"H & R Daniel H & R Daniel is a little known manufactory of porcelain and earthenware. During the 24 years the pottery was in operation it was considered of equal stature with Spode, Minton and their contemporaries. The pottery was situated in Stoke on Trent, Staffordshire, England. Henry Daniel (1765-1841) was an enameller and colour maker. Prior to setting up his own manufactory in 1822 he ran a business within the Spode II* factory from at least 1805 to August 1822. In 1822, Henry formed his own business. Richard (1800-1884) Henry’s second son was officially made a partner in"
"Josiah Spode Josiah Spode (23 March 1733 – 18 August 1797) was an English potter and the founder of the English Spode pottery works which became famous for the quality of its wares. He is often credited with the establishment of blue underglaze transfer printing in Staffordshire in 1781–84, and with the definition and introduction in c. 1789–91 of the improved formula for bone china (a form of soft-paste porcelain) which thereafter remained the standard for all English wares of this kind. Josiah Spode was born in a village that is now part of Stoke-on-Trent. Spode was a pauper's son"
"and his wife Sarah, emigrated to Tasmania where he held a position as Controller of Convicts. After several generations under the guidance of the Copeland family, the Spode name is now owned by the Portmeirion pottery company, which now produces some of the former Spode patterns. Josiah Spode Josiah Spode (23 March 1733 – 18 August 1797) was an English potter and the founder of the English Spode pottery works which became famous for the quality of its wares. He is often credited with the establishment of blue underglaze transfer printing in Staffordshire in 1781–84, and with the definition and"
"himself, renting a small potworks in the town of Stoke-on-Trent in 1767; in 1776 he completed the purchase of what became the Spode factory until 2008. His early products comprised earthenwares such as creamware (a fine cream-coloured earthenware) and pearlware (a fine earthenware with a bluish glaze) as well as a range of stonewares including black basalt, caneware, and jasper which had been popularised by Josiah Wedgwood. The history and products of the Spode factory have inspired generations of historians and collectors, and a useful interactive online exhibition was launched in October 2010. Josiah Spode I is credited with the"
"often credited with developing, around 1790, the formula for fine bone china that was generally adopted by the industry. His son, Josiah Spode II, was certainly responsible for the successful marketing of English bone china. Today, Spode is owned by Portmeirion Group, a pottery and homewares company based in Stoke-on-Trent. Many items in Spode's Blue Italian and Woodland ranges are made at Portmeirion Group's factory in Stoke-on-Trent. Josiah Spode is known to have worked for Thomas Whieldon from the age of 16 until he was 21. He then worked in a number of partnerships until he went into business for"
"and porcelain. As the understanding of the work of the early potters depends in part on the study of actual specimens, the loss was both aesthetic and scientific. The business was carried on through his sons at Stoke until April 1833. Spode's London retail shop in Portugal Street went by the name of Spode, Son, and Copeland. Among the many surviving Spode documents are two shape books dated to about 1820 which contain thumbnail sketches of bone china objects with instructions to throwers and turners about size requirements. One copy is in the Joseph Downes collection at Winterthur Museum, Gardens,"
"by Spode's successors, William Taylor Copeland, and then ""W.T. Copeland & Sons, late Spode"". Messrs Spode were succeeded in the same business in c. 1833 by Copeland and Garrett, who often used the name Spode in their marks. In particular these are called 'Late Spode' and include productions of the so-called 'Felspar porcelain'. They also produced other kinds of bone china, earthenware, parian, etc. The partnership continued in this form until 1847. After 1847 the business continued until 1970 as W.T. Copeland and sons, and again the term 'Spode' or 'Late Spode' continued in use alongside the name of Copeland."
