Period Advertising from New Zealand

The huge amount of scanned newspapers online is a boon for anyone researching the past. Recently I have been searching through the old newspapers of New Zealand and have found lots of fascinating advertisements for Crown Ducal and even a mention of Charlotte Rhead. This post presents some that are useful in helping with the Crown Ducal production history, they have illustrations, names or enough text description to identify patterns and of course the newspapers are dated.

Pattern 1479 Regent shaped tableware

The earliest advertisement I have selected is for pattern 1479 a coloured lithograph design dating to 1927. It was one of the earliest designs to use the Regent shape for tableware. As yet I have not discovered a pattern name for it but it seems to have been quite popular.

The Otago Daily Times 21st November 1928
Copyright owner is Allied Press Ltd

Pattern 1479 on Regent shaped plate

Pattern 2800 Aztec vase by Charlotte Rhead

It is lovely to see the Rhead attribution in this advertisement from the D.I.C. store in Dunedin showcasing items from the British Industries Fair of 1933. It hardly needs pointing out but there is a sketch of a pattern 2800, Aztec shape 152 vase. It is actually quite a rare pattern/shape combination. I have recorded only three such vases for sale during 20 years of observing these things. Perhaps they are all treasured in New Zealand homes.

The Otago Daily Times 16th September 1933
Copyright owner is Allied Press Ltd 

Aztec pattern 2800 on shape 152 vase

 

Tableware pattern like 2833 on Victory shape in different colours

I am reasonably confident I am on the right track with identifying this pattern. The sketch fits the pattern. The description of yellow border with black inner lines is close, but there is a good chance that the advertisement is describing pattern 2833 in different colours. Perhaps the inverse of the black and yellow example below, but instead with yellow semicircles and black inner band. The pattern number would precede the designs of the surviving pattern books so there is no reference source. It is just a matter of waiting until an example turns up.

The New Zealand Herald 11th July 1935
Copyright owner is NZ News & Media

Pattern 2833

Pattern like 2833 in different colours

 

 

Snow glaze coffee set - probably pattern 4626 Yukon

I do not have a picture of a coffee set but my best guess is that this advertisement would be for a coffee set in the Yukon pattern. The centre lithograph is the only contender for an "English posy design"

The Evening Post 7th February 1938
Copyright owner is Fairfax Media

 

Pattern 4626 Yukon

 

Nine different tableware patterns

One advertisement is a research project in itself. It is for James Smith's, the Wellington department store and has descriptions of 9 Crown Ducal tableware designs, most of which can be identified or at least reduced to a small choice of options.

The Evening Post 23rd August 1938
Copyright owner is Fairfax Media

Taken in order:

"Sheffield" is the undecorated, ivory glazed Sheffield shaped embossed tableware. For those unfamiliar with the Sheffield shape have a look at the Winston Churchill plate - the last item in this post - which an example of a decorated Sheffield plate.

"Ferncroft" is probably pattern number 5196. Cotswold shape, green glaze with the Ferncroft lithograph border. The example illustrated is not part of a dinner set but the glaze, lithograph and pattern number are the same.

Pattern 5196

"Rosalie" is a well known long running pattern for which I have never found a pattern number. The Rosalie transfer is usually found on the Florentine embossed ivory tableware shape and with a gold edge. I have written about this pattern in a previous post. https://rhead-crownducal.blogspot.co.uk/2013/10/crown-ducal-period-advertising.html

"India Tree" lithograph pattern on Avon, Windsor and Ionic shapes with snow glaze is the one in the photograph. It is pattern number 4802.

Pattern 4802 large plate

"Classic" is a little trickier. I have not found this pattern name in Crown Ducal documents, but the description of  'cobalt blue with richly embossed gold border' reduces the options to probably either pattern 5055 "Admiral" or 5056 "Colfax". They are very similar, Avon shape with white glaze. Admiral has a gold inner line whereas Colfax has a gold paste printed inner border.

Patterns 5055 Admiral (top) and 5056 Colfax (bottom)

"Majestic" is another unfamiliar name, but the description, 'powder blue with richly embossed gold border and colourful centre piece of casket of roses", means it is either pattern 5080/81 or 5304. Again, they are very similar, Avon shape with white glaze, the floral centre is the Roma circular lithograph designed by William Johnson. The ambiguity over 5080/81is because 5080 meets the description in the pattern book with powder blue band whereas 5081 has powder pink band but all examples seen seem to have had 5081 on the base whatever the colour.  5080/81 has the powder blue colour extending to a large central lithograph, whereas 5304, has a narrower band and smaller central lithograph so that a large area of the plate is white glaze.

