Copper Lustre

The name "Richelieu Shape" evokes thoughts of fancy French rococo designs but the plain bulbous lines of this body style defy that description. The conical knobs, some with circus tent stripes, is the only relief from a rather simplistic form.

This body style is used to describe the identical ladles that Wedgwood used with different body styles, including: Simple Square - Wedgwood's Plain, Square Ridged Ribbed and possibly Chelsea. More research is needed to determine if Wedgwood made a Chelsea ladle.

Wedgwood's Simple Square demonstrates a simple style with a recessed base and straight, tapered sides. The sides of the covered dishes taper gradually to a flat base while pitcher sides flare to a low waist, then indent sharply to the base. Note that some bath pieces may have a round footprint.

The body is smooth and free of embossing.  The base is very round.  The neck is ruffled.

The Triple Border is divided into six sections with double embossed lines extending from the top rim to the base rim of a cup and to the well of the saucer. To date, only a cup and saucer has been found.

This body style was illistrated in Minnie Kamm's book "Old China" (1951). It was Mrs. Kamm who coined the motif name "Pre-Tea leaf. " The body style name is derived from her description: "The embossed pattern consists of light scrolling around the widest part of the body and a slight indentation below the swags; the collar is slightly wider, with faint scalloping, as shown."

Although the potter for this body style is still a mystery, the impressed mark "Opaque China" and the design of the copper lustre Tea Leaf indicate it may be another product of Anthony Shaw & Sons.

The handles and the finial of this body style are shaped and decorated with lustre to resemble pieces of ribbon. The entire rim on the base of the covered vegetable also has this ribbon look.

This is a most desirable piece to grace any table.

Registered in 1886.

With very few specimens of this body style found, a soup tureen has provided the most details. It was potted in semi-porcelain. The name was derived from the corner embossing that resembles kingly trappings topped by a crown. Godden lists a Smith, Ford and Jones pottery in business for a short time prior to 1895. It is possible that the marking we know of as S. F. & J. refers to this pottery as the general characteristivs of this body style are consistent with this era.

The body style name is based on the only known piece that has been seen which is a cake stand.  The scalloped draping hangs from the edge of the stand.

A slight variation on some of our plain round and scallopped rim body styles, this design bears a perfectly smooth rim and a segmented or ribbed side.