From Bulletin 152  June 2011.



This view of a sportsman with three dogs resting not too far from a country house appears on a 25cm (10") plate in the collection at the Potteries Museum & Art Gallery. The plate has an impressed mark 'HERCULANEUM'. The pattern is extremely rare, the PMAG plate being the only example I know. It appeared in W. Little's Staffordshire Blue (pl 109) and in my own book on Herculaneum (fig 107).

Weary Sportsman

I have always thought this the most attractive of the 'Field Sports' patterns and have wondered what the source was. Thanks to Herculaneum collector Geoffrey Barnes, I can now identify the source as being a print after George Morland's painting 'The Weary Sportsman', engraved by William Bond and published by H Macklin in 1803. The Herculaneum engraver has added a village church to the right of the background. I suggest that this rare pattern can now be officially entitled 'Weary Sportsman'.
The caption inscribed under the print reads 'From an original picture in the collection of William Parker Esq. to whom this plate is dedicated by his obliged humble servant, H Macklin'. The photograph of the print is courtesy of the British Museum.


After trying to identify the view on this dish for several years, I was recently shown photographs which accompanied Dr Roger Kemp's article in FOB 7, most of which were never published. It was a simple matter to match the dish to item no. 3 in his article, where his example is on a 32.5cm ashet, indicating that the views in the series are not shape specific. This view is of Sheffield Place in Sussex, Angus plate 26, and as far as I can tell neither the shape nor the view have been shown in a Bulletin or in any other Blue and White reference source. For comparison I include a more recent view of the property.

Sheffield Place


Geof Priestman's Minton book illustrated in plate 6.8 (page 114), a maker unknown pearlware jug which showed 'significant' pattern differences from the Minton version. I show here a 7.5" tobacco jar, with cover, and a 6.5" high pedestal-footed jug in this second version of Queen of Sheba pattern. The upper rim border and general pattern layout are very similar to Minton. The border around the base of the tobacco jar shows Greek Key elements plus swirls and flower heads and that around the base of the tall jug is a standard Willow pattern border.

Queen of Sheba tobacco jar

The same 'Greek Key' border can be seen below on a brown-printed sparrow-beak creamer, an oval shape footed creamer with arcaded moulding plus a two-spur handle and also on a square-handled breakfast cup and saucer. The pattern on these other pieces shows a ruined building with arches near which a 'pterodactyl' size bird is flying, there is also an arched bridge, a swan on a river and a pair of crossed palm trees.

Jugs etc.

The tobacco jar cover appears to have around the finial, floral parts from other patterns or borders, the finial print itself is a portion of the lower part of the Queen of Sheba pattern.

We would be delighted to have news of any of these prints on other identifiable shapes or patterns which might lead to an attribution.

tobacco jar lid

A WALSH JUG (and it's printed Mark)    from PETER HYLAND

The jug is 11.5cm (4.5ins) high, it has a 'bamboo' moulded handle and an 'acanthus' leaf moulding under the spout. The rectangular 'Walsh' mark is 1.5cm tall. Despite the 'Stone China' mark, it appears to be made of ordinary earthenware. It is printed with a version of the 'Broseley' pattern.

Walsh jug

William Walsh was in business for some time but little seems to be known about his products. Dick Henrywood, in 'Staffordshire Potters 1781-1900', lists directory entries for Walsh as follows: 1809 and 1811 in Burslem in partnership with Ryles; then on his own account in Burslem in 1816, 1818 and 1822. A small clue to his wares is provided by the records of Thomas Wyllie's 'Staffordshire Warehouse' in London (see A Eatwell & A Werner 'A London Staffordshire Warehouse' NCS Journal Vol 8 (1991). In 1820 Walsh supplied "4.5 dozen punch jugs Brosley scolopt' and 3.5 dozen Camel Dutch jugs". One or two other patterns are known including 'Mausoleum of Sultan Purviez', see the references by Trevor in Bulletin 151. Walsh seems to have ceased production by the mid 1820's.
Walsh was evidently a good potter. Nearly all the examples of the 'Mausoleum of Sultan Purviez' pattern which I have seen are good clear prints on well potted shapes. The Baltimore dealer Matthew Smith ordered ware from Walsh in 1815 and 1816 and wrote on 13th Nov 1815 that a consignment from Walsh was "Good Ware & the neatest Pottery I have open'd", see Roger Pomfret's transcription of the Matthew Smith Letter Books in NCS Journal Vol 26 (2010), p69). 


