15 - Transferware Collectors Club

Transcription

The Italian Pattern
The story of an iconic 19th century
transferware design
by
Richard Halliday
All images and contents are
copyright of R & R Halliday
Halliday Publishing 2013
CONTENTS
Acknowledgments
5
Dedication
6
Introduction
9
Pattern History
13
Key Elements
40
Manufacturing Process
45
Spode
60
Other Manufacturers
66
Dinner Wares
99
Tea Wares
206
Medical Wares and Toilet Wares
218
Miscellaneous Wares
239
Pattern Variations
243
Bibliography / Recommended Reading
257
ACKNOWLEDGMENTS
Without the following people, this project would not have been
possible and I owe them all great thanks.
Michael and Vicky Attar
Rosie & Harold Cooke
Jessica Davies
Rod Dowling
Rosemary Halliday
Paul and Kath Holdway
Nicholas and Pat Moore
Janis Rodwell
Adrienne Richards
Judie Siddall
Spode Museum Trust
Arleen and Grahame Tanner
Donna Thompson
Loren Zeller
This project was part-funded by:
Transferware Collectors Club
The Paul and Gladys Richards Charitable Foundation Grants
For the Research of British Transferware
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DEDICATION
This work is dedicated to the memory of Andrew Richards. Andrew and
Adrienne Richards were world-famous collectors of the Italian pattern. They
started collecting in 1963 when Adrienne went into a local shop in
Edinburgh looking for some pottery to fill a newly-acquired dresser. The
shop had a lot of modern Spode Italian on display and she purchased a few
pieces. When she returned home with the pottery, Andrew agreed that it was
a very pleasing, bucolic pattern and was delighted with her choice. They
both became very fond of the pattern over the proceeding months and so
decided to do some research. They found that it was introduced by Spode at
a much earlier date, 1816, and the die was cast; Italian was to be their great
love in life. Over the next forty years, they continued to purchase Italian
pattern pieces and explored, analysed and investigated the whole history of
this famous design throughout the nineteenth and twentieth century.
Andrew in particular, did much research on this pattern and discovered
that it was produced by at least ten potters. His aim was to publish his
research, but sadly, he died before this wish came to fruition. They were
both good friends of ours and Andrew is sorely missed.
I truly believe that this work should be shared with the whole community
of transferware. After all, the Italian pattern surely has to be one of the most
iconic designs ever produced.
Finally, I believe that this is a fitting tribute to a man who had devoted his
life to the research of transferware and somehow I feel that there is a very
nice symmetry with him and Paul and Gladys Richards.
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Although much of the Richards’ collection is spread throughout their
house, most of it is on display in an upstairs landing/gallery area that is
accessed via a fabulous spiral staircase. In this area, the pieces of Italian are
housed and displayed in illuminated, purpose-built cases that show the pottery
off to its full beauty. While these two images are just a sample, it is truly
amazing to see such a wide variety of shapes, manufacturers, styles and dates
of a single pattern - what an amazing collection!
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Andrew Richards
30th October 1937 - 29th November 2009
This fabulous Spode Italian pattern chestnut basket was one of
Andrew’s favourite acquisitions.
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INTRODUCTION
This Italian pattern surely has to be one of the most recognisable and
indeed most iconic designs in the history of transfer printed pottery. It is
possibly true to say that almost every home, antique shop, antique show and
museum around much of the world has at least one example of this pattern
within it. From its inception in 1816, it has largely remained in production until
this day and this must be seen as a phenomenal achievement.
The Italian pattern was produced on a wide variety of wares over its
history. These include dinner wares, tea/coffee wares, medical and toilet wares,
and child’s pieces. The pattern was also produced on miscellaneous pieces such
as tiles, garden seats and much more. Basically, every possible conceivable
piece of pottery over the years has been made bearing the Italian pattern.
It is a pattern that really has survived the test of time. Fashions and tastes
change, sometimes quite quickly, but certainly over a two hundred year time
span. However, the Italian pattern remained as popular in the late twentieth and
into the twenty first century as it was in the early nineteenth century. Often
things do drift in and out of fashion, but something that remains popular and in
the public consciousness almost continuously for such a long time must be
considered as incredible. Within this work I hope to shed light on the history
and reasons behind this seemingly ever-lasting popularity.
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Spode Italian soup dish, c.1820
Spode Italian plate, c.1995
As can be seen from the two pieces illustrated above, the design over the
near two-hundred-year production at the Spode site, has remained almost
exactly the same. There are a couple of subtle differences to note; the early
wares had a ‘fill’ section between the central design and the border whereas the
later pieces did not. This is evident by the perceived extra white look in this
particular area. The only other difference is the colour; the early wares are
richer and softer and the later wares do have a slight harshness to their
appearance.
Why did the design remain unchanged? Well, obviously, the original
pattern was so perfectly balanced and appealing that no changes were needed.
The old expression of; “If it ain’t broken, don’t fix it” comes to mind.
This famous pattern was produced by at least twelve potters during the
nineteenth century and possibly as many as twenty. During the early years of
production, copying of other works of art and designs was not illegal until the
copyright act of 1842. As such, other potters seeing the popularity of any given
design could simply copy and produce it themselves. Within these pages, I will
discuss the pattern history, other non-Spode manufactures and examine the
pottery produced baring this famous pattern during the ‘first period’; 1816 to
1850.
Illustrated overleaf is a rudimentary timeline for the production of the
Italian pattern at the Spode site from its inception in 1816 to the late twentieth
century.
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Pattern Origins
Considering that the Italian pattern is one of the most iconic and famous
designs, not only in terms of transferware, but also within the whole sphere of
pottery, its origins are still shrouded in mystery. The source of the design has
intrigued historians and collectors for nearly two hundred years. It is very
strange that many of the sources of patterns produced during the height of the
transferware production years are known and their respective sources are easily
traceable and noted, yet the Italian is not known. Another peculiar thing is that
Spode is a very well documented firm and almost all of their records, pattern
and source books still remain today. However, the source for the design is not
within these records.
There are several theories regarding the source of the design that Spode
used. In writing this work, I have tried to canvas the opinion of various people,
both collectors and historians, to try and get a fair and balanced view on the
origin of the source of this important pattern. As such, there are several schools
of thought and I feel it is only right and correct to discuss each in turn and
examine their merits. At the end of this section, I will try and draw some
conclusions based on the evidence presented.
Theory one: The design is said to have been taken from a Claude Lorraine
painting of 1638. Claude Lorraine (Claude Gellée ) was an artist of the Baroque
movement. He was born in France and was a very prolific artist during the
seventeenth century. John Constable once described Claude as "the most
perfect landscape painter the world ever saw", and declared that in Claude’s
landscapes "all is lovely – all amiable – all is amenity and repose; the calm
sunshine of the heart". These words perfectly sum up what we as transferware
enthusiasts can see in the Italian pattern. To coin and old phrase; ‘A place for
everything and everything in its place’. The original Claude Lorraine painting
is said to hang in Parham House, Sussex, England.
Many of the Claude Lorraine landscapes have some very similar elements
to those found in the Italian pattern. The first of these is the trees and ruined
buildings that are often found to ‘frame’ his art. They also often feature a small
group of people in the centre of the landscape who are more often than not,
accompanied by animals.
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Above is an image of the Parham House painting, c.1638.
Parham House painting.
Spode’s Italian pattern.
If we look at certain elements of this painting, there are undeniable
similarities. The first of these to note is the distinctive use of ‘framing’ trees
that twist and intertwine.
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The next element is the use of a ‘framing’ ruined building to the left-hand
side of the scene. Whilst they do look somewhat alike, they are by no means
identical.
Finally, the two figures in the foreground surrounded by their watering
cattle. Again, these are similar, but not identical.
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Theory two: The design was taken from a drawing attributed to a Dutch
artist called Fredrick de Moucheron. (1633 - 1686). de Moucheron was the son
of the painter Balthazar de Moucheron and Cornelia van Brouckhoven. His
father came from a wealthy family of wine traders Frederik trained with Jan
Asselijn and became a landscape painter who was famous for painting French,
Dutch and Italian landscapes. This piece of art is considered ‘missing’ and is
not known.
Theory three: Below is illustrated an Italian Maiolica plaque. Clearly, the
ruined arch on the left-hand side bears an amazing similarity to the Italian
pattern. Some say that this is the source that was used, but others argue that the
Maiolica piece was after a famous Italian landscape which was the one used in
the source for the Italian pattern. As such, this source is still unknown or is
possibly one of these used in theory one or two.
The above piece is attributed to Francesco Antonio Saverio Grue (1686 1746) who was part of the famous dynasty of the Grue family who were
Maiolica manufactures in Italy.
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This triple arch has also featured on another piece of Italian Maiolica that
is said to have been produced by Nicola Cappelletti (1691 - 1767). Some think
that this now-famous structure is part of a ruined aqueduct and as such has been
used in several artistic depictions over time.
