Bowl

Pitcher

Cane-coloured, smear-glazed stoneware moulded jug with panels of Gothic ornament in relief. The jug is moulded in eight slightly concave panels which extend through upper and lower sections. Each panel in the lower section contains a pattern of vines entwined around poles. Mythological winged figures, with acorns and oak leaves decorate the upper section. Bamboo-style handle. Britannia metal hinged cover.

Plate

Urn

Reticulated urn supported on the wings of an osprey perched on circular base. Vase and cover pierced with angel heads and scrolls, the osprey in tones of peach and yellow with gilt details.

Painted in polychrome overglaze enamels on white ground; Oriental design of man and woman in landscape; inside rim of tea bowl (a) and saucer (b) have floral border

Ornament

Elephant standing on base of wood chips; howdah on elephant's back containing 3 gladiators; black man, arrows in one hand, axe in the other, atop elephant's head; polychrome enamel and gilt decoration

Cream jug

Blue and white underglaze; fluted body; geometric border painted in blue underglaze around rim and base; floral spray on handle and single flower on inside bottom.

Sparrow beak jug

Painted in underglaze blue; floral pattern on outside; border on inside, top rim; sparrow beak spout

Cream Boat

Bristol/Worcester. Moulded form painted in overglaze enamels. White ground; outside has 5 moulded cartouches, 4 of which enclose polychrome floral decoration and 1 which encloses a polychrome bird perched on a branch; 5 floral sprays decorate the inside rim and inside bottom.

Coffee can, Saucer

Blue and white underglaze; floral motif on outisde of coffee can and on centre of saucer; blue border on inside rim of coffee can and on rim of saucer

Sauceboat

Blue and white underglaze with Oriental motif design; Oriental scene on inside bottom; scalloped rim; lobed bowl

Inkwell

Black basalt; neo-classical columns around well; wavy, scalloped rim; 4 pen holes at top

Plate

Fully decorated with underglaze scale-blue ground; vase- and mirror-shaped reserves of floral design with simple gilding around panels; fluted and scalloped edge. Floral decoration painted in garland and sprig motifs.

Dish

Partially decorated with underglaze scale-blue ground with oriental vase- and mirror-shaped reserves; lobed and concave side

Spoon

White ground; fluted bowl; polychrome floral design and gilding on handle and bowl, front and back, painted in overglaze enamels

Painted floral patterns against an underglaze blue border, embellished with gilding dot design. Gilt wavy-edged gadroon rim. 6 polychrome floral designs on pale yellow ground in scrolled cartouche. Armorial decoration at centre; Crest: "Ros Coeli" is the motto of the family of Nicholas Roskell of Garstang, Lancashire. Also depicted is a wyvern, a mythical beast. (as per Kathleen Campbell, Curator Emerita 2001, in 'Focus Four: The Translucent Quality')

Spirally-fluted. Band of stylized flowers painted in overglaze enamels (pink and mauve) with gilding on white ground.

Tea Bowl

Spirally fluted form, mauve and gilt floral sprays painted in overglaze enamel on white ground; gilt rim; single flower on inside of bowl.

Tea Service

All components: White ground with enamel decoration printed in cobalt blue underglaze and iron-red overglaze; pattern of bellflowers and leaves spray motif. Slop bowl (d) and tea bowls (k-p): Red, blue and gilt border on inner rim and single flower on inside, bottom.

White ground, gilt rim; polychrome decoration in all-over stylized floral pattern painted in overglaze enamels.

Teapot stand

Hexagonal with fluted edges; printed in underglaze blue

White ground; bands of medium blue underglaze alternating with polychrome floral and gilt decoration; gilding heavily applied; female and male heads in medallions on both pieces; straight sided cup (a)

Plate

Painted in blue underglaze; Oriental motif

All are on white ground with ivy border and heavy gilding on rims of cups and saucers. Coffee pot (a) has bird beak spout and heavy gilding at top and bottom and around lid. Coffee cups (c-h) have white ground with ivy border and heavy gilding on rim of cup; stylized bird beak handle. Saucers (i-n) have white ground with ivy border and heavy gilding on rim.

Dessert Service

All pieces are white ground with botanical flowers and fruit painted in overglaze enamels and embellished with gilding; centres are gilt rimmed; beige border with gilt scrolling surrounds centres; all pieces have raised, moulded edges with gilding.; (a-i) Oval; (j-k) Irregular shape;

Copper lustre decoration; band of overpainted blue at middle with polychrome figures in landscape in relief; horizontal reeding at base; beading near rim and above and below blue band

Teapot

Design and decoration in the rococo style: white ground; ornately moulded gilding overall with grey enamel design; teapot has phoenix spout and scroll-footed base.

Jug

White with leaf and vine decoration moulded in relief; pouring spout rim has three deep flared scallops.

Plate

White ground; scalloped, gilded rim; dark blue underglaze border with gilt scrolling; polychrome decoration at c. - 2 women seated under tree; scalloped, beaded gilding around centre of plate

Teacup & Saucer

White ground; polychrome floral decoration painted in underglaze blue and overglaze enamels, with gilding.

Coffee Can

White ground; polychrome floral decoration painted in underglaze blue and overglaze enamels, with gilding.

Polychrome glaze; two hunters with three dogs and two horses; two deer on horses' backs

Coffee Can, Saucer

White ground; polychrome diamond shaped border with alternate rose and arrow design painted in overglaze enamels; gilding on rim of both pieces; gilt line around base of cup; scattered gilt fleur-de-lis pattern on both

Painted in overglaze enamels.

Grey glaze with brush stroke decoration in browns; the lower area is textured

Unomi teabowl

Grey glaze with brush stroke decoration in browns; the lower area is textured

Unomi teabowl

Grey glaze with brush stroke decoration in browns; the lower area is and there is brown glaze around rim

Vase has textured tenmoku glaze

The dish is relief-moulded inside with three scallop shells around a sesquifoil central panel; the edges are shaped with alternate concave and convex scallops. Fruit and floral sprig decoration is printed in underglaze blue.

Plate

'Feather' scroll moulded rim in aqua; multi-coloured exotic bird and foliage decoration painted in overglaze enamels.

Plate

Flow blue and gilt decoration

Border printed in underglaze blue and painted in polychrome overglaze enamels with gilt floral and exotic bird decoration

Saucer dish

Polychrome and gilt floral decoration painted in overglaze enamels on white ground; the pattern is a version of the Tobacco Leaf design.

Blue and purple harebell border painted in overglaze enamel, with gilding, on white ground.

Blue on white ground; gilded rim

Serving dish

Overall polychrome floral decoration; rose shaped finial; painted in underglaze blue and overglaze enamels.

Plate

Floral and bird decoration in the Japanese Kakiemon style painted in overglaze enamels on white ground; gilded rim.

Figure scenes and floral decoration in four panels on alternating white and yellow grounds; abstract gilt decoration on borders; cup handle is two intertwining snakes; cup has a three-footed bast

Teacup & Saucer

Landscape panels painted in overglaze enamels, alternating with blue panels. Shaped and moulded rims, gilded rococo-style decoration.

Fluted shape, decorated with scattered sprays of flowers and abstract border in underglaze blue and gilt on white ground

Cup, Saucer

Blue scale pattern on white ground; bird and floral panel decoration with gilt floral decoration around the panels

Cup, Saucer

Sauce Boat

Printed in overglaze jet (black) enamel. Pattern 'L'Amour' from a design by C.N. Cochin, published by Francois Vivares (1707-1780) c.1745, and engraved by Robert Hancock (1730-1817).

Plate

Scalloped edge; painted in an underglaze blue that attempts the original Kangxi sapphire blue. 'The Hundred Antiques': Chinese objects with ancient religious or mythological significance, taken from a Kangxi period design, 1662-1722. The mark is unique to this pattern and imitates the Chinese.

Jug

Bulbous shape slipware jug; brown and yellow glaze; two dark brown bands of concentric incised lines; brush strokes in brown slip; strap-form handle

Teapot & Stand

Fluted; straight-sided; flat lid; raised circular collar; flask shaped knob; centrally bored vent hole; handle: fine herring bone moulding; painted in overglaze enamels

Moulded decoration in relief; blue enamel line-borders; sliding lid

Saucer dish

Floral sprays, mock Chinese figures in landscape, painted in overglaze enamels.

Coffee can, saucer

Chinese export style decoration with figures in landscape; painted in polychrome overglaze enamel.

Custard cup

Chinese export porcelain decorated with figures in landscape; painted in polychrome overglaze enamels.

Mug

Printed in overglaze black (jet enamels); engraving by Robert Hancock (1730-1817), military trophies of Frederick the Great, with names of victories on flags: Reisberg, Prague, Collin, Welham, Rofsbach, Breslen, Neumark, Lifsa, Breslan; monogram 'RH' and anchor; prints of 'Fame' blowing a trumpet, and the King of Prussia with date 1757

Moulded border in daisy and scroll design. Printed in underglaze green; flower and fern sprays.

Dish

Oval shape; decorated with stork or heron-type birds; rim and centre moulded in scallop design; painted polychrome overglaze enamels of rust-red, green and black; considerable gilding.

