The name of Spode is probable the best known  among collectors  for the large production of  earthenware decorated  with underglaze blue transfer print,  often illustrating subjects taken from published engravings.  Josiah Spode II used fine bone china to produce  a wide range of tea and dessert services and many good quality decorative wares.  He managed to survive trading difficulties resulting from the Napoleonic wars better than many of his rivals,  it has been suggested that Spode's stone china was being made as early as 1805, after he had acquired the patent from  W & H Turner.  But factory records indicate  that the material was not introduced till 1813.

A further important name in the field of 19th Century English ceramics is that of Thomas Minton born in Shrewsbury in 1765, Minton was first apprentice to  Thomas Turner at Caughley, to learn the art of engraving copper plates for the making of transfer prints.   It is said that he was  involved in the early version of the so called Willow pattern. As seen on Caughley.  He later worked as an engraver in London and after marrying he returned to Stoke where he engraved plates for other potters. This included Spode's ware.

Minton Majolica

Throughout ceramic history, but particularly in the 18th  and 19th centuries, there have been numerous examples of rediscoveries or reintroductions of types of body or techniques of decoration.

Minton majolica is an example of reintroduction of an earlier type of ware following a period of intense experimentation to replicate and improve upon it.  In 1848 Joseph Leon François Arnoux was appointed Art director at Minton. His primary task was to introduce new products and to promote them in such a way that reputation of the factory was enhanced and new markets created.

Arnoux sought to exploit the fashion for classical design and the growing interest in bright colour evident in paintings and architecture of the period. He turned for inspiration to the work of Bernard Palissy, whose naturalistic, brightly coloured maiolica wares had been popular  in the 16th century.

Arnoux recreated Palissy's brightly coloured glazes but avoided the easily damaged delft body used by Palissy, employing instead a high fired durable body akin to stoneware.

The body was given a coating of opaque white glaze which provided a surface for over painting in brightly coloured opaque glazes. Later,  transparent coloured glazes where also used over relief  moulding. The new ware was specially promoted at the 1851 great Exhibition in London where it was well received.  These early wares included wine coolers, jardinières, flower pots and stands, all decorated in the majolica style. 

Minton cleverly exploited the market over the next 40 years by introducing models in response to the dictates of fashion. Rivalry firms, notably Wedgwood and George Jones where quick to copy the new product' like Minton their work which was also of high quality is usually impressed with the factory marks.  Some lesser factories also cashed in on Minton's innovation.  Some of the work of these lesser factories is less impressive as the body is not always as highly fired as it should be.