The similarities between the Italian Maiolica on the left and the Spode
pattern on the right are too close to be unrelated. Pretty much each element of
the arch is exactly replicated; the double-column of the right, the fence below
the lower arch and even the foliage that spouts from the ruin.
Theory four: Below is an illustration of a pen and wash drawing in the
Spode Museum Trust’s collection. This was bought at auction in 1989 by the
then head of Spode, Mr. Paul Wood. Again, there are several theories and
thoughts behind this. Some believe that this is the true source to the pattern and
there is absolutely no doubt regarding its authenticity. However, others believe
that this pen and wash drawing was produced some time after 1816 and that an
artist used Spode’s Itlaian pattern as a source for the pen and wash drawing.
This does sound a little like the chicken and egg situation, but is one that is
really hard to prove or disprove.
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Above; Pen and wash drawing, below; Spode design, c.1820.
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As can be see from the previous two illustrations, this possible source is
extremely close to that of the Spode design. The only really notable difference
is that in the Spode pattern, there is the addition of a seated figure that looks to
be reading and there are also some extra sheep in the foreground.
The similarities seen below also between the pen and wash drawing and
the Italian Maiolica piece are startling, even down to the figures in the
foreground.
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If this is indeed the source that Spode did use, it is most irregular that they
used an actual painting rather than a print. In almost every other pattern
produced, if not all, the source for the design was a print or engraving and not a
painting.
To add to the confusion, some believe that this is actually the missing de
Moucheron scene while others say this is not in his style nor is it his son’s
style; Isaac de Moucheron (1667 - 1744).
Theory five: There is one other theory that, although it may be slightly
controversial, is well worthy of note. Some sources firmly believe that Spode
were not the original manufactures of the Italian pattern, but rather this honour
was that of John Mare. This seems to be the hardest theory to prove unless a
named and dated Mare piece comes to light or something concrete that dates a
Mare piece before Spode’s 1816 inception date. Mare potted from 1802 to
1825, so he was potting early enough to potentially predate any Spode Italian
patterns.
Spode
Mare
As can be seen from the two examples above, both designs are pretty well
identical and any minor differences are negligible.
As previously stated, it seems quite difficult to decide firmly which theory
is correct and at the time of writing, I must leave it down to the reader to make
up their own minds.
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Both theories one and two use European artists operating in the midseventeenth centuries as their possible source. Much of the landscape-related
art work of this period had a very similar look to it. That is to say that there was
a certain look, feel and balance to the work. While this is maybe an over
simplification, the scenes often had a ruined building on one side, twisted trees
on the other as to create a frame and an idyllic landscape containing a few
figures in the middle. Does this sound familiar? It’s an exact description of the
Italian pattern.
It is true to say that the Parham House painting is quite like the Italian
pattern and does share many key elements and an almost identical layout, I
think that to say that this was the source of the Spode design is a little too far
fetched.
If indeed the pen and wash drawing is genuine and pre-dates the 1816
pattern inception date, then this would certainly be the most likely candidate for
a source. If we also look at the Italian Maiolica as a supporting piece of
evidence to say that the pen and wash piece was probably taken from an actual
known view of a structure that really existed. This pen and wash drawing may
well be the missing de Moucheron work or one taken from it and as such could
be the original source.
The Mare theory again is possible, but some may consider it to be
unlikely. Again, this is very difficult to comment on accurately without any
supporting evidence.
To conclude, the source of this wonderful and iconic pattern will remain a
mystery for a little while to come. I am sure with more research and
investigation, a definitive answer will be arrived at. Someone, somewhere
holds the answer and only time will tell. In a way, this beautifully illustrates the
sheer joy and beauty of transferware. There is always room for more research,
more discussion and thought regarding origins, sources and patterns. Where
would the fun be if everything was marked and dated?
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Through the ages
The Italian pattern continued to be an ever-present and ever-popular
design manufactured and sold by the Spode factory in its various guises. Nearly
two hundred years of continuous production and countless thousands of pieces
produced; what an amazing story!
A punch cartoon from c.1890 showing an amusing scene that just
illustrated Spode’s popularity and that it was never too far away from the
public’s thoughts.
As logistics changed and improved, advertising and the ability to sell to a
far greater and wider market became possible. The Italian pattern could now
reach everyone and the pattern could go down in history as being truly iconic.
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The next ten pages are from a 1935-36 wholesale sales brochure that W. T.
Copeland produced. It also includes prices for all of the products within.
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Below is illustrated an order that was placed on the 7th, August, 1938. The
order was placed by E. Johnson and Co. of Alnwick, Northumberland.
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Below is further correspondences with E. Johnson & Co. dated 28th of
September, 1938. The Italian pattern gets a few mentions in the promotion
work contained within the letter.
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Over the next two pages, there are copies of a double-page advertisement
and promotion piece that ran in the press in 1934. By saving fifteen Sunlight
soap boxes, you could receive a gift of a Sunlight Soap company trinket box
and a Spode Italian pattern fruit bowl.
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Kitchen cabinet manufacturers Elizabeth Ann ran this glossy
advertisement in the Sunday Telegraph magazine in the mid 1990s. It offers the
purchaser of a £4,500 kitchen a free set of Spode Italian wares worth over
£1,000!
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Compton and Woodhouse also offered a Spode Italian pattern mantle
clock in a widely advertised campaign in 1997.
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In 2008, the Spode factory closed and although the Italian pattern was
produced elsewhere, this was the end of an era; the pattern had been produced
on the same site using largely the same methods for a continuous one hundred
and ninety two years. What a tragedy. This is where this part of the story sadly
ends, but what an amazing story it has been and one that hopefully will live on
in our hearts, collections and thoughts.
At the time of writing, the future looks slightly unsure, but in the care of
the Spode Museum Trust, things are in safe hands for now.
The Spode factory bronze bell, dated 1800 now hangs eerily quiet….
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KEY ELEMENTS
The Italian pattern consist of five key elements.
The ruined arches
The distant ruined buildings
The figures and sheep in the
foreground
The cows watering
The Chinese-inspired border
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After having said that the Italian pattern is one of the most famous,
recognisable and iconic designs in transferware history, we must ask the
question; why? What makes a pattern popular? What makes it stand the test of
time? The Italian pattern is a relatively common design in terms of pieces seen
in collections and the open market, so we have to assume that it was produced
in relatively large quantities. If this is the case, then there can only be one
reason for this; it must have been a popular design at the time. Spode and the
subsequent copying potters simply wouldn’t have produced something in
quantity if it wasn’t selling.
So why was this pattern popular? There are possibly a number of reasons
for this. The early nineteenth century was a time of great social and
geographical awareness and the people were beginning to explore foreign
places, cultures and ways. The grand tours that went to European places such as
Italy were hugely popular. Spode were one of the factories that were at the
forefront of design and knew only too well what their market was. They
introduced four Italian-inspired designs in quick succession; Italian, Rome,
Lucarno and Tower. These would become probably their best selling patterns
and the backbone of the sales in transferware for the proceeding period.
The Italian pattern is a well-balanced design that is very easy on the eye. It
also has everything that you would wish to see in a pattern. It has the
romanticism of the ruined buildings, the bucolic landscape with fluffy clouds
drifting overhead. It has the cattle watering in the river, the two figures with a
dog in the foreground and the mystery lady that appears to be reading a book.
This design at the time could have been viewed as being slightly exotic, but not
too much as to appear completely alien and an unachievable goal or nadir.
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Border Design
The border is believed to be a straight copy of that found on Chinese
export wares of the period. This pattern’s introduction in 1816 was right at the
heart of the transition period where designs were starting to be influenced less
by Chinese wares and more by British sources and post-Renaissance European
aspects. As such, the border was Chinese and the design was European.
On the face of it, maybe a strange match, be somehow they really work
beautifully together and add great balance and stability to the overall look. The
border has a flow to it and variety, but not so much as to divert the eye from the
central and most important aspect.
Above is a Spode Italian pattern plate, c.1820 with the Chinese export
porcelain plate (Yung Chen period, c.1736) that Spode used as inspiration for
the border design. One may use the expression; East meets West.
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The close-up below shows just how faithfully this design was copied.
Here is a close-up of a copper plate showing the Chinese-inspired border
and graver tool that was integral in its creation.
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MANUFACTURING PROCESS
The manufacturing process has a number of steps. There firstly has to be a
demand or gap in the market for a design. Once this is identified, a design has
to be agreed upon. Almost all patterns and potters throughout this pre-copy
right act period (pre 1842), used source images as an inspiration for the final
design. Whilst it is true to say that some patterns were copied from Chinese
export pieces, most of the other designs were typically taken from paintings or
images in books.
This was a great age of production in terms of the printing process. The
printing process had been developed and refined to such a stage that it was now
an easy method of reproducing an original piece quickly, accurately, easily and
efficiently. Crucially, the costs of this process were relatively low too. As such,
books were readily produced and often in huge volumes. These books were
also where the sources for many patterns were gleaned.
