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Spode Pottery Neoclassical Greek Pattern Blue Printed Supper Set

About the Item

Spode pottery neoclassical Greek pattern blue printed supper set Early-19th century From a large collection of Greek pattern pieces in various colors and forms The rare Spode pottery underglaze blue Greek pattern supper set consists of a central covered tureen with a pieced inner cover. This is surrounded by four demilune covered dishes. The tureen has a different central scene to each side and the covered dishes of two different shapes have designs on the cover and on the central well. Each shape has a different shape. Condition Great condition with a flake on the corner of one cover (see photo- can be easily repaired). Dimensions: 21 1/2 inches across x 17 1/2 inches deep. The tureen is 8 inches high x 10 inches wide x 6 1/2 inches The neoclassical “Greek” pattern, introduced in 1806, catered to the demand for classical subjects created by the Greek Revival style. The images were taken from “Outlines from the Figures and Compositions upon the Greek, Roman and Etruscan Vases of the late Sir William Hamilton; with engraved borders. Drawn and engraved by the late Mr. Kirk”. This was probably the first multi-scene pattern introduced at the Spode Factory. Mark: several piece and covers has a workman's mark of a circle and with an arrow. (Called WMT 1).

Creator:

Spode (Manufacturer)

Dimensions:

Height: 8 in (20.32 cm)Diameter: 21.5 in (54.61 cm)

Style:

Neoclassical (Of the Period)

Materials and Techniques:

Pearlware,Pottery

Place of Origin:

England

Period:

Early 18th Century

Date of Manufacture:

1810

Condition:

Repaired: Great condition with a flake on the corner of one cover invisibly repaired. Minor losses.

Seller Location:

Downingtown, PA

Reference Number:

Seller: VM983861stDibs: LU861024542132

Shop All Spode

Spode

Spode is one of the oldest and most distinguished of the great pottery companies of Staffordshire, the time-honored home of English ceramics. The firm’s blue and white bone china transferware is a timeless classic. Spode dishes compose the sort of elegant dinner service that most of us envision on a traditional holiday table.

The company was established in 1770 in Stoke-on-Trent by Josiah Spode, a friend and neighbor of another estimable English ceramist, Josiah Wedgwood. The Wedgwood firm first came to prominence for its tableware, which quickly gained favor in aristocratic households throughout Britain and Europe.

Spode was particularly known 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 advancement 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.

From the 1820s onward, 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.

In 1833, following the sudden death of Josiah Spode III, business partner W. T. Copeland took over the company and changed its name to Copeland Spode (it later changed again, this time to W. T. Copeland and Sons). Collectors regard Copeland-marked pieces as Spode china. The Spode brand was revived in 1970.

Many favorite Spode patterns — among them Blue Italian, Indian Tree, Greek and Woodland — date to the company’s early years. Spode’s most popular pattern, Christmas Tree, was introduced in 1938.

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By Spode, Josiah Spode

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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...

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