Georgian and Regency

Eco Antique Teacup Candles - Georgian and Regency Early English teacup designs and shapes were often based on Chinese and Japanese patterns, attempting to emulate the porcelains of the orient in pattern and style as well as body. 

 

Some potters even went so far as to use pudeseo Chinese symbols to mark their work such as Worcester c 1770 and Miles Mason from c 1800. The first form of tea vessel that we produced was the Chinese cup (bowl) shape, often found in cream ware, china glaze and early pearlware. 

Examples of this shape continued until c 1820.  Early soft paste porcelain had to be glazed after the painted or printed decoration was applied.  The glaze was made using the metallic oxide of cobalt which was black, turning blue after firing.  It was quite a skill to judge how the tones and shading would look on the final finished fired article.  From 1780 simple forms of cups began to evolve eg the use of vertical fluting appears, this the evolved into wrythen or twisted fluting.

Porcelain was so expensive that tea services were sold in tea trios: one saucer to two cups, one for your tea and one for your coffee or chocolate.  A Georgian tea service would consist of a teapot, sucrier (for sugar) , jug, spoon tray, slop bowl, two large cake plates, and the saucers and cups.  The slop bowl was for the tealeaves and residue after each round of tea.

British porcelain tea ware decoration reached an exceptional level in the early decades of the nineteenth century.  Spode, Minton, Coalport, H&R Daniel, Wedgwood, Davenpot, Chamberlains and Derby produced some extraordinarily beautiful cups and saucers of the highest quality for their wealthy and titled patrons.  An array of rich ground colours were decorated with complex enameled designs, flowers, fruit and birds, and were richly gilded.  Cups were often exquisitely moulded, the decoration used to highlight the moulded patterns for even greater effect. 

During the late 1820’s and early 1830’s it became common place to elaborately decorate the saucer and the inside of the cup, your guests would marvel at the wondrous decoration emerging as they sipped their tea away.  The levels of skill at this time amongst the painters and gilders were truly unrivalled.

Porcelain distributors discouraged the use of pottery identification marks during this era, pieces were marked with a small fraction (pattern) number which can be found in different hands and colours and which refer to pottery design pattern books.  This practice dates from the early 1780’s, a reference was made to the Derby pattern 69 in correspondence written in 1774.  Often only important pieces in a service such as the teapot, milk jug and one or two teacups were marked.  Some potteries did use a very distinctive marking system from a very early period eg First period Worcester porcelain is marked with a small blue crescent shaped moon from about 1793.