Established in 1795 in Coalport, Shropshire, England, Coalport became one of the leading producers of fine porcelain in the late 18th and early 19th centuries. Their wares were known for their exquisite quality and intricate designs, often featuring hand-painted floral motifs, landscapes, and decorative patterns.
One of Coalport's notable achievements was the development of "bone china," a type of porcelain that contains bone ash. This innovation gave their porcelain a unique translucency and strength, setting it apart from other ceramics of the time.
Coalport's reputation for excellence attracted royal patronage, and they were appointed as porcelain manufacturers to the British Royal Family, including Queen Victoria and other members of the aristocracy.
While Coalport has a rich and storied history, like many traditional pottery firms, it faced challenges in the 20th century due to changing tastes and economic factors. However, their legacy continues to be celebrated by collectors and enthusiasts worldwide.
I won't dive deeper into the history of the Coalport firm as there is so much information to be gleaned online and in books. With so much information readily available, it's often more efficient to focus on specific aspects or questions rather than diving into the entire history.
In 1780, John Rose who had been trained and apprenticed at Caughley, established a small porcelain factory in nearby Jackfield. In 1790, he moved his establishment to Coalport, just a mile farther down the Severn, and in 1799 bought the Caughley factory. The business from the first prospered exceedingly and, after Rose's death in 1841, was continued by his nephew. After 1875, the establishment was acquired by a company and the business was carried on upon the old site by the Coalport China Company.
John Rose's journey from Caughley to establishing his own porcelain factory in Jackfield, and later relocating to Coalport, is indeed significant in the history of Coalport pottery.
Rose's background and training at Caughley likely contributed to the early success of his own porcelain venture. The move to Coalport and the acquisition of the Caughley factory further solidified his position in the porcelain industry. The fact that the business continued to prosper after his death speaks to the quality and reputation of Coalport porcelain under his leadership.
The transition to the Coalport China Company after Rose's nephew took over, and later being acquired by a larger company, reflects the changing landscape of the pottery industry in the late 19th century. Many traditional pottery firms faced challenges during this period due to industrialization and shifting consumer preferences.
Despite these changes, the legacy of Coalport pottery endures, with its fine craftsmanship and beautiful designs continuing to be admired by collectors and enthusiasts around the world.
Much of the porcelain from the Coalport factory was sold as whiteware in London to outside decorators from all over England. Coalport worked hard to imitate the magnificent ground colors of Sevres.
Initially, Coalport followed the patterns and decorations used at Caughley, however, Coalport made excellent reproductions of the porcelain from the Sevres, Derby, Meissen, Dresden and Chelsea firms. These included direct copies of vases, cabinet pieces and tableware, even the original marks were accurately copied as well. This was achieved by employing painters from Worcester, Derby and the Staffordshire potteries. The work was so well done that collectors have been duped over the years thinking they were purchasing authentic antique porcelain from those firms but in reality purchased excellent copies made by Coalport.
Coalport's efforts to emulate the prestigious porcelain styles of renowned European manufacturers such as Sevres, Derby, Meissen, Dresden, and Chelsea demonstrate both their craftsmanship and business acumen. By producing reproductions and imitations of these esteemed styles, Coalport positioned itself as a competitive force in the porcelain market, catering to the tastes of collectors and decorators alike.
The ability to accurately replicate not only the designs but also the marks of these renowned firms speaks to the skill and attention to detail of Coalport's artisans. This level of craftsmanship made it challenging for collectors to distinguish between authentic antique pieces and Coalport's reproductions, leading to instances where buyers unknowingly purchased Coalport pieces under the impression that they were acquiring original works from other prestigious manufacturers.
While some may view this as deceptive, it also underscores Coalport's ability to meet the demand for high-quality porcelain while paying homage to the styles of revered European porcelain makers. Additionally, these reproductions often allowed a wider audience to enjoy the beauty and elegance of porcelain previously only accessible to a select few.
"In the second half of the 19th century the Coalport manufacturers added yet another specialization to their repertoire of hand decorated porcelains. They developed the technique called “jewelling” whereby small beads of colored enamel were applied most often to a gold ground. According to the auctioneers Skinner Inc, it is thought this was first developed and introduced by the Worcester porcelain factory in the mid 1860s. Turquoise seemed to be the prevalent color, meticulously and uniformly decorating tea wares, useful wares and ornamental wares, often accompanied by a rich raised gold decoration. They were produced for sale in Britain and abroad. "
The introduction of the "jewelling" technique by Coalport in the second half of the 19th century marked another significant innovation in their porcelain production. This technique involved applying small beads of colored enamel, often turquoise, onto a gold ground. The result was a stunning decorative effect that added richness and depth to Coalport's porcelain wares.
While the origins of the jewelling technique are attributed to the Worcester porcelain factory in the mid-1860s, Coalport played a key role in popularizing and refining this decorative style. Turquoise was indeed a prevalent color choice for jewelling, lending a sense of elegance and sophistication to tea wares, tableware, and ornamental pieces.
