Print & enamel decoration in the 1930s

The print and enamel method was one of Crown Ducal's most popular decorating styles. The examples shown here are mostly of tableware from the 1930’s, but the company used the technique throughout its history for decorative items in addition to tableware.

Print and enamel decoration was a cost effective way of decorating pottery. The basic pattern was printed on to the unglazed earthenware, and the enamels applied to fill in as much or as little of the pattern that was required. This was much quicker that freehand painting of the entire design and obviously much cheaper to produce. The print would have to be under-glaze, but the enamels could be under-glaze, on-glaze, or both.

Below are some pictures showing the detail from a Crocus 5649 charger. The brown coloured outlines, petal and leaf infill details are printed, while the orange, scarlet and green are hand painted enamels.



Detail from Crocus 5649 charger



 Detail from Crocus 5649 charger

The process first requires the design to be engraved onto a copper plate. The copper plate is inked and overlain with sized paper, the sizing keeps most of the ink on the surface of the paper rather than it being absorbed. The paper print is peeled from the copper and then pressed onto the pottery. The inked design transfers onto the surface of the pot and the paper is removed by washing.

Picture from G Forsyth's book "Art and Craft of the Potter"

What gave me the notion to write about printed decoration at Crown Ducal was the discovery of a factory “sampler” with a print design in several print colours on a 10 inch diameter Windsor shaped plate. On the shoulder of the plate are segments of the same print in different colours. Each colour is labelled with an abbreviation of its name in the verge of the plate.

I hoped that I might be able to trawl through the pattern books to try and identify all the print colours used. Occasionally the Crown Ducal documents record specific colours by manufacturer and catalogue number so the idea is not as daft as it seems. The designers tended to use a small range of colours for printing and therefore if names could be matched to well known patterns then finding an example of each might be possible. Sadly I have only been partially successful, but it has been an interesting exercise and there is still scope to discover more information.

The list of colour names on the plate are:
H. Days
2693
P. Grey
Black
Grey
P. Willow
H, Blue
A. Green
G. Brown
S. 4769
Pink

So starting with with the first half of the plate from the left, clockwise:

H. Days

Happy Days 2545 printed in Happy Days Brown

A mid–brown colour, one of the easiest to identify as it must refer to Happy Days, 2545, one of Crown Ducals most successful patterns of the early 1930s. I do not have an example of the pattern myself, but I received this image via correspondence through the www.rhead-crownducal.info website.

Charlotte Rheads interpretation of Happy Days printed and enamelled in the same colours, Pattern 4820

It is interesting to note that Charlotte Rhead used exactly the same colours for one of her own print and enamel patterns, 4820. The pattern book describes the design as “Breedon pattern but colouring as Happy Days and finished as Happy Days”, implying the same print and enamel colours

2693

Another mid-brown colour. There are tableware patterns that are printed with “Cottons Vellum Brown 2693”, so I am sure that is the link. The few references I have found are for prints of complex floral designs with some flowers and leaves enamelled. They have Cotswold or Florentine shape and most have yellow glaze which is unusual. I have not recorded an actual example yet.

P. Grey

Pattern 5180 printed in pastel grey

Orchard 5287 printed in pastel grey

Bouquet 5413 printed in pastel grey

Almost certainly P. Grey stands for Pastel Grey which is one of the more common print colours and is believed to have been made by Meyer & Swann, (I may have the spelling wrong I cannot find any mention of the company on the internet or in what Pottery Gazettes I have of the period). I have three examples that use this colour, A tea plate in pattern 5180 and a demitasse duo in the Orchard pattern, number 5287 and a demitasse duo in Bouquet, 5413.

Black

Black was a more popular printing colour in the 1920s and was used for most of the Norman Keats designs like Red Tree, 1211. Crown Ducal did not use it much in the 1930s, the only example I have is for the smokers set in gold and yellow colour, 4099A.

