Pattern 1122 Spode bone china Bute shape Tea Cup & Saucer decorated with Greek or Classical Figures initially printed in black enamel & then following firing the outline was filled in by hand using iron-red enamel, fired again & then gilded & fired again. This pattern was introduced c1807 & to produce items like these at this time required numerous firings, it is hardly surprising if the occasional specks of kiln dust sneaked in. However this example is very clean.
The Neoclassical movement during the 18th century coincided with the Age of Enlightenment which was a period in history where traditional ideas & faiths were challenged by science & reason. Neoclassicism continued into the very early years of the 19th century. Josiah Spode II would become very well known for his blue printed 'Greek' patterns on 'New Indented' earthenware for Dinner & Dessert wares c1806-7. The first blue enamelled Greek pattern was number 1111.
However the Neoclassical movement & Enlightenment (science, logic, head) would soon be replaced by Romanticism (heart) within approximately 15 years from this period. The Spode Museum has a beautiful pair of New Shape French Jars hand-painted with portraits of two females dating to around 1822 which are pure Romanticism decoration. They are entitled 'Maiden's Meditation' & 'Girl with a Merlin on her Hand'.
Pam Woolliscroft (former curator of the Spode Museum) writes a Spode History Blog Spot and the Spode New Shape French Jar/Vase 'Girl with a Merlin on her Hand' can be seen here:
A lovely piece of English ceramic history.
I have recently found an article written by Robert Copeland in 1986 for the Spode Review which is an in-house publication by the Spode Society for its membership. The article was titled 'Jars for the King, Spode's contributions to the Brighton Pavilion'. In it he mentions about special ceramic orders made for the Prince of Wales c1806-07 which were marked on their bases with a special backstamp which incorporated the Prince of Wales three feathers motif & the name SPODE & this mark was printed in iron red enamel. I don't think this special mark was applied to every single piece for the Prince but probably appears on most main pieces or on a majority of pieces.
He notes that these special backstamps have been seen on Spode pattern numbers 500, 981 (illustrated), 1122 (illustrated), 1168 (illustrated), 1185 (illustrated), 1224 & 1406. (I also illustrate on this site pattern 1112 which incorporates the Prince of Wales feathers into the actual design & 1233 which carries this special mark & presumably Robert Copeland was not aware of this particular one in 1986?). The pattern 1122 which carries this special mark is described by Robert Copeland as, 'Greek figures in the centre, with a gilded bead at edge. Dinner Plate'.
A Spode pattern 1122 Dessert Plate with the special Prince of Wales backstamp was written about & illustrated in the Spode Review (a great Spode Society publication for members) November 2007 & again in May 2009 together with other discoveries. It looks to be exactly like this cup & saucer & the 'gilded bead at edge' is actually this gilt border. Patterns 1182 & 1221 are also known now to bear this special mark.
So perhaps this bute shape Spode tea cup & saucer was made for the Prince of Wales & was possibly used at the Brighton Pavilion or at one of the other royal palaces? How lovely!
No pattern numbers or decorator's marks on these particular pieces.