From Bulletin 153  October 2011.



HERCULANEUM CHERUB MEDALLION BORDER SERIES - A NEW VIEW AND A PUZZLE 

from BRIAN HAWTIN


My thanks to Dick Henrywood and Peter Hyland for their comments on this unusual square quatrefoil dish from the attractive Cherub Medallion Border or British Views Series to use the factory name and on which I have drawn for this article. The dish is the same size and shape as that illustrated on page 120 of Peter Hyland's 'The Herculaneum Pottery', which has a view of LANCASTER and is impressed with
'HERCULANEUM 12' - but there are two key differences.
My dish shows an unrecorded view of WARWICK CASTLE (fig1) in the usual printed series cartouche and is impressed '10 HERCULANEUM' (fig 2). This brings to 22 the number of recorded views in this series. The use of different trade 'sizes' on identical dishes is noteworthy; their actual size is 8 inches. Second, the border on the face of the dish and its overall design (fig 3) differ markedly from the usual style for this series. The narrow border is confined to the rim and, unlike the LANCASTER example, does not extend into the face of the dish. It is not a trimmed version of the normal border but has been specially engraved. The medallions contain bunches of grapes, rather than the 'bacchanalian boys' and pitcher but are very much in keeping with the 'vine' theme. The normal border and genesis of the dish only become apparent on looking at the underside (fig 4).

Warwick Castle Herculaneum

Without the usual border, the dish is perhaps less striking but the overall design and the large central view still make it an attractive piece. The standard of potting and printing, on the face of the dish, are well up to Herculaneum's normal high standards. The pooling of blue glaze around the footrim might suggest that it is an earlier rather than later piece but Peter Hyland gives the dish a late 1820's date, later than the normal border series. Herculaneum produced the series up until about 1830 also issued it in black. Dick Henrywood thinks the style of the engravings suggests an 1820's date for the series, rather than 1815 to 1820. Two of the source prints were not published until 1821 and 1822. Why then is the design and incidence of the WARWICK CASTLE dish so unusual? The standard border (fig 4) underneath the dish lacks the usual definition and was probably printed from a well worn copperplate, this may well offer a clue.
Perhaps the print was deemed acceptable where it was less visible but not for the face of the dish, hence the use of the narrow border as a cheaper alternative to re-engraving the standard copper plate. As the view of LANCASTER was taken from the copper for a dinner plate, and also used for a shell dessert dish and hot water plate, perhaps the engraving had also become very badly worn by the late 1820's and was no longer up to standard.
If this line of argument holds water, was the WARWICK CASTLE dish a replacement for an earlier quatrefoil dish with the view of LANCASTER? Possibly - but even if so that still does not explain the choice of the WARWICK CASTLE pattern! The fit of the print suggests that it was engraved specifically for a square dish, unlike the LANCASTER view which was adapted from the copper for the dinner plate. It seems improbable that the factory would have gone to the trouble, and expense, of engraving a new view simply for a replacement dish. Further, the WARWICK CASTLE view is a tight squeeze on the quatrefoil dish, which suggests that it may have been intended for a slightly larger size of plate or dish. For example, it would be a good match for the dimensions of the deep footed square bowl with a view of Knaresborough (Dictionary 2/121). Conversely, why not use that view as a replacement for LANCASTER on the quatrefoil dish?
Pulling these strands together, is there a possibility that Herculaneum produced square vegetable dishes or bowls, as yet unrecorded, with the WARWICK CASTLE view in addition to the standard circular and oval shapes illustrated in B&W IIp73 and Hyland p94? One might speculate that they did not prove popular and/or were superceded by the recorded shapes for some reason, analogous perhaps to the way in which the oval shape dishes in Spode's Caramanian series were superceded by the rectangular shapes?
Comments from members and reports of any other sightings of WARWICK CASTLE pattern and the narrow border would be welcome.

