Established in 1795 in Coalport, Shropshire, England, Coalport quickly emerged as one of the foremost producers of fine porcelain during the late 18th and early 19th centuries. Renowned for its exceptional craftsmanship, Coalport's creations were celebrated for their intricate designs, which often featured hand-painted floral motifs, landscapes, and elaborate decorative patterns.
A significant achievement of the Coalport firm was its pioneering development of "bone china," a type of porcelain that incorporated bone ash. This innovation resulted in a porcelain with remarkable translucency and strength, distinguishing it from other ceramics of the era.
Coalport's excellence in porcelain craftsmanship did not go unnoticed, earning the firm royal patronage. They were appointed as official porcelain manufacturers to the British Royal Family, serving Queen Victoria and various members of the aristocracy.
Despite its rich and storied history, Coalport, like many traditional pottery firms, encountered challenges in the 20th century due to shifting tastes and economic changes. Nevertheless, the legacy of Coalport continues to be celebrated by collectors and enthusiasts around the world.
While Coalport's history is vast and fascinating, there is already a wealth of information available online and in books. Rather than delving into the entire history, it is often more effective to focus on specific aspects or questions that capture your interest.
In 1780, John Rose, a skilled artisan trained at the Caughley porcelain works, embarked on an ambitious venture by establishing a small porcelain factory in Jackfield, near the Severn River. This initial endeavor laid the groundwork for what would become one of England's most distinguished porcelain manufacturers. A decade later, in 1790, Rose relocated his growing enterprise to Coalport, a mere mile downriver, where he would eventually purchase the Caughley factory in 1799. This strategic move not only expanded his operations but also positioned Coalport as a prominent player in the porcelain industry.
John Rose's background at Caughley undoubtedly played a crucial role in the success of his new venture. The expertise and techniques he acquired there allowed him to produce high-quality porcelain that quickly gained a reputation for excellence. The acquisition of the Caughley factory further solidified Coalport's standing, merging the legacy of Caughley with the innovation of Coalport. Rose's leadership and vision led to the continued prosperity of the business, even after his death in 1841, when his nephew took the reins.
The transition of Coalport to the hands of a company in 1875 marked a new chapter in its history. The Coalport China Company, which continued operations on the original site, navigated the challenges of the late 19th century, a period marked by industrialization and changing consumer tastes. Despite these shifts, Coalport maintained its reputation for producing fine porcelain, a testament to the enduring appeal of its craftsmanship and design.
A notable aspect of Coalport's operations was its production of whiteware, much of which was sold in London to decorators from across England. Coalport's commitment to imitating the rich ground colors of Sèvres porcelain demonstrated its dedication to maintaining high standards of quality and artistry. This focus on replicating the elegance of European styles helped cement Coalport's place in the annals of fine porcelain, ensuring its legacy continues to be celebrated by collectors and enthusiasts worldwide.
In its early years, Coalport closely followed the patterns and decorations established by the Caughley porcelain works, ensuring a seamless transition as John Rose expanded his operations. However, as the company grew, Coalport ventured into more ambitious endeavors, producing exquisite reproductions of porcelain from some of Europe's most prestigious firms, including Sèvres, Derby, Meissen, Dresden, and Chelsea. These reproductions were not merely inspired by the originals; they were meticulously crafted copies, including vases, cabinet pieces, and tableware, often replicating even the original makers' marks with astonishing accuracy.
To achieve this level of precision, Coalport employed highly skilled painters from renowned pottery centers such as Worcester, Derby, and Staffordshire. Their expertise allowed Coalport to create pieces so convincingly similar to the originals that even seasoned collectors were sometimes deceived into believing they were acquiring authentic antique porcelain. This ability to replicate both the artistry and the authenticity of the marks from these iconic European manufacturers is a testament to the extraordinary craftsmanship that defined Coalport's production.
While the fact that Coalport's pieces could pass for originals might be seen as a form of deception, it also highlights the company's commitment to meeting the high standards set by its European counterparts. By doing so, Coalport not only catered to a market eager for the beauty and elegance of prestigious porcelain but also democratized access to such luxury, offering finely crafted pieces to a broader audience.