"Palissy Palissy was the trade name under which the English firm of A.E. Jones and Sons, of Stoke-on-Trent, marketed their china and pottery. The name was chosen as a tribute to Bernard Palissy, the famous French potter of the 16th century, creator of Palissy ware. They were bought out in 1958 by the Royal Worcester group, and in turn the Carborundum company that already owned Spode china and took over Hammersley china in 1972, and then Royal Worcester in 1974. Later pieces are marked Royal Worcester Group, then Royal Worcester Spode Group, but production was undoubtedly still in Longton. From"
"finalised the formula for English bone china, for whereas bone ash had previously been added in other factories to the fabric in proportions of roughly 40%, Spode simplified and greatly improved the recipe (see Spode). Spode had various commercial premises in London, originally in Fore Street, Cripplegate. However, the warehouse was finally settled in the former Theatre Royal, no 5 Portugal Street, Lincoln's Inn Fields, which his firm occupied from 1795 to 1848, when the building was razed. (This had been the venue of the first performance of the ""Beggar's Opera"" in 1727.) Josiah Spode the elder died in 1797"
"steam-powered machinery for making pottery. He perfected the process for transfer printing from copper plates. His son, Josiah Spode the younger, began making fine bone china around the end of the 18th century, adding feldspar to the china body. The Spode porcelain was often embossed and decorated in Oriental patterns. The ""willow pattern"" is thought to have been introduced about 1780 by Thomas Turner of the Caughley Pottery Works in Shropshire. It takes elements from various Chinese designs, including a willow tree, a pair of doves, a pavilion and three figures on a bridge over a lake. Spode and Thomas"
"Spode died in London in 1782. Josiah the elder became a Freeman of the City of London in 1778 and was a Liveryman of the Spectacle Makers' Company. Josiah Spode I is credited with the introduction of underglaze blue transfer printing into the Staffordshire potteries in 1781–84. More precisely he was the first to introduce a perfected method to Stoke, (with the help of engraver Thomas Lucas and printer James Richards, formerly of the Caughley Pottery Works, Shropshire), using improvements recently developed at nearby Shelton by or for Ralph Baddeley. Spode the elder also, between 1788 and 1793, established and"
"and a source of kaolin. In France kaolin was only found in Limousin in 1768, and Sèvres produced both types from 1769, before finally dropping soft-paste in 1804. In England there was a movement in a different direction, as Spode's formula for bone china, developed in the 1790s, was adopted by most other factories by about 1820. By that point little soft-paste porcelain was being made anywhere, and little hard-paste in England, with Nantgarw and Swansea in Wales among the last factories making soft-paste. There were early attempts by European potters to replicate Chinese porcelain when its composition was little"
"city was still under siege by the Serbs. This experience had a profound effect on Krafft. Krafft has continued to collaborate with Laibach and NSK, and he has contributed to the Porcelain War Museum project in Slovenia. In 1999, Krafft served a residency at the Kohler Company, during which he developed a technique utilizing bone in ceramics which he termed Spone, after the English potter Josiah Spode, who was the inventor of bone china. Spode's technique, however, involved cow bone; Krafft instead substituted human bone, which he had obtained from the wife of a deceased friend who had requested him"
"crack or split, and that could be decorated in rich colors due to the low firing temperature. The first soft paste porcelain manufactured in Britain came from factories in London, soon followed by factories in Staffordshire, Derby and Liverpool. The painter and mezzotintist Thomas Frye (1710–62) produced fine bone china at his Bow porcelain factory in East London. Bone china was also made at Lowestoft, at first mainly decorated in underglaze blue but later with Chinese-style over-glaze that also included pink and red. Josiah Spode (1733–97), who owned a factory in Stoke-on-Trent from 1776, was a pioneer in use of"
"Under the name 'Spode Ltd' the same factories and business was continued after 1970. In 2006, the business merged with Royal Worcester. The merged company entered administration on 6 November 2008. The brand names and intellectual property were acquired by Portmeirion Group on 23 April 2009. On 23 April 2009, Portmeirion Pottery purchased their rival Royal Worcester and Spode brands, together with some of the stock, after they had been placed into administration the previous November. The purchase did not include Royal Worcester or Spode manufacturing facilities. Many items in Spode's Blue Italian and Woodland ranges are now made at"
"know what each pattern will be and can keep a similar style to the completed pieces. Bolesławiec pottery Bolesławiec pottery is the collective term for pottery produced in Bolesławiec, Poland. Boleslawiec Pottery is also known collectively as ""Polish pottery"" or ""Polish stoneware"". For centuries one of the premier art forms in Central Europe has been the pottery and ceramics created in the Silesia region of Poland. The durable and functional creamy white and blue stoneware pieces are unique and easily identifiable. Ceramics and pottery are a definitive part of the identity of the city of Bolesławiec, Poland. The town itself"
"Bolesławiec pottery Bolesławiec pottery is the collective term for pottery produced in Bolesławiec, Poland. Boleslawiec Pottery is also known collectively as ""Polish pottery"" or ""Polish stoneware"". For centuries one of the premier art forms in Central Europe has been the pottery and ceramics created in the Silesia region of Poland. The durable and functional creamy white and blue stoneware pieces are unique and easily identifiable. Ceramics and pottery are a definitive part of the identity of the city of Bolesławiec, Poland. The town itself is often called ""Miasto Ceramiki"" (Town of ceramics). It is impossible to talk about the town"
"calcining the bone together with some of the other raw body materials, instead calcining just the bone. Bone china quickly proved to be highly popular, leading to its production by other English pottery manufacturers. Both Spode's formulation and his business were successful: his formulation of 6 parts bone ash, 4 parts china stone and 3.5 parts china clay, remains the basis for all bone china, and it was only in 2009 that his company, Spode, went into receivership before eventually being purchased by Portmeirion. The production of bone china is similar to porcelain, except that more care is needed because"
"Slate was traditional material of choice for black Go stones in Japan. It is now considered to be a luxury. Most slate in Europe today comes from Spain, the world's largest producer and exporter of natural slate, and 90 percent of Europe's natural slate used for roofing originates from the slate industry there. Lesser slate-producing regions in Europe include Wales (with a museum at Llanberis), Cornwall (famously the village of Delabole), Cumbria (see Burlington Slate Quarries, Honister Slate Mine and Skiddaw Slate) and, formerly in the West Highlands of Scotland, around Ballachulish and the Slate Islands in the United Kingdom."