Pattern 4099A printed in black

Grey

Sunburst 2649 printed in Baines 5753

Pattern 2913 printed in Baines 5753

Crocus 4722 printed in Baines 5753

Bewdley 5646 printed in Baines 5753

Grey seems too ambiguous to define, but is actually quite easy. Probably the most popular print colour, it is referred to as either Sunburst grey, after the popular design, or Baines 5753. Fortunately some designs refer to both names and examples side by side appear to be the same. It is easy to find several examples; Sunburst, 2649; 2913, Crocus, 4722 and Bewdley, 5646,

P.Willow

Pussy Willow 3750 printed in Pussy Willow brown

Pussy Willow 3792 printed in Pussy Willow brown

Pattern 5178 printed in Pussy Willow  brown

 Pattern 5182 printed in Pussy Willow  brown

Like Happy Days brown here is a print colour named after the pattern it is originally associated with, Pussy Willow Brown. It became quite a popular print colour but I can find no reference to the manufacturers name or colour code, perhaps it is a Crown Ducal blend of two colours to make their own shade. Shown here are the two tableware versions of Pussy Willow, 3750 & 3792 , together with two decorative tea plate designs, 5178 & 5182.

The second half of the plate:

H. Blue

H. Blue is probably Harrisons Blue. Which is not very helpful as there were two used, Royal Blue 3299 and Cobalt Blue 1297. I am tempted to say it is Royal Blue, but cannot be sure and I have yet to see examples of either.

A. Green

Best guess is that this is Hancocks Apple Green. Another uncommon printing colour and one I do not have an example to show.

G. Brown

There is a good chance the G. Brown represents Hancocks Golden Brown. It was used quite a lot but not on common patterns or any example I have to show. The most likely examples to be seen are the plain pictorial prints, (without enamels), particularly those of Winston Churchill and the Bombed Buildings of London scenes produced in 1941-1942.

S. 4769

Another disappointment, I have not been able to find any reference to this colour number or any pattern printed in this type of blue. Also, not sure what the S stands for but could possibly be the ink manufacturing company such as Sneyd or Swann.

Pink

Dell 5636 printed in Blythe pink 8004

There are not many patterns printed in pink, but the few that are recorded appear to use the colour Blythe Pink 8004. One of these is Dell, 5636, designed and etched by Charlotte Rhead. There were other pink printing colours used by Crown Ducal from the Sneyd company but these only seem to be mentioned very early in the 1930s, for example when the pink version of the Bristol pattern was introduced.

Those are the print colours from the sampler plate.  But to show more print and enamel designs, here are pictures of Charlotte Rheads trio of print and enamel designs Ellesmere 4009, Wenlock 4010 and Breedon 4011.

Ellesmere was printed in Hancocks grey, whilst Wenlock and Breedon were printed in E544 Brown.

Ellesmere, 4009 printed in Hancocks grey

Wenlock 4010, printed in E544 brown

Breedon 4011, printed in E544 brown

And for those not fussed with tableware , but prefer their ceramics on the wall, here are some print and enamel chargers.

Pussy Willow 5302, printed in Pussy Willow brown

Pussy Willow 5383, printed in Pussy Willow brown

Crocus 5649 printed in Pussy Willow brown

Floretta 5981, printed in Sunburst grey, ( Baines 5753)

To close, I think there may be more to be documented on the print colours used by the company. It would be good to see if the majority of generic annotations of grey, brown, green etc, could be attributed to specific ceramic printing inks. The biggest problem would be to lay hands on physical examples of all the printed patterns so they could be compared side by side. That is unlikely ever to happen!

Snow Glaze (Book Update 1)

This post is especially for those who bought my book on the Crown Ducal snow glaze patterns. I always intended to provide an update should any new material come to light and this blog provides the easiest place to share it. Thank you to those who purchased the book and to contributors who came forward with new discoveries and information.

1. An unrecorded pattern with the Wincoma lithograph.



Unknown pattern number - Wincoma lithograph from the UTC on snow glaze

This was a lucky find on ebay, a couple of items in snow glaze with the Wincoma floral transfer border from the Universal Transfer Company. The two shapes are typical of the shape range used for the Princess commemorative patterns 5268 and 5269, so at the time it was uncertain if this design would be found on a full range of tableware. Then a few months later someone kindly contacted me with pictures of Victory oval shape serving platters, Regent shaped covered serving dishes and some plates. So it is now certain that the Wincoma lithograph was used in conjunction with the snow glaze for tableware.

There are references in the pattern books for the Wincoma transfer on various tableware shapes, Cotswold, Victory, Queen Anne, Avon and Regent but no mention of its use with snow glaze. So the pattern number remains unknown but the standard snow glaze backstamp confirms that it would have been designed and made in the 1930s prior to World War II.

2. Examples of pattern 5032 discovered.



Examples of pattern 5032 in green and blue slip



Pattern 5032 in yellow slip

These were rather special discoveries for me because pattern 5032 is believed to be the only known tube-lined, snow glaze tableware pattern designed by Charlotte Rhead. And, not only does it tick all those Crown Ducal boxes, the design also employs the decorating technique of sponged slip clay. The coloured centres are not enamel colour but the same material as the tube-lining slip,  sponged onto the plate centres and cup interiors.

