"If the Spodes had produced nothing except their blue printed earthenwares, their reputations would still be assured."

Few Ceramic wares have aroused so much interest and affection as Spode blue. Books are written about it, learned papers and ceramic societies devoted to it and collectors throughout the world eagerly seek and treasure specimens.

From 1773 the East India Company had begun to reduce their imports of chinaware, making it difficult for families to obtain replacements and additions. Then in 1784, the enormous tax on tea was dramatically reduced, significantly increasing the frequency and enjoyment of tea drinking, which in turn, increased the demand for tea services and pots.

For over 200 years, ever since Josiah Spode I first perfected the process of blue underglaze printing, Spode's original blue and white designs have become some of the most collectable and sought after in the history of ceramics.

Today, using techniques and designs from a wealth of authentic engravings and moulds carefully preserved in the Spode archives, many of these same designs and items are again being produced to the delight of collectors and connoisseurs.
Its continuing appeal is not surprising. Because, apart from its intrinsic beauty, the history of Spode blue is a fascinating story.

From poor beginnings, the young Josiah Spode I soon proved his ability as an apprentice to become one of the most skilled potters. He quickly demonstrated not only his unique creativity, but also his acumen in recognizing a market opportunity, with the development that was to transform the pottery industry forever. From 1773 the East India Company had begun to reduce their imports of chinaware, making it difficult for families to obtain replacements and additions. Then in 1784, the enormous tax on tea was dramatically reduced, significantly increasing the frequency and enjoyment of tea drinking, which in turn, increased the demand for tea services and pots.

It was in 1784, that Josiah Spode I perfected the process of blue underglaze printing on earthenware from hand-engraved copper plates. This not only assured his fame and the future prosperity of his company, but was essential to the phenomenal growth of the English tableware industry.

Initially, the patterns were reproductions of the Chinese porcelain designs, firmly establishing the popularity of blue and white themes, but others soon followed, including the earliest blue florals. Three original patterns from the period 1790 to 1820 - Blue Italian, Tower Blue and Willow - are still produced at Spode today.
These designs were not only popular in Britain, but were also being exported to the New World. Evidently Spode blue was one of the early settlers'cherished reminders of home, travelling across the great plains in covered wagons and adding a sophisticated touch to the drawing rooms of New York and Boston.
Inspired by Spodes'success with blue transfer printing, others were quick to follow. But Spode blue was and is, the original.
As a contemporary authority puts it, "Certainly his blue prints have seldom been equaled, and never surpassed, in the fine quality of their design and execution."

The period during which the young Josiah Spode I developed his skills was one of great experimentation in the Potteries as new ceramic materials were tried in the search to manufacture white tableware. There was still a demand for the Chinese painted blue and white designs, which had become increasingly scarce and could not be reproduced in quantity by hand on the cream coloured ware of the time.

That was dramatically changed by Spode's perfection of the underglaze printing in 1784, involving the use of hand-engraved copper plates and tissue paper transfers.

Already familiar with blue painted decoration, he immediately began to create patterns in the Chinese idiom. Spode not only proved himself a master of reproducing Chinese designs sympathetically, but also a veritable genius in creating new, original blue and white patterns, such as Tower, Blue Italian and of course, the famous Willow pattern.

Perhaps the archetypal blue and white pattern, the famous Willow design was developed by Spode in about 1790 from a Chinese pattern called Mandarin. To this he added other features from his familiarity with Chinese originals. He probably added the bridge with three people to create human interest, the fence 'a common Chinese motif' to balance the composition and the tea-house which derives from a Chinese piece, a shard of which was later rediscovered when excavated on the Spode site in 1969.

Although much copied by others, inevitably to an inferior standard, Spode's design was and still is the original Willow pattern. Also featured in the collection, from this very early period, is the Blue Tower pattern. First produced in 1814, it reflects the interest in Italian landscapes at the time.

In continuous production since 1816, Blue Italian is undoubtedly one of the all-time classic tableware patterns. The central scene is thought to be ruins near to Rome. In the interpretation of design, the remarkable sense of space and atmosphere, particularly the elegant integration of figures into the scene, demonstrate how the outstanding techniques of engraving were established at Spode.