This fabulous source of ready designs were an absolute boon for the
pottery industry. These images could simply be copied straight onto copper
plates and used to produce wares. This meant that time and money didn’t have
to be spent on actually creating a design for a piece of transferware from
scratch. The process would have been more involved than this as a border
would have to be designed and the actual pattern when finished would have to
be approved, but essentially, it was as straight forward as that.
The designs for new patterns were endless and varied. These include
historical events, floral specimens, animals, country houses, foreign
landscapes and much more. For example, Enoch Wood used many images
taken from John Preston Neale’s ‘Views of the Seats of Noblemen and
Gentlemen in England and Wales’ as their main source for their hugely popular
‘Grapevine Border’ series. Wood also used John Church’s ‘A Cabinet of
Quadrupeds’ for their ‘Sporting’ series. Spode too used already-existing images
for new patterns. This is best illustrated by looking at their fabulous Indian
Sporting series. This was based on coloured engravings and drawings by
Samuel Howitt. These were published by Captain Thomas Williamson in his
1807 ‘Oriental Field Sports, Wild Sports of the East’ work published by
Edward Orme.
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The above Spode Indian Sporting series ‘Shooting a Leopard’ platter
shows how faithfully the source image was copied with only subtle changes to
the overall design.
Once a design has been found, agreed upon and made ready, the next step
is engraving a copper plate. The copper plates arrived from the coppersmiths in
a semi-finished state. The plates were flat, smooth and mostly free from
scratches and other imperfections. The engraver would put the plate through
three steps to ready the copper for engraving. Firstly, a process of ‘burnishing’
would take place. This is where the surface of the plate is rubbed with a steel
burnisher which would smooth over the sharp ends of the plate and also remove
any other small indentations. The next step is ‘knocking up’ which involved the
use of an anvil, punch and hammer and any deeper imperfections or dents are
knocked out of the engraving surface. The third and final step is called
‘planishing’. This is a three-step process of using three gradually smoother and
finer grades of wet stones. This long process finally produces a flat, smooth and
polished copper for the engraving process to begin.
The next step in creating a copper plate is to get a piece of ware that the
finished design will cover to get the correct size. This is done by covering the
piece in a mixture of beeswax and tallow. A piece tissue paper is then applied
and carefully trimmed to fit. This is then removed and applied to the blank
copper plate. A fine line is then engraved around this outline thus marking the
extent of the pattern to be engraved.
The actual engraving itself must be done in such a way that the ink, once
applied, sits in V-shaped valleys. This applies to all the engraved marks
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including dots as well as lines. This way, the ink sits evenly and is able to be
picked up by the tissue paper cleanly and sharply.
A copy traced from a master design using tracing tissue and lampblack
would be applied to the copper face which was readied with a mixture of
turpentine and resin. The outline of the tracing would then be lightly engraved
using a blunt needle to make a more permanent copy on the copper. Now, the
engraver could begin ‘getting in’. This is the process whereby the engraver
creates the copper plate’s pattern in engraving.
This complicated and highly-skilled method uses several specialised tools;
a magnifying glass, a conical V-shaped punch and a set of gravers. A graver is a
hand tool that was used to cut the lines of the pattern. These gravers came in
different sizes that had different angles of cut. A deeper cut into the copper
would result in the blue in the final production of the pattern being darker. So,
much skill is required here too to control the shades of the final piece.
A copper plate for a ten inch dinner plate such as the Italian pattern would
typically take about two months to engrave. A large platter could take up to six
months to complete.
Tools of the trade; the hammer and punch.
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The magnifying glass and graver ready for use.
Spode produced well in excess of two hundred different transferware
designs over dinner ware, tea ware, toilet ware and other miscellaneous wares.
Each of these designs required specific copper plates for every shape produced.
So, each size of jug, ladle, platter, plate and so on would have its own copper
produced. All of these copper plates were kept in alphabetical order in a
purpose build store room called the copperplate room. As you can imagine,
there were countless thousands of engraved copper plates within this store.
Each pattern had its own dedicated section within the copperplate room which
made finding and selecting any given pattern and copper an easy task.
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Here is a Spode Italian pattern drainer, c.1820 with the copper plate that it
came from. It is quite strange to think that after nearly two hundred years apart,
they are reunited for this image.
A copper plate such as this could also have been used to decorate other
pieces and was not specifically created to only produce a drainer.
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The next main step in the manufacturing process is printing. This process
is an extremely skilled procedure. Often people scoff that a ware is ‘only
transfer printed’, but this requires great care and experience to get right. You
can imagine how difficult it is to apply a flat sheet to a ware that is curved
disproportionally in three plains.
This printing art is carried out by a small team of workers. This consists of
a printer, cutter, transferrer and assistant. The printer first heats the cobalt
colour that has been pre-mixed with a thick oil and applies it to the copper
plate. This is done with a knife and ‘dabber’ to ensure that colour is evenly
distributed across the plate and fills all of the engraved holes and lines. The
excess is then scrapped off with a knife. This ensures that that blurring between
the lines is avoided.
A thin piece of ‘pottery tissue’ is soaked in soapy water and is applied to
the copper plate with the help of a press. Now the pattern-charged-tissue is
given to the cutter who roughly cuts off the excess areas of the paper. This may
also included separating the border from the centre as it is easier to apply these
two separately.
The tissue is then applied to the ware by the transferrer using a small piece
of soaped flannel. Then, using a strong and vigorous action, a rubber made of
rolled flannel forces the tissue to the blank ware. This action causes the colour
to stick to the bisque body.
The piece is then washed thoroughly in a tub of water which removes all
of the tissue paper, but leaves the colour adhered to the ware. In order to
remove the oil that was mixed with the colour before being applied to the
copper plate, the ware must now go through the ‘hardening off’ process. This
involves putting the piece into the kiln which burns off the remaining oil.
This four-person team applied their team mark (often called a workman’s mark)
to the underside of the ware. This allowed for easy quality control and
accounting for each team’s productivity.
The ware is then dipped in glaze and fired. The whole process is an
extremely clever and ingenious method. It allowed pieces to be decorated
relatively quickly and inexpensively and ensured that all the pieces were the
same.
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1
2
3
4
5
6
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7.
1. The un-decorated bisque.
2. The ‘pottery tissue’ applied.
3. The tissue washed off to leave the colour and oil adhered to the ware.
4. The ‘harden off’ ware.
5. The ware is dipped in glaze (partially here for demonstration purposes).
6. The finished, fired piece.
7. The ‘pottery tissue’ charged with the oiled colour.
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An Italian pattern copper plate and ‘pottery tissue’ pull. Note how the pull
looks back-to-front. It was important that the transferrer placed the tissue the
correct way down for obvious reasons.
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Expert engraver, Paul Holdway, engraving a new Italian copper plate.
A highly-skilled colour mixer in the Spode colour shop mixing the correct
colour for the Italian pattern, c.1986.
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A printing ‘team’, c.1986.
The ‘cutter’ and ‘transferer’ busy at their work, c.1986.
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From left to right; the ‘cutter’, mugs being ‘washed off’ and mugs being
‘rubbed down’, c.1986.
A 12” dish being ‘rubbed down’ using soft soap, c.1986.
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Printing colour ‘drying off’, c.1986.
Printing colour ‘hardened off’, c.1986.
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Spode pattern book entry showing the 2614 pattern. Note how it is placed
upside-down in the book!
An entry in the Spode pattern book of the Italian pattern, dated January,
1872. It also says that there were 81 Italian pattern copper plates in the copper
plate store.
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Spode 1784—1833
Stoke-on-Trent, Staffordshire
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The Spode factory site as it was in about 1820.
In the late eighteenth and early nineteenth century, Spode were at the
forefront of transferware design and production. Their wares were of high
quality and were in great demand. They produced an extremely extensive range
of wares and patterns to cater of all needs, uses and tastes. Their transferware
patterns covered all of the major categories such as chinoiserie, botanical,
classical, Indian, English, European and Middle Eastern. Not only was there a
large range of subjects printed, but many of these series were extensive in terms
of their individual patterns too. This showed just how committed Spode were to
excelling in this new transferware market. They were very aware of the trends
and market demands of the time and added and subtracted designs as and when
these market trends occurred.
Spode produced the Italian pattern on all four of the different types of
wares; dinner wares, tea wares and toilet/medical wares and miscellaneous
wares.
The following three pages show examples of Spode Italian wares.
62
15
Description: A Spode Italian pattern footbath, c.1825. As the name suggests,
this vessel would have been filled with water and was used to wash a person’s
feet. It would have been accompanied by a large jug to hold the water.
Size: 19” (48cm) wide.
Marks:
63
15
Description: A Spode Italian pattern garden seat, c.1825. Garden seats were
copied from Chinese originals and were designed for use in conservatories or
even outside. This use and their sheer size and weight meant that not many
survive today.
Size: 18.75” (47.5cm) tall.
Marks: Blue printed SPODE.
64
15
Description: A Spode Italian pattern New-shape stilton pan and cover, c.1825.
The cheese would sit safely in the lower section free from dust, flies and
moisture. This shape seems to be very prone to damage and not too many have
survived.
Size: 7.5” (19cm) tall, 9.5” (25cm) wide.
