Patterns of the Month

"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.

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!

The 4.5 inch plate seen here was made by the Don Pottery (1801-1839) in North Rotherham, Yorkshire. The pattern shows a woman milking a reindeer while her children play nearby.

This 19.68 by 14.8 inch platter, known as Night Sea Battle, is from the Shipping Series by an unknown maker. The pattern shows the ships "Blanche" and "La Pique". 

"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.

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" 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.

"The Rabbit on the Wall pattern" on earthenware from the "Wilkie's Designs" series in underglaze blue by James & Ralph Clews, Cobridge Works, Cobridge, Staffordshire, circa 1825. There are six other central patterns in this series.

This pattern, which was made by Ridgways (1879-1916),  is transfer-printed on a 7.38 inch plate.  The RD number shows that this pattern was made in 1884.  The pattern is very similar to the Devonshire pattern that was also made by Ridgways.

Seen here is an 8 inch plate from the "Zoological Gardens" series by James and Ralph Clews (1813-1834). The series commemorates the opening of the London Zoological Gardens in 1828. Each size and shape shows a different scene. Many were copied from a book for children titled "Henry and Emma's Visit To The Zoological Gardens, In Regent's Park" by James Bishop, 1830 (see the source print, pictured below).

Children's patterns were often given as rewards for good behavior, christening presents and teaching tools. Children, in general, like animals, so this 5.75 inch plate with an exotic animal would have been a delightful gift. 

Seen is the “Alaska” pattern by Ralph Hammersley (& Son), 1859-1905. It is an Aesthetic pattern in the Japanesque style that was popular at the end of the 19th century. The name, “Alaska,” seems to have little to do with the pattern.

Plate, 4.5 inches.  It is printed with a lower case alphabet that is out of order.  Used as a teaching tool, the child had to pick out the letters and put them in sequence.  Try it!  It is not easy.

This 10.5 inch plate depicts at least one of nine scenes from this series of patterns illustrating the travels of Sir Edward William Parry around the northern part of Canada.  The animals in the border, however, are distinctly tropical! 

Shown is an octagonal plate with an heraldic pattern depicting the Arms of Newcastle-upon-Tyne. Its motto "Fortiter Defendit Triumphans" ([She] Bravely Defends and Triumphs) honored the brave people of Newcastle in the English Civil War (1642-1651).

Enoch Wood & Sons Mark"The Baltimore & Ohio Railroad" by Enoch Wood & Sons (1818-1846) is found on a 10 inch plate.  This is the level version of the pattern, as there is an incline version.    The pattern is from the Shell Border Series - Circular Center. 

Battle of Bunker HillShown is a 14 inch platter made by Ralph Stevenson (& Son) 1810-1835. It is part of the Vine Border Series, where nearly each size and shape features a different view. Here, the title of the view is "Battle of Bunker Hill," which is sometimes referred to as Bunkers Hill.

Known as "The Bewick Stag", this 9.5 inch pearlware plate is printed in underglaze blue by Minton. A General History of Quadrupeds (1790) by Thomas Bewick (1753-1828) pictures the Stag or Red Deer. He stands at the center of this earthenware dinner plate. Behind him are two smaller stags and, perhaps, a female deer. The border consists of vignettes which Bewick used on the his title pages or at the end of his descriptions of animals. Two have been identified. One is called "A Crouching Leopard Ready to Spring" c. 1792, which appears in the third edition of Quadrupeds, p. 92. The other is "Dogs Disputing", which appears in the 1826 edition of Bewick's Water Birds, p. 414. The other vignettes may also be by Bewick or by one of his apprentices. The "Crouching Leopard" vignette was used as the central pattern by other makers.

Shown is a 9.5 inch plate made by Pinder, Bourne & Co. (1862-1882). The Registry diamond indicates a date of May 29, 1879. The striking blue transfer vase and the Chrysanthemums are the only parts of the pattern that are transferred. The textured gold background and the table have been hand painted. This is also true of the image of the man holding a jug in the vase medallion. The pattern has a TCC assigned name.

Shown is an 8.5 inch dessert plate in the Broseley Dragon pattern; ca. 1800-1805. It was made by the Coalport Porcelain Works (John Rose & Co.) 1795 to the present.

Char Dish markSeen is a 9.25 inch dish made by Spode (1770-1833) in the early part of the 19th century. The dish was probably intended for serving potted char. The Arctic or sub-Arctic char is both a fresh water and salt water fish. It is similar to trout or salmon, and is found in very cold lakes and coastal waters.