"in porcelain was suggested in Germany in 1689, but bone china was only produced in Britain, with the first patent taken out in 1744. Bone china was perfected by Josiah Spode (1733–1797) of Stoke-upon-Trent in England. The basic formula is 50% calcined cattle bone, 25% Cornish stone and 25% china clay. The stone and clay are both derived from granite. The stone is a feldspathic flux that melts and bonds together the other ingredients. The bone gives the ware strength and helps it keep its shape during firing. The resulting material is strong, white and translucent, and resonates when struck."
"Loštice pottery The Loštice pottery, also called the Loštice goblets, are unique Czech pottery with nodules on the surface. Traditionally they have been massively produced in Loštice, a town in the Olomouc Region of the Czech Republic and the surrounding area (former North Moravia) since the end of the 14th or at the beginning of the 15th century and ceased to be manufactured sometime in the early 16th. These goblets have been a highly prized form of trading goods. They are found in many of the castles of Central Europe. The first slim brown-colored goblets with nodules in the surface"
"Spode's ware was returned to Britain from the Far East, to the Portmeirion Group's factory in Stoke-on-Trent. Portmeirion Pottery Portmeirion is a British pottery company based in Stoke-on-Trent, England. Portmeirion Pottery began in 1960 when pottery designer Susan Williams-Ellis (daughter of Sir Clough Williams-Ellis, who created the Italian-style Portmeirion Village in North Wales) and her husband, Euan Cooper-Willis, took over a small pottery-decorating company in Stoke-on-Trent called A. E. Gray Ltd. Susan Williams-Ellis had been working with A.E. Gray for some years, commissioning designs to sell at the gift shop in Portmeirion Village, the items bearing the backstamp ""Gray's Pottery"
"and 1793. It remained an industrial secret for some time. The importance of his innovations has been disputed, being played down by Professor Sir Arthur Church in his ""English Porcelain"", estimated practically by William Burton, and being very highly esteemed by Spode's contemporary Alexandre Brongniart, director of the Sèvres manufactory, in his ""Traité des Arts Céramiques"", and by M. L. Solon hailed as a revolutionary improvement. Many fine examples of the elder Spode's productions were destroyed in a fire at Alexandra Palace, London in 1873, where they were included in an exhibition of nearly five thousand specimens of English pottery"
"Salt glaze pottery Salt-glaze or salt glaze pottery is pottery, usually stoneware, with a glaze of glossy, translucent and slightly orange-peel-like texture which was formed by throwing common salt into the kiln during the higher temperature part of the firing process. Sodium from the salt reacts with silica in the clay body to form a glassy coating of sodium silicate. The glaze may be colourless or may be coloured various shades of brown (from iron oxide), blue (from cobalt oxide), or purple (from manganese oxide). The earliest known production of salt glazed stoneware was in the Rhineland of Germany around"
"and Library, Delaware, USA. After some early trials Spode perfected a stoneware that came closer to porcelain than any previously, and introduced his ""Stone-China"" in 1813. It was light in body, greyish-white and gritty where it was not glazed and approached translucence in the early wares; later Stone-Ware became opaque. Spode pattern books, which record about 75000 patterns, survive from about 1800. In Spode's similar ""Felspar porcelain"", introduced on the market in 1821, felspar was an ingredient, substituted for the Cornish stone in his standard bone china body, giving rise to his slightly misleading name ""Felspar porcelain,"" to what is"
"By the early 1820s, his factory, now managed by his son Josiah Spode II and his business partner William Copeland, had become the largest in Stoke, employing some 2,000 workers and boasting 22 bottle ovens. Spode’s factory was in continuous production from 1774 to 2008, when it finally closed (although the brand was subsequently purchased by Portmeirion, who continue to make Spode branded wares at their own factory in Stoke). The Spode factory occupied some ninety buildings on a nine-acre site and such was the amount of space available that over the years many thousands of items that might otherwise"