Marks:
65
15
66
OTHER MANUFACTURERS
Even though Spode conceived and designed the Italian pattern, soon after
its inception, it was being copied by a number of other potters. This was
possible because there were no laws to stop the copying of already existing
designs. A copyright act to prevent this freedom to copy was not brought in
until 1842, so copying was legal, rife and something that could not be stopped
It was actually a very clever marketing ploy where potters saw what was
selling and what was popular with buyers and customers and simply produced
this pattern themselves.
The Italian pattern was produced by at least ten other potters during this
early period, but possibly up to twenty.
67
9
Zachariah Boyle—1823 - 1850
Hanley and Stoke, Staffordshire.
68
15
Zachariah Boyle (and Son) potted in Hanley and Stoke from 1823 to 1850.
He potted in Hanley from 1823 to 1830 and then in Stoke from 1828 to 1850.
Zachariah died in 1841, but the business was continued by his son.
Description: An Italian pattern two-handled dessert dish with moulded flower
and leaf handles, c.1830.
Marks:
69
15
Bristol
Bristol Pottery, Temple Backs, Bristol.
70
15
It is thought that this very rare marked BRISTOL soup dish, illustrated
below, was made after the Pountney and Goldney partnership fished in 1849.
Not much is known or documented of this period of change and instability in
Bristol.
Description: An Italian pattern soup dish, c.1850.
Size: 10” (25.5cm) in diameter.
Marks:
71
15
Edward Challinor—1842 - 1867
Pinnocks Works and Unicorn Pottery, Tunstall, Staffordshire.
72
15
Edward Challinor potted from the Pinnocks Works and Unicorn Pottery,
Tunstall, Staffordshire from 1842 to 1867. Challinor was previously a partner
in the firm Wood and Challinor, but set up on his own in 1842.
Description: An Italian pattern medium-size platter. Note the colour variation
between this platter and the tureen that follows.
Marks:
73
15
Description: An Italian pattern sauce tureen, cover and stand. Note the
lion-shaped handle on the tureen lid and also the colour variation between this
piece and the platter on the previous page.
Marks:
74
15
Copeland & Garrett
Stoke-on-Trent, Staffordshire
75
15
Copeland and Garrett were the successors to Spode. They potted under
this banner from 1833 until 1847 at the Spode factory site. Examples of the
Italian pattern produced during this period are relatively uncommon.
Description: A Copeland and Garrett Italian pattern two-handled dessert dish,
c.1833.
Size: 10.75” (27cm) wide.
Marks:
76
15
John Mare—1802 - 1825
Shelton, Hanley, Staffordshire.
77
15
John Mare potted in Shelton, Hanley, Staffordshire from 1802 to 1825. As
previously mentioned, there is a theory that Mare invented the Italian pattern
and not Spode.
Description: A John Mare Italian pattern footed dessert comport with shaped
edge, c.1825.
Marks:
78
15
Description: A John Mare Italian pattern soup dish, c.1825. On the reverse, it
has the ‘British Cobalt Blue’ mark. Mare was one of a handful of potters who
used high-quality pigment from a company called ‘The British Cobalt Smelting
Company’. Maybe this piece was produced to show that they used high-quality
pigments or maybe it was produced for the cobalt smelting company.
Size: 9.5” (25cm) in diameter.
Marks:
79
15
Description: A John Mare Italian pattern shaped dessert dish, c.1825. Note the
very distinctive shape that looks a little squashed or pinched in.
Marks:
80
15
Pountney and Allies—1816 - 1835
81
15
Pountney and Allies potted at the Bristol Pottery, Temple Backs, Bristol
from 1816 to 1835. It is thought that they didn’t produce blue printed wares
until the latter part of this partnership.
Description: A Pountney and Allies Italian pattern soup dish, c.1830.
Marks:
82
15
Pountney and Goldney—1836 - 1849
83
15
Pountney and Goldney potted at the Bristol Pottery, Temple Backs, Bristol
from 1836 to 1849. This particular partnership produced much of the patterns
first introduced by the Pountney and Allies partnership.
Description: A Pountney and Goldney Italian pattern soup dish, c.1830.
Marks:
84
15
Joseph Stubbs—1822 - 1836
Dale Hall, Longport, Burslem, Staffordshire.
85
15
Joseph Stubbs potted from Dale Hall, Longport, Burslem, Staffordshire
from 1822 to 1836. Whilst they produced a fair quantity of printed wares, there
were only a handful of patterns/series that they used.
Description: A selection of Joseph Stubbs Italian pattern wares. Two very
distinctively shaped dessert dishes, a sauce tureen, cover and stand and a dinner
plate. Note the bird-shaped handle on the lid of the tureen.
Size: Dessert dish 9.5” (25cm) wide, dessert dish 9.5” (25cm) wide, plate
9.75” (25cm) in diameter, tureen 8.5” (21.5cm)
long.
Marks:
86
15
Swansea
Cambrian Pottery, Swansea, South Wales.
87
15
Swansea’s Cambrian Pottery operated from 1768 to 1870. They probably
started producing wares before this time, but few pieces were marked. They
started producing transfer printed pottery in the 1790s and continued to produce
a wide variety of high-quality wares and patterns over the next eighty years.
Description: A Swansea Italian pattern mug of moulded form, c.1820. It has
large cabbage leaf mouldings around the body, but with a detailed band of
flower heads and acanthus leaves just down from the rim.
Size: 4.5” (11.5cm) tall.
Marks: Unmarked.
88
15
Description: A Swansea named and dated Italian pattern puzzle jug, c.1821.
Puzzle jugs were an amusement of the time. The drinker would have to work
out how to extract the liquid without spilling any. This could only be achieved
by covering two of the nozzles along with the secret hole under the handle and
sucking on the remaining nozzle. This example has the addition of the name
and date; “S.E. TREVETHAN, 1821”. This was possibly made for Sampson
Trevethan who was a mining engineer from Chacewater, Cornwall.
Size: 8.25” (21cm) tall.
Marks: Unmarked.
89
15
Description: A Swansea Italian pattern named and dated jug, c.1819. There are
several ‘Upton Farms’ at this period, one in Cornwall, one in Dorset and one in
Pembrokeshire. Trying to establish which this piece relates to is incredibly
difficult, especially without full Christian names.
Marks: Unmarked.
90
15
Description: A Swansea Italian pattern named and dated small mug, c.1821.
Despite this being a very unusual name, there are several Loveday Henwoods
at this time. One lived in Cornwall and was Baptised in 1823 and another who
was a writer and lived from 1788 to 1844.
Size: 3” (7.5cm) tall.
Marks: Unmarked.
91
15
flower heads and acanthus leaves just down from the rim. Note how the handle
is different from the previous cabbage leaf moulded example in this chapter,
but how the fill pattern printed on the handle is the same.
Marks: Unmarked.
92
15
Wood and Challinor—1828 - 1843
Brownhills pottery, Tunstall, Staffordshire
93
15
Wood and Challinor potted from 1828 to 1843. They started off at the
Brownhills Pottery in Tunstall, Staffordshire, but in 1834/5 built a new pottery
called Woodlands. Both factories ran in conjunction for a while, but the
Brownhills site eventually closed.
Description: A Wood and Challinor Italian pattern soup dish and sauce boat,
both c.1835. Note how the colour at this later period becomes lighter.
Size: Soup dish 10” (25.5cm) in diameter, sauce boat 7.25” (18.5cm) long.
Marks:
94
15
Description:
Size:
Marks:
95
15
As with many patterns and pieces within this period, often the Italian
pattern was unmarked. While it is sometimes easy to base an attribution of a
piece on shape, workman’s marks, fill patterns and other factors, sometimes it
is easier and safer to label them as ‘maker unknown’.
Description: An Italian pattern ewer jug of moulded and footed form by an
unknown maker, c.1830.
Marks: Unmarked.
96
15
Description: An Italian pattern octagonal stand, c.1825. This very interesting
piece was probably used as a stand to keep the table from getting damaged
when something hot was placed on it. Alternatively, the two manufacturermade holes at the top suggest it was made for hanging up so was possibly for
display?
Marks: Unmarked.
97
15
Description: A very unusual Italian pattern large, circular and shallow bowl,
c.1825. It was probably a serving dish, but could also have been used for
mixing or preparing food stuffs. Note the border is a Passion Flower border.
The outer stringing suggests that it is the same as that used in the ‘Passion
Flower Border’ series.
Marks: Unmarked.
98
15
99
15
Description: A Spode Italian pattern huge platter, c.1820. As this is a larger
than normal platter, note how the printer has had to add a fill section between
the border and central prints.
Marks:
100
15
Description: A Spode Italian pattern well and tree platter. To the reverse it has
the Sparnon Mine mark. This patriotic slogan was used to promote the sale and
purchase of British-made goods and to show that Spode were using highquality materials in the production of their
wares.
Size: 20.75” (52.5cm) wide.
Marks:
101
15
Description: A Spode Italian pattern large-size circular charger, c.1820. The
inserted image shows the drainer that came with this piece. This set could have
been used to serve a huge cut of meat or even fish. It could also have been from
a set of graduated circular platters.
