From Bulletin 151  April 2011.

A DIXON AUSTIN marked Drainer 


As we don't see many marked Dixon Austin pieces, I thought that we should have this pattern recorded. The base bears an impressed DIXON AUSTIN mark in capital letters which was used by more than one of the Sunderland partnerships between 1820 and 1840. The base also bears an incised 15 or 16 which is usually an indication of the size of the piece in inches. In fact the drainer is 12.8" wide and its angled side suggests that the drainer rested in the top of a supporting vessel, probably a large round platter or possibly a washing bucket or suchlike and that was probably 15" or 16" wide.

The pattern shows dancing girls to the centre and off right below a fountain a more formal children's party appears to be in progress. I assume lemonade rather than something stronger is being served! A wide and distinctive floral border frames the central festivities. Perhaps Dancing Girls & Fountain might be an appropriate title.

Dixon Drainer


I have similar jug to that illustrated in B&W 1 p97 , but there is a different building on the reverse which is shown here and which somebody may be able to put a name to. The cartouche on this jug has the initials G B & B appended, thus identifying the maker as Griffiths, Beardmore & Birks of Flint Street, Lane End which I believe has previously been recorded. The partnership was a short lived one, dating to about 1830 and B&W 2 p100 notes that G B & B produced the Light Blue Rose Border Series of about ten known views, eight of which have been identified with many being illustrated in the Dictionaries.

Cray Place



Very little is documented about Hicks and Meigh earthenwares. The pottery had existed from 1803 producing creamwares and pearlwares and were registered as manufacturers of earthenwares from 1806.
Geoffrey Godden, writing on Hicks and Meigh porcelains c1816-1835 in his edited book Staffordshire Porcelains, re-produced a Hicks and Meigh trade card describing them as Porcelain and Earthen Ware manufacturers.
Geoffrey H Priestman in his Illustrated Guide to Minton Printed Pottery 1796-1836, in the section entitled Ornithological Series or Bird (pages 120-125), compares Stevenson and Minton Bird patterns with an unattributed series. This series, whilst being similar, has what is described as a peripheral engraved line running around the edge of the rim. It is stated that no line is present on the Minton or Stevenson versions. It is one of the unattributed patterns in this series which I attribute to the
HICKS and MEIGH factory.
Geoffrey Priestman's book shows on page 121 plate 6.20, a Minton dinner plate with a bird pattern and plate 6.21 shows a dinner plate with a very similar pattern in reverse, similar inner and outer borders, a recessed foot rim, an impressed '1' and having a peripheral line around the edge. Fig 1 shows a reproduced image of the Minton plate, which is not in my collection. Fig 2 shows a soup dish bearing the same pattern, borders, foot rim and impressed '1' as the dinner plate Priestman 6.21.


Fig.1                                                                       Fig.2

Fig 3 shows a quatrefoil dish, which is part of a dessert service circa 1810-1815, with a similar bird pattern to plate 6.21, with a peripheral line but with only a similar inner border and no outer border.
Fig 4 shows a section of the inner border from Priestman's 6.21 dinner plate, which has a flower, leaves, tendrils and leaf buds with two curls. Fig 5 shows the equivalent section on the quatrefoil dish, which has leaf buds with three curls and is the inner border on the following dishes.

Fig. 4


Fig.3                                                                        Fig.5

Fig 6 shows a shell dish c1810-1815, with the same pattern as Fig 3, rearranged for the different shape and having identical inner border and line. Fig 7 shows an identically shaped shell dish having a different Bird pattern, but having the same border and line. Fig 8 is of a footed centrepiece and Fig 9,
a section of a supper set, both with the Fig 7 Bird pattern border and line. 


Fig.6                                                                          Fig.7


Fig.8                                                                          Fig.9

From 1803 to 1807, Hicks and Meigh produced earthenwares impressed MEIGH. Fig 10 shows a cream ware shell dish in monochrome with this impressed mark. Fig 11 shows a pearlware shell dish in Fig 7 Bird pattern which is identical in shape and size as the Meigh shell dish, ie 180mm x 210mm. A shell dish pictured in Priestman's Guide on page 148, plate 6.78 and attributed to Minton is 10mm less in width.


Fig.10                                                                          Fig.11

From circa 1815, Hicks and Meigh produced Stone China wares. Fig 12 below, shows Hicks and Meigh pattern number '3', having its back stamp as a crown surrounded by an octagon within a wreath. In about 1815, the factory produced their BRITANNICUS DRESDEN CHINA.


Fig 12

Fig 13 shows the back stamp, a symbolic tree surrounded by an octagon within a wreath. Fig 14 shows the back stamp on the above centre and supper pieces, which is an almost identical symbolic tree and wreath, but without the octagon. The title of the back stamp being YORK HOUSE over the tree and BATH under.


Fig. 13

As a point of interest, from a 1910 photographic postcard in my possession, this appears to relate to the York Hotel in Bath, which would have had this service for its residents and customers. The shell dishes in Figs 10 and 11 show that Meigh shapes were carried on from 1806 when Hicks and Meigh were registered as manufacturers of Earthen Wares and would place the production of those dishes from c1807, when they bought both potteries on the site previously owned by John and Andrew Baddeley.


