Josiah Spode Serveware, Ceramics, Silver and Glass

This is a very beautiful hand painted dinner plate, produced by the Spode factory in the late Georgian period, Circa 1820. This is pattern number 2283, the chinoiserie decoration ...

The most exceptional aspect of this pair of dishes is the fabulous gilding lavished over the cobalt borders. As a less prominent feature, the gilding carries throughout the decoratio...

An incredibly beautiful and rare Spode porcelain vase decorated with shells to the front and flowers to the reverse. The shape name is "New Shape Fish Handled Beaker" and it was d...

A set of six ‘Lucano’ or ‘Bridge of Lucano’ pattern dinner plates, Spode, Stoke-on-Trent, Staffordshire England, Circa, 1820-1830 Blue on white transfer printed earthenware, showing an Italian scene of a four-arch bridge, a round stone tower, cows in the foreground, and other buildings on a hillside in the distance. The central scene is bordered with leafy branches of olives, grape vines, and heads of wheat. A dense pattern, printed in a deep blue. Pictured here is the original source print Spode used...

A Neoclassical red transferware tile made by Spode 1806-1810, with the ‘Refreshments for Phliasian Horseman’ pattern. Sir William Hamilton’s Collection of Etruscan, Greek and Roman antiquities, first published in 1766 by Pierre d’Hancarville, was a landmark publication in English design. It intended to disseminate the Antique style through its engravings of Attic pottery. The catalog’s faithful reproductions of Classical vases led British potteries, including Spode, to adapt or even copy the ancient art for modern life. These Spode Greek pattern tiles reflect the major influence of Hamilton’s catalog on English Neoclassicism. The central scene was taken directly from the catalog. This tile can be dated to a narrow window of production in the Spode factory, 1806-1810. During that time, Spode used a technique known as the “Pluck and Dust” method to print in red transfer designs onto creamware. Using this method, source prints were transferred overglaze using tissue imprinted with a very faint rendition of the design outlined in sticky oil. The decorator applied the tissue to the object then carefully “plucked” or pulled it away, leaving the sticky oil design behind. Then, a finely-ground enamel color was “dusted” onto the surface, sticking to any areas that had the oil. A final firing at a low temperature in the enamel kiln made the pattern permanent. The Pluck and Dust technique improved upon bat-printing and enabled larger designers to be transferred. It was short-lived, however, as under-glaze transfer printing soon took over as the preferred method for producing transferwares. Dimensions: 5 in. x 5 in. x 1/4 in. Condition: Excellent. Slight chip to the upper left corner measuring approximately 0.9 cm. in length. Provenance: The Collection of Nancy and Andrew Ramage Jonathan Horne...

A Neoclassical red transferware tile made by Spode 1806-1810, with the ‘Zeus in His Chariot’ pattern. Sir William Hamilton’s Collection of Etruscan, Greek and Roman antiquities, first published in 1766 by Pierre d’Hancarville, was a landmark publication in English design. It intended to disseminate the Antique style through its engravings of Attic pottery. The catalog’s faithful reproductions of Classical vases led British potteries, including Spode, to adapt or even copy the ancient art for modern life. These Spode Greek pattern tiles reflect the major influence of Hamilton’s catalog on English Neoclassicism. The central scene was taken directly from the catalog. This tile can be dated to a narrow window of production in the Spode factory, 1806-1810. During that time, Spode used a technique known as the “Pluck and Dust” method to print in red transfer designs onto creamware. Using this method, source prints were transferred overglaze using tissue imprinted with a very faint rendition of the design outlined in sticky oil. The decorator applied the tissue to the object then carefully “plucked” or pulled it away, leaving the sticky oil design behind. Then, a finely-ground enamel color was “dusted” onto the surface, sticking to any areas that had the oil. A final firing at a low temperature in the enamel kiln made the pattern permanent. The Pluck and Dust technique improved upon bat-printing and enabled larger designers to be transferred. It was short-lived, however, as under-glaze transfer printing soon took over as the preferred method for producing transferwares. Dimensions: 5 in. x 5 in. x 1/4 in. Condition: Excellent. Provenance: The Collection of Nancy and Andrew Ramage Jonathan Horne...

This is a beautiful plate in the Bow Pot pattern, produced by the Spode factory and made of a type of earthenware pottery called Pearl-ware, in the early 19th century, circa 1820. ...

This is a very good rare example of an English George III period, porcelain, slop bowl, made by Spode in the early 19th century, circa 1810. The bowl is well potted on a low everted...

This is a very good rare example of an English George III period, porcelain, slop bowl, made by Spode in the early 19th century, circa 1810. The bowl is well potted on a low everted...

This is a rare Creamware pottery Chestnut Basket made by the SPODE factory, Stoke on Trent, Staffordshire, England, in the late Georgian, Regency period...

This is a beautiful square plate or dish produced by the Spode factory and made of porcelain, in the early 19th Century, Circa 1815 to 1827. The dish is well potted on a low foot ...

This is a beautiful pair of deep plates or Soup Bowls in the blue and white Rome or Tiber Pattern, produced by the Spode factory and made of a type of earthenware pottery called Pear...

This is a good, very early, rare blue and white coffee cup in the "Boy on a Buffalo" pattern, probably from the factory of Josiah Spode, stoke on Trent, Staffordshire, England, made...

A charming antique English porcelain piece by Josiah Spode, England dating to the first quarter of the 1800s. Hand-cut reticulation on the center bowl and stand/underplate and nicely...