Size: Charger 20.5” (52cm) in diameter, drainer
16” (41cm) in diameter.
Marks:
102
15
Description: An Italian pattern large platter, c.1825 by an unknown maker.
Note the lovely and very detailed combed back. It is thought that this was done
to prevent the platter slipping around when carving was taking place.
Size: 21.5” (54.5cm) wide.
Marks: Unmarked.
103
15
Description: A Spode Italian pattern small platter, c.1825. This was possibly
from a toy set that would have included plates, dishes and tureens.
Size: 5.25 (13cm) wide.
Marks:
104
15
Description: A Spode Italian pattern large-size circular drainer, c.1820. The
inserted image shows the charger that came with this piece. This set could have
been used to serve a huge cut of meat or even fish. It could also have been from
a set of graduated circular platters.
Size: Charger 20.5” (52cm) in diameter, drainer
16” (41cm) in diameter.
Marks:
105
15
Description: A Spode Italian pattern small drainer, c.1820. This drainer would
have originally sat in a matching platter and given the size, would probably
have been for draining juices from a game bird once cooked.
Size: 9” (23cm) in wide.
Marks:
106
15
Description: A Spode Italian pattern dinner plate, c.1820. The most unusual
thing about this example is the body it is
printed on; Stone China. Examples of the
Italian pattern printed on this body must be
considered as very rare.
Marks:
107
15
Description: A Spode Italian pattern soup dish, c.1820.
Marks:
108
15
Description: A Spode Italian pattern pudding bowl, c.1820. This is quite a
scarce shape to find. It is dished like a soup dish, but is much smaller. It was
possibly used to serve desserts from ,but equally could have been used at
breakfast time.
Size: 7.25” (18.5cm) in diameter.
Marks:
109
15
Description: A Spode Italian pattern hot water plate, c.1825. A hot water plate,
as the name suggests, held hot water. This ingenious idea was to keep the food
on the plate warm whilst it was being eaten. This example is the scarcer singlehandled shape. Note the cork / pottery stopper.
Marks:
110
15
Description: A Spode Italian pattern hot water plate, c.1825. A hot water plate,
as the name suggests, held hot water. This ingenious idea was to keep the food
on the plate warm whilst it was being eaten. This example is the more
commonly found double-handled shape.
Marks:
111
15
Description: A Spode Italian pattern sauce tureen, cover, stand and ladle,
c.1820. There would have been two or even four of these in each dinner service
to serve a wide variety of sauces to accompany any given meal.
Size: 8” (20cm) long.
Marks:
112
15
Description: A Joseph Stubbs Italian pattern sauce tureen, cover and stand,
c.1825. Note the very distinctive bird that is the handle on the lid and the lion
paw handles on the body of the tureen.
Size: 8.5” (21.5cm) long.
Marks:
113
15
Description: A Spode Italian pattern sauce tureen (lacking lid), c.1825. This
circular shape is very scarce and was obviously produced in small numbers.
Size: 6.5” (16.5cm) wide.
Marks:
114
15
Description: An Edward Challinor Italian pattern sauce tureen, cover and
stand, c.1842. Note how the colour and quality are lacking, but also consider
the date of this piece; right on the cusp of the introduction of the copyright act!
Marks:
115
15
Description: An Italian pattern sauce tureen and ladle, c.1825. Although this
was made by an unknown maker, it is a very distinctive and somewhat pleasing
shape.
Marks: Unmarked.
116
15
Description: A Wood and Challinor Italian pattern sauce boat, c.1835. A sauce
boat would be used for serving a variety of gravies and sauces at the dinner
table.
Size: 7.25” (18.5cm) long.
Marks:
117
15
Description: An Italian pattern sauce boat by an unknown maker, c.1825. This
is a good quality example printed in a rich shade of blue.
Marks: Unmarked.
118
15
Description: A Zachariah Boyle Italian pattern vegetable tureen and cover,
c.1825. The purpose of this tureen was to serve cooked vegetables at the dinner
table. The addition of a lid kept the vegetables warm until required for use.
Size: 10” (25.5cm) wide.
Marks:
119
15
Description: A Spode Italian pattern three-piece vegetable tureen, c.1825.
Much like a standard vegetable tureen, this vessel was for serving vegetables at
the dinner table. However, it had an added clever feature; a hot water chamber.
This would be filled with hot water and would keep the food piping hot until
required for use.
Marks:
120
15
Description: A Mare Italian pattern three-piece vegetable tureen, c.1825. Note
the hot water reservoir and the divider across the central dish that allowed two
different vegetables to be served from the same vessel.
Marks:
121
15
Description: A Spode Italian pattern vegetable tureen and cover, c.1820. This
is one of two shapes of vegetable tureen that Spode used at this period. This is
an example of the rectangular, low shape
form.
Marks:
122
15
Description: A Spode Italian pattern divided dish, c.1825. This dish would
have been part of a three-piece vegetable tureen and would have had a base
with carrying handles and a lid. Note how this shaped example has a divider
that allows four different vegetables to be served from the same vessel without
allowing them to get mixed up.
Marks:
123
15
Description: A Spode Italian pattern large hash dish and cover, c.1825. This
vessel would have been for serving cut meat at the dinner table. The lid was to
keep the food warm. Examples are uncommon.
Marks:
124
15
Description: A Spode Italian pattern large open baking dish, c.1820. This
impressive two-handled dish was for the cooking and serving of large pies.
Examples are rare probably because they spent much of their lives going in and
out of an oven and did not survive too well.
Marks:
125
15
Description: A Spode Italian pattern large open baking dish, c.1820. This
two-handled dish is slightly smaller than the example illustrated on the
previous page. This beautifully illustrates the sheer scale of what was produced.
Examples are rare probably because they spent much of their lives going in and
out of an oven and did not survive too well.
126
15
Description: A Spode Italian pattern open baking dish, c.1825. This vessel was
designed to bake pies and similar foods in the oven. It is a wonder that any
survive!
Size: 12.5” wide.
Marks:
127
15
Description: A Spode Italian pattern footed punch bowl, c.1825. It has a very
interesting impressed mark of ‘4Q’. This relates to the fact that it holds four
quarts of liquid.
Marks: Unmarked.
128
15
Description: An Italian pattern footed fruit or salad bowl, c.1825. It is
attributed to John Mare and would have been used to serve a wide variety of
produce at the dinner or breakfast table.
Marks: Unmarked.
129
15
Description: A very unusual Italian pattern large, circular and shallow bowl,
c.1825. It was probably a serving dish, but could also have been used for
mixing or preparing food stuffs. Note the border is a Passion Flower border.
The outer stringing suggests that it is the same as that used in the ‘Passion
Flower Border’ series.
Marks: Unmarked.
130
15
Description: A Spode Italian pattern brothpot and stand (cover lacking),
c.1820. This vessel was to serve a wide variety of soups and broths and the lid
would have kept them warm. Also, the stand prevented any ‘drips’ or ‘runs’
from marking the table or table cloth.
Marks:
131
15
Description: A Spode Italian pattern covered butter tub, c.1825. This vessel
kept butter free from flies and kept it relatively cool at the dinner or breakfast
table.
Marks:
132
15
Description: A Spode Italian pattern muffin dish and cover, c.1825. This tureen
was for serving muffins or other similar foods at either the dinner or breakfast
table. The lid kept the contents warm until consumed. Note also the addition of
the pattern 2614 enamelled and gilded
highlights.
Size: 8” (20cm) in diameter.
Marks:
133
15
Description: A Spode Italian pattern covered mustard pot, c.1825. This vessel
was for storing and serving mustard at the dinner table and cooking
environment. Note the small ladle aperture in the lid.
Marks:
134
15
Description: A Spode Italian pattern New-shape stilton pan and cover, c.1825.
The cheese would sit safely in the lower section free from dust, flies and
moisture. This shape seems to be very prone to damage and not too many have
survived.
Size: 7.5” (19cm) tall, 9.5” (25cm) wide.
Marks:
135
15
Description: A Spode Italian pattern large cheese bell, c.1825. This cheese bell
possibly stood on a stand to keep cheese fit for consumption. Due to the sheer
size of this bell, note how the printer has used two prints taken from the largest
platter centre to decorate this piece. This can be best seen from the side view
where the ovals of the print are clearly visible.
Size: 11.25” (28.5cm) tall.
Marks:
136
15
Description: A Spode Italian pattern cheese cradle, c.1825. This impressive
vessel has to house and serve a ‘round’ of stilton prior to use.
Marks:
137
15
Description: A Spode Italian pattern pickle set, c.1825. This set was has four
(one is missing) removable pickle dishes. These would each hold a different
pickle and would be placed on a dinner table. The
central section of the tray was possible to retain a
serving implement such as a fork or spoon.
Marks:
138
15
Description: A Spode Italian pattern pickle dish, c.1820. Note how this
example is of leaf form and how naturalistic the dish is with the veins moulded
to the underside.
