People

The town of Stoke was built around Spode.  Many of its streets, which still survive in part, were built by Josiah II and the early Copelands to house their workers.

There can be few factories anywhere where daily life over so long a period is so well and so continuously documented. The stories of the Spode and Copeland factory owners, or the dynasties of workers such as the Bruce family, who worked as printers and china painters from 1814 until at least 1902, or of the employee whose ashes are buried on the site, or of five workers from the same Stoke family who all lost their jobs when the factory closed in 2008, are all there to be told, with many many others.

Artist Samuel Alcock was active at Copelands from 1882 to the early 1900s.   A temperamental and demanding man he demanded that work was delivered to his home studio where he could work in peace.   The Museum archive contains many letters which demonstrate his often-uneasy relationship with the Copeland management.   His work includes services with centres based on ‘Watteau’ type centres, Gainsborough lady’s heads in fancy hats, Shakespeare’s plays, and well-known songs of the day.  His work was highly praised and exhibited at the Paris Exhibition of 1889.

Charles Ferdinand Hurten was persuaded to join Copelands in 1858 with the offer of a high salary and his own studio.  He remained at Copelands for over 30 years producing the most prestigeous work which featured in exhibitions in London, Paris, Vienna, Berlin, Philadelphia, Melbourne, Sydney and Chicago.  Royal Palaces and Museums around the world contain examples of his work.

Charles Brayford Brough was active at Copelands from 1880 to 1903.  Brough became one of Copeland’s premier artists painting all subjects with equal skill.   He also produced raised gilded decoration with included flowers, and exotic birds.  His work was also exhibited in the Paris Exhibition of 1889.  Copeland artist Arthur Perry was his apprentice.

Twentieth century artists included Frank Boothby who joined the company as an apprentice engraver in 1932, like his father before him Harry, a gilder at Spode, he was a great craftsman and became the Master Engraver.

Harold Holdway joined Spode in 1934 he was a talented artist and designer who eventually became the company’s Art Director.  He designed many special commission and patterns which remain popular today, Christmas Tree is perhaps the most famous and Olympus, Queens Bird, Reindeer and Lauriston were everyday patterns which are still in use in homes today.

Norwegian, Eric Olsen joined Copelands in 1932 and produced many Art Deco designs for ornamental ware and figures which are highly sought after today.