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19th Century, 20th Century, Articles, Black Printed Mark, Blue Printed Mark, England, Great Britain, Marks, Other Colour Mark, Printed Marks, Red Printed Mark, Worcester

Dating Royal Worcester 1867 to 1927

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

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18th Century, Articles, Blue and White, Blue Painted Mark, Germany, Marks

Limbach 1788-1800

Limbach Thurungia, Germany. Late Eighteenth century. Typical hand drawn clover mark used after 1788. The factory closed in the middle of the 19th Century. This teabowl pattern is not unique to the factory – but the quick strokes and confident decoration is. They specialised in quickly produced, simple wares. The teabowl’s large size fits with it being late eighteenth century. As the tax on tea was lifted and tea became cheaper to import – Tea drinking  vessels (which had been small to savour and not waste an expensive and precious commodity) became larger and larger – just as tea caddies went from incorporating locks – to simple lidded boxes and jars. Limbach factories using this mark included:- Greiner (1778-),  Groszbretenbach (1788-), Kloster-Veilsdorf (1797-) and, according to Cushion, it may also have been used by Ilmenau 1786-1792.

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20th Century, Articles, Black Printed Mark, England, Great Britain, Marks, Pottery, Printed Marks, Retailer Mark

Ringtons Ltd and Wade

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.

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20th Century, Articles, Blue Printed Mark, England, Great Britain, Marks, Pottery, Printed Marks, Staffordshire

S Hancock and Sons and other Corona Marks

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) Initials S.H. were used between 1858 – 1891 Printed mark S. HANCOCK 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.   Warning Marks featuring a Crown with the word CORONA on its own, underneath are NOT made by Sampson Hancock and Sons – they are either Gater,

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19th Century, Articles, England, Great Britain, Marks, New Hall, Printed Marks

New Hall

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”

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19th Century, Articles, Blue and White, Great Britain, Impressed Marks

Blue and White Query

Name: Linda     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?   blue-3.jpg blue1.jpg blue2.jpg 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

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17th Century, 18th Century, Articles, China, Imari

English, Japanese and Chinese Imari

When the Ming dynasty fell in the late 17th Century, the Dutch East India Company needed to find alternative sources for importing Porcelain in bulk to meet the increasing demand in the West. Japanese porcelain, shipped from the port of Imari, was cheap bright and colourful –  in contrast to the plain blue and white from China – Imari’s most noticeable export was blue and white underglaze, embellished with gold and iron red decoration. The port name, Imari, is now synonymous with this type of decoration (some Arita ware looks similar but does not include the underglaze blue). Below, this good example of 18th Century Japanese Imari is typically distinguished by the dullness of the gold embellishment, the deep dark Indigo Blue that borders on black (frequently applied with a thick brush)  and the dull orangey-red thickly (and, again, often crudely applied) surface glazed colouring under the gold. When the regular Trade routes to China

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18th Century, 19th Century, Articles, Black Printed Mark, Blue Painted Mark, Blue Printed Mark, Coalport, England, Gold Printed Mark, Marks, Staffordshire

Coalport

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

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19th Century, Articles, Black Printed Mark, Blue Printed Mark, England, Great Britain, Imari, Marks, Printed Marks, Rich Colours, Spode

Spode

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

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19th Century, Articles, France, Marks, Red Painted Mark, Rich Colours

Lerosey – Rue de la Paix

Paris Porcelain – Numerous porcelain manufacturers and decorating studios flourished in Paris from the mid eighteenth century until nearly the end of the nineteenth. Competition was tough and the decorating quality was very high, so it was not unusual for the bases of the porcelain to have considerable detail  – right down to the address from which more could be purchased! This example is by M Lerosey who founded this porcelain decorating studio at 11 Rue de la Paix around 1880. Dating between 1880 and 1890, this mark not only shows his name, but also his address at 11 Rue de la Paix. Several Rue de la Paix manufacturers have been identified – Lerosey, himself had several studios along the road – going back over 60 years to around 1820 when he worked with J Rihouet. As one of the earliest studios in the road this one is actually simply

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19th Century, 20th Century, Articles, Blue and White, Blue Painted Mark, Blue Printed Mark, Denmark

Dating Royal Copenhagen

Royal Copenhagen has used the three wavy water lines to identify their porcelain since it started in 1775 – Early pieces frequently include a dot in front of the waves. The mark was not very consistently drawn, often with quite flat waves that look quite rushed- presumably each workman had their own slight variant until about 1820. Hand drawn lines usually indicate manufacture before 1885. The example to the left is pre 1840. Between 1885 and 1890 the lines are more uniform – either done with a three nib pen or as a print. From 1889 a circle was added over the lines – inside which was a crown between the curved words Royal Copenhagen. From c. 1890, export ware featured a small crown over tiny waves over the word Denmark (spelled in English) in a circle over three larger waves. The circle was dropped from non export marks. Between

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16th Century, 17th Century, 18th Century, 19th Century, Articles, Blue and White, Blue Painted Mark, Blue Printed Mark, China, Marks

Chinese Reign Marks

Collecting old chinese pottery and porcelain is not as expensive as some might have you believe. For example in Spain there is a love of Blue and White that spans generations and cultures. You can find pieces in most places that you look and many will be chinese. However, whilst very old and splendid pieces might horribly expensive, small pieces can still be bought with a limited budget – if you have the enthusiasm to look. The two rules to remember are 1) Having a mark on the bottom, like the reign marks in the picture for this article,  does not mean that it really dates from that period. 2) Having no mark at all does not mean that it is valueless, just that the piece did not need to be stamped to sell – so was probably not intended for export. So what does the reign mark on Chinese

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