Pattern 5081

"Dawn" is also an unfamiliar name. I believe it may be pattern 5195, Cotswold shape, with yellow glaze and the Ludlow border lithograph. There were several patterns created using either the yellow or green glaze and having previously popular lithographic borders most of which include scarlet flowers and green leaves. The Ferncroft mentioned above is from this group of patterns. The picture below is the Ludlow border on ivory glaze to show the lithograph design. The way it might be used for "Dawn" is likely to be different with the border applied to the outside rim of the cups.

"Dawn" is probably the Ludlow border illustrated here but with yellow glaze

"Madeira" Is an as yet unidentified pattern. But I would propose that it might be pattern 5101 with a green band. The picture below is pattern 5101 with a blue band and is known as "Concord". Pattern 5102 is very similar but with a second gold paste band beneath the coloured stripe. Both patterns are recorded in the pattern book as having been made with green bands but I have yet to see an example.

Madeira may be like pattern 5101 but with a green band.

"Oxford" The Crown Ducal name Oxford is reserved for a maroon version of 5056 Colfax mentioned above under the "Classic" pattern notes. Since the advertisement suggests it matches the "Majestic" dinner service but without mention of the floral lithograph then the best match would be either the powder blue version of 5055 "Admiral" which would be named "Galway" or the the powder blue version of 5056 "Colfax" which would be "Ashley".

Pattern 5187 cake plate with pictorial print and enamel centre

This is one of  the many print and enamel centred cake plate designs that were produced for Gainsborough and Florentine embossed plates. They rarely appear in the UK but seem more common in New Zealand. This description forms part of another advertisement for the James Smith's store.

The Evening Post 25th August 1938
Copyright owner is Fairfax Media

Pattern 5187 on Gainsborough shape cake plate

Pattern 4794 Kashmere

It is an awful picture, but there is no doubt that there is a Charlotte Rhead tube-lined vase, shape 213, in the Kashmere pattern 4794 in this advertisement. The jug and other vase, (shape 212), are described as in autumn tonings but the image does not give a clue as what the patterns might be.

The Press 11th November 1938
Copyright owner is Fairfax Media

Kashmere pattern 4794 on shape 213 vase

Pattern 5540 Pansy chintz

From its earliest days Crown Ducal always had one or two chintz patterns on sale and the 1930s and 40s were no exception. The Pansy Chintz, pattern 5540 was introduced in 1938 and some variations of it with combined with gold floral prints either on the rim or in the centre became quite popular in New Zealand in the 1940s. This advertisement would be referring to the the original pattern.

Lake Wakatip Mail 11 July 1939

Pattern 5540 Pansy Chintz

Patterns 5800 and 5801 with Delamere print

Here we have another nicely illustrated print design with coloured washband. The Crown Ducal name for the print is Delamere, the name given to its first use pattern 5647. These later versions are named "Juliet" in green, (5800), and "Miranda" in fawn, (5801), on the Avon shape tableware. They were designed in early 1939 and so like some of the other lines it takes about a year for, the showcasing, ordering, manufacturing, distribution and local advertising to run its course.

The New Zealand Herald 7th March 1940
Copyright owner is NZ News & Media

Delamere print on Avon shaped tableware Juliet in green (5800) and Miranda in fawn (5801)

 

Pattern 6356 Winston Churchill cake plate with photographic print centre

The Winston Churchill plate is one of the last designs to be recorded in the pattern book before war time restrictions brought pottery decorating to a virtual standstill. The pattern number is 6356 and the last pattern entry is 6367. The printed image of Winston Churchill is believed to be created from a photograph taken by Cecil Beaton at 10 Downing Street on 20th November 1940. The embossed plate style comes from the Sheffield tableware range but examples can also be found on square plates from the Florentine tableware range.