The meticulous application of jewelling, often accompanied by raised gold decoration, showcased Coalport's commitment to craftsmanship and attention to detail. These embellished wares were highly sought after both in Britain and abroad, appealing to collectors and consumers who appreciated the beauty and intricacy of hand-decorated porcelain.
The jewelled pieces produced by Coalport during this period exemplify the company's ability to adapt to changing tastes and trends while maintaining their reputation for producing exquisite and luxurious porcelain wares. Today, these pieces remain prized by collectors for their historical significance and artistic merit.
This article is meant to be a brief guide and image gallery of one the firm's specialized products: ball shaped perfume (scent) bottles with hinged caps and decorated with tiny turquoise enameled dots (or beads) called "jewels." Coalport specialized in making jeweled porcelain in the Sèvres style. The porcelain was lavishly covered or accented with gold enamel and profusely embellished with rich, raised gold borders, chased and raised enamel rococo scrolling. My favorite effect is the multicolored enamel cabochons mimicking precious and semiprecious gems such as opals, moonstones and agate.
Coalport's ball-shaped perfume bottles with jewelled decorations were truly exquisite pieces of artistry. The combination of the jewelling technique, lavish gold enamel, and raised enamel rococo scrolling created a luxurious and visually striking aesthetic. The use of multicolored enamel cabochons to mimic precious and semiprecious gems adds another layer of sophistication and opulence to these pieces.
Coalport's specialization in creating such intricate and decorative perfume bottles reflects their commitment to craftsmanship and innovation. These bottles would have been highly prized by collectors and connoisseurs for their beauty and artistic merit.
The Sèvres style influence is evident in the design and decoration of these bottles, showcasing Coalport's ability to emulate and reinterpret the elegant and refined aesthetics of renowned European porcelain manufacturers.
It's fascinating how these pieces not only served a practical function but also functioned as decorative objects of beauty, capturing the essence of luxury and elegance of their time.
In 1892, for example, the Pottery Gazette noted that Coalport's "ornamentation is exceedingly rich, and is shown on a great variety of fancy shapes .... The imitations of jewelled setting is [sic] very perfect , particularly the topaz and pearl."
In the reserved panels (or windows) with the ground colors, and also on porcelain without ground colors, a wide variety of decorations was utilized. All manner of naturalistic floral motifs, garlands, lacy festoons, wreaths, birds, scenic landscapes in the manner of Watteau, portraits and figures.
The colors used as grounds on the pieces were Mazarin blue, bleu de roi (Sevres' turquoise), Rose Pompadour (incorrectly called rose du Barry), claret, salmon, teal, crimson lake, apple green, sky blue (turquoise or celeste), gray, buff, Swansea blue, a bright canary yellow, mauve, magenta, maroon, Sardinian green, cafe au lait, and others.
Chats on English China by Arthur Hayden, 1904:
"A maroon ground introduced by Walker from Nantgarw about 1822 The deep mazarine blue of Derby reproduced at Coalport is quite equal to Derby pieces in tone. The rich ground colours of old Sèvres porcelain were copied with great success at Coalport particularly the turquoise blue and the rose du Barri."
The detailed descriptions provided by the Pottery Gazette and Arthur Hayden's "Chats on English China" offer a vivid picture of Coalport's mastery in ornamentation and their wide array of decorative techniques and ground colors.
The Pottery Gazette's praise for Coalport's rich ornamentation and perfect imitations of jewelled settings speaks to the high quality and attention to detail that characterized their porcelain production. The ability to replicate the appearance of topaz and pearl highlights Coalport's expertise in creating realistic and luxurious decorative effects.
The variety of decorations utilized by Coalport, including naturalistic floral motifs, garlands, scenic landscapes, and portraits, demonstrates the versatility and artistic range of their designs. Drawing inspiration from a diverse array of sources, Coalport was able to offer pieces that catered to a wide range of tastes and preferences.
The extensive list of ground colors used by Coalport, ranging from Mazarin blue to Sardinian green, showcases their commitment to innovation and experimentation in color palette. The successful reproduction of rich ground colors from esteemed manufacturers such as Derby and Sèvres further attests to Coalport's skill in capturing the essence of these renowned styles.
Overall, these descriptions provide valuable insights into the craftsmanship, creativity, and technical prowess that distinguished Coalport as a leading porcelain manufacturer during the late 19th and early 20th centuries.
The China Decorator - Volumes 10-11, 1891:
"The Coalport enamelers may be quite as skillful - nay, much more so - than those of the Coalport ateliers, but their work is intended to make a greater show and attract more attention than that of the Coalport artists. Turquoise is their great material for exhibition. The article to be enameled is first covered with gold, fired, and nicely burnished. Then the enamel is laid on the graduated dots (to make it plain to the reader) from large to small in perfect sizes and pattern. Small articles for cabinets and ornament as tiny bon-bon boxes, jewel cases, scent bottles, etc., and on very small articles sometimes shows several hundred dots of enamel. Cups and saucers are also decorated in the same fashion, and such articles being from $8 or $10 each to $50 in retail shops.