Several examples of tea service items in pattern 5032 have now been reported, in blue, green and yellow slip colours. All examples so far have been located in Australia and New Zealand. The fern leaves are very intricate so I presume these would have been quite expensive to produce. The fern is sometimes used as a national emblem in New Zealand so it may not be a coincidence that most examples have been found there. Perhaps the design was especially commissioned for retailers in New Zealand. The pattern book has it illustrated in pink slip but does mention that it was also executed in green, yellow and blue.

Edit 28th January 2017
There is new information regarding pattern 5032, please see:
https://rhead-crownducal.blogspot.co.uk/2017/01/snow-glaze-book-update-2.html

3. Notes on who photographed the Princesses.

In the book I wrote that the lithographs for patterns 5268 and 5269 are derived from photographs by Vandyk. My source of information is the Pottery Gazette, June 1937, page 797, which refers to the photographs used by Crown Ducal and reports, “It is only necessary to add that the portraits are by Vandyke to assure the trade that no effort has been spared to realise the height of perfection as regards the faithfulness of the likenesses”.

I see that in the 2012 Miller’s Collectibles Handbook the photographs are attributed to Marcus Adams. Certainly Marcus Adams took many photographs of Princess Elizabeth and Princess Margaret Rose, but so did other photographers. The hairstyles of the princesses are distinctive but if one looks through The Royal Collection archives on the Internet their style stayed constant for a couple of years which means that almost any head only portrait from that time will look quite similar to another. I have informed the publishers of Miller’s Collectibles of the error.

4. Under-glaze and on-glaze versions of the same pattern.

 

Nome pattern 4616. Left, on-glaze enamels and right, under-glaze enamels



Close inspection of two tea cups in the Nome pattern, (4616), has revealed that some under-glaze patterns were also produced with on-glaze decoration. The cup on the left has on-glaze enamels and the right is under-glaze. Patterns 4614, 4615, 4616, 4617, 4618 & 4623 were all explicitly recorded in the pattern books with enamels under-glaze and so closer attention will need to be paid when inspecting these designs.

I have on-glaze and under-glaze examples in the Nome pattern so this is clearly not a one-off mistake but probably a change in the design. My understanding is that from a ceramic design and quality perspective, under-glaze decoration is regarded as superior. However, for practical reasons when manufacturing for the mass market on-glaze decoration was more efficient. The advantage of under-glaze decoration is its permanence and the beauty of the reaction between the colours and the glaze. The downside is that colour decoration onto the biscuit pottery is indelible, so mistakes cannot be corrected and might result in wastage or too many seconds. In a busy factory where speed and volume of production was important, together with Charlottes high quality standards perhaps her design ethic had to be compromised a little to ensure a viable production line.

5. Did Charlotte take snow glaze with her to H J Wood Ltd for her Bursley Ware?



Bursley Ware pattern TL12

Surely anyone who handles a Bursley Ware object in pattern TL12 would agree that it has snow glaze. This table lamp has a very smooth glaze finish yet has that silky look and feel similar to the Crown Ducal snow glaze tableware productions that were much smoother than the bumpy texture found on fancies. Perhaps we should not call it snow glaze, but this is typical Charlotte Rhead recycling her favourite motifs and successful styles. In a way this confirms that Charlotte made snow glaze her own, because I have yet to find evidence that Richardsons made any items with snow glaze after World War II. This is snow glaze reborn.

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If anyone would like to purchase a copy of the book - there are still some available. Please email me for details.



Crown Ducal Snow Glaze Tableware and Decorative Pottery



Self published, small print run and not distributed to bookshops or Amazon, so no point in waiting for them to turn up there!

• Crown Ducal Snow Glaze Tableware and Decorative Pottery
• by Ian Newton
• Format: A5 paperback , 52 pages
• ISBN 9780957146501
   
  
  Edited 19th March 2019 to remove invalid links.
  

   

Crown Ducal backstamps. Part 1, 1915-1929

This post is about Crown Ducal backstamp styles used during the early period from company startup in 1915 to until around 1929 when Richardsons introduced a new style for almost each of its ranges of tableware.

I can find no documents to quote that I trust. Several sources seem to have a few examples but none I have seen have collated even a representative sample of what the company used during almost 60 years of production. So what I am presenting here is based on my own observations and I hope if someone does have a better understanding of this subject that they will contact me.

