Patterns of the Month
16,602 patterns and 1,064 sources and still growing.
Each month we feature a new pattern from our Pattern and Source Print Database and archive them on these pages.
Members only: for more information about these patterns and to see other similar patterns, search the Pattern and Source Print Database.
(Click on thumbnails to see larger images)
Giraffe markShown here is a 10 inch plate in the "Giraffe" pattern made by John Ridgway (1830-1841) to commemorate the giraffes brought to the new London Zoological Gardens in 1836. The pattern is the same on the entire dinner service. It also appears on a tea service, but with a different border. "Giraffe" was a very popular pattern. It was printed in every color except yellow.
"Jewsbury & Brown's, Manchester"
"Lange Lijsen, Jumping Boy, or Long Eliza pattern"
Shown here is a Spode plate in the Lange Lijsen pattern, ca. 1810-1833. It was copied from a Chinese hand-painted pattern from the K'ang Hsi period, ca. 1700-1722.
The 4 inch miniature plate seen here is a Chinese hand-painted pattern with a simple version of the Long Eliza or Jumping Boy center pattern. The border is not elaborate on such a small piece.
"New York From Heights Near Brooklyn"
Pangolin closeupThis pattern is found on a 4.25 inch saucer. The name of the armadillo-like animal, pangolin, is printed in the foliage at the bottom of the saucer (see the Additional Image). The pangolin is similar to an armadillo and an ant eater. It has large plate-like scales, and in the past was thought to be a link between mammals and reptiles. It is a mammal. Pangolins are an endangered species as it is thought that its ground up scales are a cure for cancer or asthma. They are also considered a delicious exotic food. Their plight is similar to that of the rhinoceros which is hunted for the magical properties of its horn.
"Perfumers/ R.B. Ede & Co./ London/ Shaving Cream"
This pattern dates from the late 19th century. The contents for dental products, food, hair products, shaving cream, soaps and medicinal ointments were commonly sold in a pottery pot with a transfer printed lid until World War I. Black printed lids were the most common. This is a particularly detailed pattern, as you can even see the blood dripping from the man's face where he cut it shaving. Perhaps the pattern is suggesting that the man wasn't using Ede's shaving cream! Pot lid, 3.25 inches.
"Picturesque Views, Hudson, Hudson River"
"Picturesque Views, Hudson, Hudson River" by James and Ralph Clews, printed in underglaze brown, Staffordshire circa 1835. The central view varies according to size. The views of the Hudson River area are taken from W.G. Walls's Hudson River Portfolio. There are also views from the Pittsburgh, Pennsylvania area. The series is also printed in black, light blue, pink (red) and purple.
"Poor Richard's Maxim's" (sic)
Found on a 5 inch plate, this pattern is surrounded by an alphabet border with a Vitruvian scroll edge. There are two maxims that relate to the pattern: "I never saw an oft removed tree nor yet an oft removed family that did so well as those that settled be" and "Three removes are as bad as a fire and a rolling stone gathers no moss" (actually three maxims!). Poor Richard is the alter ego of Benjamin Franklin.
The" Quadrupeds" dinner service is quite extensive, with a different animal in the center of each size and shape, as well as in the medallions in the border. This 6 inch plate features a mastiff in the center, with horses, sheep, a water vole (I thought this was a beaver) and a squirrel in the border medallions.
Source print: "Mastiff & Lion Dog" The engraving is by J. Tookey, after a drawing by Julius Ibbetson. The engraving is found in "The Cabinet of Quadrupeds" by John Church (c. 1803). The pottery engraver left out the lion dog!
"Signing Of Magna Charta"
"Signing Of Magna Charta" by Jones (& Son) is printed in underglaze black on a 10.12 inch plate. This pattern is one of 16 scenes in the "British History" series. Jones & Son was in business for a short time (1826-1828) and the mark on this plate, Jones only, suggests that the plate was made after this period.
Plate, 9.75 inches. Made by William Baker & Co. (1839-1932), this pattern is typical of the Aesthetic Movement (1868-1901); it is asymetrical with a small reserve and large surrounding border-like patterns. Sometimes the title seems unrelated to the pattern, but in this case, "Spray" refers to the sprays of blackberries, morning glories and ivy that comprise the border.
Texiane campaigne markSeen is a 9 inch plate printed in brown in the "Texian Campaigne" series. The plate here was made by James Beech (1835-1844), but the series was also produced by Thomas Walker (1845-1851) and Anthony Shaw (1850-1900). "Texian Campaigne" is a serial pattern printed in a wide range of colors.
This lovely Chinoiserie pattern by an unknown maker is found on a 12.5 inch by 10 inch platter in a pattern called The Apothecary. It is printed in black and painted in orange, apricot, brown, blue, yellow, green and pink. The pattern is copied from the work of the artist Jean Pillement, which is found in a facsimile copy of "The Ladies Amusement: Whole Art of Japanning Made Easy" by Robert Sayer, c. 1759.
"The Cup Found In Benjamin’s Sack"
Shown is a 6.7 inch plate by an unknown maker from the “History Of Joseph” series. Here, the pattern name is “The Cup Found In Benjamin’s Sack,” which you may remember was placed there by Joseph in order to detain his family in Egypt. A 19th century child would have known the story well, which may be why the series appears so often on children’s items. The TCC Database of Patterns and Sources shows 15 Joseph patterns.
"The Ladies of Llangollen"
"The Ladies of Llangollen" circa 1825 pearlware platter printed in underglaze blue. Although this platter is not marked, it was probably made by either the Cambrian (1783-1870) or Glamorgan (1813-1838) potteries, which were in business in Swansea, Wales. According to the Dictionary of Blue and White Printed Pottery 1780-1880, the ladies of the title ran away together in the late 18th century. They lived together in Llangollen, Wales for the next fifty years. Their cottage in Wales (nothing like the castle printed on the pottery) was a mecca for the British literati of the early 19th century.