On offer is a rare set of 23 dessert plates made by Coalport between 1820 and 1825. The plates are decorated in a peach ground with stunning botanical paintings attributed to Cecil Jones.
Coalport was one of the leading potters in 19th and 20th Century Staffordshire. They worked alongside other great potters such as Spode, Davenport and Minton, and came out with many innovative designs. When we say "Coalport" we usually think of the one Coalport factory that became famous, but in its beginning years there were two factories, one run by John Rose and the other by his brother Thomas Rose. Thomas Rose went into partnership with Robert Anstice and Robert Horton and they were located directly opposite John Rose, across the canal. The brothers' factories had much in common with each other and they shared many different shapes and patterns. Ultimately, the John Rose factory proved more profitable and John Rose bought Thomas' factory in 1814, making it the one Coalport factory that became so famous. Many of the Coalport items, of either factory, are now collectors' items.
These plates would have been part of a large dessert service. They were potted in sturdy white porcelain with a gadrooned rim. Each plate has a rim with a bright peach colour and some very simple gilt detail that picks out the nicely lobed shape of the plates. The centre of each plate has been painted with stunning flower studies, each plate with its own unique arrangement. The flowers are most likely painted by Cecil Jones, one of Coalport's most celebrated flower painters. As the items are not numbered it is hard to verify (and Coalport's pattern books were incomplete to begin with), but considering the style of the flowers they can be safely attributed to Jones.
Each plate is marked on the back with an impressed "2" mark as well as an impressed anchor mark, which was used between 1820 and 1825.
CONDITION REPORT The plates are in very good condition without any damage. Four plates have crazing, two with some wear and two without any wear; twelve plates have some wear but no crazing; and seven plates have little or no wear and no crazing.
Antique British porcelain is never perfect. Kilns were fired on coal in the 1800s, and this meant that china from that period can have some firing specks from flying particles. British makers were also known for their experimentation, and sometimes this resulted in technically imperfect results. Due to the shrinkage in the kiln, items can have small firing lines or develop crazing over time, which should not be seen as damage but as an imperfection of the maker's recipes, probably unknown at the time of making. Items have often been used for many years and can have normal signs of wear, and gilt can have signs of slight disintegration even if never handled. I will reflect any damage, repairs, obvious stress marks, crazing or heavy wear in the item description but some minor scratches, nicks, stains and gilt disintegration can be normal for vintage items and need to be taken into account.
There is widespread confusion on the internet about the difference between chips and nicks, or hairlines and cracks. I will reflect any damage as truthfully as I can, i.e. a nick is a tiny bit of damage smaller than 1mm and a chip is something you can easily see with the eye; a glazing line is a break in the glazing only; hairline is extremely tight and/or superficial and not picked up by the finger; and a crack is obvious both to the eye and the finger. Etcetera - I try to be as accurate as I can and please feel free to ask questions or request more detailed pictures!
DIMENSIONS 24.5 cm (9.75") diameter.