Royal Winton Rice and Identification Guide

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The Royal Winton Collectors Handbook From 1925 Cottage Ware, Art Deco, Lustre Ware, Pastels, etc

Francis Joseph Publications www.francisjoseph.org Muriel M. Miller Ebook edition 2014

Francis Joseph London Š 2014 and 1998

To Diana and Ken Glibbery With gratitude for their help and friendship And to Dave Barker, as always

Francis Joseph Publishing All rights reserved. No unauthorised publication or photocopying of information contained in this publication is permitted.

Important Notice All the information contained in this book has been compiled from reliable sources and every effort has been made to eliminate errors. Neither the publishers nor the author can be held responsible for losses which may occur in the purchase, sale or other transaction of Items because of the information contained herein. Readers who feel they have discovered errors are invited to write and inform us so that these may be corrected in subsequent editions.

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Foreword Following our takeover of Royal Winton in 1995, it soon became apparent that we had acauired a company with a unique heritage. Alas, most of the old pattern books and catalogues have been destroyed over recent decades.

Therefore when Muriel's book. Collecting Royal Winton Chintz was published in 1996, it proved to be a rich source for both collectors and the company, illustrating as it does the many and varied patterns produced by Royal Winton in its heyday.

Since forming "Grimwades Ltd, Trading as Royal Winton' on 18th October 1995, it has proved to be an exacting - yet enthralling - task to restore the company to a healthy and competitive force in the market place.

New and exciting developments are planned for 1997, starting with the introduction of a limited edition vase in the popular Florence pattern. This is based on the original lithograph design but computer enhanced in line with modern technology. We plan to follow this success with other popular patterns in shapes both new and old. Other innovative ideas are also being discussed.

Muriel's new book is informative and colourful, and bound to be of interest to collectors all over the world. It offers a fascinating look at the novel and spirited designs of the 1930s, the like of which, sadly, we may never see again.

Ian Davis Chairman

Contents

Introduction

6

The Company

7

Leonard L. Grimwade

11

Products

16

Cottage Ware

20

Relief Moulded Ware

24

Pastels

36

Hand Painted Ware

41

Art Deco

45

Lustre Ware

105

Lustre Ware pattern names and numbers

120

Musical jugs, Character jugs and Figures

122

Price Guide

129

Backstamps

137

ŘΘ∟↓

Introduction Since writing Collecting Royal Winton Chintz, I have been inundated with enquiries about the next book. Some collectors are interested in the superb lustre ware produced by Grimwades, others are keen on the Royal Winton tea ware made in plain pastel colours, while yet another group favours the cottage and relief-moulded ware. The Art deco pottery produced is also avidly collected, as are the musical and character jugs.

All these ranges were produced in the 1930s, with Byzanta lustre ware preceding this date by a few years. It was an adventurous and prolific period for the company and, after the interruption by World War II and its aftermath, was never to reach such heights of design again.

As a collector of anything and everything made by Grimwades, I have been only too pleased to venture on the task of producing a book about these varied wares. However, it has been both exciting and frustrating.

The frustration stems from the fact that little or no documentation exists to give information on the manufacturing processes or exact dates of production.

Lustre ware, for example, was first made in 1925 but dates of the various patterns cannot be narrowed down further than 1925+ or, that they were produced from the 1930s onwards.

It was hoped that the publicity engendered by the Chintz book would bring forward more general information about the company with maybe some undiscovered catalogues or pattern books turning up. Unfortunately, this has not yet occurred.

When contacting other collectors or dealers regarding a certain pattern, it can be very difficult to describe it over the telephone or by fax. I have therefore adopted the same system of naming many of the patterns as I did in the Chintz book, to make for easier recognition by collectors. These names are given in quotes. Known pattern names are without quotes, the only exception being '6742', a hand painted pattern described by that number by Grimwades.

Doubtless, many more lustre patterns will come to light after publication - it happened with the Chintz book - but, hopefully, these will be included in any further editions of this book.

I make no apology for including the original text detailing the history of Leonard Grimwade and his company which appeared in the Chintz book. Many collectors interested in the wares covered by this book may not have bought the Chintz book, and will be interested in the historical details. Collectors who do have the Chintz book, but who collect other Royal Winton as well, will be relieved not to have to delve into their copy of the Chintz book for information.

Happy collecting!

Muriel M. Miller

The Company The firm of Grimwade Brothers was founded in 1885 at the Winton Pottery, Stoke-on-Trent, by Leonard Lumsden Grimwade and his elder brother, Sidney Richard. The factory consisted of a shed sited between two rows of cottages but business was brisk and the firm expanded.

