01 January 2019

Spode, January and Winter

This beautiful printed tile, dating from the late 1800s, depicts January from a set of twelve designs representing the months of the year.

I have blogged about it before and you can find details here: Spode in January
'Seasons' pattern, design for Winter
Another pattern tying in with this time of year is 'Seasons', first recorded in about 1837. At this time the company was known as Copeland & Garrett. There are different versions of the pattern and it is also called 'Italian Garden' and there is a version called 'Seasons Star'. The central design for Winter features ice skaters in front of The Kremlin behind a large vase, inscribed 'Winter', full of tumbling flowers & foliage.

The 'Seasons' name refers as much to the border of the pattern which depicts four cherubs, representing Spring, Summer, Autumn and Winter, as to the centres, which are sometimes named with a month or season.
Detail of border design depicting cherubs
'Italian Garden', backstamp c1842
Footbath, Seasons Star printed in green (from Worthpoint)
Footbath (detail), Seasons Star printed in green (from Worthpoint)
You can find more black & white images of 'Seasons' pattern HERE>

05 December 2018

Spode & Christmas 2018

It's that time of year again... and as an added bonus (!) 2018 sees the 80th birthday of Spode's iconic pattern: 'Christmas Tree' introduced in 1938.
Cup & saucer, Christmas Tree pattern
Not only was this an incredibly successful pattern for the Spode company but such was its success, particularly in the USA, that it kept the business going through difficult times.

Here's a fun fact: 'in the last quarter of 1999 Spode's Christmas Tree was recorded as the largest selling casual dinnerware pattern in the USA.'

I have written about Spode & Christmas on this blog many times. To explore 'Christmas Tree' pattern, as well as some much older Spode Christmas designs, click/tap Spode & Christmas for my dedicated page on the subject where I have gathered together nearly 10 years of blogposts.

Using the links on my Spode & Christmas page enjoy finding out more about general Christmas history, see some beautiful Christmassy designs from Spode spanning almost 200 years; and, of course, lots of facts & figures about the iconic 'Christmas Tree pattern for all the enthusiasts.
Punch Bowl c1849
You can also find out the true story behind Christmas trees in the UK. Click/tap here to find out.

I have included some images on this blogpost to tempt you further into Christmas...
Holly design plate c1890
Plate, 'Away in a Manger '1957/1958

Christmas Tree 1986
Thanks to all who have shared information with me for this Spode History blog over the years. Merry Christmas!

30 September 2018

Spode and Pattern 2600


This dessert plate, made in bone china, is decorated in pattern number 2600. It dates from about 1817. Decorated with pink roses and sepia leaves, it is all hand painted with no further decoration. It makes for a simple yet pretty design.
Backstamp

31 July 2018

Bottle Ovens... and a new book

'Bottle ovens became the most important part of the pottery factory. One disastrous firing could ruin a potbank.' 

From 'Bottle Ovens and the Story of the Final Firing' by Terry Woolliscroft and Pam Woolliscroft
'Conceived, planned, researched, written, designed, printed,
published and distributed entirely in Stoke-on-Trent'
Published by, and available from, Gladstone Pottery Museum; researched and written by Terry Woolliscroft and Pam Woolliscroft.


Images from the book
Can't help it, very excited, more of our books!

01 July 2018

Spode and Bottle Ovens

Working at Gladstone Pottery Museum in the late 1970s, I was part of the organising team for a huge and important event - the final firing of a potters bottle oven.*

As a young curator it was very exciting to be deeply involved with the event: the 'Last Bottle Oven Firing 1978'.
Smoke from the Last Bottle Oven Firing 1978
In 1976 David Sekers, director of the museum, had come up with the daring and momentous idea of firing a Potteries bottle oven for one last time. The aim was to record on paper, audio tape and 35mm movie film all the traditional skills required to fire an oven before the knowledge was lost.

In 2018, as a volunteer, I was surprised to find myself involved with the 40th anniversary of this amazing event, helping to organise a Festival of Bottle Ovens at Gladstone Pottery Museum for August and September 2018. Four of us, part of the team 40 years ago, were once more in the thick of it, working closely with the museum staff, to tell the story of the final firing.

At the request of Gladstone Pottery Museum a new book, Bottle Ovens and the Story of the Final Firing, was commissioned researched and written by Terry Woolliscroft and myself.