Marks: Spode workman’s mark.
139
15
Description: A Spode Italian pattern pickle dish, c.1825. This shape is of shell
form and would be used to serve a wide variety of pickles at the dinner table.
Size: 5.25” (13.5cm) wide.
Marks: Partial blue printed SPODE
140
15
Description: A Pountney Italian pattern pickle dish, c.1830. Note the very
distinctive flat, leaf-form that was produced in Bristol.
Marks: Unmarked.
141
15
Description: A Spode Italian pattern pate pan, c.1820. This small vessel was
used to cook and serve a variety of pates. Examples are uncommon as they
were often in and out of a hot oven and didn’t survive the experience too well.
Marks:
142
15
Description: A Spode Italian pattern pan, c.1825. This pan, with rope-twist
handles, could have been used to serve a wide variety of food stuffs such as
pates and pickles, but could equally have been used to serve deserts and fruits.
Marks: Blue printed Spode workman’s mark.
143
15
Description: A Spode Italian pattern pan, c.1825. As can be seen from the
previous and next example, they came in a variety of sizes.
144
15
Description: A Spode Italian pattern pan, c.1825. This pan, with rope-twist
handles, could have been used to serve a wide variety of food stuffs such as
pates and pickles, but could equally have been used to serve deserts and fruits.
145
15
Description: A Spode Italian pattern oyster pan, c.1820. A oyster pan was used
to serve and store prepared oysters prior to serving. The pan would be filled
with ice from the ice house and the oysters would sit on the ice to keep them
fresh. Note the moulded faux coppering to the sides.
Marks:
146
15
Description: A Spode Italian pattern supper set, c.1825. This set sits in a
contemporary mahogany tray with brass carrying handles. The centre has a
reversible section with a hot water reservoir below. A supper set was used for
serving a wide variety of foods and pickles, but was also used at the breakfast
table too.
Size: 18” (46cm) in diameter.
Marks:
147
15
Description: A Spode Italian pattern supper set centre tureen, c.1825. This
pedestal tureen with bifurcated handles stood at the centre of a circular supper
set. Note how this example has the added pattern number 2614 enamel and
gilded highlights.
Marks:
148
15
Description: A Spode Italian pattern egg cup stand and matching five egg
cups, c.1825. Note how this example has the added pattern number 2614
enamel and gilded highlights.
Marks:
149
15
Description: A Spode Italian pattern oval egg cup stand and six matching egg
cups, c.1825. Note the central, twisted carrying handle.
Marks: Impressed Spode to the stand.
150
15
Description: A Spode Italian pattern circular egg cup stand, c.1825. It is very
unusual to find the circular shaped stands with a carrying handle.
Size: 7.25” (18.5cm) wide.
Marks:
151
15
Description: A Spode Italian pattern circular serving dish and cruet set, c.1825.
The moulded and divided dish was for serving food and the central stand has a
pair of fixed mustard pots. Note the ladle aperture in one of the pots.
Marks:
152
15
Description: A Spode Italian pattern footed egg cup, c.1825. This form of
thistle-shaped egg cup is extremely rare and one wonders how these small
pieces of utilitarian ware survive at all.
Marks:
153
15
Description: A Spode Italian pattern root dish, c.1825. A root dish as the name
suggests was for serving a variety of root dishes at the dinner table.
Size: 9.5” (24cm) long.
Marks:
154
15
Description: A Spode Italian pattern vessel, c.1825. This object’s use has had
many suggestions over the years. These include spoon tray, double-ended
pourer and serving vessel.
Marks:
155
15
Description: A Spode Italian pattern asparagus server, c.1820. This object was
for serving cooked asparagus at the dinner table. Their shape means that when a
number of them are placed next to each other, they form a circle. Maybe this
was intentional and they would sit on a stand and around a butter dish?
Marks:
156
15
Description: A Spode Italian pattern butter boat, c.1825. This small boat would
be part of a team of butter boats that would sit on a dinner table. Each sitter
would receive their own butter boat from which they could take butter as
required.
Marks:
157
15
Description: A Spode Italian pattern cup plate, c.1820. The term cup plate is an
interesting one - what were they actually for? They were possibly stands for
glasses or custard cups on a dinner table or maybe for serving something small?
Note that this example has a border print as many didn’t.
Marks:
158
15
Description: A Spode Italian pattern cup plate, c.1820. The term cup plate is an
interesting one - what were they actually for? They were possibly stands for
glasses or custard cups on a dinner table or maybe for serving something small?
Note that this example has no border print.
Marks: Spode workman’s mark.
159
15
Description: A Spode Italian pattern pail-shaped custard cup, c.1820. This
vessel was for serving custards or syllabubs at the dinner or dessert table.
Marks: Blue printed SPODE
160
15
Description: A Spode Italian pattern syllabub cup, c.1825. This beautifully
moulded cup would be part of a set of cups that would sit on a stand. The stand
would have moulded recesses for each cup to sit securely in. This surely has to
be one of the most elegant pieces of transferware?
Marks:
161
15
Description: A Spode Italian pattern
custard cup, c.1820. This
vessel was for serving custards or syllabubs
at the dinner or dessert table.
162
15
Description: A Spode Italian pattern footed pepper pot, c.1825.
Marks:
163
15
Description: A pair of Spode Italian pattern double-ended egg rings, c.1825.
They were designed to hold a boiled egg.
Marks: Both unmarked.
164
15
Description: Two sets of Italian pattern knife rests, c.1825 by unknown
makers. The top pair have a moulded recess to collect juices from a knife and
are printed with the Italian pattern border print. The bottom pair are printed
with the Italian ‘fill’ pattern.
Size: All 3.75” long.
Marks: All unmarked.
165
15
Description: Two pairs Italian pattern knife rests, c.1825. The top pair are
printed with border and pattern and are by an unknown maker. The bottom pair
are Spode and are printed only with the border print.
Size: All 4” long.
Marks: Printed SPODE.
166
15
Description: A pair of Spode Italian pattern knife rests, c.1825. They are
printed only with the border print.
Size: Both 4.5” long.
Marks: Impressed SPODE and workman’s mark.
167
15
Description: A Spode Italian pattern soup ladle, c.1825. It is printed with the
border and partial print to the bowl.
Size: 12” (30.5cm) long.
168
15
Description: Three Italian pattern ladles, all c.1825. The two lager ladles are to
be used in a soup tureen and are by an unknown maker. While they are the
same shape, note how two different sections of the pattern have been used to
fill the centre. The small ladle is a Spode sauce ladle from a sauce tureen.
Size: Soup ladles 13” (33cm), sauce ladle 6.75 (17cm).
169
15
Description: An Italian pattern octagonal stand, c.1825. This very interesting
piece was probably used as a stand to keep the table from getting damaged
when something hot was placed on it. Alternatively, the two manufacturermade holes at the top suggest it was made for hanging up so was possibly for
display?
Marks: Unmarked.
170
15
Description: A Spode Italian pattern two-handled comport, c.1825. This
elegantly shaped vessel was for serving a wide variety of desserts and fruits.
Marks:
171
15
Description: A John Mare Italian pattern shaped dessert comport, c.1825.
Marks:
172
15
Description: A Spode Italian pattern footed, two-handled dessert comport,
c.1825.
Marks:
173
15
Description: A Spode Italian pattern chestnut basket and stand, c.1825. This
vessel was for serving fruits and nuts as part of a dessert service. Note the fine
basket weave mouldings to both pieces.
Size: 9.25” (23.5cm) long.
Marks:
174
15
Description: A Spode Italian pattern chestnut basket and stand, c.1825. This
vessel was for serving fruits and nuts as part of a dessert service. Note the
finely moulded arcaded loops to both pieces. How pieces like this survive is a
miracle.
Marks:
175
15
Description: A Spode Italian chestnut basket, c.1825. This vessel was for
serving fruits and nuts as part of a dessert service.
Marks:
176
15
Description: An Italian pattern chestnut basket, c.1825. This shape of basket
with moulded scrolls and flower handles was made by quite a few potters
during this period, including Ridgway.
Marks: Unmarked.
177
15
Description: An Italian pattern chestnut basket stand, c.1825. It was possibly
made by John Mare and would have originally had a basket to accompany it.
Size: 10” (25.5cm) long.
Marks: Unmarked.
178
15
Description: A Spode Italian pattern large basket and stand, c.1825. Given the
sheer size of this piece, it may well have been for serving bigger or whole fruit
items.
Marks:
179
15
Description: A Spode Italian pattern arcaded dessert plate, c.1825. This plate
would have been part of a dessert service that included baskets and stands,
comports and dishes.
Marks:
180
15
Description: A Spode Italian pattern diamond-shaped pickle set tray, c.1825.
This vessel would have held four small diamond-shaped pickle dishes for the
serving of pickles and relishes at the dinner table.
Marks:
181
15
Description: A Spode Italian pattern dessert dish, c.1825. This elegant form
would have been part of a set that included other shaped dishes, plates and
comports.