Creating a useful catalogue of Crown Ducal backstamps, or trade marks, is a difficult task because the type used is determined by the the date of manufacture, the design style or shape range of the item and sometimes the size of the item. There is also the probability that some backstamps styles are unique to particular patterns.

Since the production history for each pattern is unknown there is a lot of guesswork involved with regard to dates. Hopefully I will be correct when one style is stated to be older than another but the date ranges will be approximate.

I have numbered the backstamp styles for my own cataloguing purposes, they are not a reference to the work of anyone else.

Summary of styles.

To the casual observer there looks to be just two backstamp styles used by the company during these first 15 years of production.

Typical early Crown Ducal backstamp styles

The earliest being a based on an oval strap and buckle design, with a plumed crown at the top and a horizontal ribbon across the centre. The graphic contains the words TRADE MARK within the strap, CROWN above the ribbon, DUCAL within the ribbon and WARE beneath the ribbon. Below the graphic is typically A.G.R & C^O L^TD ENGLAND. Above the graphic may be the pattern name, (if it is a named pattern).

The other style typical of the 1920s has the words CROWN DUCAL WARE ENGLAND beneath a small crown.

Unfortunately it is not as simple as that. There are many versions of the strap and buckle design and although there appears be an age relationship as to which is used this is not the only determining factor.

It is important to stress that there are other strap and buckle styles used by the company during the 1930s, 1940s and 1950s and those are not discussed here. I shall describe those in a later post. It is easy to separate the early ones from the later styles. The early ones, (as discussed here), have A.G.R & C^O L^TD above ENGLAND printed beneath the graphic as two horizontal lines of text. The later versions have MADE IN ENGLAND following the curvature of the bottom half of the graphic.



Left, early strap and buckle style. Right, 1930s and later style



The strap and buckle style

I do not know the reason why there would be so many different, but very similar backstamp styles. I believe the backstamps were applied as prints and when the engraved plates got worn or damaged they made new ones which would end up being slightly different. It is also reasonable to believe that those backstamps that include pattern names may in fact be unique to that pattern. In truth, it has to be said that there may be a much larger number of styles than I have identified here.

There are several features of the strap and buckle type of mark that show variation. The forms of these features are recorded together with the pattern number. In this way the defining characteristics can be determined for each backstamp style and the range of patterns on which they are seen.

Here are some of the defining characteristics:



Are there rings under the DUCAL ribbon?



Is the central crown plume sitting high or low?

 

Does the strap have a single or double edge line?

Is the strap crossover visible or not?



Which letters in TRADE MARK line up with the word CROWN?



Other variations that may be helpful are:

• The general shape and form of the crown and plumes.
• The layout and spacing of the dots or holes between TRADE and MARK
• The format of the superscript and position of the underlining in C^O L^TD, also the position of the word ENGLAND in relation to A.G.R.& C^O L^TD

The strap and buckle style backstamps/trademarks roughly in date order, (the earliest first).

I will show two examples of each style because sometimes the print is damaged or the picture is not of good quality. Each style is followed by a list of pattern numbers/names on which it has been seen and I have given a very tentative date range estimate based on those pattern numbers. However, if the premise that named patterns had their own backstamp style turns out to be true, then if those patterns had extended production runs then the date ranges might have to be reconsidered.

Type 101

These early versions are a mystery, they never seem to have very crisp outlines, but that may be due in part to them being slightly smaller than  other types. They are seen on some of the earliest patterns like Regal A21 and Verona A26, but also Avis A558. But all these patterns are found with other styles too. Perhaps the style was reserved for small shaped items.The production history during these early years is not known, an advertisement from 1919 shows patterns A65 to A614, which does not help us much. I believe this style probably dates to the earliest years, certainly pre-1920.



Type 102

The style shown above tend to be the more commonly found type on the early patterns. Examples include Doric A18 & A19, Cameo A20, Regal A21 & A22, Kew A24, A91, A100 and A190. As for type 101, these patterns date to the earliest years pre-1920, but were still in demand during the early 1920s as recorded by the Pottery Gazette in 1923.

