Chinese Rose Chinese Rose pattern was produced in a variety of versions with various pattern numbers.It was one of the most popular of Spode's colourful patterns on earthenware in the 20th century.This accounts for pieces of Chinese Rose pattern in the simple brown colour of the print (which was printed under glaze) with no added hand colouring as well as versions with only some of the colour.
Spode maintained the technique of printing and hand colouring for as long as they could particularly to fulfil the requirement of the American market.Spode's Cabbage pattern was first introduced in about 1814 and was a copy of a Chinese porcelain design based on the so-called 'tobacco leaf' studies.It had pattern number 2061 and was produced on Stone China which imitated the look and feel of Chinese Porcelain. In the late 1920s in the United States there was a growing interest in 'Oriental Lowestoft' - the name mistakenly given to China Trade Porcelain or Chinese Export Porcelain.When this pattern did move to lithography, the high quality was maintained following the appearance of pieces produced in the 'old' way even down to reproducing brush strokes. Occasionally faults occurred during production and due to the high level of quality control at Spode these pieces would not pass onto the next stage of manufacture.Some would be destroyed if the fault was very serious; others could be sold on as substandard or 'seconds'.Examples of pieces can be seen along with source prints on Spode Exhibition Online.The border designs were taken from 'Oriental Fields Sports' by Williamson and Howitt 1807 - click here for more.For for more information on Stone China please see pages 132-135pattern was first introduced in about 1809 and most usually seen transfer printed in blue.It was produced beyond the Spode period and is is seen with marks from Spode owners, Copeland & Garrett, from 1833-1847.'Views in the Ottoman Empire chiefly in Caramania, a part of Asia Minor hitherto unexplored, with some curious selections from the Islands of Rhodes and Cyprus and the celebrated Cities of Corinth, Carthage and Tripoli, from the original drawings in the possession of Sir R.The Spode engraving included, as requested, every 'minor imperfection' of the handpainted original or rather every 'idiosyncratic brush stroke' of the 18th century original.This was all interpreted and engraved by the master engraver of the time Frank Boothby.