Fig 14

In this article, I have followed the shapes and patterns having an identical border and peripheral line. They follow on from the earlier factory of Hicks and Meigh, prior to 1807. Priestman has illustrated other very similar patterns having at least two variations in their borders. The dishes discussed in this article are all from dessert wares which, from their shapes, could not have the outer border found on dinner ware shapes. These other patterns could also be from this factory.
I would like to thank Sue Wagstaff who, many years ago, introduced me to the above then unattributed patterns. I am continuing to research into the patterns and shapes of the Hicks and Meigh factories and welcome any comments regarding this article at - (Note: change hatmail to hotmail).

(Previously tentatively given to Dudson)

This pattern has been re-attributed to Minton following work on the pattern by our member, Sylvia Walden. She has been working on an earthenware coffee cup shape with an inner spur to the handle, examples can be seen in Geof Priestman's Minton book on pages 74, fig 4.59 & p.323, fig 9.127 left. Dating to circa 1800, they would be contemporary with a similar porcelain cup shape used by Coalport. A number of earthenware pieces including a teapot have been found bearing known Minton workmen's marks confirming the new attribution. The teapot is almost certainly the teapot shown in FoB71/6 which was sold at auction following Doreen Otto's death in 2009.
With this being the case, the unattributed octagonal creamer shape shown as plates 517, 518 and 519 in Berthoud's Cabinet of British Creamers could well be attributed to Minton also. Plate 517 bears the Galloping Horse pattern, it would be interesting to know whether any of these pieces illustrated bear a printed workman's mark should any member know of their present location.
Mention of this pattern has been made in FoB 70/8(teabowl), 71/6(teapot) and 74/7(saucer). In Bulletin 68 we showed shards recovered from the Dudson site which almost certainly contributed to the Dudson attribution. Dudson's are known to have decorated wares for other makers, your Chairman has seen Dudson records showing wares decorated for New Hall and, from memory, Minton and Wedgwood also. Such contract work would explain shards being on the Dudson site. Some mention of such pieces is on page 42 of Audrey Dudson's book 'A Pottery Panorama - Dudson Bicentenary 1800-2000' including our Galloping Horse pattern.
The border on Galloping Horse is quite distinctive. I show below a sparrowbeak creamer with this same border but bearing Minton's Hermit pattern. Page 7 in Bulletin 8 shows a mug with a Minton-style handle bearing Galloping Horse pattern but with Forest Landscape border. Very recently on ebay
I noticed a delightful kettle or teapot with the same pattern/border combination. Sadly it didn't come my way! Forest Landscape border was, I am pretty sure, used by more than just Spode - Minton could again be the manufacturer of the mug and kettle and thus another maker using this border.

Gallp[img horse


Several years ago I bought an unmarked miniature or child's plate which I tentatively attributed to Careys as the transfer, although not of brilliant quality, had the same layout as the B&W I p208 Careys example. It has a gadrooned edge which is not apparent in the photograph and a diameter of 11.5cm. Recently I was given a broken plate of the same pattern and standard, shown on the right below (in mid repair) which has 8 lobes and although the diameter is only 10cm, the same size of transfer was used for both. In fact there is a probability that both transfers came from the same copper plate. However, what is of greater interest is the impressed mark on the back - 'Adams Warranted Staffordshire'. So, unless this plate was sold in the white, we now have another maker for the pattern along with Dixon Austin & Co. of Sunderland who made a totally different version. Does anybody have a full sized Adams marked piece or indeed a Carey's marked miniature ? 

Lady of the Lake


Doug Godden sent in an interesting picture of a polychrome print of the above pattern for identification which sent your Editor checking our reference books. This 'Procession' pattern was attributed in the past to Herculaneum - see B&W1 page 240/1. In B&W 2, however, mention was made of two dishes marked 'WALSH', the mark being given to William Walsh of Burslem. Michael Sack in his recent book 'India on Transferware' shows a platter on page 32 together with a Walsh printed mark.

Mausoleum of Sultan Purveiz

In view of the earlier Herculaneum attribution, I contacted Peter Hyland, the author of a very recent book on the factory especially as the pattern was not included in Peter's book. Peter commented that he has seen dozens of examples of this pattern but none were marked Herculaneum although that factory generally marked their earthenwares. Also none of the shapes Peter has seen correspond to any known Herculaneum shapes. He now no longer accepts the old attribution and comments that the pattern should be given to Walsh.

Peter went on to mention a jug of his shown in NCS Journal 26, p69, bearing Two Temples pattern (B&W 1 p372), the jug has a corrugated rim and a 'bamboo'-style angular handle and it has a printed 'Chinese Seal' mark and 'WALSH'. We have a Dictionary entry for William Walsh in B&W 2 p209 and Bulletin 144 p9 mentions a further Walsh blue and white pattern which is seen on a Walsh & Ryles teapot in plate 966, Directory of British Teapots.

If any member wishes to research and later report on pieces with 'bamboo'-style handles, I could supply pictures of four teacups which together with the above jug and the three cups at plates 166/168 in the Compendium of British Cups would give a start to possibly finding the maker or (more likely) makers.