Plate

Blue underglaze transfer print pattern; chinoiserie scene showing Lao-Tzu, the Chinese philosopher and founder of Taoism, mounted on a buffalo.

Plate

Relief-moulded and gilded floral decoration on border; bird decoration at centre

Comport

Boat shaped; botanical print at centre; shaped rim with painted brown border

Plate

Open arcaded rim; inner rim moulded in the form of basket work, blue and white transfer print

Cream jug

White ground; pale blue band with orange shell motif and floral gilding on main body of jug; gilt floral motif on interior of spout and handle. Painted in overglaze enamels, with gilding.

Plate

Blue and white transfer print; border consists of flowers and scrolls against a stippled ground

Plate

White ground; aqua blue and gilt in stylized leaf or conventional motif pattern on border

Serving plate

Painted in grey monochrome over white ground; heavily gilded; pierced decoration.

Plate

Blue and white transfer print; scene of the St. Lawrence steamboat 'British America' against a background view of Montreal. View: Montreal from St. Helen’s Island.; View of Montreal engraved by W.S. Leney and published in 1830 by Adolphus Bourne of Montreal. The original watercolour by R.A. Sproule is in the Collection of the McCord Museum of McGill University. (‘Focus Two: The Canadiana Connection’, 1998, p. 64)

Plate

Mazarine-blue ground overlaid with gilt floral sprays on border.

Ewer

Floral meander embellished with gilding over a mazarine-blue ground. Davenport made rose water and eau-de-cologne ewers in this shape.

Teacup, saucer

White ground; band of gilded decoration in foliate design; straight sided teacup slanting outward from base.

Sauceboat

Rose moulding as the main floral motif on both sides; blue painted flower under spout; interior has blue painted cell border and five flower sprays below the border and at centre base; blue flower painting on the handle which has a heart-shaped terminal

Teacup

Fluted form cup; floral decoration painted in underglaze blue with gilding.

Saucer dish

Engraving coloured with overglaze enamels; centre decoration is set in a vignette surrounded by overglaze gilded grape and vine design on an underglaze mazarine blue background reserving oval medallions with a grouping of various fruit; pattern is a bat-print of 3 children at play with a top; colour wash after an engraving by Adam Buck (1759-1833).

Enamel decoration on white ground in the pattern of a draped swag around rim of bowl and saucer; suspended between each swag is a flower spray; group of four leaves at centre of both pieces; colours of blue, brown, and green. Known as “peasant enamels”, these wares lack sophistication but show a pleasing simplicity.

Trio

Painted in underglaze blue and overglaze enamels, with gilding.

Plate

Raised scalloped rim; divided into 8 radiating fan-shaped segments with alternating designs of chrysanthemums in the Japanese style; stylized chrysanthemum within a gilt circle at centre; decorated mainly in cobalt, rust and green painted overglaze enamels, with gilding on white ground

Plate

Polychrome floral spray decoration painted in overglaze enamels on white ground; moulded floral decoration; shaped rim with plain gilt edge

Comport

A rectangular and shaped comport; applied foliage handles; moulded floral decoration of cranes, palm trees and flowers painted in overglaze enamels in the Japanese asymmetrical style, with gilding.

Bowl

Fluted shape, printed in underglaze blue with FitzHugh inner border; Pagoda pattern, found mainly on teawares, incorporates a series of ornate and tall Chinese Pagoda-type buildings on an island; a small bridge, which two figures are crossing to the right, links the main island with a smaller one on the left.

Dessert dish

Handled dish; painted in underglaze blue with a floral sprig pattern in the Chantilly style with a simple blue line at rim and on handle moulding, emphasizing the shape.

Jug

Printed in underglaze blue with gilding at rim border and base, and on handle; moulded in vertical flutes; part of a tea service in typical Caughley form; "Temple" pattern is found almost exclusively on teawares; main features are two pagoda-type temples with trees between and a figure on horseback crossing a stone-block bridge with an attendant holding a very long-handled sunshade over the rider; two figures are standing in a white reserve in the blue shaded background

Saucer dish

French or Chantilly Sprig pattern painted in cobalt, pink, green, yellow and brown enamels and with gilded bands at border, and star motif at centre;

Bowl

Painted in polychrome overglaze enamels and gilt floral spray decoration on white ground. The bowl is decorated with a main floral group and four lesser sprays around the bowl. There is a diaper style and floral inner border. Colours are pink, mauve, green and rust.

Cream jug

Dinner plate

Painted en grisaille by John Pennington, within an underglaze blue border with elaborate mercury gilding.The plate is from the well-documented Hope service, made for the Duke of Clarence, later William IV. Each piece is painted with a different scene of Hope and the anchor. John Pennington (c. 1765-1842) came to Flight in 1789. He became one of the company's finest artists, specializing in monochrome painting of figure subjects.The crown, Flight and crescent mark on base is very rare.(Kathleen Campbell, Curator Emerita, 'Focus Four: The Translucent Quality, 2001)

Teapot

The pattern has been outlined in overglaze gilt and clobbered with rust (iron-red) enamel overglaze in a lotus-type design to embellish the pattern. The cover has a flower and stem finial, also decorated in rust.

Dish

Fan-shaped dish is from a four-segment Sandwich Set which would have fitted into a circular wooden tray; dish has flat, unglazed base. Painted in underglaze blue.

Cream jug, covered sugar bowl

Traces of the red in the green Flaminian glaze; overall glaze has a slightly mottled effect; interior glaze is a paler green; shape of both pieces flares outward at the base (similar to a ship's decanter); shape is simple as in all Moorcraft ware; decoration is a circular motif based on a swirl of abstracted flower forms on a blue ground.

Vase

Well-potted with good balance and proportion, showing the simple shape associated with Moorcroft wares. The potting ridges are in low relief and are surmounted by a row of round-shaped tool marks, giving a pleasing texture to the thick, creamy-white glaze, which shows pale blue coming through in areas.

Soup plate

Fairly heavily potted, with identifying shaped rim (6 slight equidistant indentations). Painted in underglaze blue and decorated in overglaze enamels in Imari pattern on white ground. Colours are rust, cobalt, green, aqua, pale blue, and pink; with gilding. The pattern is alternating floral and diapered panels around centre floral and fence design.

Decorated in richly coloured glazes. The stylization of the toadstools and general form of the design are revolutionary for 1903.

Plate

The richly coloured (rust, green, beige) glazes are applied in a highly decorative Art Nouveau floral design.

Landscape Dish

Square dish upon which layers of glaze have been applied to achieve a landscape effect

Jug

The jug has a strap handle, pinched pouring spout and a rich, ox-blood glaze over red clay.

Bowl with copper-red glaze.

Teabowl, saucer

In vertical fluted form with scalloped rims. Painted in overglaze enamels, with gilding; gilded rims and line and vine border pattern, with blue, pink and green flowers.

Octagonal oval platter painted in underglaze blue with the "Image" pattern of a Chinese man and a boy in a landscape setting of flowering shrubs and rocks. Rim has a painted scalloped border and four precious objects are painted on the underside

Plate

Moulded border in fluted form. Powder-blue ground with reserves decorated in underglaze blue with rocks and an insect amongst flowering foliage; the 24 lobed rim with alternating panels reserved on powder blue ground decorated in the Chinese style. The undersides with three fern like fronds and two narrow line borders

Mug

Straight sided mug with moulded base, scroll shaped handle; A series of caricature figures painted overglaze in black on a white ground

Coffee Can, Saucer

Decorated entirely in gilding, pattern in stylized bellflower and leaf with heavily gilded garland; painted in overglaze orange enamel.

Teacup, Saucer

The cup has a view of ruin in a landscape with figures, large rocks and trees painted in monochrome black. There is a gilded band at both rim and foot and a ring handle with gilding. The saucer has similar decoration in monochrome; view of a house on a hill with bushes and lawn in foreground. There is no indentation for a cup.

Comport

The footed comport with oval shaped bowl is decorated with blue transfer print. Both inside and outside of the bowl show a junk, sailing on a river with Chinese figures and buildings on the bank and in the background. The edge of the foot of the comport is decorated with flowers and foliage. The small handles at either end of the bowl are in a dark blue in contrast to the lighter shades of the transfer print. Pattern is taken from Travels in China by John Barrow, published by Cadell and Davies, 1804.

Plate

Plate

Plate has a shaped rim in scallop form, rising in a shallow curve from the plate centre; border area is heavily gilt and tooled, the gilded designs being scroll and floral motifs; there are 6 cartouches in turquoise enamel defined by the tooled gilding; centre of the plate is painted with a pale wash of green, with water weeds and 2 fish

Decorated in a "Japan" pattern; cobalt blue decoration underglaze, rust-red enamel and gilding overglaze

Vase

The vase has a circular base, gilded, with short pedestal stem rising to a somewhat baluster form, the main body flaring slightly outwards above the bulbous area. The rim is scalloped in 12 distinctive flutes and gilded. The interior has a gilded border design of flowers and scrolls. The entire exterior is densely covered with applied five petal flowers in the Meissen Schneeballen style with puce enamel decoration and yellow centre.

