The Spode Museum Trust calls Spode ‘one of the greatest names of the Industrial Revolution’ and few would challenge the appellation. Spode’s greatest achievement was perfecting – and perhaps inventing – bone china, which was white, very translucent and stable when fired. This ‘English porcelain’ was a huge commercial success. Swiftly adopted by Spode’s competitors, it helped propel the English potteries to global dominance, and became the global standard. Spode also mastered underglaze blue printing, a technique unknown in China. Vast quantities of inexpensive blue-printed earthenware were made in designs often derived from Chinese originals, such as the Willow Pattern, introduced by Spode in 1790 and which became the best-known pattern in the world

Spode certainly was paramount in the first half of the 19th Century, while the second half arguably belonged to Minton. Some experts credit Spode with even greater influence. For Antoinette Fay-Hallé, a curator of the Sèvres museum, ‘The Spode factory was without doubt the most important factory in the 19th century.’

The role played by Henry Daniel as Spode’s decorator has only gained due recognition in recent decades. Between 1805 and 1822, all on-glaze decoration of Spode ceramics was carried out by his independent workshop within the Spode factory. Daniel bought undecorated wares from Josiah Spode II, decorated them and then sold them back to him. In 1822 Daniel ended the partnership and set up his own factory (see Henry & Richard Daniel).

Identifying and dating antique Spode is generally easier than with some other 18th and 19th Century factories as most are marked ‘Spode’ – either impressed or printed, or painted in freehand – and carry a pattern number. Some early Spode porcelains are impressed with the mark of a cross inside a circle; often, however, there is no mark at all on early Spode.

William Taylor Copeland and William Garrett ran the Spode factory between 1833 and 1847. Most tablewares were in the ornate rococo style. Marks are usually Copeland & Garrett, occasionally also with the words ‘Late Spode.’

The partnership was dissolved in 1847 and the factory was operated by W.T. Copeland and his descendants until the 1960s.

Copeland porcelains of the late 19th and early 20th Century can be stylish, luxurious and of high quality. Copeland was also renowned for its refined Parian statuary. Marks include ‘Copeland’, ‘W.T. Copeland & Sons’, ‘Spode Copeland’, ‘Copeland Late Spode’, and ‘Copeland Spode’.

Copeland continued to produce the most popular Spode patterns. Indeed, Spode-branded tableware printed with century-old blue-and-white patterns such as ‘Blue Italian’ remain bestsellers for new owners Portmeirion.

SPODE AND COPELAND TIMELINE

 Josiah Spode, 1776-1833

1776    Master potter Josiah Spode I purchased his own factory in Stoke-on-Trent

1779   Spode opens a London warehouse for the sale of glassware, his own and other makers’ ceramics. Josiah Spode II, his son, is put in charge.

1784   Josiah Spode I perfected underglaze blue printing on earthenware. William Copeland, the son of a farmer, joins the young Spode in London.

c.1790  First production of the ‘Willow Pattern’

1797   Death of Josiah Spode I. Josiah Spode II inherits and his eldest son, William Spode, becomes co-manager of the London business with William Copeland.

1800   First production of bone china

1805   Henry Daniel opens a branch of his own decorating business within the Spode factory. Josiah Spode II relinquishes the London business entirely to his son and William Copeland, who become co-partners.

1806   Following a factory visit, the Prince of Wales (the future King George IV) appoints Josiah Spode II “Potter and English Porcelain Manufacturer to His Royal Highness.’

1811: William Spode retires from the London business to his estate in the countryside, and transfers his entire share to William Copeland. Spode II becomes partner with William Copeland, who retains three-quarters of the London business.

1815    Spode introduces ‘Stone China,’ an extremely strong, pale grey ceramic body that imitated Chinese porcelains. It was more expensive than earthenware but cheaper than porcelain.

1822  Spode introduces Felspar Porcelain, a derivative of the Bone China recipe, with a white, glassy look. Daniel ends his contract with Spode and sets up his own factory.

1824 William Copeland’s son, William Taylor, is admitted to the London partnership with a gift to him from his father of a quarter share.

1826  William Copeland dies and his half share of the London business is taken up equally by his son and by Josiah Spode II, making them equal partners.

1827  Josiah Spode II dies. His son, Josiah Spode III, takes over the Stoke manufactory, and equal partnership of the London business with W.T. Copeland

1829  Josiah Spode III dies and W.T. Copeland assumes management of the business.

Copeland & Garrett 1833-47

1833   W.T. Copeland and his new partner William Garrett acquire complete control of the London business and the factory at Stoke. Products are marked ‘Copeland & Garrett’ but at least two backstamps also use the words ‘Late Spode.’

c.1840  Copeland & Garrett introduces Parian ware, fired but unglazed porcelain that resembles marble.

W.T. Copeland (& Sons Ltd.) 1847-1966

 1847  The partnership with Garrett is dissolved and the business trades as W.T. Copeland. During the long Copeland family ownership, many backstamps still refer to ‘Spode’ or ‘Late Spode.’

1866  Copeland is appointed china and glass manufacturer to the Prince of Wales (the future King Edward VII).

1867  W.T. Copeland takes his sons into partnership and the company name changes to W.T. Copeland and Sons.

1966  The Copeland family sell the business to the Carborundum company of the United States.

1970   The Spode name is reinstated

1977   Spode merges with Royal Worcester

2009   Pottery firm Portmeirion of Stoke-on-Trent buys both the Spode and Royal Worcester brands

 

© Cotswold Antiques, 2018