Pottery Serving Bowls
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Style: Georgian
Material: Pottery
Twelve Spode Neo-Classical Greek Pattern Blue Soup Plates
By Spode
Located in Downingtown, PA
Spode Neo-classical Greek pattern blue soup plates,
Refreshment for Phliasian Horseman,
Set of twelve (12)
Early-19th century
The Spode Greek pattern ...
Category
Early 19th Century English Georgian Antique Pottery Serving Bowls
Materials
Pearlware, Pottery
Creamware Pottery Sailor's Farewell and Chinoiserie Punch Bowl
Located in Downingtown, PA
Creamware Pottery sailor's farewell punch bowl with Chinoiserie Scenes on Reverse,
Late 18th Century
The large polychrome creamware bowl has a scene to one side depicting a sailor's farewell. The officer, with a sword in a scabbard to his right hip, stands with arms crossed and his female companion looks away from him as she holds a parasol in her hand. In the background in a Royal Navy frigate at anchor and a sailor in a longboat rowing towards him.
To the reverse side is a charming chinoiserie scene of two women and a young boy watching...
Category
Late 18th Century English Georgian Antique Pottery Serving Bowls
Materials
Creamware, Pottery
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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.
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