Hot-milk jug

The jug has a low pedestal base in rectangular shape with a scroll handle in bracket form; wide pouring spout with fluted moulding; stepped cover with oval flower shaped finial; shaped with a moulded band of strawberries and leaves in relief around the main area of the body, and another moulded band at the rim in vine leaf and grape design, also in relief

Dessert plate

Biscuit-coloured, relief-moulded plate with pierced border in alternating diamond and triangle shapes embellished with gilding. Inner border of moulded athenium leaf motif with painted in turquoise enamel, and a further inner gilded scallop and dot border. The centre circle of the plate is plain with moulded lines radiating to the border.

Indented or lobed rim, with two lines of border gilding; armorial decoration (coat of arms with crown) at centre painted in enamel overglaze and gildingCoat-of-arms: Townshend, originally of Raynam, Norfold, Sir Horatio Townshend was created Baron of Lynn Regis in 1661. The plate is attributed to a descendant. (Kathleen Campbell, Curator Emerita, 'Focus Four: The Translucent Quality', 2001)

Bowl

Transfer printed in underglaze blue; pattern on exterior depicts Oriental island landscape with foliage, water boats and structures; rim of interior is decorated with a series of cross hatchings within a band; tree decoration at centre of interior.

Teapot stand

Oval-shaped stand with raised rim in moulded rib form; gilded rim and centre flower sprig encircled with two bands of gilding, the outer band wound with a leaf vine; Decoration over the moulded rim is a repeating oval design outlined with green enamel leaves and a red and blue dot motif at each centre; the ovals have gilded leaves at each point of contact.

Saucer dish

Painted in overglaze enamels, with gilding. Three floral sprays with green two-toned leaves: one flower is a pink rose, the other two are chrysanthemum type flowers one with orange petals and a mauve calyx, the other with mauve petals and a yellow calyx. Each flower is placed at the centre of a gilded spray of various leaves. There is a gilded border and three separate gilded sprigs at centre star motif.

Saucer dish

Background painted in dark blue underglaze and stylized flower garlands and scroll design in gilded overglaze. Centre is a large white six petalled flower head with gilded edges and centre.

Dish

Lobed dish in twelve sections with gilded rim; Interior has painted sprays of flowers in "dry-blue" overglaze enamel in the style of Meissner. The "Meissner Bluman" are in two main groups or bouquets, and as separate detached sprigs. Naturalistic floral sprays are in the style of the French factory of Vincennes, although brighter in colour.

Vase

Wedgwood-type "jasper" vase; black with white fern relief on upper portion and 3 cartouches showing putti and bird, 2 children and classical scene with angel and soldier; Base has radiating relief white fern pattern

Serving plate

Mazarine-blue ground with gilded decoration. Typical Ridgway shape with pierced handle and five-petalled flowers around rim. Four fan-shaped deep yellow ground cartouches, each hold a gilded butterfly; at centre there is a country landscape with church and two figures painted in overglaze enamels. Surrounding this landscape is a border of scale motif in gilt.

Armorial platter

Armorial bearings are at centre, with 4 floral sprays within a gilded border of dagger-like motifs; Rim border is green with black dots between gilt edge and inner scroll; Octagonal shape. It is painted in overglaze enamels and the Coat of Arms is Wathen impaling Waller.This platter is one of the replacement pieces manufactured by Spode about 1816 for the Chinese Export Service made during the Ch'ien Lung dynasty c. 1765.

Saucer

Straight sided rim and flat base to saucer; Border pattern of yellow enamel musical instruments in 6 distinct groups; Painted design at centre of saucer of 3 pink and 3 blue feathers & 4 gilded dots; Gilt rim & gilded garlands between musical instrument groupings

Teacup, saucer

Pattern of yellow enamel musical instruments in 6 distinct groups with gilded garlands; 3 pink and 3 blue painted feathers and 4 gilded dots in centre of saucer & on lower area of cup; Gilt rim on both pieces; Cup has gilt band at bottom and fern like gilt decoration on handle. It is painted in overglaze enamels.A replacement made for a French service by Nast, Paris. (G-87-384)

Plate

Square typically Spode-shaped plate (octagonal form) with moulded sprays of flowers in white relief against an electric blue ground; Gilt band around rim and circular "saw-tooth" gilt decoration around edge of recessed centre

Saucer

A rare pattern in the Chinese manner, enamelled in rust, green, pink and yellow, with limited gilding, over printed underglaze outlines; three segments of stylized vase and flowers amid scroll work, are divided by 3 more flower sprays ; flower motif at centre.

Armorial plate

Armorial Plate painted in overglaze enamels, with shaped gilded gadroon rim. The crest, a lion's head with ermine collar, is painted mainly in rust brown, and is within a gold band painted just below the cavetto. At the inner plate rim is a band of pink roses.

Plate

Underglaze scale-blue ground. Reserves: vase and mirror-shaped panels containing painted groups of flowers in overglaze polychrome enamels on white ground. Gilt band at rim and gilt scroll design around each reserve and centre circle; floral decoration painted in the Deutsche Blumen style.

Plate

Decorated in the "Mosaic" pattern; underglaze blue and overglaze enamels of iron-red, green, turquoise blue, purple, yellow and with gilding in the Imari style; deep cavetto; flat rim moulded in fluted design; eight fan-shaped segments radiate from a centre circle with prunus branches. The reverse side of the plate shows the double-line circle found on Chinese export porcelain, with six pseudo-Chinese characters.

Trio

East India Company Porcelain (Compagnie des Indes). In the shape of Chinese export ware with overglaze polychrome overglaze decoration in the style of Meissen. Around rim of each piece is a scroll-edged border of cross hatching; sprays of flowers adorn each piece; the central spray in a gilt leaf circular band.

Plate

Fine translucent porcelain with a shaped rim. Three blue "Morning Glories" and three pink roses alternate around the rim.

Blue-printed underglaze small dish in the shape of a leaf; Scalloped edge; Geometric border pattern; Centre is decorated with fruit - peach, cherries, berries

Yellow glazed bowl on short, stemmed foot

The exterior of the bowl has a relief-moulded pattern of leaves and flowers of chrysanthemum-type. Border pattern No. 48, lambrequin style. Interior: flowerhead painted in underglaze blue at centre with lambrequin border at rim. The printed interior border is smudged but the pattern is typically used in combination with a large central chrysanthemum flower.

Teapot

Black basaltes ware, enamelled with flowers in the Chinese famille rose style. The enamel is opaque ranging in shades from pink to rose; Other enamel colour: blue, yellow, white, green. Gilding. Rosso Antico - brown line decoration around cover, spout and handle.

Plate

Buff caneware moulded at the rim in three strands of cane in repeating arches giving a scalloped edge. Remainder of the plate moulded in a single sunflower design. Plate has been given a smear glaze.

Platter

Shaped platter with gadroon rim; Blue underglaze transfer-printed pattern "India Temple". Border: lambrequin with cross hatching and scale designs, alternating with flowers and leaves.

Trio

Mazarine-blue ground reserving two main enamel paintings of 'fancy or exotic birds' and six (groups of three each) smaller reserves containing paintings of different insects (four flying insects and two moths). Reserves are outlined with rococo gilding with additional gilding to other areas. Birds are painted in the style of George Davis.

Trio

Cobalt blue ground reserving two main paintings of 'fancy or exotic birds' and six (groups of three each) smaller reserves containing paintings of different insects (four flying insects and two moths). Reserves are outlined with gilding with additional gilding to other areas. Birds are painted in the style of George Davis.

Trio

Cobalt blue ground reserving two main paintings of 'fancy or exotic birds' and six (groups of three each) smaller reserves containing paintings of different insects (four flying insects and two moths). Reserves are outlined with gilding with additional gilding to other areas. Birds are painted in the style of George Davis.

Trio

Cobalt blue ground reserving two main paintings of 'fancy or exotic birds' and six (groups of three each) smaller reserves containing paintings of different insects (four flying insects and two moths). Reserves are outlined with gilding with additional gilding to other areas. Birds are painted in the style of George Davis.

Teacup, saucer

Shaped and gilded rims; White ground with three scallop-shaped designs painted overglaze in a green/yellow colour each centred with a group of flowers, and all areas overlaid with gilding in formal and floral patterns; Polychrome decoration in rose, blue, yellow, rust-red and green tones.

Blue transfer print pattern under glaze. Shaped and indented rim with narrow border of fret design. Another narrow border at the cavetto: pairs of reverse 'C' scrolls and other repeating motifs. The main border pattern is made up with several animals, including a squirrel, a horned sheep, stag, a bull, and others. The main pattern features a prominent stag as the centre design. Behind are three smaller stags and in the background the land rises steeply to a castle. The central stag is based on a woodcut from Thomas Bewick’s (1755-1828) General History of Quadrupeds (1790) illustrated with wood-engraved vignettes. The border pattern relates to the same source. The copper plate was well-engraved giving good depth and shading of colour. The pattern is crisply defined.

Trio

Painted colour-wash decoration in sepia monochrome on a white ground. Rustic view of a cottage in a sparse landscape of hills and trees. Plain gold border at rim of each piece.