MOUNTAINIER Pattern, FERRYBRIDGE – from ALAN TOMLINSON

The pictures show both sides of a shard recovered from the Ferrybridge site. The mark was included in an article we did for an NCS Journal some time ago but not the pattern. The pattern name quite clearly is 'Mountainier'. The reverse also includes an impressed 'Prince of Wales' feathers mark, a mark found with Benjamin Taylor pieces, circa 1840's. Blue & White Dictionary I page 136 (& part II, page 81) sets out the various partnerships at Ferrybridge. It would be both helpful and interesting if any member can show the pattern details in full plus, of course, additional information, if any.

Mountainier




3 TOYWARE TEAPOTS
from JENNIFER SOAN

Toy teapot 1

Teapot 1
I have seen several pieces of toyware in this pattern but I do not recall seeing full-size wares (Ed).
Distinctive border, buildings and figure carrying a basket on his head, pattern name not known.

Toy teapot 2


Teapot 2
The same pattern appears on both sides of this teapot. This shape is very similar to the small teapot shown in Geof Priestman's Minton book on p36 showing Domed Building pattern. The Minton spout is just a bit more graceful, probably. Do we have a pattern name ?

Toywares 3


Teapot 3
The shape of this teapot is very similar to teapot 2 but NOT identical. Here we have resting cattle on one side and a rural landscape including another figure with a basket of his head. Again most pieces seen are of toyware size and again do we have a pattern name ? Jennifer comments that although not chinoiserie, the robes are certainly not typical of English country folk. None of the pots have any mark.


PATTERN ASSOCIATED WITH QUEEN OF SHEBA II pattern   from Trevor Kentish

In the last Bulletin, page 6, I illustrated an unidentified pattern connected to Queen of Sheba II pattern. I show alongside, a recent purchase in the same pattern on an uncommon shaped sucrier. If any member has a sucrier of similar shape, I would be delighted to have the pattern details. Except for a printed 'T' or partly formed cross, it is unmarked. A pencil note on a scrap paper inside it offers a possible clue 'Herculaneum - Greek key sucrier, shown in Liverpool Museum'.

Queen of Sheba sucrier


LADY OF THE LAKE - a further maker   from  JENNIFER MOODY 

Here we go again! Pictures are of a 'London' shape teabowl and saucer, both with the printed ribbon mark 'Lady of the Lake'. The saucer also bears an impressed 'HEATH' mark. The interior of the teabowl has an additional border of roses and flowers below what I will describe as the standard Careys border (however, is Careys now the 'standard' or should it be Adams or Heath?). The London shape seems to imply a reasonably early date, also John Heath ceased potting in 1823 (B&WII p173).

Lady of the Lake


BOVEY TRACEY - A 'NEW' PATTERN -- INDEO LOVE-BIRDS
from TREVOR KENTISH

Although printed in a blackish tone, both black and blue prints are known on some Bovey Tracey patterns and this 'new' pattern could possibly be found in blue and awaiting identification. The main feature in identifying this pattern as Bovey Tracey is the border. The border is described in 'A Potwork in Devonshire' as a distinctive conifer border pattern, probably unique to Indeo Pottery. This pattern is not seen in the Adams & Thomas book on the Bovey Tracey potteries. The main print shows two 'love birds' to the interior plus the conifer border and outside, each repeated twice, are the love-birds print and a smaller bird with a garland in its beak. As is shown below, the coffee cups have printed on the base, a Worcester-style open crescent mark, whilst the bowl has a partly-formed piece of the same mark.

Bovey Tracey love birds

BRAMELD's CONISBROUGH CASTLE pattern

from TREVOR KENTISH

The excellent Rockingham 1745-1842 book by A&A Cox also includes Brameld's transfer-printed wares. Page 136 shows the uncommon Conisbrough Castle print on a saucer which I show here on a teapot, sadly lidless. The teapot shape is also seen on the same page in the Cox's book which they date to c.1810-15.
They comment that at first sight the print seems to be a romantic landscape. The design does show an actual view with the impressive local landmark of the Keep of Conisbrough Castle standing at the top of the print and with a barge(?) in the foreground on the River Don. The same print appears on both sides of the teapot which stands 4.5" high at the collar.


Conisborough Castle.  Brameld.