DOG IN A CRADLE
IT’S A DOG’S LIFE -
WHATEVER YOU CALL IT!
From Yvonne Buttimer
Further to the article by Grahame & Arleen Tanner in Bulletin 113, a jug with this same pattern in my collection bears on its base a blue printed Clews mark. On close examination of the pattern, I agree with Colin & Patricia Parkes (Bull 114) that, in fact, the dog is in a basket, not a bath, and suggest that the pattern might be renamed Dog in a Basket. Ht. 125mm.
Editorial Comment: In fact, the pattern had already found a name, in Bulletin 101 page 3, where Norman Wolfe showed it on a coffee pot and gave it the name Dog in a Cradle. This point was noted by Grahame and Arleen Tanner. The cradle, if such it be, certainly seems to contain a young child as well as the dog, and the boy standing with his left hand on the side has his other hand apparently resting on the back of the receptacle behind the young child, as on a cradle – or is he just brandishing his cap?! At all events, the piece, as is the case with the jug above, bears the factory’s printed mark in the form of a Chinese seal with CLEWS across the centre and Stone China underneath, a mark near enough identical, except for the name, to a Spode mark of c1812-14. At that time, the Spode and Clews bodies were in competition with Mason’s Patent Ironstone China, and the Clews body was marked IRON stone CHINA. In the late 1820s the Clews mark on this jug and the Stevenson mark on the teapot and the cup might still indicate a good durable body but also vied with many similar names given by manufacturers to emphasise the desirability of their wares. While the pattern seems to be pretty well identical to that on the Stevenson teapot and the Stevenson cup, and the border too, though applied the other way up compared to that on the shoulders of the teapot, the details of the handle are different as is the scalloped edge to the jug. The handle, in particular, should help in the attribution of the teapots and jug in Bulletin 91 page 6, while the teapot (Bull 91 p7) would seem perhaps to be by Andrew Stevenson.