Marks:
182
15
Description: Two Spode Italian pattern dessert dishes, both c.1825. They were
originally part of a large dessert service. Note how the lower example has no
centre print. Maybe this is because it was to have an armorial painted to the
centre or was to become the base to pattern number 2635?
Size: Both 9.25” (23.5cm) wide.
Marks: Both impressed SPODE.
183
15
Description: A Spode Italian pattern oval shaped dessert dish, c.1825.
Size: 10.5” (26.5cm) long.
Marks: Impressed SPODE to the underside.
184
15
Description: A Copeland and Garrett Italian pattern two-handled dessert dish,
c.1833.
Size: 10.75” (27.5cm) long.
Marks:
185
15
Description: A John Mare Italian pattern shaped and handled dessert dish,
c.1825. Note the slightly odd looking Mare dessert dish shape.
Marks:
186
15
Description: Two Joseph Stubbs Italian pattern dessert dishes, c.1825. Note the
very unusual shape of the lower dish with heart-shaped foot rim.
Size: Both 9.5” (24cm) wide.
Marks:
187
15
Description: Three Zachariah Boyle Italian pattern dessert dishes, all c.1830.
Size: Two-handled dishes 9.5” (24cm) wide, single-handled dish 9” (23cm)
wide.
Marks:
188
15
Description: An Italian pattern diamond-shaped pickle set tray, c.1825. The
vessel would have held four small diamond-shaped pickle dishes for the
serving of pickles and relishes at the dinner table. It could also double up as a
dessert dish.
Marks: Unmarked.
189
15
Description: A Spode Italian pattern storage jar and cover, c.1825. This useful
vessel could have been used for storing a wide variety of spices and similar
food stuffs. The lack of a ladle aperture in the lid suggests it was more for use
in the kitchen rather than at the dinner table.
Marks:
190
15
Description: A Swansea named and dated Italian pattern puzzle jug, c.1821.
Puzzle jugs were an amusement of the time. The drinker would have to work
out how to extract the liquid without spilling any. This could only be achieved
by covering two of the nozzles along with the secret hole under the handle and
sucking on the remaining nozzle. This example has the addition of the name
and date; “S.E. TREVETHAN, 1821”. This was possibly made for Sampson
Trevethan who was a mining engineer from Chacewater, Cornwall.
Marks: Unmarked.
191
15
Description: A Swansea Italian pattern puzzle jug, c.1825. Puzzle jugs were an
amusement of the time. The drinker would have to work out how to extract the
liquid without spilling any. This could only be achieved by covering two of the
nozzles along with the secret hole under the handle and sucking on the
remaining nozzle.
Marks: Unmarked.
192
15
Description: A Spode Italian pattern jug, c.1820. This jug could have been
used to serve almost any liquid at the dinner table or during the cooking
process.
Marks:
193
15
Description: An Italian pattern large jug, c.1825. The jug or pitcher was
probably used for serving either water or ale and was possibly made by John
Mare.
Marks: Unmarked.
194
15
Description: An Italian pattern jug by an unknown maker, c.1835. The
colouring of the pattern suggests a later period of production and could
possibly have been made by Wood and Challinor.
Marks: Unmarked.
195
15
Description: A Spode Italian pattern low, Dutch shape jug, c.1825. This was
probably for serving water at the dinner table, but could also serve other
liquids.
Size: 6” (15cm) tall.
Marks:
196
15
Description: An Italian pattern jug, possibly made by John Mare, c.1825.
Marks: Unmarked.
197
15
Description: A Spode Italian pattern mug, c.1825. This was almost certainly
for drinking ale from, but as with so many of these vessels, could also hold any
liquid.
Marks:
198
15
Description: A Spode Italian pattern mug, c.1825. Slightly larger than the
previous example.
Marks:
199
15
Description: A Copeland and Garrett Italian pattern mug, c.1833.
Marks:
200
15
Description: A large Italian pattern porter mug, c.1830. This vessel was for
serving ale or similar drinks to accompany a meal.
Marks: Unmarked.
201
15
Description: An Italian pattern large porter mug, possibly by John Mare,
c.1825.
Marks: Unmarked.
202
15
flower heads and acanthus leaves just down from the rim.
Marks:
203
15
Description: A Spode Italian pattern double-handled loving cup, c.1825. It is
said that their purpose is for the sharing of a toast at a social occasion such as a
wedding or anniversary.
Marks: Unmarked.
204
15
Description: An Italian pattern two-handled loving cup, possibly my John
Mare, c.1825.
Marks: Unmarked.
205
15
206
15
Description: A Spode Italian pattern tall coffee pot, c.1825. This elegant vessel
was used to serve coffee and examples of the Italian pattern on tea/coffee ware
are extremely rare at this period.
Marks:
207
15
Description: A Spode Italian pattern small-size coffee or chocolate pot, c.1825.
This elegant vessel was used to serve coffee or hot chocolate.
Marks:
208
15
Description: A Spode Italian pattern cream jug, c.1825. The jug would have
been used to serve either milk or cream and would have been part of a larger
tea or coffee set.
209
15
Description: A Spode Italian pattern teabowl and saucer, c.1825. Both pieces
have an elegant wavy edged rim.
Size: Saucer 5.5” (14cm) in diameter.
Marks:
210
15
Description: A Spode Italian pattern coffee can, c.1825. It also has the 2614
pattern enhancements of enamels and gilding.
Marks:
211
15
Description: A Spode Italian pattern porringer-shaped cup and saucer, c.1825.
Both pieces also have the 2614 pattern enhancements of enamels and gilding.
Marks:
212
15
Description: A Spode Italian pattern cup and saucer, c.1825. Both pieces also
have the 2614 pattern enhancements of enamels and gilding.
Marks:
213
15
Description: A Spode Italian pattern milsey, c.1825. A milsey was a clever
device that was used to strain somewhat lumpy milk prior to adding it to either
coffee or tea.
Marks:
214
15
Description: An Italian pattern milsey by an unknown maker, c.1825. A milsey
was a clever device that was used to strain somewhat lumpy milk prior to
adding it to either coffee or tea.
Marks: Unmarked.
215
15
Description: A Spode Italian pattern waste or dregs bowl, c.1825. Note that it
also has the 2614 pattern enhancements of enamels and gilding.
Marks:
216
15
Description: An Italian pattern sucrier or sugar box (lid missing), c.1825 by an
unknown maker. Note the moulded ring handles.
Size: 5.75” (14.5cm) wide.
Marks: Unmarked.
217
15
218
15
Description: A Spode Italian pattern footbath, c.1825. As the name suggests,
this vessel would have been filled with water and was used to wash a person’s
feet. It would have been accompanied by a large jug to hold the water.
Marks:
219
15
Description: A Spode Italian pattern footbath jug, c.1830. As the name
suggests, this vessel would have held water prior to being added to a footbath
which would have been used to wash a person’s feet. It would have been
accompanied by a matching footbath. Note the gadrooned rim.
Marks:
220
15
Description: A Spode Italian pattern bourdaloue, c.1825. A bourdaloue was
used for ladies to use in an ‘emergency’. The name comes from a French Jesuit
preacher called Louis Bourdaloue who was known for his long sermons. They
are also known as coach pots.
221
15
Description: A Spode Italian pattern bourdaloue, c.1825. A bourdaloue was
used for ladies to use in an ‘emergency’. The name comes from a French Jesuit
preacher called Louis Bourdaloue who was known for his long sermons. They
are also known as coach pots.
222
15
Description: An Italian pattern ewer jug, c.1825 by an unknown maker. This
jug would have originally been part of a jug and bowl set and would have held
water which people used to wash and shave with.
Marks: Unmarked.
223
15
Description: An Italian pattern ewer jug of moulded and footed form by an
unknown maker, c.1830.
Marks: Unmarked.
224
15
Description: A Spode Italian pattern invalid feeder, c.1825. This vessel was
used to feed babies and invalids. Note how the covered section in front of the
spout would prevent the contents from spilling when the cup is tipped.
Marks:
225
15
Description: A Spode Italian pattern small size jug and bowl, c.1825.
Size: Bowl 7.5” (19cm) in diameter.
Marks:
226
15
Description: A Spode Italian pattern toast water jug and cover, c.1825. Toast
water was a drink consisting of toast dissolved in water that was fed to invalids.
Marks:
227
15
Description: A Spode Italian pattern razor box and cover, c.1825. As the name
suggests, this was a box to hold a cut-throat razor and keep it safe.
228
15
Description: A Spode Italian pattern razor box and cover, c.1825.
229
15
Description: A Spode Italian pattern razor box and cover, c.1825. This is the
third different shape of a razor box just showing Spode’s huge range of shapes
and goods produced at this period.
Marks:
230
15
Description: A Spode Italian pattern shaving cup, c.1825. This very rare piece
was used as part of the shaving process and would hold the shaving lather and
brush. Note how the potter has scored lines at the base of the tubular section.
Marks:
231
15
Description: An Italian pattern small open soap dish by an unknown maker,
c.1825. This would have sat in one of the small circular holes in a Georgian
wash stand.
Marks: Unmarked.