Besides a very elaborate employment of turquoise blue enamel, they also use enamels, imitating pearls and other translucent gems. With opals particularly they are very successful. The center of the article or space to be decorated first has a gold design in imitation of jewelry work, sometimes with raised paste, oftener flat. After firing and slightly polishing, the enamels are laid on for the second firing.
The method of work is kept as great a secret as possible, and the imitation of opals, which is accomplished with a combination of transparent and semi-opaque enamels, is really marvelous. Since imitating jewels with glass has become so successful and popular, it is possible that these so called enamel opals are in reality glass jewels. It would be quite possible to make one appear quite like the other without detection, but the artists and manufacturers say the work is enameling, and there is no reason why they should misrepresent facts."
Table Talk - Volume 8, 1893:
"A new departure is the "Chalcedony," still Coalport, but with a new blue for grounding and a perfect imitation of moss-agate, introduced with all the shadings and beauty of the real stones. Lovely plates, the centre pieces, miniatures, copied from the portraits of Reynolds and Gainesborough, again the café noir cups and saucers, the grounding the brown of the coffee berry with decorations of bright gold - the inside of cup entirely burnished gold. This delicate, exquisite porcelain seems adapted to fancy pieces for gift and cabinet purposes and the dressing tables of the fair women of many countries are beautiful with its graceful, dainty presentations."
The British Trade Journal - Volume 31, 1893
"The Coalport China Company - Rarely have more beautiful or costly pieces of china been sent to any exhibition than those forwarded to Chicago by the Coalport Company. Plates, vases, and trinket boxes comprise the greater part of this magnificent display. A specialty is the chalcedony decoration, which reproduces the hues of the agate, and there is a lovely Sèvres glaze on the ware, and the precious stone appears to have been inlaid. Two graceful vases a present for Princess Christian are adorned with this scheme."
The Book of the Fair, Hubert Howe Bancroft · 1894
"A specialty of the Coalport China company's exhibits is its reproduction in chalcedony of the hues of agate, as may be seen in two of its vases intended for Princess Christiana."
The British Trade Journal - Volume 31,
"The Coalport China Company, in addition to a number of new goods in their first-class artistic ornamental wares, are making many novelties in useful ware, but all elegant in shape and rich in decoration. Some of their new decorations, introduced for exhibition at Chicago, will be seen this season in many of their productions for home purposes. The latest novelty they have, the "Chalcedony," is perfectly unique. It is a splendid imitation in china of "moss agate," and is most artistically introduced into almost every useful article made by the firm, dessert plates, teas, scent bottles, plaques, wall pockets, and even teacups and saucers, are all shown with this realistic imitation agate, introduced with fine effect."
Gallery of Scent Bottles:
Elaborately jeweled examples were included in Coalport's display at the 1893 World's Columbian Exposition in Chicago and won a gold medal and garnered much publicity.
It's interesting to learn about Coalport's participation and success at the 1893 World's Columbian Exposition in Chicago. Winning a gold medal and receiving significant publicity would have undoubtedly brought international acclaim to their exquisite porcelain wares. It's likely that the elaborately jewelled examples showcased at the exposition were similar to the ones I've described previously — ball-shaped perfume bottles adorned with tiny turquoise enameled dots or beads, meticulously decorated with gold enamel, raised gold borders, and multicolored enamel cabochons resembling precious and semiprecious gems.
These dazzling pieces would have captivated visitors to the exposition with their opulent beauty and intricate craftsmanship. Winning a gold medal at such a prestigious event further solidified Coalport's reputation as a premier porcelain manufacturer and would have undoubtedly boosted their sales and prestige in the international market.
The World's Columbian Exposition provided a platform for companies like Coalport to showcase their finest works to a global audience, contributing to the exchange of artistic ideas and innovations across borders. It's a testament to Coalport's skill and creativity that their porcelain pieces were able to stand out and garner such recognition amidst fierce competition from exhibitors around the world.
I suspect many of the designs looked like the ones below.
Marks Found on Coalport Perfume Bottles:
The Coalport Crown Mark shown below was used by the company during the late 19th and early 20th centuries, specifically from approximately 1891 to 1919. Marks like these are crucial for identifying and dating Coalport porcelain pieces, as they provide valuable information about the manufacturer and the time period in which the piece was produced.
The Crown Mark typically features a crown atop a banner or ribbon, often bearing the name "Coalport" or initials representing the company. These marks were usually stamped or painted onto the base of the porcelain pieces.
By studying the variations and characteristics of these marks, collectors and enthusiasts can determine the age and authenticity of Coalport porcelain items, helping to preserve and appreciate the rich history and craftsmanship associated with this renowned pottery firm.