The Otago Daily Times 3rd August 1942
Copyright owner is Allied Press Ltd 

Pattern 6356 Printed Churchill photograph on Sheffield shape plate

End note

There are plenty more Crown Ducal advertisements to document from this period, particularly yellow or green glazed tableware which seems to have been very popular. The difficulty is that a lot of it was not decorated with enamels or lithographs and the Crown Ducal pattern books are useless when it comes to recording these plainer designs. And, since they did not pass through the hands of enamelers there are no pattern numbers on the base. For example, there are advertisements for the salad or crinkle ware, Queen Anne shape and Cotswold shape in either yellow or green and stitched edge Cotswold tableware in these colours too. The only advertisements I am confident of linking with known numbered patterns are the yellow or green glaze Queen Anne and Cotswold shaped tableware with wide gold edge bands. These are patterns 5082, (green) and 5083, (yellow). The company appears to have used the same pattern number for both shapes.

"Aztec" Inspired Tube-Lined Cotswold Tableware

Edited 5th December 2017

A tube-lined coffee cup and saucer came up for sale recently and I was unable to resist! I call this the "Aztec" tableware design simply because of the stepped line motif and the same little tubed rectangles that Charlotte Rhead used in her Aztec pattern 2800.

The design is simple but must have taken a lot of effort, much more so than the stitched edge tableware. I wonder if the tube-liners had to mark out the line lengths before applying the slip before tube-lining, or whether their practised eye meant the ends of the stepped line would always join up correctly. Not to mention all those fiddly small rectangles.

Group of "Aztec" tableware on Cotswold shapes

There are four versions of the design in the pattern books. The tube-lining with black slip is identical for all of them, they just differ in the colour decoration.

Pattern 3213 has scarlet and gold filled pairs of rectangles, gold edge and scarlet and black inner lines. Having the gold probably means this was the expensive version.

Detail of pattern 3213

Pattern 3219 has scarlet and orange filled pairs of rectangles, scarlet edge and scarlet and black inner lines.

Detail of pattern 3219

Teapot in pattern 3219

Many thanks to Carole for sending me a picture of her teapot in pattern 3219. Tableware with handles and knobs, particularly tureens and teapots, are the best for showing off the embellishments that add interest to Charlotte's designs.

Pattern 3220 has scarlet and orange filled pairs of rectangles, orange edge and orange and black inner lines. I have yet to see an example in this colourway.

Pattern 3223 has just the tube-lining and no coloured decoration.

Detail of pattern 3223

All the examples I have seen have AGR1 backstamp style which includes the Cotswold shape registration number. This style was used until about the end of 1934. The design date of these “Aztec” tableware patterns is estimated to be October 1933 and because examples are not common I doubt production continued for long.

Backstamp style found on these designs

In my notes for these designs I have recorded the observation that someone brought  a similar coffee cup and saucer in pattern 3223 shown above for Bernard Bumpus to comment on at the Charlotte Rhead Collectors Day on 30^th July 2000. Since then, there have been very occasional examples for sale on Ebay. Some wide rimmed soup bowls and cream and sugar set in pattern 3213 and coffee pot in pattern 3219. So I am fairly sure there are more examples circulating or in peoples collections.

Tube-Lined Stitched Edged Tableware Designs

Pattern 3049 is the most easily found of the Crown Ducal “Stitched Edge” tableware designs. The February 1934 edition of the Pottery Gazette reported that:  

"Another new pattern that is sure to please, and which seems bound to result in solid business, is the "Stitch", a pattern which, though characterised by simplicity, has a strong power of appeal. This pattern, which is also depicted in the group photograph here reproduced, is offered in three different colourings, and at a very moderate price. It consists of a rather intriguing manipulation in tube-lining under the glaze, and is applied to the new "Cotswold" shape, which conveys the impression of pottery that is produced on the wheel by means of throwing and turning." 

The photograph from this article is shown below.

Stitched Edge (3049) Cotswold tableware on the right. Also shown are either Rialto (3140) or Belfast (3154) on the left and Daffodil (3234) in the centre.

Below are a few newspaper advertisements from around the world which would support the idea that the tube-lined stitched edge tableware was a commercial success.

Stitched Edge Cotswold tableware advert in a USA newspaper, The Binghamton Press of 27 March 1934.

Stitched Edge Cotswold tableware advert in a Canadian newspaper, The Montreal Gazette of 25 January 1934.

