CERAMICS ON LINE
A selection of various
pieces of pottery and porcelain which should be of interest to all lovers
of English ceramic art.
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A Spode pottery warming plate circa 1825 Pattern No 4302 Dimensions: 25 cm. d. Marks: SPODE impressed. Spode's Imperial printed in black. 4302 painted. References: Whiter dates patterns of this range (4000 +) to c 1825. This pattern is however not recorded by him. | |
| Comments: Note the two separate leaves at the bottom of the picture. I have photographed the two, (although only one would be used with each plate), because one of them lacks the hole for tying it on. Evidently a mistake. It is remarkable however that these separate leaves have survived at all, and probably very few households ever bothered to use them. Presumably they were intended to prevent the discomfort of having steam issuing from the warming plate as one sat eating one's supper. Later examples have screw in pottery or metal stoppers, or a simple push in cork stopper. |
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We can also record a porcelain cup and saucer in the same pattern. (See left).. Marked with the painted pattern no., >- also painted, and an impressed + . But no Spode mark. The cup shape is the Spode Etruscan shape with a high loop handle. See Berthoud, Anthology. 1982 pl. 496. | |
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See warming plate above for the same pattern on pottery. | |
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Reverse side of Liverpool creamware jug.
Comments: The scene above is usually called 'Farmyard Scene'. Here, however, it is actually given the title 'Harvest Home' (See detail below.) The Gainsborough style portraits shown on the left
here I have not been able to identify. References: Liverpool Herculaneum Pottery. Alan Smith. London 1970. See esp. pls. 22A & B, 30A & B, 32, 45A & B. | |
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Front of Liverpool jug. | |
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Detail of main picture, 'Harvest Home'. | |
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Plate Dimensions: 25cm. Approx. Marks: 'British Tambourine' Maker: Unknown. Probably John and William Ridgway. Date: c. 1830 | |
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Comments: The pattern number does not correspond to the written description in the factory pattern book. The 1001 could therefore be a mistake (it is not clearly painted), or a painter's mark. References: Chamberlain-Worcester Porcelain, 1788-1852, Geoffrey A. Godden. |
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A porcelain bough pot of circa 1820. Possibly Derby, by the bird painter Richard Dodson. Dimensions: w. approx. 25 cm | |
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The other side of the same pot. The knobs on the top of the two handles have been restored, as also have two of the swan necks. |
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A richly enamelled earthenware meat dish. The pattern is similar to chinoiserie designs found on Staffs blue and white pottery of the same period. The print is an outline underglaze black transfer print, and the colours have been painted over the glaze. Although this would have necessitated at least three firings, it would have been cheaper than having the equivalent free-hand painted decoration, which would have required a skilled ceramic artist. Child labour was probably used to apply the colours. Circa 1800 | |
Marks: None. Three triple stilt marks on the flange of the base. References: Godden G., British Pottery and Porcelain. pl.322, showing a very similar print on a plate by the Indeo pottery, Devon. |
Dimensions: 36cm by 26.2 cm. Comments: From a richly decorated and no doubt sumptuous dinner service. I have an advert from an old Connoiseur Magazine of c.1910 advertising a part dinner service for sale, describing it as 'old Staffordshire. | |
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A Spode pottery plate. Pattern No 3995 (Poss. 3115) Marks: SPODE (Impressed) SPODE (Printed in black) 3995 (Painted in red enamel) This is similar to the 'Willis' pattern and other Chinese style designs of the 1825 period and often found on Spode's New Stone. See Whiter Colour Plate XI. |
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'Itinerant Dealers in Staffordshire Ware' published in 'Eccentric Excursions in England' by George Woodward in 1797, and engraved by Isaac Cruickshank, the father of the famous George Cruikshank. Unfortunately not much Staffordshire ware appears in this print - only the teaset in the bottom left corner. |
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