These reproductions allowed Coalport to carve out a unique niche in the porcelain industry, blending reverence for traditional European styles with their own distinct craftsmanship. The legacy of these reproductions endures, as they remain highly valued by collectors, not only for their beauty but also for the remarkable skill with which they were created.
In the latter half of the 19th century, Coalport manufacturers expanded their artistic repertoire by introducing a technique known as "jewelling." This innovative method involved the precise application of small beads of colored enamel, most commonly in turquoise, onto a gold ground. The jewelling technique created a striking decorative effect, adding a layer of opulence and texture to Coalport's already renowned porcelain pieces.
The origins of jewelling are often credited to the Worcester porcelain factory, which is believed to have first developed and introduced this technique in the mid-1860s. However, Coalport played a crucial role in refining and popularizing jewelling, integrating it into their wide range of porcelain products. The use of turquoise enamel became particularly iconic, imbuing tea wares, tableware, and ornamental pieces with a distinctive and luxurious aesthetic.
Coalport's jewelling was not merely decorative but a testament to the company's commitment to precision and artistry. The intricate beads of enamel were meticulously applied, often in conjunction with raised gold decorations, creating a rich, layered design that appealed to the most discerning of tastes. This combination of jewelling and gold decoration exemplified Coalport's dedication to craftsmanship and attention to detail, ensuring that each piece was both beautiful and unique.
These elaborately embellished wares quickly became sought after, both in Britain and internationally. Collectors and consumers alike were drawn to the exquisite beauty and sophistication of Coalport's jewelled porcelain, further solidifying the company's reputation as a leader in fine porcelain manufacturing. The enduring appeal of these pieces speaks to Coalport's innovative spirit and their ability to elevate traditional porcelain art into something truly extraordinary.
The jewelled pieces produced by Coalport during this period exemplify the company's remarkable ability to adapt to evolving tastes while preserving their reputation for crafting exquisite and luxurious porcelain wares. These intricately decorated items reflect Coalport's keen awareness of the shifting preferences of their clientele, particularly during an era when opulence and intricate detailing were highly valued. Today, these pieces are not only treasured for their aesthetic appeal but also for their historical significance, making them highly prized by collectors.
This article focuses on a specific category of Coalport's specialized products: the ball-shaped perfume (or scent) bottles with hinged caps, adorned with tiny turquoise enameled dots, known as "jewels." These bottles are a striking example of Coalport's expertise in creating jewelled porcelain in the Sèvres style. The porcelain itself is often lavishly covered or accented with gold enamel, further enhanced by richly detailed, raised gold borders, and elaborate enamel rococo scrolling. This combination of jewelling and intricate gold work results in a luxurious and visually captivating design that showcases the height of Coalport's artistic achievements.
One of the most enchanting features of these perfume bottles is the use of multicolored enamel cabochons, which are designed to mimic the appearance of precious and semiprecious gems such as opals, moonstones, and agate. This careful attention to detail adds an additional layer of sophistication and opulence to the pieces, elevating them from mere decorative objects to works of art. These cabochons not only enhance the visual appeal of the bottles but also reflect the innovative spirit of Coalport, as they sought to create items that were as unique as they were beautiful.
The ball-shaped perfume bottles with jewelled decorations are a testament to Coalport's ability to blend traditional porcelain techniques with innovative design elements, resulting in creations that continue to captivate and inspire admiration. Their enduring appeal underscores the lasting impact of Coalport's contributions to the world of fine porcelain, as these pieces remain a cherished part of the legacy they left behind.
Coalport's dedication to craftsmanship and innovation is epitomized in their intricate and decorative perfume bottles. These bottles, adorned with painstakingly applied jewels and elaborate enamel work, were not merely functional items but were also treasured as works of art. Collectors and connoisseurs of the time would have highly prized these exquisite creations for their unparalleled beauty and artistic merit. The meticulous attention to detail and the luxurious materials used in their production reflect Coalport's unwavering commitment to producing objects of the highest quality.