Type 103

This backstamp is is virtually the same as type 102 except is has the words SILVER VICTORIAN replacing CROWN DUCAL. Silver Victorian Ware was a range of tea service items, including teapot, hot water jug, teapot stand, milk jug and sugar bowl etc. They were finished with a silver lustre outside and silver gilt inside and with matt black handles. From a distance they can be mistaken for silverware. These designs were in production from around 1918 until the early 1920s

Type 104

The type 104 style is very similar to type102 but the central plume of the crown seems to sit a little higher. They are particularly found on named patterns such as Rugby A34, Trellis A352, Louis A365 and Perth A372. Again, these are patterns from the earliest years extending into the early 1920s.



Type 105

Type 105 is found on a large number of patterns. Seen on A86, A105, A340, A404, A413, A429, A430, A441, A445, A500, A559, A601, A617, A618, A626, A629, A642 and A992. Most of these are unnamed patterns so this seems to lend support to the theory that named patterns had their own backstamps. Pattern A922 dates to 1924 so many of these designs were in production between 1918 and the early 1920s.

Type 106

The Springtime design A716 (in lilac), A725 (in green), and several others in different colours has its own backstamp style characterised by a very spiky central plume. The pattern dates to 1920 or 1921.


Type 107

The Cameo pattern A750 also has its own very distinctive style. Similar to type 104, but the centre plume sits lower and the strap holes are dots rather than open circles. This pattern was introduced around 1920 or 1921.

Type 108

There are much more obvious changes to the strap and buckle style with type 108. The crown and plumes are clearly different, the strap has a single edge line and there is no hint of a strap crossover at the bottom. This mark is used extensively on fancies from around the Cairo 1008 pattern onwards and certainly up to pattern 1570. I have seen it on patterns Cairo 1008, 1014, 1015, Carnival 1099, Carnival 1100, Carnival 1231, Lily 1266, Butterflies 1326,  Fish 1327, Butterfly 1334, Butterfly 1335, Papyrus 1356, Leaf Border 1374, Butterfly 1463, 1530 and 1570. Most of these patterns use the high gloss glaze lustre much loved by the designer Norman Keats who created the Cairo design. I am uncertain if the backstamp was reserved for the high gloss glaze lustre ware, but this is a possibility. The date span of these quoted pattern numbers is 1923 until 1929.

Type 109

The youngest strap and buckle style has been seen on patterns 1530, 1570 and 1708. It is similar to type 108 but has a simpler, flatter crown and the ornament at the bottom of the hanging strap is noticeably different. These designs also have the high gloss glaze lustre, and so this backstamp may have been reserved for the same particular finish as type 108. These patterns date to 1929.

The "other" backstamp style of the 1920s

The most common of the backstamp styles from the 1920s is much simpler. It is found on virtually all tableware and most fancies that do not have the high gloss glaze.



Type 110

I do not know precisely when this backstamp was introduced, but examples of solid colour aerographed tableware typically have this style and they were in production during 1921. Unfortunately these simple but boldly coloured designs are not marked with pattern numbers so it is difficult to place them in the pattern sequence. The other early designs that used this style are the 500, 555, 559, 616, 617, 618, 642, 683, 920, 922, 952 and 975. The year 1920 would be a good estimate for the first use of this backstamp as most examples of the earliest chintz tableware patterns have this style and they were in production by that year.

Type 111

Type 111 is a special backstamp reserved for the Spectria Flambe range of vases and models. These date from 1927 and presumably remained in production for a few years.

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That is the end of part 1 of my Crown Ducal backstamps catalogue. Towards the end of 1929 Richardsons introduce their Gainsborough tableware shape followed by Florentine, Premier, Victory, Cotswold and Queen Anne shapes all within 3 years. Their backstamp styles will be documented in part 2.

Roland Heath, Gordon Forsyth & the Radiance Lustre Series

I know very little about Roland Heath, Gordon Forsyth or the Radiance Lustre Series from Crown Ducal. But since there is virtually zero content on the internet about the subject I thought I might as well make a start.

A group of items from the Radiance Lustre Series

The pottery designed by Roland Heath is very attractive and deserves to be better known and attributed to him. However his style is not unique and similar designs and glaze effects were produced by other companies before the Crown Ducal productions, and the reason for this leads us to Gordon Forsyth.

Gordon Forsyth was an important ceramic designer during the first half of the 20^th century. You will find biographical details on Wikipedia and the Gray’s Pottery website.

http://www.grayspottery.co.uk/designer-forsyth.htm

http://en.wikipedia.org/wiki/Gordon_Forsyth 

Gordon Forsyth with some of his students c1934. Picture is from the Pottery Gazette/Evening Sentinel

His connection to Crown Ducal pottery is that from 1920 he was the Superintendent of Art Instruction to the City of Stoke on Trent and was thus involved in the tutoring of student ceramic artists who were being trained during the 1920s and 1930s. One of these students was Susie Cooper, who went to work for Gray’s and another was Roland Heath, who went on to A G Richardson & Co Ltd and probably Gray's afterwards.