Stitched Edge Cotswold tableware advert in an Australian newspaper, The Adelaide Advertiser of 18 October 1935

Pattern 2864 is is believed to be the earliest recorded tube-lined tableware design for Crown Ducal by Charlotte Rhead. No examples have a pattern number on them, nor does a pattern book exist with this number. However, the evidence comes from the entry for pattern 3168 where the design for the large, black stitched edged trays and salad bowls is recorded. The number 3168 is crossed out and a note “Use 2864” written beside it. A similar note is beside entry 3167 which is the alternating black and orange large stitched edge design which says “Use 3049”. Pattern 3049 is present in the pattern book as the equivalent black and orange stitched edge Cotswold tableware, therefore it is reasonable to assign 2864 to the black slip version.

This suggests that the Cotswold tableware range were the original stitched edged designs. A little later, the much larger stitches on the "USA" salad bowls and trays were given different pattern numbers but by the time production had begun all shapes with the same colour stitches had the same original pattern numbers.

The third stitched edge slip colour often found is matt blue for which the pattern number is unrecorded. But 3171 is the number for blue stitch on the large salad bowls and trays, so that is the number I use based on the principle used in the pattern book for the other colour versions.

Pattern 2864 stitched edge design in black slip on Cotswold shape coffee duo

Pattern 3049 stitched edge design in orange and black slip on Cotswold shape trio

Pattern 3049 stitched edge design in orange and black slip on Cotswold tray or 17" charger and its base markings

Pattern 3171 stitched edge design in matt blue slip on Cotswold shape coffee duo

One interesting discovery from this research is that the orange and black, 3049, pattern is clearly given a name in the pattern book, but is difficult to read. Bernard Bumpus must have had the same problem because he scoured the books for pattern names but never put this one in his books. Below is an image of the name. My interpretation of it is "Niva" For a while I struggled to make sense of this until an internet search found out it is a girls name that may have been more popular in the early 20th century than today.

The pattern name for 3049 is Niva?

Examples of pattern 3049, Niva, tableware have been seen with an extra backstamp "EXCLUSIVE TO HARRODS KNIGHTSBRIDGE LONDON, S.W.1." which would have been a useful endorsement of the design. Another observation is that some items have the AGR3 backstamp style indicating they were produced in the mid 1950s after the WWII restrictions of decorated pottery were lifted and indeed after Charlottes death.

Before leaving the plain stitched edge Cotswold tableware of 1933, the other colourways should be recorded. None of which have been seen to date.
3048 Orange slip (Not yet seen)
3050 Crimson slip (Not yet seen)
3051 Alternating black and crimson slips (Not yet seen)

Pattern 3122 is a development of the plain black stitched edge Cotswold tableware (2864). In the pattern book there are three possible colour schemes for the enamelled printed centre, but two have been crossed out, possibly at different times. The floral design is printed in black and then enamelled either in yellow, orange and two greens which is the surviving version in the book, or yellow, fawn, crimson, peach and blue. The third version is similar to the first in greens, yellow and brown but with higher contrasting colours

Two colour variations of pattern 3122

One has to speculate as to whether or not this is Charlotte's first foray into print design. Crown Ducal was enjoying the success of the print and enamel Sunburst design and perhaps this is Charlotte's attempt at combining the current fashion for simple colourful floral prints with her trademark tube-lining. Certainly it is a  pleasing design and was quite successful since examples appear for sale quite frequently, especially in the USA.

Charlotte was busy in the summer of 1933 with her tableware designs. Again, using the black stitched edge format she created her nurseryware series.

Nurseryware series 3130-3135

The patterns are:
3130 The maid was in the garden
3131 Who said dinner?
3132 Is it carrots?
3133 Little Boy Blue
3134 Tom the pipers son
3135 Red Riding Hood

Several other nursery ware designs were made that do not have pattern numbers, these may have been samples or commissions. But "Who's afraid of the big bad wolf?" and "Polly put the kettle on" appear occasionally and so these designs probably went into production too.

A study of the backstamp styles suggests that patterns 3131, 3133 and 3135 continued to be produced while Charlotte remained at Richardsons and for patterns 3131 and 3133 continued after she had left. Little Boy Blue has been seen with the AGR4 backstamp style which probably means they were still being made in the 1960’s. This makes Little Boy Blue her longest running pattern in production, almost thirty years.

