Ready for winter entertaining, this handsome set of Antique Copeland Spode China includes service for 8, in addition to a beautiful platter and oval serving bowl. Lovingly assembled by the original collector during the 1920s and 30s, this marvelous service from the venerable Copeland Spode potters of England features a bold design of mulberry-hued game birds, in a pattern named Red Pheasant. Presented in a series of rural settings and poses, each hand-painted pheasant seems ready to leap from its charming plate.

With a scalloped edge plate silhouette that is accented by cascading ribbed trim along the perimeter, each lovely piece of this heirloom set coordinates beautifully together. Sure to create a striking impression, the vibrant mulberry also mixes well with other patterns to created layered tablescapes that suit any creative vision from romantic to traditional to ultra contemporary.  

Additional hand-painted butterflies and petite florals inside the gracious cups add an unexpected touch befitting the fine legacy and craftsmanship for which Spode has been prized for more than 250 years. At home for the most formal of occasions, yet brimming with cozy charm, this sweet set is also lovely on display. With its timeless nature and versatile styling, we are confident this beautiful set will become an indispensable addition to your tableware collection.

We take every care to properly pack each piece so it arrives in good condition. Please note that there is an additional $50 handling charge (already calculated in your shipping total) given the number of pieces in this service. 

Strictly one-of-a-kind and subject to prior sale. The 66 piece set includes 8 each of: Dinner Plate: 10.75", Salad Plate: 7.75", Bread Plate: 5.5", Bouillon/Dessert Cup: 7" handle to handle x 2.25"H. Liner 7.5", Fruit Bowl: 5.75", Cup: 4.75" x 2.5", Saucer: 6", Serving Platter: 15.5"W x 1.5"H, Serving Bowl: 9.75"W x 7.5"D x 1.5"H. The set is in very good antique condition with expected signs of use and isolated crazing commensurate with age. Please view the alternate images for additional detail.

Learn More About Spode China

Rising from the most humble of beginnings to gain a notoriety that continues today, Josiah Spode first learned his trade apprenticed at age 16  to the well-known potter Thomas Whieldon, the most accomplished of Staffordshire’s mid-18th century manufacturers. Whieldon’s endless curiosity and willingness to experiment had a profound impression on the young Spode, and from there he worked in several partnerships until he took a position as the head of the Works of Turner & Bank in the 1760s.

Spode China was formed in 1767 by Josiah Spode I, who became a visionary in business and tableware as popular "chinaware" from the Orient was becoming scarcer and Britain needed new sources for tableware. The factory, under the careful guidance of Josiah and his progeny, was responsible for two of the most important breakthroughs in English ceramics: first, the formula for bone china that is still used as well as the perfection of an "underglaze" printing process that is practiced to this day. Many intricate patterns could be applied to pieces without the worries of chipping, scratching and fading.

Delightfully little has changed since the Spode company first began producing English pottery in the 1700s. Its factory, still located in Stoke-on-Trent, is in operation today, and its methods of production have been modified only slightly. Transferware patterns continue to be created with handcrafted copper plates and hand-rubbed transfer sheets, and the earthenware is still made with ingredients that have been used since 1820.

Purchased by William Copeland and Thomas Garrett in 1833, the Spode mark was officially changed to Copeland Spode and the company went on to vie with Minton in making some of the most spectacular ceramics wares of the Victorian age. The range produced during this period was enormous. Statues, busts, tiles, special orders for Royalty and Regiments, tableware of all types, ornamental vases, plaques, hotelware and souvenirs were all made. Much of the production was exported to Europe, the Empire and in particular to the United States. Between 1833 and 1900, around 35,000 new patterns were introduced – an average of ten new patterns every week with many continuing into the 20th Century.