In 1887, the Winton Hotel was built as showrooms, close by Stoke Station and convenient for visiting buyers who travelled by rail. The company's turnover doubled each year and by 1890, a flourishing export department was established with the company taking a London showroom at Ely Place, Holborn.

To cope with this development of trade, the Winton Pottery was built in 1892.

This was a large building set on the main road and had the added advantage of being only a three minute walk from Stoke Station. The building had a frontage of 180 feet and a four-storey elevation. It contained some of the most up-to-date equipment to be found in the potteries at that time and, over subsequent years, the area at the rear was built up with a network of kilns, ovens and workshops. The total area covered was almost two acres.

The showrooms were sited in London at 3-5 Charterhouse Street, Holborn Circus.

By 1889, the company had moved to Ely Place, Holborn.

In March 1900, the Stoke Pottery, owned by James Plant, was acquired with Plant being given a place on the Grimwades Board as a director. The Stoke factory was adjacent to the Trent and Mersey Canal and, apart from the large range of ovens and kilns, also included complete equipment for milling the raw materials, including flint and Cornish stone. The three potteries (Grimwade Bros, Winton Pottery and Stoke Pottery) were then amalgamated under the title of Grimwades Limited with Leonard Grimwade as chairman.

In that same year, the Grimwade brothers left Ely Place and purchased the lease on 13 St Andrew Street, a corner site at the conjunction of St Andrew Street and Shoe Lane in Holborn Circus, London. Winton House, as it was known, became their main showroom.

Back in Stoke, Leonard Grimwade experimented with new methods of kilnfiring and developed enamel firing of high quality with the use of Climax Rotary Kilns.

New showrooms were erected at the Winton Pottery in Hanley in 1906. To achieve these, three cottages in Newland Street were pulled down and a three-storey building erected. It was opened by the Mayor of Hanley on 25th October.

Expansion continued at a great rate. Brownfield's Works, carried on by The Upper Hanley Pottery in Woodall Street, Cobridge, were acquired in 1906, the factory being "particularly adapted for trade with Canada, the United States of America and other important foreign markets'. Later in the same year, Atlas China (formerly David Chapman & Sons) in Wolfe Street was purchased, enabling the company 'to cater for their many customers who required highclass China Tea Sets at moderate prices especially suited to a cultured taste'.

The Heron Cross Pottery at Fenton, owned by Messrs Hines Bros, was an extensive earthenware pottery manufactory with extra large ovens and several ename kilns and this was bought the following year, adding considerably to the company's facilities. (It was later sold to Cartwright & Edwards in 1916.; Grimwades also acquired the Rubian Art Pottery Ltd in 1913.

Export trade was also on the up with the company having agents in Australia, New Zealand, Canada, India, South Africa, South America, United States ol America, Sweden, Norway and Germany. By 1920, Egypt had been added tc the list.

In 1908, Leonard Grimwade bought shares in the Chromo Transfer and Potters' Supply Co Ltd. This company, which was situated at one end of the Wintor Pottery factory, provided 'chromo and lithographic transfers, ceramic colours, potters' materials, glazes and the like'. They were also responsible for the development of 'Duplex' paper, a thin printing tissue which make the lithographing process easier.

Leonard Grimwade also purchased the patent rights of the Grimwade Rotary Display stands around 1913. These were 'Made of finest steel, double-plated metal parts, stained wood shelves' and could accommodate '12 half tea sets, 12 cover dishes and plates, or 12 ewers and basins'. The stands were used for shop display and economised on space. Also, 'ware can be displayed so effectively that assistants are able to increase sales and serve customers far more expeditiously.'

Patent 'Ideal' Display Blocks & Wires were also acquired by Grimwades, and these were used to show tea cups and saucers to advantage, or sets of jugs,

Stoke Pottery, cl930

blancmange moulds, teapots and butter dishes. Smaller blocks were used for trios (cup, saucer and tea plate) or samples of dinner ware. Wall mounted hardwood strips were available for displaying wash stand sets.

In 1920 a laboratory was set up at the Victory Works at the Stoke Pottery. This was run under the supervision of Leonard Grimwade's son, Charles Donovan, who had for some years been in charge of a large tile and brick works at Tongshan, North China. Grimwades anticipated cheaper production, improved quality and to test new methods and new materials 'so that we may be in a strong position for future business.' Also that year, gas fired tunnel ovens were pioneered by Grimwades. These had been laid just after the Armistice and were opened in September 1920. The huge tunnels, 298 feet in length, were capable of turning out as much ware as had formerly six full-sized ovens.