In February, Len sent in an enquiry which tested my memory for patterns. The picture is of a very uncommon pattern and indeed subject for English manufacturers. NCS Newsletter 117 of March 2000 advised that the design, 217421, was registered by the Liverpool based agents, Carpe, Loly & Co on behalf of an anonymous Staffordshire potter and/or overseas merchant on 16th March 1868.


The plate commemorates an 1866 conflict in Crete between the native Cretans/Greeks and Turkish or Ottoman forces who had ruled Crete for more than two centuries. Nearly 1000 Cretans, mainly women and children, had sought refuge in the Arkadi monastery. After a 3 day siege by 15000 Turkish forces with about 30 cannons, under orders from the monastery abbot, the Cretans blew up barrels of gunpowder choosing to sacrifice themselves rather than surrender.
The Arkadi monastery subsequently became a national sanctuary in honour of the Cretan resistance. The events were from an aspect of European history about which most of us will be totally ignorant.
We are now better informed although we are still without a manufacturer's name !


In the last Bulletin 151, John Pumfrey illustrated a jug titled 'Cray Place' along with its printed mark with the initials GB & B for Griffiths, Beardmore & Birks.
The title actually refers to the building shown on the right in the Bulletin and the picture is a heavily idealised view of the actual house which was built in 1754 and has apparently been described as 'easily one of the most elegant houses in England'. Apparently it was inspired by Andrea Palladio's influential Villa Rotunda at Vicenza, in Italy.
The building shown on the other side of the jug (shown on the left in Bulletin 151), is actually the Gateway to St. Augustine's Abbey in Canterbury, again somewhat more idealised.
Unfortunately, the wrong side was illustrated for the jug in Dictionary 1 (1982) and the mistake, not really an error but certainly misleading, was not picked up in time for correction in the later Dictionary 2 (1989). I also note that the title on the jug shown in the Dictionary is quoted as including the county name Kent (although I am unable to confirm this at such a late date) and has no initials. I have another of these 'Cray Place' jugs, again with the GB & B title mark but with a different shape handle.
I regret to say that I have not, as yet, been able to identify a source print for either of the views.
I would be delighted to hear from anyone who can help, and can be contacted via email at  (Note: change cam to com).
(ED This just proves the old adage that there are two sides to every story !!)




Since my previous article in Bulletin 151, I have obtained more pearlware Ornithological Series items having the same border, from which the initial attribution was made. Fig 1 shows this border, which I mistakenly called leaf buds, when tendrils would have been more appropriate, along with the associated peripheral line.

Ornith Fig 1


Fig 2 shows the base and cover of a tureen with Ornithological scenes, Fig 3 shows the inside of the base, the only mark being an impressed number 1 on the base. Geoffrey Priestman, in his 'Illustrated Guide to Minton Printed Pottery 1796-1836', page 124 plate 6.30 shows a similar base, maker unknown
circa 1815, also with an impressed number 1.

Orni Fig 2

Fig.2                                                                        Fig.3

Orni tureen Fig 4


Fig 4 is a cream tureen and cover. Fig 5 below shows the inside of the tureen, the top of the cover and the associated ladle, all have the same scenes as on the tureen base, but none are marked.

Orni tureen and ladle Fig. 5


Fig 6 shows what is generally known as a pickle tray or pickle set. This has a base with two handles, four squared containers and a trough, all with the same Ornithological scenes, tendrils and peripheral line as Fig 2. The base is shown in Fig 7. All items have an impressed number. Two squared containers have number 3, one has 6 or 9 and one has 18. The trough and the base have 17. 

Orni Fig 7 and 8

Fig. 6                    

                                             Fig.7                                                       Fig.8

Richard Halliday in his article in the Transferware Collectors Club Bulletin 2010 Spring/Summer Vol XI No 2 has drawn attention to a similarly shaped pickle set in the British Views series long attributed to Hicks and Meigh. The handles of the bases on both trays appear very similar.
The Ornithological series base handle is shown in Fig 8 below. The similarity of the shapes and handles of the Hicks and Meigh Ornithological Series and the British Views series, and the accepted attribution of British Views to Hicks and Meigh has been helpful in the attribution of the pickle tray along with the other shapes and patterns to Hicks and Meigh.