Forsyth was also a freelance designer and worked with Gray’s to produce a range of decorations known as Gloria Lustre in the early 1920s. Searching on the internet will reveal plenty of examples and you will see the similarity with the Crown Ducal Radiance Lustre patterns and it seems this was not the only factory producing this type of ware. The name Harold Holdcroft for Royal Venton Ware is linked to much the same style of designs. I assume that Gordon Forsyth taught his students well and they all left art school to design much the same as what he had done!

Before moving on to look at the pottery, there are two interesting documents to reference. The first is Forsyths book “Art and Craft of the Potter”. This is a great little book explaining the pottery processes that were taught at the time, relevant to both studio potters and those going into the pottery industry. Published in 1934 it was written when Charlotte Rhead was employed at Richardsons, so it is useful in recording the terms and techniques in use that would have been familiar to her. The sections on decoration are particularly interesting. I even found a clue as to how Charlotte might have created her “Snow Glaze” tucked away in the chemistry of glazes section. But that is another story. The book also has lots of photographs showing the various stages of manufacture in the pottery factories.

"Art and Craft of the Potter" by Gordon Forsyth

The second document is an article in the Pottery Gazette of January 1935 entitled British Art in British Pottery which is a record of the speech Forsyth gave at the Royal Society of Arts. In essence it is about motivating everyone in the industry to employ good ceramic artists and berating anyone who manufactures pottery with poor artistic taste. “There is no reason why the very cheapest articles should not be beautiful; on the other hand, there can be no justification or excuse for producing one ugly piece of pottery. The mass production of ugliness is a crime against the community, and personally one would have no hesitation in classifying manufacturers of bad art as Public Enemy No 1.” So, having a tutor with that kind of attitude it is not surprising that all his students went off and copied his designs!

Little is known about Roland Heath himself. The trade journals of the period introduce the Radiance Lustre Series in early 1927 and therefore he was working on Crown Ducal designs around that time. He may have been with the company only for a short time, but he managed to leave his monogram mark on some of his creations for us to remember him by.

The monogram of Roland Heath

In common with a lot of early Crown Ducal pottery there are no pattern books describing these designs and most items are unmarked with pattern numbers. The Radiance Lustre Series seems to have had its own numbering system, presumably starting at No1. It is unknown how many designs there were in the series, the highest number I have seen is No38, but several patterns are unnumbered so there may be more than 38.

Typical Crown Ducal backstamp and other markings, the N.8 indicates the design number

I believe the method of decoration is that the outline of the design is painted in gold, then each of the outlined fruits, bands, panels etc is filled with the appropriate colour lustre for the design and all this is under an opalescent glaze. I may be wrong, I am not a ceramic artist and Gordon Forsyth does not explain the method in his book! The work is all freehand so that each piece is quite unique, much like the tube-lined designs of Charlotte Rhead that would be made at the factory five years later. The overall effect is really beautiful and extraordinarily difficult to photograph as it is so highly reflective.


An attempt to show how the opalescent glaze over the lustres displays when the light catches it

Now for a display of the designs so far recorded.

No6  bowl 17cm diameter

No8 Gem shaped coffee set components

No8  vases 14.5cm high

No12 lidded trinket box

No31 bowl 10.5cm diameter

No38 vase 29cm high

A couple of designs without numbers

Apart from these illustrated designs, several others have been seen but I do not have images to show.

No3 Round fruits, grapes, pears, leaves and twigs, blue background, no bands at rim or neck and orange inside vases or outside bowls. 

UNKN As No3 with same design elements but with a more turquoise background and with a darker turquoise band at rim/neck

No4 A single perched bird, with long tail feathers crested head and parrot like beak amongst twigs and leaves, blue background, and orange band at rim/neck.

No33 Similar to central design of No31, circular fruits, twigs and leaves but no bands and the background is a riot of all the rainbow lustre colours but predominantly blue.

UNKN Similar scheme to No33 but has large 4 petalled flowers instead of  circular fruits.

No34 A pair of perched birds, (different from those in No4), amongst fruits and leaves, blue background, deep pink band above orange band at rim/neck.

Edited 19th March 2019 to remove invalid links.