This technique, which belongs to the group of so-called Simulated wares, involved creating a simulated copper effect on a silicon body. Typically the seams, rivets and dents are recreated very realistically so that to the uneducated they appear to be copper until further inspection.
Copperware was produced during two periods, 1887-1914 and 1924-6, meaning that examples do turn up but not regularly!
Rare miniature versions do crop up occasionally as as with most things miniature, command a high price!
An advert for the 1911 Coronation beaker of King George V and Queen Mary.
An actual example of the same beaker but with the King’s facsimile signature.
Royal Doulton have a long history of marking Royal occasions by producing commemorative wares of all types but a field that offers a wide range of items is the many commemorative beakers produced for Royal Coronations.
Bone china examples of King Edward VII’s coronation beaker from 1902 – front and reverse.
An earthenware example of the same beaker but interestingly bearing the coat of arms for Burslem, the former home of Doulton fine china in the Potteries.
Since Victorian times each Coronation has resulted in a new commemorative beaker; the most collected of which tend to be the bone china rather than earthenware varieties, although unusual earthenware variations attract much interest too.
Coronation beaker for the present Queen’s parents, King George VI and his wife Elizabeth in 1937.
A Robert Allen design carried out by his studio ca.1900.
Robert Allen began work at Nile St. when it was still owned by Pinder Bourne, after a brief period at Minton’s as a boy worker. Robert flourished under the guidance of John Slater, then art director, eventually taking over a painting department of his own. Work from his department is denoted by his initials R.A. followed by a number. Robert Allen’s own signed work is however, rare. Yet, he and his department were entrusted with much of the finest and most expensive decoration carried out at Burslem notably for the great exhibitions at which Doulton exhibited from the late 19th century. Robert was notably involved in the early development of Titanian ware too although it is the work of his son Harry in Titanian that is typical.
A group of miniatures bearing an RA number from the Robert Allen studio.
An unusual Sedan Chair seriesware survival – a Cheese dome. The bases often turn up and are described as bread and butter plates, but here is the full thing! Introduced in 1912 and withdrawn around 1940, examples are not frequently seen suggesting production was much shorter. The art nouveau shape is incongruous to the seriesware pattern but the series is so charming that one doesn’t notice. The scene illustrated is No.2 hitherto not illustrated.
Seriesware never fails to surprise us even today!
One of our collectors recently asked about the jardinière pictured. It bears a simple, impressed ‘Doulton’ mark that often throws collectors but this method of impressing the Doulton name can be found still in use into the 20th Century too, although later examples are accompanied by the usual lion and crown Doulton mark.
Returning to the pattern of the jardinière, I term it a transitional pattern from the period when Doulton entered into partnership with the Pinder Bourne factory owner in 1877 and the time when Doulton eventually took over the Nile St. enterprise entirely in 1884. In the aesthetic taste, it is certainly of this period and I have seen plates marked Pinder Bourne but also further examples simply bearing the Doulton brand. Here is a tureen marked thus.
We would love to hear from other collectors who have examples of this design to compare backstamps. Don’t forget that if you’re interested in Doulton join our facebook page and also visit http://www.paulwebsterantiques.co.uk where you can also subscribe to the brand new Doulton Collectors Club magazine! Isse 1 is out now!
Built in the 1870’s in the gothic style ‘A’ and ‘B’ blocks as they were known and the huge chimeney that stood next to them were a London landmark for 75 years and witnessed many of Doulton’s major accomplishments as well as playing host to many famous visitors from Royalty, to politicians, to latter day celebrities.
A floodlit view of blocks A and B from 1935 celebrating a Royal jubilee.
Doulton vacated these impressive buildings in early 1940, moving to the newly erected Doulton House, then just a few hundred yards along the Albert Embankment. Lying unoccupied and suffering bomb damage during WWII there was little option left than to demolish these impressive buildings in 1951.
A close up of the showroom and main offices block.
On the left is the former main office and showroom building, on the right a factory block and chimeney.
A drawing of the Albert Embankment by Arthur Pearce showing the extent of the Doulton works in 1924. Note the corner building that still stands today.
We are all familiar with Doulton’s many advertising flasks for alcohol producers including Dewars, but Doulton also produced some magnificent dispensers for plain old water too!
An early filter ca. 1850’s.
Early Lambeth filters were plainly decorated barrel shapes and can be found with simple coats of arms decoration or lettering. These earliest filters used charcoal and sand to filter the water – a very necessary procedure in 19th Century England. In 1869 a new filtration patent filter was introduced by Doulton and even into the 1950’s water filters were being exported around the world.
The manganous carbon filter size 1.
As the popularity of water filters grew in Victorian times, Doulton responded with more elaborately decorated filters by leading artists. Doulton’s first artist George Tinworth provided several designs but most designs found today are simply assistant pieces and often made in Doulton’s Siliconware.
A recent find – a complete Tiworth designed filter.
A coloured Tinworth design.
An elaborate Victorian/early 20th Century design.
A catalogue page ca.1908.