This prompted me to blog a bit of history about Spode's bottle ovens, as well as, and just as importantly, their later replacements.
Dessert plate with view of Spode bottle ovens c1800. Fired in those same bottle ovens for each stage of its own manufacture
From humble beginnings and, with at least two partnerships in two different pottery businesses behind him, Josiah Spode I, now in his forties, eventually owned his own factory and became an independent pottery manufacturer. Together with his son, Josiah Spode II, he bought a ready-made factory in Stoke in 1776. The factory was described as 'potworks'.

In 1776 the bottle ovens are described as 'potovens' in this extract from 'Copyhold Potworks & Housing in the Staffordshire Potteries 1700-1832' by Peter Roden.

 'All that meadowe, with the appurt’s, lying in Penkhull, within the said Mannor, called Madeleys Meadowe, and also, all those potworks potovens pothouses workhouses warehouses compting house barns stables cowhouse marl bank and outbuildings to the same belonging, situate in Penkhull aforesaid, & adjoyning to the said meadowe called Madeleys Meadowe...'
Josiah Spode I (1733-1797
Josiah Spode II (1755-1827)
As Master Potters, the Spodes would have had all the skills required to manufacture their pottery from raw clay to finished product. Importantly, and perhaps often underestimated, this included all the techniques required to fire pottery, of different types and at different stages of manufacture, using that important tool of the potters' trade - the bottle oven. The single most important part of the potting process was, and still is, the biscuit firing. Losses associated with a failed firing, at any stage of the manufacturing process, particularly at the time of the Spodes, could ruin a company.

Throughout the late 1700s and into the 1800s both father and son would have seen great development and huge proliferation of bottle ovens in Stoke-on-Trent - now regarded as iconic buildings.

In the 'Tour of the Grand Junction' published in 1819 the Spode factory is described as employing around 800 people and having '18 large ovens… [using] upwards of 200 tons of coal per week.'
Extracts from Tour of the Grand Junction
Details of 'Building The Meadow Oven', dated 1 June 1825,** can be found in papers in the Spode archive. The total cost for the oven building was £10 3s 5½d and described as 'the Whole Cost including Brick Dressing & Labouring'. The cost of materials is not included.

The document records that Obadiah Greatbatch was the oven builder. Also listed are his men and boys with the hours they worked and what they were paid. It seems to be a mix of skilled men, labourers, boys and an apprentice. Here are the names of these unsung heroes of the pottery industry.

William Burchell
Thomas Buckley
Samuel Steele
John Tomkinson
Walter Sarjeant
Cartwright
James Wardle
Samuel Lainton
Thomas Smith 'a boy'
Joseph Western 'a boy'
Malkin
Dick 'apprentice'
John Lainton

(Forenames, where recorded, are mostly abbreviated throughout the original document; I have written them in full here).

An 1833 insurance plan of the Spode factory in the Spode archive, records at least 20 ovens and kilns.

In May 1843 'The Penny Magazine Of The Society For The Diffusion Of Useful Knowledge' records that 'the Spode Factory in Stoke supported 37 bottle ovens: 7 biscuit, 14 glost, 16 enamel'.
In 1776 the Spode factory was already a well-established 'potworks' and included 'potovens'. The number of ovens on the site fluctuated throughout the 233 year of Spode ownership, as the business changed, flourished or declined, embraced new technology and finally closed in 2009.
Spode factory from the air 1929
Spode factory 1930s
Spode factory looking towards Stoke Minster 1930s
From recent research I found that the Spode company was, from the 1930s to the 1960s in the forefront of changing from filthy, injurious coal-fired bottle ovens to embrace new cleaner and safer firing technology developing within the pottery industry. This was largely due to Arthur (Ted) Hewitt.

In 1932 the Spode Company name was changed to W. T. Copeland & Sons Ltd. It was already owned by the Copeland family but this name change followed the purchase of another local firm, Jackson & Gosling, as its owner, Arthur Hewitt, was wanted for the Copeland board of directors.

Arthur Hewitt's impact on the greater success of Spode was huge, with increased orders and modernisation from this strong and farsighted man; and, consequently, on the development of the Spode factory site.
Mr. A. E (Ted) Hewitt
Hewitt was involved in local politics, including becoming Lord Mayor. As an advocate of clean air, he introduced firing by gas and electricity at Spode in place of smoky bottle ovens.

Here are some of the changes which took place at Spode much earlier than the compulsory change from coal fired ovens which was demanded by the Clean Air Act 1956 which gave companies 7 years to find alternative fuels.

1934 two circular Gibbons Rotalec enamel kilns powered by electricity were installed.

1936 a gas-fired tunnel oven for glost firing of earthenware was installed.

1946 an electrically-fired glost tunnel kiln, named The Meadow,** was installed for firing bone china.

