Dating copeland late spode
These are usually on flat pieces, for example on a saucer but not on a cup. The colour paste was worked into the cut areas of the copper plate and wiped from the uncut surfaces, and then printed by passing through rollers.
Spode also used on-glaze transfers for other wares. There are several series of letters and a different letter is used to indicate the year depending on whether the body is bone china, fine stone or earthenware. It remained an industrial secret for some time. Among the many surviving Spode documents are two shape books dated to about which contain thumbnail sketches of bone china objects with instructions to throwers and turners about size requirements. Learning about styles and shapes can also help date pieces, particularly on the older pieces from the early s when many were not marked.
Early wares produced by the company in the late s and early s were often unmarked. Spode used hundreds of different styles of backstamps in its nearly year history. This means formerly Spode as the name continued to be used because the Spode brand had become so well-known. History The popularity of blue and white china across the globe in the s could not be ignored.
It was this formula that made the Spode name famous across the globe. Pieces were not always marked and sometimes just a pattern number appears and no Spode name at all. Something of an entrepreneur he had juggled mortgages and business partnerships for several years but by was well-established at Stoke with his own successful pottery company.
These blue and white collections were not only popular in Britain but also in America where the tableware reminded the settlers of home. From c datemarks were not used except around the s when a series of impressed marks was used for which the full code is not known. Gradually as the Spodes developed and established their brand and their pottery became highly desirable by all sorts of customers from royalty downwards the pieces began to be marked.
Josiah Spode is also often credited with developing a successful formula for fine bone china. As the understanding of the work of the early potters depends in part on the study of actual specimens, the loss was both aesthetic and scientific. He had been working as a potter in various businesses from the mid s. It is possible to have a combination of all three. The development of a winning formula for fine bone china and the perfection of blue under-glaze printing.
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