The railway strike in 1920 affected delivery of goods to customers, so Leonard Grimwaae purchased a new' Karrier' motor lorry for a cost of ÂŁ1300. This proved so successful - 'No breakage - no delay - no incivility on the part of carters and a lessening of serious inconveniences' - that the company aimed to build up a complete system of motor transport during 1921.

In 1929, a new showroom was set up at Winton House in Stoke-on-Trent. It was named the Victoria Showroom and was to be used for tableware of all kind, bowls, vases and jardinieres. 'It will be used exclusively for representative selections of the latest and most artistic productions', ran the advertisement.

It was to be the third showroom at Winton House. The Royal Showroom catered for the dinner ware, toilet ware, teapots and coffee sets and so on, while the Excelsior Showroom was aevoted to clearance lines suitable for sales.

Leonard Grimwade died in 1931 with James Plant (Senior) dying in the same year. Plant's son, another James, took over as Managing director in 1933 and he died in 1962.

The Rubian Art factory ceased production during World War II and was used only for storage. At the same time, the Atlas China factory was also closed, apart from storage purposes, and the building later became unsafe.

In January 1964, the company was taken over by the Howard Pottery Co Ltd of Shelton. Part of Grimwades production (50 per cent of which was exported mainly to Australia, Canada and New Zealand) was moved from Stoke to Norfolk Street, Shelton, with the remainder being transferred some weeks later.

The name Royal Winton was kept.

The ware made was highly ornamental and much of it was hand painted.

There was also a great proportion of gold fancies made, with a specially air conditioned room being set aside for the application of the gold. Orders went out all over the world. Canada formed the largest overseas market, with Australia and New Zealand close behind. A new 'Royal Winton' tie-on label had been designed and this was printed in the Howard colours of chocolate brown, white and grey.

Between 1964 and the present day there have been several successive owners of Royal Winton. Pentagon Holdings acquired Howard Pottery in late 1960, and supplied Taunton Vale Industries with ware. Pentagon itself went on the market in 1973 and was bought by its erstwhile customer, Taunton Vale Industries Ltd. In 1979 the Staffordshire Potteries purchased Taunton Vale Industries and in

1986 were themselves taken over by Coloroll (Ceramics Division). Despite all the various takeovers, the name Royal Winton was kept alive.

When Coloroll was declared bankrupt in 1990/91 there was a management buy-out for Royal Winton. In 1993, the company was purchased by Spencer Hammer Associates and a new company formed, Burnan International Limited.

In 1995, Royal Winton became part of the Taylor Tunnicliffe Group and in October of that year brought back the Grimwade name by registering the company as Grimwades, trading as Royal Winton. It is to be hoped that, once again, the Royal Winton name will be one of excellence.

View of the Finishing Warehouse taken in 1906.

10

Leonard L. Grimwade Leonard Lumsden Grimwade was a man of extraordinary vitality and enthusiasm, a n d the driving force behind Grimwades Royal Winton Pottery, The North Staffordshire Echo profiled him in 1907, describing him as 'quick in all his movements, restless in activity, audacious in projects, with fine imagination and generous sentiments, he is an interesting personality and an admirable ally.'

Lily Bell, who worked at Winton Potteries during the 1920s and 1930s said, 'Leonard Grimwade, he was absolutely alive. He was full of it. No sooner than he'd thought anything, he was off - he was like a bottle of pop; got to be doing.'

Leonard Grimwade was born in Ipswich in 1864, the youngest of nine children.

Large families were then quite common; Leonard's father, Richard Grimwade (1816-1905), was one of 15 children, while his uncle, Edward, produced 17 children. Leonard's grandfather, William Grimwade (1782-1856), was a Suffolk man who owned Poplar Farm at Wetheringsett, some 16 miles from Ipswich.

Amy Langdon, Leonard Grimwade's mother, was a woollen draper at the time of her marriage.

At 16, Leonard moved to Hanley in North Staffordshire where he worked for his uncle, Edward, as a 'dry-salter'.

According to a contemporary dictionary, the term dry-salter had two definitions: a dealer in dried and salted meats, pickles and sauces, or a dealer in dye stuffs, chemical products etc. As Leonard's uncle was a chemist, it can be assumed that the boy worked with chemicals rather than pickles.

By 1880, however, he was working as a decorator and modeller in the potteries. He soon began to show signs of the restless energy and dynamism that were to characterise him in later life and, shortly before he was 21, he opened his own business as a factor, the manufacturing side being developed gradually. His first premises consisted of no more than a shed in a yard, sited between two rows of cottages but, before long, he was in a position to invite his elder brother Sidney Richard Grimwade, a potter, to join him in his venture. And

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so, in 1885, the firm of Grimwade Brothers was founded. Around the late 1880s, another Grimwade brother, Edward Ernest, joined the firm. He was later to represent the company's interests in Australasia, leaving England in 1905 to live in New Zealand.