It is interesting to note that the number of  Little Boy Blue and Who said dinner? items made during the the WWII restrictions period of 1942-1952 greatly exceeds the total nurseryware production  made outwith this period. Perhaps about a quarter of these have been found outside the UK in the usual Crown Ducal export markets. But even so, is it possible that the nurseryware was exempt from the restrictions on the public being able to buy decorated pottery? Or just the result of a consumer requirement caused by the post war 1946 baby boom!?

The next group of pattern numbers are those that introduce the "USA salad bowl and tray" designs. The trays are usually displayed as large wall chargers because the base rim is pierced for a hanging wire. They were clearly designed for the USA market, where most examples have been recorded, and quite possibly at the request of Richardson's agents in New York, Maddock & Miller. Bernard Bumpus quotes in his book from an advertisement for the company that mentions that there are twelve decorations stocked and the advertisement included a picture of the Blossom pattern. I have not been able to track down the reference yet and without any further information it is difficult to identify the twelve specific designs. Also it is not clear if all the designs were tube-lined, and if one includes the enamelled designs produced on these shapes and the tube-lined trailing laurel leaf border designs as well, then it is easy to exceed 12 decorations.

The designs with large stitched edges are:
3167 Alternating black and orange slips (Use 3049)
3168 Black slip (Use 2864)
3169 Alternating black and orange slips with fruit tree centre
3170 Alternating black and orange slips with dragon centre
3171 Matt blue slip
3172 Alternating matt blue and Danube blue slips with fruit tree centre. Tree trunks are Danube blue, leaves and pebbles are matt blue and the apples are in salmon slip.

Pattern 3172

3173 Cotswold shape matt blue slip stitch on top of plate instead of over edge. (Not yet seen)
3221 Alternating matt blue and Danube blue slips with bird centre. (Not yet seen)
3257 Alternating matt blue and Danube blue slips with Blossom centre.
3258 Alternating black and orange slips with Blossom centre
3259 Alternating black and orange slips with  fruit tree centre (Use 3169)

Up to this point most of the tube-lined tableware designs will be familiar to collectors, either from examples seen or from reading "Collecting Rhead Pottery" by Bernard Bumpus. But we have hardly started. Charlotte continued to design more and more tube-lined tableware designs. Mostly for the Cotswold tableware shape, but also a lot for the Queen Anne shape that was popular in the USA, and to a much lesser extent patterns were made for the No 3, Florentine, Avon, Windsor and Regent ranges. Almost all of these are as yet unseen and I would be surprised if many went into proper production.

I will limit these notes to designs with either the simple or large tube-lined stitched edge. The first is a beautiful piece of tube-lining design on a tableware plate, although it is impossible to imagine it being used as tableware, it must have lived in the china cabinet.

3260 named "Florentine" (not to be confused with the Florentine tableware shape range!), which is also the name of the centre design which is similar to the Blossom centre design. There is a trailing twin stem border in the verge. The shape range is not specified, but the sketch of the rim is not perfectly round so it will be one of the moulded tableware ranges with gently scalloped plate rims. I am quite sure it is the No3 shape range as it has moulded dentilled edges which can accommodate the modified shape slip stitches. There is also a design detail for covered dish handles so it has to be a tableware shape range and not fancies or salad bowls and trays. The stitches are tube-lined slip covering the dentilled moulding of the plate.

Pattern 3260 Florentine, the stitches overlay the dentilled moulding of the No3 shaped plate.

3261 Alternating matt blue and Danube blue stitched edge "Grindley Hotel". A rather ambiguous description but since Grindley Hotel Ware was made by another pottery company, was this perhaps to be a joint venture with Richardsons applying  tube-lining to Grindleys hard wearing vitreous china for the hotel and restaurant market. (Not yet seen)

3262 Shape range No3 which is the heavily embossed tableware range with fruit trees and various fruiting and flowering plants on the plate shoulders. (See picture above of pattern 3260 which is on No3 shape). Trailing twin stem border in the verge and alternate stitched edge decorated in alternating black and orange slip and Blossom centre.This pattern is not properly illustrated but my best guess is that this is the same as 3260 except in different colours and with Blossom centre rather than Florentine centre. (Not yet seen)

3288 Alternating matt blue and Danube blue large stitched edge and dark, (Danube?), blue edge line, Blossom centre on the "New Large Punch Bowl" This is another ambiguous description that appears to be the same as 3257 but with a blue edge line. However the "New Large Punch Bowl" reference implies a different shape and I wonder if this is a reference to the giant 17" diameter bowls which are known to exist from an example of pattern 3191, the sailing ship design. (Not yet seen)