Usual shaped teapot in that the main body is angular at mid-point. The teapot is small in size with curved spout and ear-shaped ribbed handle. The flat cover has a pointed knob finial. Painted in underglaze blue in 'Mansfield' pattern, both on main body, spout and cover with lambrequin border.

Teapot

Blue and white transfer print of Fisherman pattern in underglaze blue. The border pattern comprises a line of diaper cells with a line of linked upside down fleur-de-lis or dagger-like motifs. The border is filled in with closely engraved parallel lines. Typical handle for style of object. Gilded finial and banding. Spout - shaped and gilded at junction with main body.

Teapot

The globular shaped teapot is decorated in the Japanese Kakiemon-style. Alternating vertical panels of orange (iron-red), having gilt diagonally crossed lines, each panel containing a simple white chrysanthemum flowerhead. Contrasting panels have floral sprays on white ground in orange, green and aqua blue. Flowers include chrysanthemums and prunus, two panels of each flower. The finial is a moulded flower and stem.

Figure

Model of a young man, a fisherman, seated on a rock which is draped with fishing nets and cork on wooden floats. He wears a typical sou'wester hat, with sleeveless jacket over shirt and sweater. His trousers are rolled up to the knees, his feet are bare. On the ground before him is a woven basket of fish.

Teapot

Globular-shaped teapot of typical Lowestoft form and overglaze decoration. Enamel decoration: floral sprays in mauve, rust-red, yellow and green. Borders around teapot shoulder and cover rim in scallop and dot pattern, painted in rust-red. Knob finial with painted rust-red flower motif.

Oval twelve-fluted dish with shaped rim. The centre of the dish duplicates the fluted form and is moulded in relief and outlined with a gilt band which also follows the fluted design. The interior border pattern at the rim has one plain and one scallop-form gilt line on either side of a band of turquoise containing two intertwined lines, each line in white and black, forming a repeating pattern of ovals; painted in overglaze

Soup plate

The soup plate has a gilt dentil edge and three brightly coloured overglaze enamel floral sprays on a white ground. The sprays cover the rim of the plate and continue into the cavetto area.

Teapot

The teapot is almost bullet-shaped but tapers slightly towards the moulded foot rim. Raised collar holds the teapot cover which has pine coned shaped finial. The curved spout has a moulded acanthus leaf, outlined in gold. The double scroll handle has gold linear decoration and the upper scroll is divided at the junction where it joins the main body. Enamel decoration in overglaze green and turquoise blue vine motif, trailing around curved 'stakes' painted in gold. Each 'stake and vine' continues from the main body into the cover in continuous pattern. The cover and raised collar areas have rows of scalloped gilding.

The straight-sided coffee can is decorated with two lines of gilding reserving a band of green, blue and rust-red Chantilly pattern painted in overglaze enamels. Below the lower line of gilding two rowa of Chantilly sprigs alternate with a gilded three leaf motif. Handle is angular with indented line each side. The band of Chantilly pattern around the rim area is in proportion of 1/3 to 2/3 height of coffee can.

Vase fired in a wood-burning kiln (poplar wood). Wheel-thrown with full convexity at mid-point and 'rolled-over' rim. Wide, about 1/2 inch, fluting from rim down to mid-point. Slight glazing in the fluted area.

Vase

Vase with a medium blue ground with four panels of brushed on white slip in curving lines, which give a four-sided aspect to the rounded form. Dark blue calligraphy style brush work on two opposite sides. Narrow neck with everted rim.

Vase

Glazed black with white markings

Flowered basket of four-strand plain white/cream Parian porcelain. Strands of four rods are woven to form the base that is then inverted over a plaster-of-Paris form in the desired shape of the basket. The rods, which now hang downwards, are interwoven to form the basket walls. The flower decoration is hand-formed petal by petal, the leaves are made in a single-sided, flat mould which impressed the pattern on the underside of the leaf.

Modelled in blue jasper with relief decoration in white. The subject of the decoration has been a matter of controversy for centuries, but the suggestion that it represents the marriage of Peleus and Thetis (the mother of Achilles) is widely accepted. There is no Phrygian head on the base. Height 6".

The shaped oval dish is a typical form for Derby tableware. The painted decoration comprises four landscape reserves, painted by William Cordon (1797-1867). The landscapes alternate with four flower panels painted by John Keys (1798-1825). The reserves have shaped gilt borders and there are gilt rim patterns. Large flower spray painted at centre

Teapot and lid have fluted/scalloped form and are painted in cobalt blue underglaze flower sprays and sprigs embellished with gilding. The border pattern consists of a gilt rim and cobalt band reserving a band of repeating circles, with every third one painted in cobalt.

Saucer dish

Fluted/scalloped form; painted in cobalt and gilt floral decoration of flower sprays and sprigs. The border pattern consists of a gilt rim and cobalt band reserving a band of repeating circles, with every third one painted in cobalt.

Coffee cup, saucer

Coffee cup and saucer have fluted/scalloped form and are painted in cobalt and gilt floral decoration of flower sprays and sprigs. The border pattern consists of a gilt rim and cobalt band reserving a band of repeating circles, with every third one painted in cobalt.

Large shallow peach-shaped dish painted in polychrome overglaze enamel decoration in the Japanese Kakiemon style. Central image is a quail, floral and branch decoration surrounds it. Rim is bordered with rust-red and gilt band.Asymmetric design is typical of Japanese art. The Kakiemon style, identified by its simplicity and the use of the while porcelain surface to enhance the painted areas of design, was destined to have great influence in the decoration of European porcelain. The Quail pattern is the most recognized of Bow decoration in the Kakiemon style. Sakaida Kakiemon, the founder of the Kakiemon lineage of potters, is also credited, in 1644, with perfecting the technique of overglaze enamel decoration on Japanese porcelain.- Kathleen Campbell, Curator Emerita, 'Focus Four: The Translucent Quality', 2001

Porcelain is glazed with an earthenware from the Kamloops area of B.C., containing a high percentage of iron, to which metallic oxides have been added to darken the glaze. The surface has been textured.

Grey bottle and red bottle laying on grey toned surface of plate

Pitcher

Pitcher with yellow, blue;, green and brown glazes

Blackmood Vase

Black vase with indented surface (vertical line) down the middle

Vase

Oval shaped basket with handle. Moulded in basket-weave pattern, and decorated with a band of turquoise below the rim. The band surmounts a series of flower sprays painted in overglaze enamels, spaced at regular intervals around the basket form. The base, rim and handle, and scrolls incorporated into the main decoration, are enhanced with gilding.

Coffee cup, saucer

Deep saucer without an indented area to hold a cup. Printed underglaze pattern of dragons, embellished with gilding, decorate saucer and both exterior and interior of the cup. Stylized plant form at centre of saucer and of cup. Borders at rims are in a formal pendant pattern.

Dessert plate

Newcastle shape: from a dessert service. Border: pierced trellis work with three cartouche forms each reserving a spray of pink morning glories. Large, similar spray of flowers at centre of plate. Trellis and cartouches outlined in deep pink painted in overglaze enamels.

Vase in the form of a Pilgrim Flask. Decorated with fine gilt foliage and with small turquoise enamel flowers on a cream coloured ground. Each side of each flask has a different foliage design based on stems of clover, strawberry and harebell. The turquoise enamelling is minimal and more effective for being so. The handles are gilt and in serpent form.

Spill vase

Of rectangular stepped base form. Shell motifs and everted shaped rim surmount a panelled landscape painting: the main decoration on each vase. The other three panels are unpainted other than with a green ground and gilt border decoration. Each landscape feature a ruin or edifice set amongst a rural landscape with figures. There is a river and bridge shown on the two smaller vases. The landscape on the centre vase may be a painting of Durham Cathedral. The enamelled landscape scenes are attributed to James Fernyhough, a painter at Minton who worked from the late 1820s onwards.

Sauce tureen

Exterior decoration allover gilding in a foliate design in the arabesque style. The tureen handles are applied in leaf form. The stand handle areas are moulded in shell form. The cover has a flower bud and leaf finial. The tureen’s major interest lies in the interior landscape painted in overglaze enamels. The bowl area has a deep border of the gilding design, reserving the painted landscape scene which comprises a ruined abbey or church set among fields and trees. The palette is browns, greens, blues and muted tones.

Sauce tureen

Pedestal sauce tureen and cover, with shaped integral stand. The finial on the cover is typical of Ridgway design of the 1830-1835 period, the area being heavily moulded, floral painted and gilded. The tureen is painted with China Asters on one side and Periwinkles on the reverse. The painting and gilding is of high quality, and the tureen is an impressive example of Ridgway production. The names of the flowers are inscribed on the base.

Figurine of a man and woman

Centrepiece

Moulded and assembled. Three seated cupids around base, playing harp, horn and tambourine. Ornate applied floral decoration (cactus plants) with matt glaze and gilding. Heavily applied gilding on base.