1951/2 two gas-fired biscuit tunnel kilns were installed, named Black and Canal, for firing earthenware. For the first of these 2 ovens a special ceremony took place 1 October 1951. The Spode Saga magazine 1951 recorded what was seen as a momentous event and how important Spode regarded its own history whilst also looking to the future. (More about the Spode Saga HERE>)
Report, Spode Saga, the lighting of the new tunnel kiln
Detail of bringing the flame from a bottle oven being fired to the new tunnel oven. The 'torch' is in the Spode museum collection
L-R: Gresham Copeland, Ashton Maskery, John Copeland and Spencer Copeland (white coats). Iron lamp (torch) bottom left

1957 a Shelley 'Top Hat' kiln was installed for china glost firing.
'New Scientist', December  1956
1960 a gas-fired open flame tunnel kiln named Jubilee was installed for firing bone china biscuit.

1960 also saw the last firing of a coal-fired bottle oven on the Spode factory.

'It was in 1960 that the last firing of a bottle oven on the Spode Works took place. It was a china biscuit oven - that is, the bone china clay-ware was fired to about 1260°C to the 'biscuit' stage' from Manufacturing Processes of Tableware during the Eighteenth & Nineteenth Centuries by Robert Copeland. 

Much demolition of bottle ovens and old buildings, from the days of the three Josiah Spodes, took place on the Spode factory between the 1930s and 1950s, as the company moved towards modernisation. The new gas and electric kilns were often named after historic parts of the factory which had been demolished, creating a link with the company's history.

The Clean Air Act of 1956 plus the electrification of the factory earlier in the 20th century led to the big changes. The increased use of gas and electric for firing, led to the demolition of all but one bottle oven - an updraught hob-mouthed oven - the hovel of which collapsed in 1972.

The demise of the bottle ovens at Spode was rarely recorded in any formal manner although fabulous photos of them exist particularly from the 1930s which are in the Spode archive. The base of the oven which is immortalised in a postcard and was part of the Spode company 'tour' was poorly interpreted but for any visitor was a constant source of questions. Under the control of the company rather than the museum it was hard to persuade them that it might be a good idea to have panels to explain what it was. Whilst curator at the Spode museum I tried to rectify this and began to gather information and  I knew my Spode mentor and colleague Robert Copeland (1925-2010) would know what date it had become a 'ruin'.

He was very precise and succinct with his answer to my first question about it. '1972', he said, 'March; it was a Friday; about 2pm'. Silence.

I remarked that this was indeed detailed information perfectly recalled even for his fantastic memory. He went on to tell me more about the incident and as he spoke I realised that it must nearly have led to a serious injury for him or even worse. Its seriousness meant it was not surprising he could remember the details with such clarity.

He said there was a loud 'Whoosh' and the hovel of the bottle oven collapsed as he walked nearby. I gather it was a very close shave and must have been a terrific shock.***

Postcard, Spode's updraught hob-mouthed bottle oven prior to hovel collapse
Spode's updraught hob-mouthed oven after the hovel collapse 1972, even less remains 2018
Add caption
_______
Further information:

Terry Woolliscroft and Pam Woolliscroft, Bottle Ovens and the Story of the Final Firing

Robert Copeland's books about Spode can be found here.

Peter Roden, Copyhold Potworks & Housing

Terry Woolliscroft's websites which will be of use are: The Potteries Bottle OvenThe Last Bottle Oven Firing in the The Potteries; The Gladstone Pottery Museum Story and Potbank Dictionary

My Bottle Ovens page Here>
_______
Notes:
* Although organised by Gladstone Pottery Museum, the Last Bottle Oven Firing took place at the Sutherland Works of Hudson & Middleton and not at Gladstone Pottery Museum. The museum's ovens were too fragile to use.
** The name 'Meadow' is included in the description of the factory when the Spodes bought it in 1776 (see above). The Meadow name continued in use at the Spode factory as a modern kiln in 1946, and later to describe a modern building which caused confusion amongst strangers looking for, well, a meadow!
***Elsewhere this is mentioned as February but I use March from my conversation with Robert Copeland

Design for the Programme of Events for 2018 HERE>

19 February 2018

Spode and a Spring Crocus

Dessert plate, earthenware, Spring Crocus, c1815
Backstamps on dessert plate
This is a Spode dessert plate from about c1815. It is decorated with a Spring Crocus from 'Curtis's Botanical Magazine' of 1787 illustration 45. The common name of the plant, rather than the botanical name, is printed on the back of the plate along with an impressed Spode backstamp.
Illustration 45 from 'Curtis's Botanical Magazine' 1787
The plate shown here was part of a service; every piece in a large dessert service featured a different botanical subject taken from the 'Curtis's Botanical Magazine'.