The influence of the Sèvres style is prominently displayed in the design and decoration of these perfume bottles, showcasing Coalport's ability to emulate and reinterpret the refined aesthetics of one of Europe's most renowned porcelain manufacturers. By incorporating elements of Sèvres' elegance and sophistication, Coalport succeeded in creating pieces that not only rivaled but also redefined the standards of luxury porcelain. The jewelled perfume bottles, with their rich ornamentation and elaborate designs, serve as a testament to Coalport's ability to blend traditional European influences with their own distinct craftsmanship.
It is fascinating to consider how these perfume bottles, while serving a practical purpose, also functioned as decorative objects that captured the essence of luxury and elegance in their time. The dual nature of these pieces—both functional and ornamental—allowed them to be appreciated not only for their utility but also as symbols of status and refinement. Coalport's jewelled bottles embody the height of 19th-century decorative art, where beauty and practicality were seamlessly intertwined.
In 1892, the Pottery Gazette praised Coalport's work, noting that their "ornamentation is exceedingly rich, and is shown on a great variety of fancy shapes.... The imitations of jewelled setting is very perfect, particularly the topaz and pearl." This recognition highlights the exceptional quality of Coalport's craftsmanship and the high regard in which their products were held. The jewelled settings, especially those mimicking precious stones like topaz and pearl, were executed with such precision that they could easily be mistaken for the real thing.
Coalport's use of reserved panels (or windows) on their porcelain, where ground colors were paired with a variety of decorative motifs, further exemplifies their artistic versatility. These panels often featured naturalistic floral motifs, garlands, lacy festoons, wreaths, birds, scenic landscapes in the manner of Watteau, as well as portraits and figures. Each piece was a canvas for Coalport's artisans, who employed a wide array of colors and designs to create visually stunning and diverse works.
The ground colors used on these pieces were equally varied and richly hued, encompassing shades such as Mazarin blue, bleu de roi (Sèvres' turquoise), Rose Pompadour (sometimes incorrectly called rose du Barry), claret, salmon, teal, crimson lake, apple green, sky blue (also known as turquoise or celeste), gray, buff, Swansea blue, a bright canary yellow, mauve, magenta, maroon, Sardinian green, and café au lait, among others. These colors, combined with the intricate jewelling and detailed ornamentation, resulted in perfume bottles that were not only functional but also masterpieces of decorative art.
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."
Arthur Hayden's "Chats on English China" and the Pottery Gazette provide rich, detailed descriptions that vividly illustrate Coalport's exceptional mastery in ornamentation and their diverse decorative techniques and ground colors. These historical accounts highlight the remarkable skill and artistic range that set Coalport apart as a leading porcelain manufacturer.
The Pottery Gazette’s accolades for Coalport’s rich ornamentation and their flawless imitations of jewelled settings underscore the company's commitment to quality and precision. The ability to replicate the appearance of precious stones like topaz and pearl with such realism reflects Coalport's expertise in creating luxurious decorative effects that were both visually stunning and technically sophisticated.
Hayden’s reference to the maroon ground introduced by Walker from Nantgarw around 1822, and the deep mazarine blue of Derby, which Coalport successfully reproduced, further exemplifies the firm's commitment to excellence in color replication. These achievements were not mere imitations but were executed with a level of skill that equaled, if not surpassed, the originals. Coalport's ability to faithfully recreate the rich ground colors of old Sèvres porcelain, particularly the turquoise blue and the rose du Barri, is a testament to their meticulous craftsmanship and deep understanding of color.
The versatility of Coalport's designs is evident in their wide range of decorations, including naturalistic floral motifs, garlands, scenic landscapes, and portraits. By drawing inspiration from various sources, Coalport was able to produce pieces that appealed to a diverse clientele, each piece reflecting the artistic trends and tastes of the time. This adaptability ensured that Coalport remained relevant and in demand, offering something for every collector and connoisseur.
The extensive palette of ground colors used by Coalport, from Mazarin blue to Sardinian green, highlights the company's commitment to innovation and experimentation. The successful reproduction of rich ground colors from esteemed manufacturers such as Derby and Sèvres not only demonstrated Coalport's technical prowess but also solidified their reputation as a leader in the porcelain industry. These colors were not simply background elements but were integral to the overall aesthetic, enhancing the intricate designs and elevating the visual impact of each piece.