Parian figure of a young woman seated upon an unidentified form with a conch shell and waves of water at its base. She is dressed in a loose, flowing dress that exposes one breast. Her body is posed in an “S” curve, accentuated by the counter positioning of her arms and shoulders to the directions of her gaze. Her right hand rests on the form behind her. Her long hair flows behind her as she turns her head to look thoughtfully into the distance. She tucks her right leg behind her left. Her profile is ideal and beautiful, quite similar to examples of ancient Greek and Roman statuary.Parian is usually an unglazed porcelain. Copeland’s produced it first in 1846 and numerous English and American potteries quickly followed. It is named after Parian marble (marble from the Greek island of Paros), the medium it was meant to simulate. Favoured for cast figures, it is also used for tableware. Parian’s alternative name is statuary porcelain. Minton first produced its statuary form in 1846.The Art Union of London chose Bell’s Miranda figurine for use as a prize. (per Helen Delacretaz, Curatorial Intern)

Urn-shaped vase

Ovoid shape on pedestal base, with small gilded handles. The Imari or 'Japan' pattern: cobalt blue underglaze with panels, having petal motif from the base, reserving on white ground. Decoration is in cobalt blue, rust, green, in floral designs, surmounted by eight alternating panels in flower and reserved scale on hatched ground.

Vase

Vase

The vase is tapered with a high shoulder ending in a pinched neck and rolled lip. The glaze is primarily a rich brown flambe shot with red and yellow/green hues at the upper half of the vessel.This vase is likely an early example of Moorcroft’s flambe line, hence its designation as experimental.The characteristic Moorcroft product is wheel-thrown, slip-trailed, and richly glazed with glossy tones. The flambe glaze used to decorate this vase emerged from Moorcroft’s glaze experiments and his interest in transmutation. He began these experiments in 1921 after building a special kiln for their production. The first wares were produced with a rouge glaze in 1922 and over the next few decades he mastered the flambe technique. He allowed chance to play a role in the process and as a result each of his flambe wares are unique. The colours achieved are red, yellow and brown. Considered among his finest flambe pieces are those without ornament (other than the glaze). Moorcroft was careful to keep his technique a secret, revealing it only to his son. (per Helen Delacretaz, Curatorial Intern)

Jug

Slender jug, with tapering form, tube-lined with tulips beneath a band of hearts, washed in blue and green. Art Nouveau.

Vase

Ovoid vase with cylindrical neck with incised lines and round hole decoration to everted rim. Vase is incised throughout with stylized flowers and foliage in shades of brown and cream.

Charger

The well of the charger is painted after Botticelli with a maiden in front of an ivy trellis, inside a band of waterlily flowers and leaves, in shades of blue, yellow, green and brown.

Vase

Vase is incised with vertical linear decoration; covered with a blue lustre-glaze. Slender, shouldered form.

Vase

Vase in baluster form with everted rim, pitted mint green and sang de boeuf spots, running to lavender base rim over white ground. Flambe glaze.

Bowl

Monochromatic flambe-glazed red bowl; the interior decorated with a design of three fish, plants and waves.The characteristic Moorcroft product is wheel-thrown, slip-trailed, and richly glazed with glossy tones. The flambe glaze used to decorate this bowl emerged from Moorcroft’s glaze experiments and his interest in transmutation. He began these experiments in 1921 after building a special kiln for their production. The first wares were produced with a rouge glaze in 1922 and over the next few decades he mastered the flambe technique. He allowed chance to play a role in the process and as a result each of his flambe wares are unique. The colours achieved are red, yellow and brown. Considered among his finest flambe pieces are those without ornament (other than the glaze). Moorcroft was careful to keep his technique a secret, revealing it only to his son. (per Helen Delacretaz, Curatorial Intern)

Platter

Relief-moulded earthenware platter decorated with semi-translucent coloured glazes in mottled effect. Scalloped rim with dot-and-diaper pattern. Glazes: brown, green, yellow.

The 1902 catalogue of Minton’s secessionist ware names Leon V. Solon and John W. Wadsworth as designers. Plate doesn’t give any identification: the only marks are those of the factory. Yellow tulip set against an olive-green ground, is painted with majolica glazes within the raised outlines of the design. The colour contrast is effective.

Plate

The 1902 catalogue of Minton’s secessionist ware names Leon V. Solon and John W. Wadsworth as designers. Plate doesn’t give any identification: the only marks are those of the factory. Turquoise tulip, set against an olive-green ground, is painted with majolica glazes within the raised outlines of the design. The colour contrast is effective.

Nut dish

Shaped majolica-glazed plate with raised rim-form comprising five overlapping leaves. At the stem area, a squirrel is sitting among a gathering of nuts. The leaves and squirrel are realistically modelled and glazed. Leaves: edged in yellow ochre, with the green glaze pooling in the veining giving contracting shades. The unshelled nuts are a lighter green and the squirrel (and shelled nuts) in shades of brown.

Beaker or tumbler decorated with the so-called Thumb and Finger pattern; one of Chamberlain’s ‘Japan’ patterns. Decorated in cobalt-blue, rust-red and green with gilding. The pattern name refers to the two prominent dark-blue features to the left of the all-over design. Japan patterns allowed for the use of slightly imperfect blanks as the enameled all-over pattern covered any imperfection in throwing, which is not to say that this beaker is not perfect.(per Kathleen Campbell, Curator Emerita)Painted in underglaze blue and overglaze enamels, with gilding.

The form of the ornamental cup is derived from the rhinoceros horn and is referred to as a rhinoceros-horn cup. Sometimes called a libation cup which is a misnomer. In Chinese religion, wine is poured not from, but into a cup. (The misconception may come from the shape of the cups which look as though they could be used for pouring.) Cups in rhinoceros and other unusual shapes are, mostly, ornamental and intended for display. In form the cup is more or less oval, with widely flaring and shaped mouth, tapering to an oval foot. The concept is that the upper portion of the cup represents the sky, and the lower represents the earth or sea. In this cup, the upper portion has prunus branches and flowers applied in relief around the lip and placed always from the narrow ends of the cup, so that each broad side has one such branch on the left. Also in the sky portion is a dragon, head and fore feet only, emerging from a cloud, and a crane in flight. On the earth, or lower portion of the cup, is an antlered stag, in low relief whereas the prunus above is in high relief. The stag is rarer than the more usual image of a deer. On the side opposite to the stag is a seated lion dog (or perhaps kylin?). The cup has an applied foot rim to give stability.Ornamental cups have always been a specialty of the Têhua kilns in Fukien province: “objects of fantastic form not intended for actual use”. The cup is the best known of all blanc de Chine production at Têhua. Not until the second half of the 18th century was it made elsewhere in China. (per Kathleen Campbell, Curator Emerita)

Armorial plate

Octagonal-sided plate with rim indentation. A floral festoon design painted in polychrome enamel in the European style decorates the border area, which is reserved between two pink-coloured decorative bands. The armorial bearings are at the centre of the plate: the Arms of Ramsay Impaling Knight. The colour of the porcelain body has the grey-blue tone associated with Chinese export porcelain. The plate is in the “private trade” category of export porcelain.Chinese export wares decorated with the armorial bearings of European families are perhaps the best known. They were not imported by the East India Companies but are classed as Private Trade goods, ordered from China through a dealer and transported, mainly, by independent ships’ captains. Inevitably, there were some misunderstandings in interpreting colour and design instructions. One family received a dinner service with the written and colour instructions enamelled as part of the perceived design. (per Kathleen Campbell, Curator Emerita)

Plate

Plate of circular form, painted in cobalt blue underglaze. Design: peony below a flowering pomegranate branch within a band of trellis-pattern, divided by four floral panels at the well and below widely-spreading peony sprays at the border.A plate from “The Nanking Cargo”, auctioned in Amsterdam in 1986 and recovered by Captain Michael Hatcher from a European merchant ship wrecked in the South China Seas. Cargo recovery: over 100,000 pieces Chinese porcelain, mostly mid-18th century blue and white destined for western markets. Made at the factories of Jingdezhen, in Jiangxi Province, not at Nanking which was enroute transportation to Canton for shipment. (per Kathleen Campbell, Curator Emerita)

Plate

A plate of circular form and bone-ash body, with a wide flange and a deep-turned foot. Painted in cobalt blue underglaze with a group of flowering plants, within a band of alternating diaper and floral panels. The border is painted with further flowering plants ‘growing’ from the blue-painted line rim.The plate is a rare and early example of the Brownlow Hill Factory. (per Kathleen Campbell, Curator Emerita)

Covered vegetable dish, strainer

All three components of the covered tureen [dish] and strainer contain the Dame au parasol decoration -- two women, one holding a parasol over the other. They stand amid tall grasses and four marsh birds (incl. a ruff and spoonbill, both native to Holland). There are also figures in each of the four corners of the tureen [dish] and cover. Rounded corners. The design is of Dutch origin, possibly taken from an engraving by Cornelius Pronck (1691-1759).An unusual example in the Japan-pattern category, painted and gilded in the Imari palette: rust-red, blue, gold. At this period, gilding at the Spode factory was of particularly high quality (especially the innovative matt-gilding). The pattern is well-balanced within the “frame”-borders; the white area of sky setting off the subject matter to advantage (although not of Kakiemon design). It also relates to the Chinese quail pattern, later used by most of the major English porcelain factories as a decorative element and well-represented in the collection. A strainer is not usually found in a vegetable tureen, and so is of added interest, especially as all three pieces are fully painted. The work is of the highest quality -- a fairly early example of Spode stoneware. (per Kathleen Campbell, Curator Emerita)