For this design the dessert service was produced on earthenware, transfer printed first with the plant and then with the leaf sheet pattern, which in this design, is called 'Thyme' sheet. The botanical subjects were then hand coloured. During the manufacturing process it meant that each piece of the service was fired in a bottle oven at least 4 or 5 times.

A word about the word plate. Over the years, when I wrote up my various research articles about the botanical sources for Spode patterns I had to be very careful with the word plate!

Plate could have 3 distinct meanings: plate as in a ceramic plate; plate as in a book illustration; and plate meaning copper plate i.e. the engraved copper from which the pattern was printed in the transfer printing decoration process.

More on my blog post 'Spode and Botanical Designshere.

27 December 2017

Spode and a Cress Dish

Cress dish & stand, c1805
This Spode item is very specific. It is a footed cress dish and stand. This would have been used to serve watercress in the early 1800s.

Made in a fine earthenware body called creamware, the design is an elegant, classical, repeat border pattern in pinkish red and black - all of which is handpainted.

The design was recorded as pattern number 687 and dates from about 1805.

I love the shape as well as the very lovely pattern of what is simply an arrangement of drain holes. This allowed any water to run off from the freshly-washed watercress. The little claw feet on the dish raised it above its stand so it does not sit in a puddle.
Detail of piercing
The cutting of the holes is done by a technique known as piercing where the intricate pattern of holes was cut by hand. You can find out a lot more about the technique by visiting my Spode ABC - click/tap HERE>.

08 December 2017

Spode and Marketing Christmas in the USA

Leaflet, front, 'Christmas Tree' pattern for the USA 1990s
Spode's famous and iconic pattern 'Christmas Tree' was first produced in 1938. In the USA it was an instant success and was very important commercially for the Spode company. You can find out a lot about this popular pattern, its history and its design variations from the links on my dedicated 'Spode & Christmas' page.
Cup & saucer, 'Christmas Tree' 1986
Spode, under all its ownerships, was excellent at marketing its products. On my blog this year for Christmas, I thought 'Christmas Tree' collectors in particular, would like to see some sales and marketing literature for the pattern. The biggest sales of this seasonal design were to the USA. The pattern was produced all year round at the Spode factory in Stoke ready for the culmination of what in the USA is called the holiday season.

So with thanks to Paul Hanson of Philadelphia, here are some leaflets (or brochures) produced specifically to market 'Christmas Tree' pattern in the USA in the late 20th century.
Leaflet, inside, part of the huge range...
... and there's still more on the fold-out page
Leaflet, inside back cover and back, 1990s
Leaflet, back, with address detail, 1990s
This leaflet from the 1990s shows that it was for the USA market with details of Spode's USA business - 'Royal China & Porcelain Companies Inc.'- often referred to at Spode as RCPC.

68 choices of items are listed in the 1990s leaflet. Not all items were made by Spode. From 1938 up to the early 2000s, whilst 'Christmas Tree' ceramics were mostly made at the Spode factory in Stoke, England, some were not. These included many of the Christmas tree ornaments and 'three-dimensional gifts'. Glassware, textiles and cutlery parts were also made elsewhere, sometimes outside the UK.

In the bottom right hand corner of the back of the 1990s leaflet is a reference number beginning with MNC. This stands for Morris Nicholson & Cartwright, a specialist agency engaged by Spode to produce marketing literature from about 1984 to 1996. In 2005, whilst I was Curator at the Spode museum, Stephen Morris of MNC kindly donated the MNC papers, relating to their Spode work, to the museum. Their papers are now in the Spode archive.
Leaflet, front, for 'Christmas Tree' pattern for USA c1989
A leaflet probably from about 1989 uses the Spode slogan 'Only Spode is Spode' whereas the 1990s leaflet, shown at the top, has the later slogan 'Invest in the Original'. The clue to late 1989 dating is in the marketing blurb at the bottom of the leaflet: 'The Gift of a Family Tradition for Over Fifty Years' so it has to be 1988 or later. Here is some more of the leaflet:


Leaflet, back, for 'Christmas Tree' pattern for USA c1989
with 'three-dimensional gifts' illustrated.
And here is another leaflet this time from the 1970s/1980s:
Leaflet, front, for 'Christmas Tree' pattern for USA 1970s/1980s
Leaflet, back, for 'Christmas Tree' pattern for USA 1970s/1980
And some pages from the inside: