There is an illustration here too of Willow pattern in pink on Chelsea shape with pattern number 1/2134 first recorded in about 1880.At the end of this blog there is also an illustration of a tissue 'pull' from a copper plate engraved with Willow pattern.Supper sets, leg baths, rouge pots, asparagus servers and teawares, all indicate customers of taste and wealth.
The border is a direct copy of an Imari design on Chinese export porcelain of about 1735.
These 'made up' patterns were much more commercially successful for Spode than, for example, one of my favourites, Chinese-style patterns of all sorts always remained successful for Spode throughout its history.
Useful wares were produced with his cousin, Thomas Wedgwood and bear the WEDGWOOD ma In 1860 the Wedgwood factory started marking its wares with the date of manufacture impressed in each piece as part of a three letter code.
The first letter of the code represents the month of manufacture, the second identified the potter who threw the shape and the last letter signifying the year the piece was made starting with . From 1907 on in the third series the first letter for the month is replaced by a 3 and with the fourth series commencing with A in 1924 with the figure 4.
The resulting mark was often uneven and sometime arced.
In about 1769 he adopted the familiar mark with the name impressed from a single slug.Commencing in 1929 the year mark is replaced by the last two digits of the year, 30 standing for 1930. In 1871 Wedgwood adopted pattern numbers with the code letter prefixes.Some assistance in resolving the ambiguity in the two series is provided by the month letter. After 1891 the word ENGLAND is added to the WEDGWOOD mark continuing until 1908 when the words MADE IN ENGLAND replace it in all cases.There is an area of confusion in wares in the first two series.For example TOT could mean a piece produced in either June 1865 or June of 1891.It was published as The Story of the Common Willow-Pattern Plate, pattern and similar patterns there is no substitute for handling pieces and getting to know the feel of the Chinese and Spode pieces which, whilst they can initially look remarkably alike, feel very different.