Teapot

Square bombé-form teapot. Smear-glazed with brown cartouche and white moulded “sprigged” classical reliefs. White feldspathic stoneware. Relief decoration on one cartouche features a reclining woman, winged figure and fabric draped between two trees. The decoration on the opposite cartouche features a figure raising her arm to three figures grouped beside a column. Moulded plant decoration on pot at spout and handle.The pierced and moulded cover with its recumbent lion finial is a recognized Turner design. (per Kathleen Campbell, Curator Emerita)

Sauceboat

Shallow, flat-based sauceboat, moulded in fluted form with scroll handle. Wide pouring spout. Painted in polychrome overglaze enamels. A group of flowers provide the main decoration on both sides of the sauce boat, with additional small floral sprigs painted at random. Palette: shades of purple, mauve, yellow and green.The painting is wispy and pale but the quality is there. (per Kathleen Campbell, Curator Emerita)

Teacup, saucer

Moulded in fluted form, painted in overglaze enamels. 'Sir Joshua Reynolds' pattern, with Ho Ho bird (phoenix). The bird is painted in yellow, red and blue, perched on a turquoise rock, with flowering branches. The name of the pattern: it is said that Sir Joshua Reynolds acquired a large service in this pattern which was then named for him. The fluted form is preferable to the plain -- both were produced. The entwined handle also adds additional elegance. Based on Japan patterns which formed a large part of Worcester’s production at this time. The Kakiemon influence: applied with a delicate appreciation for the style. The pattern is also found on Chelsea: red anchor period. (per Kathleen Campbell, Curator Emerita)

Plate

A plate of circular form with applied prunus branch decoration: a motif favoured not only at Bow, but at the French porcelain centres of St. Cloud and Chantilly, and at Dresden, Germany. Its origin, of course, being the Chinese white porcelain of Fukien Province, termed blanc-de-Chine in Europe. The Bow plate lacks the mellow, creamy glaze of Fukien porcelain, and the thicker Bow glaze is apt to conceal detail. Bow applied the prunus decoration to a full range of tablewares. (per Kathleen Campbell, Curator Emerita)

Bowl

Large, earthenware bowl with underglaze, slip and majolica glaze with irregular brim. The curvetto is a matte dark green. It joins the brim through a raised band, hand painted to resemble a golden rope. The brim is divided in half. One half is freely cut (recessed) to allow for four tulip-like flowers to break free of the border. The flowers are (from l. to r.) blue, gold, robin-egg blue and dusty pink. The other half of the brim is wider (approx. 3 inches) and decorated with raised lines of robin-egg blue and brown slip on a gold background. The line work is very freely drawn in a diamond-lattice design. Often the painted decoration has spilled out of its borders.

Tondino

Large, oval footed platter executed in earthenware with underglaze, slip and majolica glaze. The curvetto carries painted decoration of large flowers in vivid blue, green, yellow and pink. The flowers are limited to the curvetto, framed by the brink’s border. This is typical of Chwelos’ works from the late 1980s when she used the vessel’s center as a canvas and contained the majority of her decoration within the center portion of the ware, like a still life. The brink is raised. Two thirds of of the brink is modelled as a red rope, the other third carries black, green and red dots on a white, untextured background. Corresponding to the red rope pattern is the brim of that section which is coomposed of bands of colour (green, yellow with incised, diagonal lines made from the impressions of a seamstress’s tracing wheel, and pink with an incised leaf motif). The other third of the brim is a solid blue with small, circular impressions. The brim is about 1 inch deep in all sections and crenellated at the rim. The rim is approximately 1/2” thick and is green, with red polka-dots highlighted in places by white glaze. The reverse of the tondino is largely the white majolica tin glaze. The foot is raised with one side crenellated and the other fashioned as rope. The yellow (with wheel lines), pink (with leaf motif), blue (with circular impressions) and green colour is used similarly as on the brim.

Sauceboat

Sauceboat moulded in fluted form. Painted in overglaze enamels in a naturalistic flower design: exterior and interior. The rim is outlined on the interior in pink enamel, and the foot in a scalloped line in the same pink colour. The shape of the sauceboat is typical Bow.(per Kathleen Campbell, Curator Emerita)

Vase

Low footed, pear-shaped vase. From the point of full convexity it tapers upward through the neck section to an everted lip. Painted decoration in underglaze blue is in the Chinese style featuring flowering plants growing amid rocks. The rim has an exterior band of decoration. The blue is particularly strong giving a good contrast against the white ground. Fairly heavily potted.(per Kathleen Campbell, Curator Emerita)

Sauceboat

The sauceboat is of a moulded form, with a slightly rolled rim. Painted in overglaze enamels in a simple but carefully arranged floral motif. The moulded scroll decoration in the pouring lip and handle areas is enamelled in a turquoise blue. In spite of being hard-paste porcelain the decoration and glaze give a “soft” appearance. The mark is a copy of the Meissen crossed swords.(per Kathleen Campbell, Curator Emerita)

Teacup

Teapot

Teapot printed in underglaze pale blue in the Broseley pattern with Fitzhugh border. It has a scroll handle and flower finial which leans away from the horizontal. Shallow fluted form. The Broseley pattern is rare on this form. The mark is a pseudo Chinese seal mark printed in underglaze. This is the only Hilditch mark where the initials H&S do not occur.The teapot is a typical Hilditch form, but has sagged somewhat in the firing. The Hilditch bone china formula was stable and consistent; any problems were related to the firing. The teapot body is a good white and the glaze “fits” well. Hilditch porcelains are known for the whiteness of the paste.(per Kathleen Campbell, Curator Emerita)

Tea Bowl

The late period of Lowestoft production. A version of this pattern is on a covered jug of this period. Both have the rather heavy lattice border. The teabowl does not have the slightly everted rim of earlier teabowls. The footrim is nearly vertical on the outer wall; correct for the late period, as is the larger size of the bowl. Painted in underglaze blue.

The two bottles were created with the intention that they work together as one piece. Crossing Over was fired in a wood burning kiln for 24 hours at 2380 degrees Fahrenheit. The bottles were fired on their sides so their necks would slump over. These pieces have no glaze on the outside, but are embellished by the ashes that covered them during the firing. The X pattern was produced using a clay resist technique. Clay pieces were placed on the surface before being fired to resist the effects of the ash. They were then removed after the firing to reveal the pattern beneath.

Terminus Ultimus

Tapered, rectangular, ceramic, two part column. A slumped glass bowl rests on four small ceramic feet at the top of the column. The column stands on a pedestal.

Dinner service consisting of one lidded soup tureen, two lidded sauce dishes, four lidded vegetable dishes, seven platters, nine dinner plates, nine dessert plates and nine soup plates. The pattern, Old Crown Derby Rose, is one of a number of patterns influenced by Japanese Imari. These patterns surfaced in the 18th century, increasing in use during the first quarter fo the 19th century when this service was made. The Japan patterns are still produced today to great demand. The colours are those of the Imari palette: cobalt blue, red and gilding. Green is also present. The cobalt blue present on the tureen is not as crisp, but rather has flowed and blurred.

Teapot

Small carved teapot with side handle terminating in a open flower. Lid finial is in the shape of a small dwelling. Asian in style. Beneath the spout are two raised circles, suggested to be a tongue-in-cheek reference to male genitalia. The glaze is very dry and emphasizes the carved elements. Given the small scale of the teapot (not large enough to produce a full cup of tea), this piece could well be considered sculptural.

Lidded jug

Jug of somewhat cylindrical form with a slight increase in width in the mid-section. The handle is relatively low and spans the vessel's mid-section. The glaze is an even olive-green colour.

Plate

Plate is heavy and sturdily made with a fluted well. The border carries five moulded wheat and floral bouquets.

Famille Verte Flower Vase with Bouquet of Forget-Me-Nots

Base, vase, and bouquet are one continuous (attached) piece. The decorative elements comment on Chinese, Japanese, and European ceramic traditions. The compressed globular vase with long, wide neck stands on an exaggerated, large foot made "precious" by a gold metallic glaze. The body of the vase carries four decals of a geisha girl in a garden setting. These decals are separated from each other by panels comprised top and bottom of green decals inspired by European cartouches with a stylized peony flower in the middle. The decoration featured on the neck follows Chinese decorative traditions and features (front and back) decals of peonies and fantastical rock formations. The famille verte palette is used for the body and neck of the vase. From the top of the vase springs a compressed globular bouquet of brilliant blue and purple forget-me-nots, also decals. A single band of a repeating geometric element in blue separates the body of the vase from the neck, and the neck from the bouquet.

Large, wood-fired vessel of somewhat cylindrical (flat-bottomed) form with "skirt" at approximately one-quarter of height. Directly above the "skirt" are two massive and roughly constructed lug handles constructed from thin straps of clay. The vessel is largely terracotta in colour with diagonal ash fall creating a sense of dynamism across the vessel. This dynamism is echoed in the large, freely-gestural passages of carving.

Oil Cans and Tray

Four "oil cans" of various form and sizes sit within indentations upon an acred clay "tray". The tray is freely formed from a slab of clay with irregular edges and contours. Each "oil can" has a sealed cover with long, elegant and very delicate spike finial. Though carrying a functional title, the work is non-functional. In addition to sealed lids, several of the vessels have holes.

Leda and the Swan

Large envelope vase created from slabs of clay with image of nude woman embracing a swan on the front and a seated female nude on the reverse. Largely glazed a skin tone, stylized lines of dynamic swirls are added in terracotta as well as short lines to denote feathers. Emphasis is drawn to particular areas (outline, breasts, knees) through the use of bold, black linework. The work is very sensual and offers a glimpse at a very intimate and gentle encounter.

An altered oblong ("kidney bean") shaped vessel with high walls. Made of slip cast earthenware, the vessel is light and thin-walled. The red earthenware pushes through the cream coloured glaze at the rim. The cream-colour glazed walls and base of the interior are punctuated by the red earthenware appearing in a repetitive "dash" pattern, somewhat reminiscent of birch bark

Untitled

Figurine of a brunette female wearing an elaborate pink and black gown. The pink, cap-sleeved bodice carrying vertical black stripes, with a triple overlay skirt of black, pink underskirt, and lace trim at bottom. The pink belt is complemented by silver chain belt which carries a white lace bustle at the rear. The hands are bound within oversize pink muffs and the face is obscured by a pink and white lace hat and lower face-covering which only allows the heavily kohled eyes to be seen. Although the bustle and muffs suggest a historical era, the black "leather" appearance of the skirt, silver chain belt and heavily made-up eyes indicate a contemporary period

Quillium

A seven piece sculptural group encompassing three "legs" or oblong-high sided cups (no handles) which supports a circular salver with vertical lip. Placed around the lip are three large, "buds" or bird-like forms with South African porcupine quill inserts. All are low-fired with a wonderful encrusted "lichen" glaze in Kelly green.

Untitled

A tall lidded vessel with round contours. The vessel is widest at the shoulder and tapers in a straight, linear fashion to the foot. The area from shoulder to neck is quite flat and planar with a raised vertical lip of approximately 1 cm. This is capped by a round lid of straight sides and top with a angled handle. Although the vessel is constructed based on the "circle" in section, it nonetheless appears quite angular due to the straight tapering profile and strong verticals at the lip and cover. The vessel is glazed predominantly in blues and yellows with abstracted, freely drawn motifs resembling scattered leaves created through layering the glazes.

Sugar sifter

Tall sugar sifter with electro-plated nickel silver-mounted, perforated, domed lid with simple, small ball finial. The slender, elongated, pear-shaped vessel is glazed with a cream brass over which is painted bold graphic black lines (hence the reference to stained glass in the title), some of which are painted in to evoke large scarlet flowers, green leaves, and smaller blue blossoms. The EPNS cover is easily removed to reveal a EPNS collar surrounding the vessel lip.

Coffee pot

Relatively tall, white coffeepot with bulbous body and high neck terminating in a generous everted lip. The height of the pot is balanced by a similarly tall spout and looped handle. The lid sits within the lip well and features an everted finial that parallels the profile of the lip. The lid carries banding of partial snowflakes. The body of the pot carries four bands of decoration: snowflakes, decorative C scrolls (facing in towards each other to form a loose heart motif), roundels of denser decoration, and another C scroll banding as above, but upside-down. All decoration is in an underglaze blue.

Bowl

Blue and white decorated bowl in loose-freehand floral design with simple borders. Foot rim is very rough showing clay body; base of bowl carries kiln grit. Exterior decoration more dense; interior of bowl largely white with sides carrying four, spaced-out sprays and the well decorated with single floral motif.

Cantharellus cibarius

Four richly coloured, yellow, Chanterelle mushrooms of variable height rising from a moss green/brown base. Base has five round holes.

Bottle Neck vase

A monumental bottle neck vase, constructed from coil-built processes. The vase is square-shouldered with a narrow, flattened neck. The ground is a rich terracotta colour with an orange block on the front and reverse. This orange field is elaborated upon with areas of black and yellow abstract, amorphous shapes, upon which a floating red cross appears. Much the same as the glazed decoration shifts and flows, the textured surface of the vessel changes and undulates due to the different treatments the artist explored.

Plate

Bottle

A footed, ovoid vase with high shoulders and slightly waisted neck terminating in a sloped rim. The body is grey/green with characteristic salt-glazed "orange-peel" surface. Large (roughly) oval panels on the front and reverse are covered with wide hakeme strokes in cream/terracotta with incised decoration evocative of strands of windswept grass. The foot rim carries the impressed stamp of the artist and the mouth of the vessel features delicate pools of glassy, translucent green glaze.

Saucer dish

A deep dish of circular form with no depression in the centre, thus used for serving food not holding a cup. According to An Illustrated Dictionary of Ceramics, "shallow dishes of saucer shape were commohly used in China to contain food, instead of dishes with a well and ledge which are purely a European shape; the Chinese type is termed a saucer-dish." The decoration, of Chinese inspiration, is thus fitting for a dish-type influenced by Chinese tradtions. Printed in underglaze blue and painted in overglaze blue, red, and yellow is a Chinese footed vase/basket place by a rock within a garden setting. The vase to the lower left and two shoots of bamboo and a fantastic garden rock to the right. Throughout the composition, are oversize peony and chrysanthemum blooms in a riot of blue and red leaf foliage. The overall impression is a potpourri of Chinese decorative themes presented in an entirely European interpretation without the lyricism or inherent balance of the Oriental prototypes. A wonderful example of this active Asian influence on European/English production.

Rebellion 1885

Bowl

A bulbous bowl with rounded, high shoulder. Turquoise ground with earth-tone glazed decoration of figures, animals and vegetation. Aesthetic is late Art Deco/Modernist in feel with stylized figures. Strong compositional design rotates around circumference of vessel. Sgraffito decoration. Theo Harlander threw the works and Susan Harlander decorated them freehand.

Vase

High-waisted vase with no foot. Green ground with three, identical, female figures in short-sleeved, rose-coloured dresses alternating with vertical, upright floral blossom/leaves around body of vessel. Figures follow modernist aesthetic with use of continuous line to provide minimal physiogamy. Sgraffito decoration. Theo Harlander threw the works and Susan Harlander decorated them freehand.

Soap Dish

Soap dish fashioned from figure of a seated woman reclined back to provide generous bowl formed by skirt of dress spread over knees. Bare legs pressed together terminate in brown shows that form in base with hem of skirt. Woman's face is simply defined, with cheery red cheeks, hair pulled back in bun. Dress carries stylized design of rose-coloured flowers on blue/turquoise ground. Theo Harlander threw the works and Susan Harlander decorated them freehand.

Green transfer print: Halifax from Dartmouth

Cream jug

Teacup, saucer

Coffee cup and saucer decorated in deep underglaze scale blue reserving vase- and mirror-shaped panels in which are painted chrysanthemums and other flowers.

Sugar bowl

Sugar bowl decorated in underglaze scale blue reserving vase- and mirror-shaped panels in which are painted chrysanthemums and other flowers.

Based on a Chinese original, this pattern was copied on early Worcester Porcelain (c. 1755) and later by Chamberlains (1790s).

Slop bowl

Slop bowl

Saucer dish

Saucer dish

Coffee Can

The diminutive cup is completely overwhelmed by the most fantastic depiction of a red-crested bird, possibly a woodpecker.

Decorated in a brocade pattern in a rust red colour

Sparrow Beak jug

Coffee Can

Tea bowl, saucer

Asparagus Butter Boat

Asparagus butter boat, shaped like a leaf, painted in underglaze in the “Fisherman” pattern. This shape was made at several factories including Worcester.

Tea Bowl

A teabowl printed in blue with the “Birds in Branches” pattern of two long tailed birds perched on a gnarled tree, the reverse with three birds in flight.

Coffee can of cylindrical shape painted in deep blue depicting large florals.

Tea bowl, saucer

Footed bowl

Tea bowl, saucer

Plate

Painted with exuberant floral sprays almost covering the entire surface of the plate

Plate

Painted with exuberant floral sprays almost covering the entire surface of the plate

Plate

A fine armorial plate featuring the popular “kylin” pattern in overglaze enamels.

This handled serving dish with molded decoration features a richly painted leaf pattern on a basket weave. It is majolica, a type of art pottery which developed initially at the Minton factory around 1850, and was first displayed at the Great Exhibition of 1851 in London. The term majolica is derived from maiolica, used to describe a specific tin-glazed earthenware which originated in Italy in the 14th century. Majolica, however, employs lead glazes and is indentifable by rather vivid colours of deep intensities and often molded surfaces, both of which are notable in this example. Majolica became quite popular and widespread in Victorian England—including being produced at Wedgwood—as well as further afield in Europe and North America.

