Spode's New Fayence Tazza, Green Chinoiserie Flowers and Birds, Regency, 1829

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Spode's New Fayence Tazza, Green Chinoiserie Flowers and Birds, Regency, 1829

About the Item

This is a fabulous Spode tazza made in New Fayence china in 1829, which was the Regency era. It has a beautiful green ground with a transfer printed Chinoiserie pattern with flowers and birds that was hand colored. Spode was the great pioneer among the Georgian potters in England, circa year 1800 he perfected the bone china recipe that has been used by British potters ever since, and he was also the leading potter behind the technique of transferware, making it possible for English potters to replace the Chinese export china, which had come to an end around that time, with their own designs. This was fundamental to a thriving industry that would last for about 150 years and provide half the world with their tableware. Spode porcelain is regarded as one of the highest quality porcelains around; for a soft-paste porcelain it is surprisingly hard and fine, and has a wonderful bright white color. Blue on white decorations were done in East Asia for many centuries, and were made popular in the West by the Dutch Delftware potters in the 17th century. In circa 1800, Spode created a transfer printing process that could mass produce beautifully decorated blue and white wares, making this a very common and desired choice of tableware for the two centuries to come. Potters all over Britain quickly started to make use of this new technology and copied the famous Spode patterns. Once the blue on white transfers had caught on, Spode started to print in color; mostly printing in one color (in this case: green) and then filling in the other colors by hand. This way, they could offer wonderfully colorful dinner services at a much lower cost, as they needed only a skilled engraver for the plate that provided the outline of the image, and the transferring and coloring could be done by less skilled people. These were often women and apprenticed teenage children. This pattern is a "Chinoiserie" pattern of peonies, vines and birds. The tazza is made of "New Fayence", which is a pearl-colored type of pottery close to the famous Imperial Stone China that Spode developed in circa 1822 and that was often used for day-to-day items. New Fayence was cheaper than porcelain because it doesn't require the extremely high firing temperatures that porcelain requires, and therefore the factory could save on valuable fuel. The plate carries a printed "Spode's New Fayence" mark and the pattern number B.No.236, which dates the piece to the year 1829. Condition report: The tazza is in good condition with very little wear and no crazing. It has, however, a chip off the underside of the rim but this is hardly visible when in position (see last picture). Antique British china is never perfect. Kilns were fired on coal in the 1800s, and this meant that china from that period can have some firing specks from flying particles. British makers were also known for their experimentation, and sometimes this resulted in technically imperfect results. Due to the shrinkage in the kiln, items can have small firing lines or develop crazing over time, which should not be seen as damage but as an imperfection of the maker's recipes, probably unknown at the time of making. Items have often been used for many years and can have normal signs of wear, and gilt can have signs of slight disintegration even if never handled. I will reflect any damage, repairs, obvious stress marks, crazing or heavy wear in the item description but some minor scratches, nicks, stains and gilt disintegration can be normal for vintage items and need to be taken into account. There is widespread confusion on the internet about the difference between chips and nicks, or hairlines and cracks. I will reflect any damage as truthfully as I can, i.e. a nick is a tiny bit of damage smaller than 1mm and a chip is something you can easily see with the eye; a glazing line is a break in the glazing only; hairline is extremely tight and/or superficial and not picked up by the finger; and a crack is obvious both to the eye and the finger. Etcetera, I try to be as accurate as I can. Dimensions: 15cm (6") high and 26cm (10.25") diameter.

Creator:
Josiah Spode (Maker)
Dimensions:
Height: 6 in (15.24 cm)Diameter: 10.25 in (26.04 cm)Length: 6 in (15.24 cm)
Style:
Regency (Of the Period)
Materials and Techniques:
Creamware,Hand-Painted
Place of Origin:
England
Period:
1820-1829
Date of Manufacture:
1829
Condition:
Very good condition with hardly any wear and no crazing; one chip off the underside of the rim, hardly visible when in position.
Seller Location:
London, GB
Reference Number:
Seller: A-SPO581stDibs: LU4805120023542

Shop All Josiah Spode

Josiah Spode

English potter Josiah Spode, a friend and neighbor of another estimable English ceramist, Josiah Wedgwood, established his eponymous pottery and homewares company in 1770 in Stoke-on-Trent. Spode is one of the oldest and most distinguished of the great pottery companies of Staffordshire, the time-honored home of English ceramics. Within fifteen years of its opening, Josiah’s company became known for its signature blue-on-white palette, and one of the manufacturer’s designers developed a specific cobalt hue for their teapots, trays, bowls and more.

Spode’s founder apprenticed at the Fenton Low workshop under Thomas Whieldon, an important 18th-century potter known today for his tortoiseshell ware (as did Josiah Wedgwood). Later, after establishing his company, Josiah Spode became particularly revered for two technical achievements in the firm’s early decades. The first was to develop a standard formula for the making of bone china — a type of porcelain (made with a mixture of bone ash, minerals and clay) that is dazzlingly white and so strong it can be used to create very thin translucent plates and vessels. The other was to perfect the making of transferware. That process involves the transfer of pictorial images inked on tissue paper — such as the garden scenery in the famous Willow dish patterns — onto ceramics that are then sealed with a glaze.

In 1833, entrepreneurs William Taylor Copeland (the Lord Mayor of London at the time) and Thomas Garrett purchased Spode’s pottery-making company following the death of Josiah Spode III, and the name was changed to Copeland Spode. Then, in 1847, Copeland became the firm’s sole owner and the name changed again, this time to W. T. Copeland and Sons, in 1867 when Copeland retired and his four sons took over the business.

Trading as W. T. Copeland and Sons throughout the mid-to-late 19th century, the company found a formidable competitor in another well-known porcelain maker, Minton. Many of the manufacturer’s Georgian, Rococo and late-Victorian pieces such as its dinner plates, tableware, platters, bowls and baskets were commissioned by wealthy British and European clients and exported for sale throughout the British Empire and to the United States. Several of W. T. Copeland and Sons’ spectacular pieces were exhibited at the Great Exhibition of London in 1851 and the International Exhibitions of London and Paris in 1862 and 1878, respectively.

Spode enjoyed tremendous success both in Britain and elsewhere owing to the beauty and vitality of its decorative imagery. By some counts, Spode created more than 40,000 patterns in the 19th century. Many favorite Spode patterns — among them Blue Italian, India Tree, Greek and Woodland — date to the company’s early years. Spode’s most popular pattern, Christmas Tree, was introduced in 1938. Prices for Spode china vary widely, based on the size of the service, its condition and the pattern, and collectors regard Copeland-marked pieces as Spode china.

The company continued as W. T. Copeland and Sons until 1970 when Spode again became the brand's name. Afterward, during the late 1970s, Spode, Royal Worcester and Palissy came under common ownership. In 2009, the firm was purchased by the Portmeirion Group. However, the Spode and Royal Worcester names continue to flourish as highly popular “traditional English heritage” brands within the Portmeirion company.

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