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Copeland Neo-Classical Greek Pattern Blue Circular Tureen and Cover

About the Item

Copeland-Late Spode Neo-classical greek pattern blue circular tureen and cover, 1902 The Spode pottery covered footed tureen of circular form with the underglaze blue Greek pattern with urns and shaped panels with neo-classical figures. The border with a Greek Key design. Dimensions: 9 1/2 inches high x 9 1/2 inches across handles x 7 1/4 inches Mark: Impressed Copeland and printed Copeland/late Spode England with the name "Greek" and Reg # 639277 for 1902 Condition Good with chip to the inside of the flange on the cover- not visible from the exterior. The neo-classical “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. See Spode Transfer Printed Ware 1784-1833, David Drakard & Paul Holdway, Page 248-250, Pattern Number P906-1.

Creator:

Copeland Spode (Manufacturer)

Dimensions:

Height: 9.5 in (24.13 cm)Width: 9.5 in (24.13 cm)Depth: 7.25 in (18.42 cm)

Style:

Neoclassical Revival (Of the Period)

Materials and Techniques:

Pottery

Place of Origin:

England

Period:

Early 20th Century

Date of Manufacture:

1902

Condition:

Wear consistent with age and use.

Seller Location:

Downingtown, PA

Reference Number:

Seller: VM983941stDibs: LU861024528272

Shop All Copeland Spode

Copeland Spode

Steeped in British history and tradition, the name Copeland Spode is renowned among porcelain collectors for its fine-quality bone china and earthenware pieces. With its roots in Spode — one of the oldest and most distinguished of the great pottery companies of Staffordshire, the time-honored home of English ceramics — Copeland Spode is known to pottery enthusiasts for some of the most timeless and recognizable patterns produced in 19th and early 20th-century porcelain manufacturing such as Wicker Lane, Chinese Rose and Tower. Collectors regard Copeland-marked pieces as Spode china.

The story of Copeland Spode china began in 1770 when English potter Josiah Spode founded a pottery and homewares company called Spode in Stoke-on-Trent, England. Within fifteen years, the manufacturer became known for its signature blue-on-white palette, and one of the company’s designers developed a specific cobalt hue for their teapots, trays, bowls and more. Spode’s founder was 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.

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.

In addition to their exceptional quality and design, the company’s ceramics were particularly prized for their intricate patterns which featured a variety of colors. For instance, its popular Tower pattern was available in a pale ultramarine blue, a darker Royal Saxon blue, rose pink, brown and green.

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