Together, these descriptions from Hayden and the Pottery Gazette offer valuable insights into the craftsmanship, creativity, and technical mastery that distinguished Coalport during the late 19th and early 20th centuries. Their ability to combine tradition with innovation allowed them to create porcelain that was not only beautiful but also enduringly significant in the history of decorative arts.
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."
The detailed account from The China Decorator (Volumes 10-11, 1891) provides a fascinating glimpse into the meticulous and highly skilled work of Coalport's enamelers during this period. The publication contrasts the work of the Coalport enamelers with that of other ateliers, noting that while Coalport's work might be more showy and designed to attract attention, it nonetheless demonstrates an extraordinary level of craftsmanship. This is especially evident in the use of turquoise enamel, which became a signature element in Coalport's decorative repertoire.
The process described for applying the turquoise enamel is both intricate and methodical. The piece to be enameled is first covered with gold, which is fired and burnished to a high sheen. Then, the enamel is applied in graduated dots, carefully sized and arranged to create a harmonious pattern. This level of precision is particularly impressive when considering the scale of the objects being decorated—tiny bon-bon boxes, jewel cases, and scent bottles—where several hundred enamel dots might be applied to a single piece. Even cups and saucers were decorated in this elaborate fashion, commanding prices that reflected the labor and skill involved, ranging from $8 to $50 in retail shops of the time.
Beyond turquoise, Coalport's enamelers also employed other colored enamels to imitate precious and semi-precious gems. Their work with opals is particularly noteworthy, with the artisans achieving remarkable success in replicating the appearance of these translucent gems. The method for creating these enamel opals was kept a closely guarded secret, involving a combination of transparent and semi-opaque enamels that, when fired, produced an effect almost indistinguishable from real opals. This technique was so effective that it raised questions about whether the so-called enamel opals might actually be glass jewels. However, the Coalport artists and manufacturers insisted that the work was indeed enameling, maintaining a level of transparency and integrity in their craft.
The article sheds light on the innovative techniques and artistic ingenuity that characterized Coalport's production during the late 19th century. The combination of gold and enamel, particularly in the creation of jewel-like effects, underscores Coalport's dedication to producing luxurious and visually striking porcelain. The secrecy surrounding their methods further adds to the mystique and allure of Coalport's work, making their pieces not only objects of beauty but also of intrigue. These intricate and jewel-like decorations highlight the exceptional skill of Coalport’s artisans and their ability to push the boundaries of what was possible in porcelain decoration during this era.
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 references from Table Talk (1893), The British Trade Journal (1893), and The Book of the Fair (1894) collectively paint a vivid picture of Coalport’s innovative and luxurious contributions to porcelain artistry during the late 19th century. These publications highlight Coalport's introduction of the "Chalcedony" decoration, a significant departure from their previous styles, showcasing the company's continual evolution and adaptability in the decorative arts.
The "Chalcedony" technique, as described in Table Talk, is particularly notable for its ability to perfectly imitate the natural beauty of moss-agate. This innovation involved a new blue ground that added depth and richness to the porcelain, creating a stunning visual effect that closely resembled the complex shadings and patterns found in real agate stones. The delicate, intricate craftsmanship of Coalport’s chalcedony pieces made them ideal for use as cabinet pieces, gifts, and ornamental items, particularly on the dressing tables of fashionable women. The combination of exquisite miniatures, often copied from portraits by renowned artists like Reynolds and Gainsborough, with cafĂ© noir cups and saucers featuring brown coffee berry grounds and burnished gold interiors, exemplifies Coalport's mastery in blending utility with artistic beauty.
The British Trade Journal emphasizes the impact of Coalport's chalcedony decoration at international exhibitions, particularly at the Chicago World's Fair. The journal describes the magnificent display of plates, vases, and trinket boxes, all adorned with the chalcedony decoration that mimicked the hues of agate so convincingly that it appeared as if the precious stone had been inlaid into the porcelain. The inclusion of a lovely Sèvres glaze added to the allure, enhancing the richness and elegance of these pieces. The journal also notes the creation of two graceful vases, specially crafted as a gift for Princess Christian, adorned with this innovative decoration, highlighting the prestige and high regard in which Coalport's work was held.
