Early Copeland Parian Bamboo & Birds Teapot with Pewter Lid

This attractive 19th‑century Copeland teapot is a fine early example of the firm’s work in white, unglazed “Parian” style stone china, combining sculptural modelling with a restrained monochrome palette. Made in the mid‑Victorian period and stamped to the base with the impressed mark COPELAND alongside a raised diamond registration lozenge, the piece reflects the factory’s interest in both neoclassical sculpture and the fashionable taste for Oriental motifs.

The body of the teapot is moulded in a gently waisted, cushion‑shaped outline, measuring approximately 21 cm from the tip of the spout to the back of the handle and around 15 cm high including the finial. Each side is crisply decorated in relief with an exotic garden scene: slender bamboo canes rise from the base, surrounded by sprays of finely veined foliage, while pairs of small birds perch and hover amongst the leaves. The modelling is sharp and three‑dimensional, with particular attention paid to the texture of the feathers and the nodes of the bamboo, catching the light beautifully against the silky matt white body.

The handle is formed as a naturalistic section of bamboo, echoing the side panels and providing an elegant, comfortable grip. At the opposite end, the short angled spout emerges from further moulded bamboo stems. A separate, original dark pewter lid sits neatly into the rectangular opening; this has a domed top with radiating moulded panels and a fluted bud‑shaped finial, adding a subtle contrast of colour and surface to the pale ceramic below. The combination of white Parian body and black metal cover was a popular Copeland innovation that allowed the vessel to function as both practical teapot and ornamental object.

Condition is commensurate with age and use but should be noted carefully. There is minor damage to the spout tip, visible as a small loss and associated roughness around the pouring edge. The handle joins show age‑related staining and a hairline or old stress crack visible where the lower terminal meets the body; there is similar discolouration at the upper join to one side. Light surface marks, small firing specks and general wear to the unglazed high points are present throughout, entirely typical of mid‑19th‑century utilitarian Parian wares. The pewter cover shows modest rubbing and minor dents but sits securely and displays well.

Despite these honest flaws, the teapot remains a very attractive and displayable example of early Copeland production, appealing to collectors of English Parian, fine stone china and Victorian design with Orientalist influence. The strongly sculptural modelling, distinctive bamboo and bird motif and contrasting metal lid make it a striking piece for a mantel, dresser or specialist teapot collection, while the clear factory stamp and registration mark provide useful documentary interest for those studying Copeland’s mid‑century output.