Dessert plate decorated with the “fan” pattern, the fans composed of alternating underglaze blue, overglaze red, and overglaze green panels divided by three underglaze-blue mons, overlaid with delicate gilding. The central panel is outlined by a border in underglaze blue reserving white flower sprays, seen in a number of Oriental type patterns of this period.

Dessert plate

Dessert plate decorated with the “fan” pattern, the fans composed of alternating underglaze blue, overglaze red, and overglaze green panels divided by three underglaze-blue mons, overlaid with delicate gilding. The central panel is outlined by a border in underglaze blue reserving white flower sprays, seen in a number of Oriental type patterns of this period.

Serving dish

Inkwell

Fruit plate

Tea bowl, saucer

Flared teabowl and saucer painted in famille rose palette with pink flowers, blue birds, and a green garden rock.

Sauce Boat

The sauceboat, with its high scroll handle, molded decoration highlighted with polychrome enamels is much more decorative than any other Bristol works in the collection. The sauce boat is very much in keeping with the Rococo with the shell motifs, flamboyance and exuberance of design and puce details.

Ice Cup

Sheer opulence, these tulip shaped custard or ice cups date from Davenport’s key period, c. 1820-30 when it was at its height. Extremely delicate with a high loop handle terminating in a griffin’s head, the cups are delicately painted in shades of purple and yellow with quality gilding to add extra luxuriousness.

Harlequin dessert service

Harlequin dessert service with light blue borders, groups of butterflies and insects. The central patterns featuring two of each themes: shells, flowers, and fancy birds.

Harlequin Serving dish

Plate

Lobed plate with panelled border, embossed with Gotskowsky moulding (floral motifs) and painted with decoration in the Meissen style of deutsche blumen and scattered insects. The Gotskowsky (also Gotzkowsky) pattern was designed by Eberlein and so called after a service made for a Berlin merchant of the same name. Decoratively it refers to the damask’d or damaskworkt patterning of raised molded flowers. The plate also features the Meissen decorative device of ombrirte teutsche Blumen, which basically refers to the shadow cast by the insects, as if they had just alighted on the plate.

Plate

Lobed plate with panelled border, embossed with Gotskowsky moulding (floral motifs) and painted with decoration in the Meissen style of deutsche blumen and scattered insects. The Gotskowsky (also Gotzkowsky) pattern was designed by Eberlein and so called after a service made for a Berlin merchant of the same name. Decoratively it refers to the damask’d or damaskworkt patterning of raised molded flowers. The plate also features the Meissen decorative device of ombrirte teutsche Blumen, which basically refers to the shadow cast by the insects, as if they had just alighted on the plate.

Leaf-Moulded sauce boat

A small jug or sauce boat molded in the form of overlapping vine leaves with crisp veins in relief, the handle as a bifurcated branch.

Leaf-Shaped pickle dish

Octagonal plate

Octagonal plate

Trembleuse

The trembleuse, a wonderful example of Saint-Cloud production, featuring their characteristic warm, mellow glaze.

Teapot

Coffee Cup

Teacup, saucer

Teacup and saucer featuring an elaborate and popular Japan Fence pattern with underglaze blue, overglaze enamels, and gilding.

Saucer

Teacup, saucer

Tea bowl, saucer

Flight period Worcester; shanked tea bowl and saucer decorated in the typical simple style of the 1790s.

Flight period Worcester shanked coffee cup and saucer painted in the typical simple style of the 1790s.

Trio: Coffee Cup, Tea Bowl and Saucer

Tea Bowl

Cabbage Leaf jug

So called because of the molded, cabbage leaf decoration and mask head spout, it is characteristic of Caughley’s most famous shape.

Miniature teapot

Coffee Cup

Plate

Covered sauce tureen, stand

Saucer

A deep, octagonal saucer decorated in Chinese famille vert style with a central flower spray surrounded by a border of Chinese vases alternating with further flowers, within a red cross-hatched rim.

Tea bowl, saucer

Coffee Cup

A coffee cup brightly enamelled with the “Pu Tai” pattern, the corpulent Buddha or Monk attended by two colourfully dressed figures.

Tea Service

Flight and Barr partial tea service of typical shape c. 1792-96 decorated with blue and green stylized and symmetrically arranged florals, and gilt banding.

Plate

Plate

Plate with decoration of figs in “Hans Sloane” style.

Teapot

Bullet-shaped teapot and cover, with heavily gilt peacock-feather pattern, above which are pendant flowers in blue.

Chamber candlestick

A chamber candlestick with leaf-shaped base of deep, indented shape, molded on the inside with veins. The handle is shaped as an inward-curving stalk; the interior composed of overlapping blue-painted leaves.

Sauce Boat

Covered milk jug

Blue and white transfer printed decoration of the Fruit and Wreath pattern; the lid’s finial is in the shape of a flower

Plate

Plate painted in “India” style with tropical or exotic birds in overglaze enamel colours of blue, red, pink, green, purple and gold.

Coffee can, saucer

Sweetmeat stand

A triple-shell compartment sweetmeat stand with deeply molded shells surmounted in the centre by a further spiral shell, supported on pierced rockwork applied with shells and seaweed. Coral is simulated by pricking the clay repeatedly with a sharp-pointed tool.

Tea bowl, saucer

The tureen with molded body and the cover has pierced panels. The twig handles are applied and flowers painted in underglaze blue. The cover features openwork—functional to allow the steam of the chestnuts to escape. Decorated in blue and white with molded florals and twig handle, the piece is of high quality.

Teapot

Coffee Cup

Butter Boat

Tea bowl, saucer

Double Lipped Sauce Boat

Double-lipped, two-handled sauceboat with small scroll handle, painted in underglaze blue, the interior decorated with a dragon pursuing a flaming pearl amidst clouds and the exterior with scattered, wispy clouds.

A coffee cup overpainted in bright colours with floral sprays and näive insects.

Coffee Pot

Soup plate

Scattered grubs and flowers on white blanc de chine moulded ground with brown rim

Soup plate

Kakiemon style bird and flowering branch; brown rim

Dish

Coffee can, saucer

Floral banding at top; main body, puce background with wavy scroll design with flowers and leaf decoration; gilding

Coffee can

Covered sauce tureen

Covered sauce tureen raised on oval, low foot. Features two tab handles shaped as a hare’s head. The fitted lid carries a top know and a slot for a ladle.

Charger

Pedestal bowl

A large bowl with a fairly shallow, circular section with generous foot, decorated in the central well with an exotic, plumed bird, hand-enamelled over the flambé ground

Vase

A pair of short, tapered, cylindrical vases with high shoulder and standing lip, carrying scenic, stylized landscape decoration

Jug

A high-waisted, baluster jug with everted lip and depressed spout and a simple strap handle. Ochre glaze with Arts & Craft/Art Nouveau cartouche of stylized wheat motif.

Plate

Blue and white overall pattern emulating Turkish Iznik design

Saucer plate

Plate

Moulded plate decorated in Famille Verte (green family of colours) with central vase of flowers and butterfly border

Plate

Tiger and bamboo pattern emulating Japanese kakiemon

Plate

Bowl

The stand is contemporary

Moon pot

The pot is classic Takaezu, exhibiting her employment of a small “puckered” opening (pinprick) at centre of top of pot thus constituting the slightest of openings. The glazed surface features mottled, subtle colouration in browns and ambers over a grayish body. The glaze covers the surface freely, giving both an organic and geological “feel” to the aesthetic. The transformation of the glaze on the vessel's surface, as mediated by the wood–fired kiln, also adds to this spontaneous and natural impression.

Bowl

The bowl features an intense, barium blue glaze paired on its lower third with a cream and brown, irregularly flowing base. The organic flow of the glazed surface is complemented by the slightly irregular form of the bowl, which is not a perfect circle at its opening. These aspects are in keeping with artist’s Japanese heritage/Asian aesthetic: the inherent sincerity to the medium; the slightly asymmetrical, naturalism of form; and the subtle yet skillful application of glaze.

Saucer

Ornament

Pitcher

Flask

Rice bowl

Rice bowl

Jar

Ornament

Rice bowl

Platter

Vase

Figurine

Trinket box

Bowl

Inkstand

Plate

Flask

Ginger jar

Plate

Plate

Plate

Bowl

Teapot

Plate

Plate

Bowl

Tea Bowl & Saucer

Covered bowl

Saucer

Photograph Case

Teapot

Bowl

Pitcher

Plate

Urn

Bowl

Candlestick

Unknown chess piece

Unknown chess piece

Rook chess piece

Bishop chess piece

King chess piece

Queen chess piece

Bishop chess piece

Rook chess piece

Pawn chess piece

Bishop chess piece

Queen chess piece

King chess piece

Plate

Plate

Bowl

Tea Bowl & Saucer

Cup, Saucer

Vase

Teacup & Saucer

Tea Bowl & Saucer

Ornament

Cream jug

Sparrow beak jug

Cream Boat

Coffee can, Saucer

Sauceboat

Inkwell

Plate

Dish

Spoon

Teacup & Saucer

Butter Boat

Pot lid

Tile

Tile

Plate

Pot lid

Pot lid

Pot lid