Similarly, The Book of the Fair reiterates Coalport's specialty in reproducing the hues of agate in chalcedony, particularly noting the significance of the vases intended for Princess Christian. This further underscores the importance of this technique in Coalport’s repertoire and its appeal to an elite audience.
Together, these descriptions offer a comprehensive view of Coalport’s ability to innovate within the traditional boundaries of porcelain making, introducing new techniques and designs that captured the imagination of both collectors and the broader public. The chalcedony decoration, with its perfect imitation of natural stones and luxurious finishes, stands as a testament to Coalport’s commitment to excellence and its ongoing influence in the decorative arts of the time.
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."
The British Trade Journal offers a compelling insight into Coalport China Company's innovative approach during the late 19th century, particularly in the context of their "Chalcedony" decoration. This unique and novel technique, which debuted at the Chicago World's Fair, represents a significant evolution in Coalport's repertoire, combining both artistic excellence and practical application.
Coalport's "Chalcedony" decoration is described as a splendid imitation of "moss agate," a technique that was not merely limited to ornamental pieces but was also applied to a wide range of functional wares. The realistic portrayal of agate in porcelain demonstrated Coalport's mastery in marrying utility with aesthetic sophistication, ensuring that even everyday items could be elevated to objects of art. This versatility is evident in the wide array of items adorned with the chalcedony technique, from dessert plates and teacups to scent bottles and wall pockets. Each piece was crafted with the same attention to detail, allowing the rich, natural beauty of agate to be appreciated across various forms.
The Journal highlights how this realistic imitation of agate was introduced with fine effect into Coalport's first-class artistic ornamental wares, demonstrating the company's ability to innovate while maintaining their commitment to elegance and luxury. The use of chalcedony in such a broad spectrum of products also reflects Coalport's strategy of expanding their market appeal by offering high-quality, artistically decorated items for both exhibition and everyday use.
Overall, the introduction of the "Chalcedony" technique marks a significant milestone in Coalport's history, showcasing their ability to push the boundaries of porcelain design while remaining true to their tradition of excellence. The fact that these novelties were not only displayed at prestigious exhibitions but also made available for home purposes underscores Coalport's influence in setting trends and catering to the evolving tastes of consumers during that era.
Gallery of Scent Bottles:
Coalport's participation in the 1893 World's Columbian Exposition in Chicago was a significant milestone for the company, showcasing their elaborate and meticulously crafted porcelain wares to a global audience. The display included a range of intricately jeweled pieces that captured the attention of visitors and judges alike. The gold medal awarded to Coalport not only recognized the excellence of their work but also brought international acclaim, enhancing the company's reputation as a leading porcelain manufacturer.
The elaborately jeweled examples featured at the exposition were likely reminiscent of the ball-shaped perfume bottles described earlier—pieces adorned with tiny turquoise enameled dots or beads, enriched with gold enamel, and highlighted with raised gold borders. These pieces were further embellished with multicolored enamel cabochons that mimicked precious and semiprecious gems, adding to their luxurious and eye-catching appeal. Such intricate details would have made these pieces stand out at the exposition, reflecting Coalport's commitment to both artistry and craftsmanship.
Winning a gold medal at such a prestigious event provided Coalport with a platform to demonstrate their skill and creativity on an international stage. The success at the World's Columbian Exposition not only bolstered their prestige but also likely increased their visibility and sales in the global market. The exposition was a key opportunity for artistic exchange and innovation, and Coalport's ability to stand out among numerous exhibitors highlights the exceptional quality and allure of their porcelain wares.
The recognition garnered at the exposition would have been a significant boost to Coalport’s reputation, reinforcing their status as a premier manufacturer of fine porcelain. The dazzling and opulent designs showcased would have captivated attendees and further established Coalport's legacy in the world of decorative arts.
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.