"Soufflenheim Soufflenheim (; Alsatian: ""Süfflum""), is a commune in the Bas-Rhin department in Grand Est in north-eastern France. It is known for its pottery, being known as the ""Cité des Potiers"" The forested area of Northern Grand Est has seen the production of pottery since the Bronze Age. This area provided a natural source of the required clay. Whether or not, and to what extent the Gauls and Romans used the area's clay is unknown. There was, however, much ancient pottery found in the area. No documentation of the settlement from this era is known to exist. In the 9th"
"was then dipped in the glaze and returned to the kiln for the glost firing. Blue underglaze transfer became a standard feature of Staffordshire pottery. Spode also used on-glaze transfers for other wares. The well-known Spode blue-and-white dinner services with engraved sporting scenes and Italian views were developed under Josiah Spode the younger, but continued to be reproduced into much later times. During the 18th century, many English potters were striving and competing to discover the industrial secret of the production of fine translucent porcelain. The Plymouth and Bristol factories, and (from 1782 to 1810) the New Hall (Staffordshire) factory"
"Latvian pottery Latvian pottery (""Latvijas podniecība"" or ""Latvijas keramika""), one of the country's oldest art forms, dates back to the Neolithic. Latgale pottery (""Latgales podniecība"") is the best-known subset of Latvian pottery. The eastern region of Latgale is the most prolific producer of wares. As a rule, Latvian pottery is characterized by an absence of any painted-on patterns or designs, instead solid colors and gradients are used. Traditionally subdued, earthen hues (greens, browns, etc.) are used; however, artisans can be seen using brighter colors in their unique pieces. Mottled glaze and random artifacts (somewhat reminiscent of the Japanese Shino-yaki) are"
"due to differing mineral properties. In the mid-18th century, English potters had not succeeded in making hard-paste porcelain (as made in East Asia and Meissen porcelain) but found bone ash a useful addition to their soft-paste porcelain mixtures, giving strength. This became standard at the Bow porcelain factory in London (operating from around 1747), and spread to some other English factories. The modern product was developed by the Staffordshire potter Josiah Spode in the early 1790s. Spode included kaolin, so his formula, sometimes called ""Staffordshire bone-porcelain"", was effectively hard-paste, but stronger, and versions were adopted by all the major English"
"whistle toy), ""svečturis"" (candlestick) and decorative plates and possibly other items meeting more contemporary demands, for example, ashtrays. Latvian pottery Latvian pottery (""Latvijas podniecība"" or ""Latvijas keramika""), one of the country's oldest art forms, dates back to the Neolithic. Latgale pottery (""Latgales podniecība"") is the best-known subset of Latvian pottery. The eastern region of Latgale is the most prolific producer of wares. As a rule, Latvian pottery is characterized by an absence of any painted-on patterns or designs, instead solid colors and gradients are used. Traditionally subdued, earthen hues (greens, browns, etc.) are used; however, artisans can be seen using"
"enterprises in Austria, of course, who produced the smoothed-edged sickles for centuries. The last of the classical ""round"" versions were forged until the mid- eighties and machined until 2002. While in Central Europe the smooth-edged sickle—either forged or machined (alternately referred to as ""stamped"") - has been the only one used (and in many regions the only one known), the Iberian Peninsula, Sicily and Greece long had fans of both camps. The many small family-owned enterprises in what is now Italy, Portugal and Spain produced sickles in both versions, with the teeth on the serrated models being hand-cut, one at"
"and the Copeland Spode business in his diaries, 1831–1848. ""The Hunt"" collection, first introduced in 1930 as everyday earthenware, was inspired in 1830, when W.vT. Copeland, of Spode, offered the great sporting artist John Frederick Herring Sr. a house on his Essex estate. The relationship between the two men resulted in a collection of paintings. Most of the scenes used for ""The Hunt"" are taken from these works. The title of the featured painting is on the backside along with the official royal insignia of Spode, encapsulating its English heritage. More than two centuries of tableware tradition and the sporting"