232
15
Description: A Spode Italian pattern rectangular three-piece soap box , c.1825.
Note how the centre section has holes in it to allow excess water to drain away
from the bar of soap.
Marks:
233
15
Description: A Spode Italian pattern rectangular three-piece soap box (lid
missing), c.1825.
Marks:
234
15
Description: A Spode Italian pattern spittoon with fixed funnel, c.1825. This
was the less hygienic shape of spittoon which meant that a thorough washing of
the interior was not possible.
Marks:
235
15
Description: An interesting handled spittoon with removable funnel, c.1825. It
is printed with certain elements of the Italian pattern such as the famous arch,
but not all of them. This was a more hygienic vessel as both pieces could be
thoroughly washed, but the funnels were prone to damage and being lost.
Marks: Unmarked.
236
15
Description: A Spode Italian flat-rimmed chamber pot, c.1820. This shape
came in nine sizes, with this probably being the smallest. It has be argued that it
was for a child to use, but this could also been used as a spittoon too.
237
15
Description: An Italian pattern washbowl, c.1825. This high-quality piece
would have originally had a matching ewer jug. Note the non-standard floral
border printed to the interior and exterior of this bowl.
Marks: Unmarked.
238
15
239
15
Description: A Spode Italian pattern garden seat, c.1825. Garden seats were
copied from Chinese originals and were designed for use in conservatories or
even outside. This use and their sheer size and weight meant that not many
survive today.
Size: 18.75” (47.5cm) tall.
240
15
Description: A Spode Italian pattern tile, c.1825. Tiles were made to be
cemented onto walls or around fireplaces. As such, they don’t survive too well
as they are either still in situ or were broken in trying to remove them.
Marks:
241
15
Description: An Italian pattern spill vase, c.1825. This would have been placed
on a mantelpiece and would have held thin wooden or paper spills that would
be used to light the fire, candles or oil lamps.
Marks: Unmarked.
242
15
243
15
Pattern Variations
Throughout the lifespan of this pattern, several variations were produced.
If we look at Spode first, we can see that they produced several notable
variations.
Spode produced almost all of their Italian wares in blue, but did also use
other colours too. Below is illustrated a black-printed sauce tureen stand.
244
15
Spode also produced two patterns with enhancements; these were pattern
numbers 2614 and 2635.
Pattern 2614 is usually found associated with teaware and breakfast ware.
Above is an illustration of the Spode pattern book showing the 2614
pattern on the left-hand side. Note how this pattern has been placed in the
pattern book upside-down. In front of the pattern book, there is a large
breakfast cup and shard of a similar vessel.
245
15
Description: A Spode Italian chestnut basket and stand of basket-weave
moulded form , c.1825. Both pieces have the 2614 pattern enhancements.
Marks: Impressed Spode and hand painted 2614
pattern number.
246
15
Description: Spode Italian coffee can, porringer-shaped cup and saucer and
waste bowl , all c.1825. All pieces have the 2614 pattern enhancements.
Size: Can 2.5” (6.5cm) tall. Bowl 4.75”
(14.5cm) wide. Saucer 5.5” (14cm) wide.
Marks: Hand painted 2614 pattern number
and blue printed workman’s mark to the
saucer.
247
15
Description: Spode Italian circular egg stand and five matching egg cups,
c.1825. All pieces have the 2614 pattern enhancements.
Marks: Impressed SPODE and hand painted 2614
248
15
Description: A Spode Italian two-handled, pedestal supper set centre tureen
and cover, c.1825. Note the delicate bifurcated handles. It has the 2614 pattern
enhancements.
Size: 9.75” (25cm) handle to handle.
Marks: Blue printed Spode workman’s mark ‘A’
249
15
It could be argued that pattern number 2635 it is not an Italian variant as it
only has the Italian border. However, it is significantly interesting for inclusion.
It too was found on teaware and breakfast ware and also on dessert wares.
Description: A Spode oval dessert dish, c.1825. It is printed with the Italian
pattern border and is painted with the 2635 pattern embellishments.
Size: 10.75” (27.5cm) long.
Marks: Hand painted 2635 mark.
250
15
Description: A Spode coffee can, c.1825. It is printed with the Italian border
and is enhanced with pattern number 2635.
Mark: Painted 2635 pattern number.
251
15
Whilst most of the other potters that used this pattern copied Spode’s
version pretty faithfully, Stubbs really did their own take on the design. The
most obvious and noticeable difference is the border. While Spode used a
border design taken directly from a Chinese Imari pattern, Stubbs created their
own pattern. This consisted of a repeating pattern of interlinked roses and
leaves. The border also had a outer and inner stringing which Spode’s did not.
The outer stringing is made up of a series of circles whilst the inner stringing is
of half moons.
Many people have commented over the years that this is a very visually
pleasing border and is perhaps much more what you would expect to find
around a pattern of this period and with a central rural scene.
Spode’s Chinese-inspired border
Stubbs’ Rose border
The variations weren’t only limited to the border; there were quite
significant changes within the central design too. Under quick and casual first
observations, these variations might not appear apparent, but they are clear to
see when you take a few moments to study the two designs.
252
15
253
15
Below is a close-up of the Stubbs design labelled with the notably
differences.
There are four main pattern variations to note:
1.
2.
3.
4.
The position, number and colour of the watering cows.
The position and orientation of the central figures.
The lack of a dog.
The absence of the reading lady.
There are also far more subtle variations such as the position and number
of both the sheep and the cows. The famous arch on the left-hand side of the
pattern always has a more shortened and slightly more squat appearance than
its Spode counterpart.
It is not quite clear why Stubbs made such changes to an already popular
design; maybe these were done so as not to offend Spode? However, Stubbs
obviously wanted to cash in on a pattern that was selling well and was already
well in the buying public’s consciousness.
254
15
Another variation worthy of note was reverse transfer printing. Whether
this was done intentionally or was simply a mistake, it’s not entirely clear. The
pattern does look most odd though when displayed in this manner as the eye
and mind are so used to seeing it differently.
Description: A fine-quality small blue-printed mug printed with a reverse print
of the Italian pattern. Note the acanthus moulded handle terminals.
Marks: Unmarked.
255
15
Description: A good-quality blue printed jug with wrap-around Italian pattern
print, c.1825. Note the handle print and of course, the pattern is printed in
reverse.
Marks: Blue printed ‘2’.
256
15
257
15
Copeland 1980:
Copeland, R. Spode’s Willow Pattern and Other Designs after the
Chinese
Strand, London: Cassell.
Coysh 1970:
Coysh, A. W. Blue and White Transfer Ware 1780-1840
Newton Abbot, Devon: David & Charles Ltd.
Coysh 1972:
Coysh, A. W. Blue-Printed Earthenware 1800-1850
Newton Abbot, Devon: David & Charles Ltd.
Coysh & Henrywood 1982:
Coysh, A. W. and Henrywood, R. K. The Dictionary of Blue and
White Printed Pottery 1780-1880 Vol. I. Woodbridge, Suffolk: Baron
Publishing, 1982.
Coysh & Henrywood 1989:
Coysh, A. W. and Henrywood, R. K. The Dictionary of Blue and
White Printed Pottery 1780-1880 Vol. II. Woodbridge, Suffolk: Baron
Publishing, 1989.
Drakard & Holdway 2002:
Drakard, D and Holdway, P. Spode Transfer Printed Ware 1784-1833
Woodbridge, Suffolk: Antique Collectors’ Club Ltd.
Halliday 2010
Halliday, Richard Pickle Dishes & Milseys; A Social & Historical
Commentary
Great Oxendon, Northamptonshire. Halliday Publishing. Lulu.com
258
15
Halliday 2012
Halliday R and Halliday R Extraordinary British Transferware
Lower Valley Road, Atglen, USA: Schiffer Publishing Ltd.
FOB 1973-:
FOB Bulletins. Friends of Blue, 1973-. (Periodical)
Little 1969:
Little, W. L. Staffordshire Blue
Portman Square, London: B. T. Batsford Ltd., Publishers
Tanner 2005:
Tanner A. & Tanner G. Swansea’s Cambrian Pottery, Transferware &
other Welsh examples. Polstead Press, Stowmarket, Suffolk, 2005.
Tanner 2008:
Tanner A & Tanner G. Swansea’s Cambrian Pottery, Transferware II,
Patterns & Borders. Polstead Press, Stowmarket, Suffolk, 2008.
TCC Database: Transferware Collectors’ Club Database of Patterns –
www.transcollectorsclub.org
Williams 1943:
Williams, S. B. Antique Blue & White Spode
North Audley Street, London: B. T. Batsford Ltd., Publishers.
Williams & Weber 1978:
Williams, P. and Weber M. R. Staffordshire Romantic Transfer
Patterns.
Fountain House East, Jeffersontown, Kentucky.
259
15
Excavated ‘Blossom site’ shards lie around a c.1820 Spode Italian
pattern soup tureen stand.
260
15
261
Notes
262
15
Notes
263
15

15 - Transferware Collectors Club

Transcription

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