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Flint Fire
Spode Christmas Tree Paper Plates
The bone china formula
During the 18th century many English potters were striving and competing to discover the industrial secret with the production of fine translucent porcelain. The Plymouth and Bristol factories, and (from 1782-1810) the New Hall (Staffordshire) factory under Champion's patent, were definitely producing hard paste or true porcelain comparable to Oriental china. Inside artificial or soft-paste porcelain, imitating French creation like Sèvres, silica or ground up flint was used inside the clay to give it strength and translucency. The technique was developed by adding calcined bone to this glassy frit, for example within the productions of Bow China works, Chelsea and Lowestoft, and this was carried on from a minimum of the 1750s onwards. Soapstone porcelains further added steatite, known as French chalk, for illustration at Worcester and Caughley factories.
The bone porcelains, especially those of Spode, Minton, Davenport and Coalport, eventually established the standards for soft-paste porcelain which were later (after 1800) maintained widely. Even though the Bow, Chelsea, Worcester and Derby factories had, just before Spode, established a proportion of about 40-45 per cent calcined bone inside formula as normal, it had been Spode who first abandoned the practice of calcining or fritting the bone-ash with some from the other ingredients, and used the straightforward mixture of bone-ash, petuntse (china stone) and china clay, which since his time has formed the technical entire body of English porcelain, and to a lot of other elements in the world. A regular English paste may well be taken as 6 components bone-ash, 4 parts petuntse and 3.5 elements kaolin, all finely ground together. This is essentially the exact same as accurate porcelain but with the addition of a large proportion of bone-ash.
Josiah Spode I effectively finalized the formula, and appears to have been performing so between 1789 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 becoming really very 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 have been destroyed in a fire at Alexandra Palace, London in 1873, where they had been included in an exhibition of nearly five thousand specimens of English pottery and porcelain. As the understanding from the work of the early potters depends in part for the study of actual specimens, the loss was both aesthetic and scientific.
The enterprise was carried on by means of his sons at Stoke until April 1833. Spode's London retail shop in Portugal Street went by the name of Spode, Son, and Copeland.
Spode "Stone-China"
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 system, grayish-white and gritty in which it had been not glazed and approached translucence within the early wares; later Stone-Ware became opaque. Spode pattern books, which record about 75000 Spode survive from about 1800.
In Spode's comparable "Felspar porcelain", introduced on the marketplace in 1821, felspar was an ingredient, substituted for the Cornish stone in his regular bone china body, giving rise to his slightly misleading name "Felspar porcelain," to what is actually an extremely refined stoneware comparable to the rival "Mason's ironstone", produced by Josiah II's nephew, Charles James Mason, and patented in 1813 Spode's "Felspar porcelain" continued into the Copeland & Garrett phase from the company (1833-1847).
Armorial services were definitely provided for the Honourable East India Company, 1823, and the Worshipful Company of Goldsmiths, c1824. Some of the ware employed underglaze blue and iron red with touches of gilding in imitation of "Imari porcelain" that had been introduced on Spode's bone china inside the initial decade of the century: the most familiar "Tobacco-leaf pattern" (2061) continued to be made by Spode's successors, William Taylor Copeland, and then "W.T. Copeland & Sons, late Spode".
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