3347 Trailing twin stem border in the verge and alternate stitched edge decorated in alternating black and scarlet slip. Shape range not specified but the sketch it for the square plate with scalloped edges which may be the Regent range. (Not yet seen)

3370 A drawing but no description! Essentially as 3260, alternating matt blue and Danube blue stitched edge, trailing twin stem border in the verge, and Florentine centre. But, tableware shape looks to be round with scalloped edges, (Regent?), and is adjacent to other tableware designs with yellow glaze instead of the usual ivory and the sketch is shaded yellow like those. (Not yet seen)

3375 Essentially as 3260, alternating matt blue and Danube blue stitched edge, trailing twin stem border in the verge, but with Blossom centre. Round tableware shape shape with scalloped edges, but explicitly noted as No3 shape. (Not yet seen)

3376 Trailing twin stem border in the verge and alternate stitched edge decorated in alternating matt blue and Danube blue slips, no centre design. Cotswold shape range. (Not yet seen)

A mysterious group of four patterns, two colours and the words "Big Stitch". No drawings or other description or the ware to apply it to, but I presume them to be tube-lined  because Danube and Matt Blue are slip colours.
3407 Brown & Orange Big Stitch. (Not yet seen)
3408 Black & Orange Big Stitch. (Not yet seen)
3409 Brown & Green Big Stitch. (Not yet seen)
3410 Danube & Matt Blue Big Stitch. (Not yet seen)

3432 Simple green stitched edge on Cotswold. The description does not specify tube-lining, so I use pattern 4108 instead which appears to be exactly the same but does specify tube-lining.

3473 As 3376 only under yellow glaze. (Not yet seen)

3536 An extraordinarily complex tube-lined design on Cotswold shape. Imagine pattern 3376 with the addition of stitched spokes radiating across the plate shoulder from the trailing twin stem border in the verge. Within each segment, (bounded on three sides by stitched lines and one side by the stem border), there is a stem of laurel leaves. They have the same shape as those in the post Rhead era designs for patterns 6568, 6570 & 6571 but are tube-lined in the two blue colours of slip. (Not yet seen)

3537 The same as 3536 but tube-lined in orange and black slips. I have tried to draw the layout of patterns 3536 and 3537 below. (Not yet seen)

A sketch of the coloured slip design for patterns 3536 and 3537 on Cotswold tableware

The next design does not explicitly state tube-lining, but appears so similar to a previous pattern that it may be tube-lined.

3635 as 3376, trailing twin stem border in the verge and alternate stitched edge decorated in alternating green and black, no centre design. Cotswold shape range. (Not yet seen)

3853 as 3049 stitched edge decorated in alternating orange and black on Florentine shaped tableware and with tube-lined decorated handles. (Not yet seen)

4108 Back to the simplest and earliest stitched edge designs. Here we have green slip on Cotswold shape.

Pattern 4108 stitched edge design in green slip on Cotswold shaped sugar bowl

5027 Blue slip sponged solid face with tube-lined white slip stitched edge. (Not yet seen)

5485 Tube-lined blue stitched edge, two blue stitches alternating with one gold painted stitch.Tube-lining under white glaze. Probably Avon and Windsor shaped tableware. Also gold and blue slip decoration on handles and gold line work. (Not yet seen)

5694 Green slip stitched edge on Cotswold shape with yellow glaze. A fairly popular recycling of the design especially for export, with most examples seen in New Zealand.

Patter 5694 stitched edge design in green slip with yellow glaze

5950 Blue slip stitched edge on Cotswold shape with pink glaze. (Not yet seen)

More patterns will no doubt come to light, but collectors should be aware that there are a very large number of stitched edge Crown Ducal designs and many of them are applied with lustres or enamels. If you find an unusual stitched edge design do not assume it is tube-lined. Touch is the best way to determine if slip was used because the decoration will feel raised.

Crown Ducal Period Advertising

Period advertising material for Crown Ducal can be found online in projects that are scanning old newspapers. I found hundreds of examples within a few hours searching, but the majority are not explicit about the pattern and so are of no real value, but I do believe this could be useful resource to help with the production history of Crown Ducal ware.

