Items Similar to Coalport John Rose Plate, Abundant Flowers, T. Baxter Studio, ca 1805 (2)
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Coalport John Rose Plate, Abundant Flowers, T. Baxter Studio, ca 1805 (2)
$1,950
£1,466.24
€1,702.66
CA$2,723.13
A$3,020.16
CHF 1,586.04
MX$37,089.68
NOK 20,077.74
SEK 18,933.58
DKK 12,703.74
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About the Item
This is a stunning and extremely rare plate made by Coalport around the year 1805, and decorated in the London studio of Thomas Baxter.
We have one more of these plates in stock, please see separate listing.
Coalport was one of the leading potters in 19th and 20th Century Staffordshire. They worked alongside other great potters such as Spode, Davenport and Minton, and came out with many innovative designs. When we say "Coalport" we usually think of the one Coalport factory that became famous, but in its beginning years there were two factories, one run by John Rose and the other by his brother Thomas Rose. Thomas Rose went into partnership with Robert Anstice and Robert Horton and they were located directly opposite John Rose, across the canal. The brothers' factories had much in common with each other and they shared many different shapes and patterns. Ultimately, the John Rose factory proved more profitable and John Rose bought Thomas' factory in 1814, making it the one Coalport factory that became so famous. Many of the Coalport items, of either factory, are now collectors' items.
This plate was painted in the studio of the famous porcelain painter Thomas Baxter (1782-1821). Although the painting on this plate is probably not from Baxter's hand, it was painted in his style, probably under his direct guidance. Baxter was the son of a porcelain painting family and learned the basics from his father, who ran a studio in London. He later ran his own studio and art school, becoming a well-known teacher of porcelain painting, and he was employed at various times by the Worcester and Swansea potteries, where he painted many top pieces. He also became very well-known for a beautiful dinner service he painted for Lord Nelson, who became his patron and commissioned many pieces from him. Unfortunately Baxter died young in 1821 at the age of 39, but he left behind an impressive output of wonderful pieces, as well as many pieces painted by others under his guidance.
The plate would have been part of a large dessert service. It was potted in early bone china - not as smooth as it was to become only a few years later when recipes improved, and with many little blemishes. The plate is decorated with a stunning pattern of an abundant floral rim, with a very fine gilt motif on the inner rim and a simple gilt band on the outer rim.
The plate is unmarked, as was usual in those days.
CONDITION REPORT The plate is in perfect antique condition without any damage, crazing or repairs, and negligible rubbing.
Antique British porcelain 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 and please feel free to ask questions or request more detailed pictures!
DIMENSIONS 23cm (9") diameter
- Creator:Thomas Baxter (Artist),Coalport Porcelain (Maker)
- Dimensions:Height: 0.75 in (1.91 cm)Diameter: 9 in (22.86 cm)
- Style:George III (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:circa 1805
- Condition:Wear consistent with age and use. In perfect antique condition without damage, repairs or crazing, and negligible rubbing.
- Seller Location:London, GB
- Reference Number:Seller: HP-COA10b1stDibs: LU4805141618792
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Please see separate listing for the matching plate; I would be happy to offer some discount if you interested in purchasing both plates.
William Billingsley was a brilliant but notoriously difficult man who left behind a trail of debts, broken hearts and mystery - but he was also one of the most important people in the history British porcelain. Billingsley revolutionised the way British decorators painted flowers; he added a freedom and artistry that now singles out British flower painting, and he created a new technique for painting roses, which you can see in this design. Billingsley trained and worked at Derby, and then started his own pottery at Pinxton. He then left to start a decorating studio at Mansfield, where he decorated wares from various potteries, among which Derby, Coalport, Whitehead and others. After that, he spent a period in Worcester, and then went to Wales where he set up a pottery in Nantgarw, worked at the Swansea pottery for a while and then returned to Nantgarw. While in Nantgarw he created some of the best porcelain ever made, but racking up great debts. He ended up running off in the dead of night and ending his days at Coalport painting flowers.
Items painted by William Billingsley are rare and very much in demand - together with Thomas Baxter's work they are probably among the most desired pieces of British porcelain.
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The Derby Porcelain Company, later called Royal Crown Derby, is currently the oldest British porcelain factory still in production. The Derby pottery was one of the most prominent potteries right from the start of English porcelain production in the mid 1700s to today, and the factory went through many iterations. In the 1820s, it was called "Bloor Derby" as it came under the ownership of Robert Bloor; this factory later closed but its legacy was continued under the ownership of a group of employees, and later this was merged into a new factory called Royal Crown Derby, which is still in operation today and still carries forward some of the oldest patterns that have made it famous over the centuries.
William Billingsley was a brilliant but notoriously difficult man who left behind a trail of debts, broken hearts and mystery - but he was also one of the most important people in the history British porcelain. Billingsley revolutionised the way British decorators painted flowers; he added a freedom and artistry that now singles out British flower painting, and he created a new technique for painting roses, which you can see in this design. Billingsley worked at Derby, Worcester and Mansfield. He also set up his own potteries in Pinxton and Nantgarw and created some of the best porcelain ever made, but racking up great debts, before running off in the dead of night and ending his days at Coalport painting flowers.
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