a fairy.

After the revision of the design a ten inch plate was produced with the wording 'Wishing You a Merry Christmas 1938' printed on the back of the plate. The salesmen were swamped with orders. The inscription was discontinued after 1938 but over the following years the Christmas Tree pattern developed into whole table services and extra serving pieces.

Christmas Tree pattern
with crimson band, date unknown

Originally produced on Kailas shape the pattern was outline printed from a hand engraved copper plate and then handcoloured. Pattern number S2133 has a green band and pattern S2134 a crimson band, both decorated onglaze.

In the late 20th century/early 21st century Christmas Tree was produced by Spode on Regimental Oak shape with a narrow green band with the pattern number S3324 - the most usual version of the pattern. Pattern number S3324 had superseded the original design in 1959 for all underglaze decorated versions. The patterns changed from transfer printing and handpainting to slide-off lithography in about 1962. Slide-off lithography was known as 'water slide' at Spode. The coloured band was now applied underglaze. The version with the crimson band was not as popular and was eventually discontinued but from the late 1950s was produced in the same way as S3324 and has pattern number S3325.

Prior to closure of the Spode factory in 2009 plates in the pattern were produced by a 'Malkin' 6 head, 6 colour pad printing, backstamping and lining machine. It could run 24 hours a day 7 days a week if required. It used 6 etched steel and hard chrome-plated printing plates. (The only hand engraved steel Christmas Tree printing plate was engraved by Jack Longmore Snr. and is in the collection of the Spode Museum Trust). The machine was fondly known as a 'multi-bump' and was fascinating to watch in operation, revolutionising the speed of production of printed patterns and reducing the number of people required in the manufacturing process.

Multi-bump machine used to produce Christmas Tree, 2007

Many different versions of Christmas Tree were produced over the years with different colours and widths of bands. Confusingly during the 1990s the same pattern number, S3324, was used on several different versions with different borders and mottoes. Also in the 1990s annual plates began to be produced which have the Christmas Tree centre, the year and an appropriate border which was different each year. New shapes began to be introduced each year including star-shaped hors d'oeuvre dishes, star vase, candlesticks, pierced candleholders, and miniatures. There was always something new to add for a collector of the pattern. Most of this production was aimed at the US market where there is a different culture around Christmas from the UK. In the US the design is used from Thanksgiving to Twelfth Night; in the UK the use is usually limited to Christmas Day and perhaps Boxing Day.

Interestingly Plummers of New York who stocked the original Spode Christmas Tree pattern also had it reproduced very closely and applied to less expensive ware by Barker Bros. of Longton, Staffordshire. Plummers sold both versions. The success of the pattern has inspired many other companies to produce similar designs over the years. But remember the Spode Christmas Tree pattern is the original.

Here's a great statistic - in the last quarter of 1999 Spode's Christmas Tree was recorded as the largest selling casual dinnerware pattern in the USA.

Some variations of Christmas Tree pattern are detail below:

Pattern number	Date	Description
S2133	1938	the original pattern printed underglaze, handpainted onglaze with green band - superseded by S3324 in 1959 for underglaze decorated
S2134	1938	As S2133 but with crimson band
S2216	1939	As S2133 but on Marlborough shape
S2217	1939	As S2134 but on Marlborough shape
S2688	1952	As S2134 but band in 1339 red in place of crimson
S2743	1953	12 inch round Chelsea dish, Christmas Tree centre of S2133, edge in Christmas Tree green
S2763	1954	12 inch round Chelsea dish, Christmas Tree centre of S2134, edge in Christmas Tree crimson
S2816	1954	Pattern all underglaze but green line in place of the green band
S2836	1954	Zieler bowl all underglaze with green line and holly border
S3324	1959	As original pattern but all underglaze. In 1962 the decoration changed from printed to waterslide onglaze but still banded underglaze
S3325	1959	As S2134 but underglaze and underglaze pink band
S3344	1960	As S3324 but omitting the band (cancelled)
	2009	Spode factory closes
	2009	Produced by the Portmeirion company

You can see details of some backstamps to help date pieces of Christmas Tree on a newer blog here.

In August 2011 I found this for more on Christmas designs and not just from Spode: http://vignettedesign.blogspot.com/2010/12/setting-table-with-christmas-dinnerware.html

With thanks to Robert Copeland, the Holdway family and Eddie Orpe

Spode's Pattern Number 1166

2010-11-28T10:19:00.003Z

I thought it was about time there were some pots on these pages!

A postcard of a group of items in pattern 1166

One of the most sumptuous designs produced during the Spode period (c1770 - 1833) has pattern number 1166. It has no name just a number. It is one of about 75,000 patterns recorded in the Spode Museum Trust's pattern books. Many patterns simply have a unique number with no name and this design has a conveniently memorable one.

Pattern 1166 was first recorded in about 1808. Pieces with a simple Spode mark or the number alone will date from about 1808 to 1833.

detail of the painting on the punch bowl

The pattern is fully hand painted and gilded on pure white bone china. The combination of cobalt blue and gold is one of the most expensive in ceramic decoration. This extravagance coupled with these gorgeous flowers makes this design one of the most magnificent to come out of the Spode factory.

The background of gilded scales are graduated to fit the pieces whether for the large punch bowl or small ink stand. The items in the illustration above are the sort of wares made for Spode's well-to-do customers.

This illustration was produced for a postcard for the new Spode Museum in about 1996. Sadly the museum was short-lived and closed in 2008/9.

The pieces in the illustration top left from left to right are given below. Jar is an old word for vase. The number in brackets after the description is the page number in the Spode 1820 Shape Book and the spellings are shown in italics as given in the original document.

Sevres Shape Jar (sic); recorded as made in 3 sizes; this with swan shaped handles; (143)
Pierced Cov'd Pedistall Antique Jar (sic); recorded as made in 2 sizes; (63)
Punch Bowl, cover and ladle made for His Grace the Duke of Newcastle with the handle to the cover modelled as a cornet.
Tray Ink Stand with ink pot, wafer box and sand box; (90)
Dolphin Tripod (thought to be an incense burner); recorded as made in 3 sizes; (17)
Sevres Shape Jar (sic); as above

To the left is a Beaded New Shape Jar; recorded as made in 9 sizes; (6)

It is possible that this pattern on Spode's bone china was made to imitate the Chinese metal working technique known as cloisonné.

Many, many different items were made in this pattern to grace the homes of the wealthy.

More can be seen in the book Spode by Leonard Whiter.