In any case, the obsolete notion of the Hope Chest became fixed in my mind after reading a multitude of 19th century novels. My Mother was a colletor of Chine and Silver herself. We had afternoon tea every day on a different set of China. We had inherited a number of different sets of 'Coronation China' from England that celebrated the coronations of various Monarchs, including one who had abdicated the throne for love. Actually, most of that was not porcelain but rather pottery. It was very well-suited for teatime for children and at the time was not teribly valuable, although it was fascinating stuff. Now, many years later, some of it has increased in value. Be that as it may, I was brought up to know Porcelain and Silver, to instantly be able to detect sterling from silverplate and to identify patterns of fine China.
I chose a very old pattern from Germany for my own Hope Chest China. It dated from the 18th century and was made by Schumann at the time at which I began to purchase it. The pattern was identified both as 'Empress' and 'Dresden Flowers' depending upon the date of manufacture. I thought it was the most beautiful pattern I ever had seen. It was very ornate, more suited for the Court of Louix XIV or even Louis XV than any other period. Tiny hand-painted flowers were wreathed in gold and the China itself was rimmed in gold. The actual porcelain was raised in places. In older examples of the pattern, the plates and bowls actually were reticulated.
I went off to University later, leaving my China behind with my Mum. I lived in a catered Hall of Residence in my first year, which meant that meals were served to us, but it was customary for students to entertain others with Coffee or Tea. Most students purchased a jar of Instant Coffee and inexpensive Mugs. I went to Debenhams and bought a Breakfast Set in the Royal Albert Val D'or pattern.
I loved that Set. It was simple but elegant, fluted white with a gold rim. I had a small teapot, coffee pot, creamer and sugar pot and service for four, with cups, saucers and little plates for sandwiches or sweets.
When, ultimately, I brought the set home with me, my Mum kept it and then added to it, thus somehow justifying her refusal to allow me to take it with me when I moved on in life. (Did I mention that she loves China as much as I do?)
We come now to the 21st century... There is a reason why I am writing this article. It is not intended to be a personal memoir, however much it may appear that way.
I realised recently that if I do not begin to use the China I love at this point in time, I probably never will do so. I therefore begged my Mum to send my Empress China. After some resistance, she took it to a professional postal shop where they packed it and sent it to me. In transit, the handle of the creamer broke.
Schumann no longer makes the pattern. One therefore must resort either to a business or agency that deals in china replacements or search Ebay for the pieces one needs. My original Empress set was purchased piece by piece from a very high-end shop in La Jolla. There was no question as to its provenance. There was no doubt that it was authentic and made in Germany as it had been for three hundred years.
It was only when I searched Ebay for a replacement for the broken creamer that I discovered how many manufacturers had copied the authentic pattern.
Above is a photograph of the pattern and set that I have. It is one of the more contemporary versons of the pattern. For those who are interested in a more in-depth history of the China and its manufacturer, there is a wonderful site:
History of Schumann China
As stated previously, however, Schumann may be the original manufacturer, but there are others who have copied the pattern.
It is not this that prompted this article, however, but an item I saw offered for sale today in the Royal Albert Lady Carlyle pattern. It is a cake plate. The firm that sells it honestly and openly states that the plates are made by their own 'artisans'. Fair enough.