The main surprise for me was for how long the popular patterns remained in production. One always felt that the well known patterns, Red Tree, Sunburst and Bristol had long production runs, but if one takes the advertising at face value there could have been quite a few designs that Richardsons were able to rely upon throughout the 30s, 40s and 50's. 

Here are a few observations that caught my eye.

Lithograph Rosalie on Florentine tableware shape, ivory glaze & gold edge

Rosalie on Florentine shape, ivory glaze and gold edge

Quite a common pattern and easily found at auction but I never knew how old the design was. The standard Rosalie on Florentine shape, ivory glaze with gold edge is not recorded in the surviving pattern books. The transfer, (made by Ratauds, No.6319), is known to exist from the early 1930s because it exists with other shapes or glazes. There is publicity material for Rosalie in a trade magazine from 1955 but the Florentine shape itself dates to about 1930. There was always the possibility that Rosalie on Florentine could have been either a post war introduction or date to early 1930’s but it is great to have found the evidence of its long production history.

Advertisement in The Binghampton Press 5 October 1943

So far I have found advertisements for Rosalie in the:

Albany (New York) Evening News 2 June 1933

Leader Post (Regina) 15 October 1935

The Binghampton Press (New York) 13 May 1940

The Binghampton Press (New York) 30 April 1943

The Binghampton Press (New York) 5 October1943 (illustrated)

The Knickerbocker News (Albany New York) 6 June 1945

The Binghampton Press (New York) 13 July 1945 (illustrated)

The Binghampton Press (New York) 29 September 1949
Pottery and Glass April 1955

Western Herald (NSW) 20 July 1956

The June 1933 advert is significant because the pattern books start at pattern 2900 which dates to May 1933 and so the pattern probably predates the start of these documents by a few months or a year. Therefore there is good evidence that the pattern remained in production for almost 25 years, (possibly longer).

Empress pattern (4746) on Avon shape tableware

The advertisement shown above with Rosalie also promotes the Empress pattern. This is a design with a known pattern number, 4746, which dates to the summer of 1936. It is one of the earliest popular designs that Crown Ducal created with a rich coloured band on the Avon shape and with gold coloured detailing and floral transfers. The same design was also made with a maroon, (deep pink), band as pattern 4745 and a green band as pattern 4747. I believe the name Empress was used for all three colour versions. The floral transfer was made by the Universal Transfer Co. Ltd. (litho number 8944). For Crown Ducal patterns it is referred to as the Yukon litho after their first pattern that used it. 

Empress pattern 4746 on Avon shape tableware

Advertisements for the Empress pattern have been found in the:

The New York Sun 2 February 1940
The Binghampton Press (New York) 13 May 1940

The Binghampton Press (New York) 19 February 1943

The Binghampton Press (New York) 5 October 1943 (illustrated)

Charm pattern (1790) on Gainsborough shape tableware

The Charm pattern is the third design illustrated in the above advertisement. This is the oldest design of the three and is one of the earliest, and most popular patterns on the Gainsborough shape. The lithograph decoration was made by the Universal Transfer Co. Ltd., (litho number 7506). From the dates of the advertisements Charm remained in production for at least 15 years. There is a mystery why examples of Charm are numbered with 1790 as do references to the design in Crown Ducal documents. But Richardsons own publicity for the launch of the pattern in the Pottery Gazette of 1930 labels it as pattern 1768, (or perhaps there is a minor design difference between the two that I am missing).

An example of Charm, 1790

Advertisements for the Charm pattern have been found in the:

The Pottery Gazette and Glass trade Review 5 February 1930 (illustrated)
The Binghampton Press (New York) 16 October 1930
The Montreal Gazette 19 October 1934 (illustrated)
The Rochester Chronicle 27 January 1937 (illustrated)
The Binghampton Press (New York) 12 January 1940
The Vancouver Sun 9 December 1942 (illustrated)
The Binghampton Press (New York) 9 July 1943 (illustrated)
The Binghampton Press (New York) 5 October 1943 (illustrated)
The Binghampton Press (New York) 13 July 1945 (illustrated)

Advertisement in The Montreal Gazette 19 October 1934

The George Washington bicentenary commemorative plates of 1932

A series of twelve plates made for the USA market in celebration of the Washington bicentennial. Two feature articles have been found discussing the home furnishing memorabilia available including the Crown Ducal plates.

