A Question mark or astrological symbol, with the pattern, shows this to be the Welsh Cambrian Pottery (1764 – 1811). This is not the only mark of this type used by the pottery – will post more later
Dartmouth Pottery acquired Ashley Clough, Buckfast Potteries around 1958 and absorbed the Design part of the business into a new venture called Britannia Designs. It specialised in souvenir items and was well-known for the Jam pots it produced and decorated for Elsenham Jam and Preserves. [Read more on the Torquay Potteries website, here ].
The modern Royal Worcester mark (without the words Royal Worcester England and the dots) was first introduced in 1862. Initially two numbers in addition to the logo indicated the date (eg 63 for 1863 impressed or printed).
In 1867 the number was printed or replaced with a Capital letter (starting with A and continuing to M in 1877 – neither F or J were used). In 1878 capital letters replaced the numbers completely and from 1878’s N continued through to 1888 and Z (missing out O and Q). The O was used in 1889. In 1890, the latter a appears in lowercase – clearly intending to follow the previous pattern, however, the McKinley Tariff Act meant the the country of origin had to be included on all export ware, so the logo was redesigned to include the words Royal Worcester England around the outside of the circle (with no dots or date mark for 1891).
From 1892 dots were introduced, to the left and right of the Crown, to indicate the year, starting with one dot (on the left) for 1892
The following year a dot was added to the right, the year after another to the right and so on until 1903 by which time there were six on both sides of the Crown.
The following year (1904) a dot was added underneath – in 1905 two dots and so on until 1915, by which time there were six dots on each side of the Crown and 12 underneath the circle making a total of 24.
For most pieces this was now unwieldy so the dots underneath were replaced by an asterisk in 1916 to which a dot was added each following year until 1927.
Quick Reference for dating Royal Worcester 1867 – 1927
In 1907 Leeds business man Samuel Smith started selling Ringtons Tea in Newcastle with little more than a horse and cart and an investment from William Titterton, who he was able to buy out by 1914. By the 1920s they had started to sell Chintz and Willow patterned Ceramics aimed at tea drinkers.
Ringtons Limited Tea Merchants has remained a family business and now supplies Tea and Coffee world wide.
James Sadler and Wade Potteries (now Wade Ceramics) have both made bespoke ceramics for Ringtons and they continue to commission exclusive ranges of pottery for their shop, now.
English Retailer: H. Miller, China & Glass Depot, Seaton, Devon [SSS] – Victorian
Royal Corona Ware (also known as Corona Ware) with a very similar mark was made by Sampson Hancock and Sons from 1912 until 1937.
Sampson Hancock was started in Tunstall around 1858. In 1870 they relocated to the Bridgeworks in Stoke. Primarily an Earthenware manufacturer, Hancock’s popular wares were inexpensive. (the hand drawn numbers in the picture are pattern numbers)
were used between 1858 – 1891
was used from 1858
S. H. & S.
S. H. & Sons
1891 – 1935
Other marks from this factory – including ones using the word MAGNET or THE “DUCHESS” CHINA – all either feature the company initials or the factory name within the design. The word England was added after 1891.
Marks featuring a Crown with the word
on its own, underneath are NOT made by Sampson Hancock and Sons – they are either Gater, Hall and Company (1914 – 1943) or by Barratts of Staffordshire (who took over Gater Hall in 1943). From 1943 on they also used a mark incorporating the words
After Longton Hall’s unsuccessul efforts to produce porcelain, New Hall became the first Pottery to produce a recognisable and commercially viable porcelain body in Staffordshire, in the 1780s. (http://www.thepotteries.org/features/new_hall1956.htm)
New Hall is always popular with collectors. As a result, it is hard to find marked pieces that are “low budget” – and pieces with the New Hall stamp will command a high price.
Unmarked New Hall, although “affordable”, can easily be confused with wares from its many competitors all using the same decorative features. The “trick” to collecting New Hall (not to be confused with the later reincarnation in the late 19th Century) is to understand the significance of the pattern numbers (and have a good reference book to confirm that the pattern number you see corresponds to the decoration on the piece). Two of my favourite bibles for collecting New Hall are “A Guide to New Hall Porcelain Patterns” by Anthony de Saye Hutton and “New Hall” by David Holgate.
Here are a couple of New Hall pieces.
|Message:||I have recently purchased a very old dish, that I think may be ironstone, and bears only a very faint impression on the back. Can you help identify it from the attached please?|
At first glance it appears to be similar to the Davenport Marks such as this http://www.thepotteries.org/mark/d/davenport2.jpg but the style and quality of the ceramics doesn’t gel.
I have tried enhancing the details of the mark, but it is not very clear – it could be an Omega symbol
But I think it is more likely that the mark is a letter G – in which case it is not a factory mark at all, but a size / pattern mark.
As this is clearly a ceramic piece made from a mould and the mark is raised, so was incised or stamped into the mould before the liquid ceramic clay was poured in – this is the most likely explanation.
Sadly, that doesn’t help with identifying the maker – but, the lack of other marks does help with the dating. I would put it as early nineteenth century – it isn’t ironstone as the paste is too soft. The dark colour and the simplicity of the design is interesting. Although the manner of the application of the transfer suggests that it did not come from one of the major manufacturers.
Modern pieces of Coalport are clearly marked. What is less well known is that the Factory also used marks that imitated other factories, particularly in the early 19th Century. Coalport also absorbed other factories and incorporated their marks in its own – including the crescent moon used on Salopian ware by Caughley and the S and N of Swansea and Natgarw
Spode reputedly bought William Turners Stoneware patent some time during the second decade of the Nineteenth Century, with items classed as stoneware appearing from around 1815. Experimentation with Felspar and other additions to the formula saw a patent for “New Stone” filed around 1821, with pieces primarily featuring oriental style designs appearing by the following year. When Copeland Garrett took over the factory in 1833, the mark was retained. Pieces of this style and with comparatively early pattern numbers like the one illustrated below fall into the early and original Spode New Stone era and this plate dates from around 1822-1825