An example of a Washington bicentenary commemorative plate

Feature article in the New York Sun 25 January 1932

The feature in The New York Sun of 25th January 1932 includes the following text relating to the plates:

A whole series of Washington plates is offered by several of the stores, and each plate in the set of twelve illustrates a different event in the life of Washington. Service, dinner and dessert plates are available in this design in Crown Ducal ware, of which the borders recreate fine old eighteenth century patterns, and the colorings include dark blue, pink or mulberry on white. The center scenics show each of the houses connected with Washington Sulgrave Manor, ancestral home of the family in England; Wakefield; his birth place, and Mount Vernon. The leading events in his career are depicted, together with groups of his family, associates and friends.

Feature article in the Brooklyn Eagle Magazine 21 February 1932

A full page article in the Brooklyn Eagle Magazine of 21st February 1932 has an illustration of one of the plates and discusses the themes thus:

Another patriotic textile is somewhat broader in scope, beginning with the landing of the Pilgrims and including the boston Tea Party and Betsy Ross at work upon the flag; also reproducing the famous "Spirit of 76" and Washington Crossing the Delaware". Leutze's great painting is one of the most frequent designs to be met amongst the bicentennial decorations, as in spite of the outbursts that come now and then from some art critic denouncing the great achievement as bad art, or from a matter of fact sailor who rails against the possibility of a rowboat holding so many people and the impracticability of the father of our country standing in such attitude under such circumstances, the famous picture continues to be the symbol of patriotism and courage for Americans.

It is one of the twelve patriotic designs imprinted upon a set of Crown Ducal plates, one of the modern Staffordshire wares. And here again history repeats itself as the idea of featuring American scenes and symbols upon chinaware was first adopted by the Staffordshire potters immediately after the Revolutionary War as a means of capturing the American trade. All feelings of animosity engendered by the war were put aside in the interest of business. And upon the "Old Blue" Staffordshire ware - the tableware of early America and one of the most prized subjects of Americana - was to be found patterns representing American scenes, episodes from American history, and the likenesses of our national heroes.

In the same -colors, today - the blue, the mulberry and pink – as a century and a half ago the new Staffordshire pottery repeats itself. And among the new designs on the patriotic plates we see reproduced famous paintings and prints, "Surrender of Cornwallis." "Washington and his mother." "Adams proposing Washington as Commander-in-Chief." "Washington and His Family." also views of Mt. Vernon, Wakefield, his birthplace, and Sulgrave Manor, the ancestral home of the Washingtons in England.

With dated commemorative plates they end up in the sales the following year. Here is an example from the New York Sun in 1933.

Advertisement in The New York Sun 15 February 1933

The twelve designs in the series are titled:

• Surrender of Cornwallis
• Washington and Lafayette at Mount Vernon
• John Adams Proposing G Washington as Commander in Chief of the American Army
• Washington at Trenton
• Washington crossing the Delaware
• Washington’s Headquarters Morristown NY
• Washington and His Family 
• Washington and His Mother
• Mount Vernon
• Washington at Valley Forge
• Birthplace of Washington at Wakefield
• Washington Ancestral Home

Images of all the plates can be found on the New York Historical Society website

http://www.nyhistory.org/exhibits/search?words=washington%20crown%20ducal

Two Queen Anne shape designs, Melrose and Vine and Charlotte Rheads Rialto and Belfast designs on Cotswold shape.

The Queen Anne shape with fluted moulding was always more popular in the USA than the UK and here are a couple of lithograph designs with ivory glaze that were mentioned in the advertisements. Vine, 3566, was designed in early 1934, and Melrose, 4041, is from the end of 1934. The Vine lithograph was made by the Universal Transfer Co. Ltd, No. 8535 and the Melrose litho was made by Ratauds.

Platter in Vine, 3556 and coffee cup in Melrose, 4041

Advertisement for Vine in The New York Sun 5 December 1934

Advertisement in The Binghampton Press 28 January 1937

The advertisement for Melrose is not illustrated with the Crown Ducal patterns but is still useful as it tells us that the design was on sale and probably in production for around 3 years. A similar production period would to apply to the other designs mentioned, Rialto, 3140 and Belfast, 3154, which are probably Charlotte Rhead designs from late summer of 1933.

Top Belfast , 3154 and below Rialto, 3140

It has been interesting to link recent images of Crown Ducal pottery to the period advertising and fortunately there is plenty of scope to revisit the subject with more patterns in a future post.