In 1886, Leonard returned to Ipswich to marry Marion Cooper (1865-1925).There were three children of the marriage: a son, Charles Donovan Grimwade (18901971), and two daughters, Elsie (born in 1892) and Muriel (born in 1907) It appeared to have been a happy marriage. The Grimwades celebrated their silver wedding anniversary in style in 1911 when family members, colleagues and employees, in all numbering some 900 people, filled the Victoria Hall at Hanley. The Staffordshire Senf/ne/reported that the couple had been presented with a silver rose bowl and two silver vases, a gift from their employees.

There was another reason for the celebration, the Staffordshire Sentinel declared. 'It was primarily a recognition by the firm of the loyalty of its employees during the rush of orders attendant upon the Coronation.'

Leonard Grimwade's reply to the presentation threw light on his early days as a manufacturer. When he wooed and won his wife all those years ago, he said, the business of Grimwades Ltd was in its infancy. The whole work of the firm was carried on in one small warehouse, and he was the warehouseman, ledger clerk, and sometimes the packer. This statement was greeted with much laughter and applause.

Marion Grimwade died In 1925 and Leonard remarried shortly afterwards. His new wife, Minnie, presented him with a baby girl, Janet, in 1927.

Charles Donovan Grimwade was to follow his father into the pottery business.

He left school at 17 and worked at the Shelton laboratory in 1908, later moving to the Atlas works. When he was twenty, he was presented with a bronze medal by the County Borough of Stoke-on-Trent. The inscription reads: Higher Education Committee. Examination in Pottery. Charles Donovan Grimwade.

2nd Place Honours Grade 1910-11.

Shortly after taking the examination, Charles Donovan went to China in 1912, where he was in charge of the Chinese Mining and Engineering Company.

Based in Tongshan, North China, the works was spread over two acres ana manufactured tiles and stonework piping as well as bricks. Charles Donovan was responsible for reporting on the state of affairs in clay mining, works machinery and output, as well as estimating the quantities needed, weight and cost, and time of manufacture for articles produced.

He left Tongshan in December 1915 to join the army. He left for Petrograd via the Trans-Siberian Railway, then travelling by sledge to the Swedish railway (in the Arctic winter) then on to Bergen in Norway. He reached England on 13th January 1916. He received a commission and went first to Egypt, then Palestine, being present at the capture of Jerusalem.

After the war, he became scientific advisor to Grimwades, and was soon on the Board of Directors. He married Nora Gibson in 1920. She was the daughter of Arthur Gibson who was well known for his manufacture of teapots. The couple had one daughter, Stella Ruth.

Charles Donovan's work in China appears to have been recognised by his

12

father, as several shape names bear reference to the oriental. The 1918 catalogue, for example, shows a Tientsin toilet set and a Tongshan vase. The war years were also commemorated in the same catalogue, with toilet ware having shape names such as Belgium and Somme.

As the silver wedding celebration showed, Leonard Grimwade was known as a kindly employer. In 1892, The Pottery Gazette recorded a New Year's Day party at Grimwades. 'In one of the large rooms at the new works, which had been tastefully decorated for the occasion, a sumptuous repast had been spread...A lengthy programme of music - vocal and instrumental - readings, dancing and various games, gave pleasure to all.'

Several employees who worked at Royal Winton during the 1930s and earlier mentioned the room resembling a ballroom that was at the top of the building. ' It (the ballroom) was massive. There were great wide stairs and a lovely wooden banister,' one worker said. 'It looked to me as though it had been a place that had had a lot of money spent on it years ago. Upstairs it was very nice. We used to practise (dancing) there in our lunch time.' Another worker recalled the sprung maple floor and lamented the day it was turned into a showroom for toilet and dinner ware.

The girls entered into the spirit of Christmas at the factory. Florence Dennis remembers how they made paper decorations, 'We decorated the shop with crepe paper we bought for tuppence a roll. We made orchids on a steel knitting needle and hung them all around, all the loveliest colours. I'll never forget it. And Leonard Grimwade came in and he said, "Fairyland! It's fairyland.

Beautiful". He walked through in his plus-fours; he was a grand old man.'

At the turn of the century, business was booming and the export trade was brisk. The year 1900 saw the acquisition of the Stoke Pottery and Grimwades Ltd was established, while a new showroom was set up in London. Between 1901 and 1907, four more potteries were bought out and added to the Grimwades Group.

In 1906, Grimwades took out a full page advertisement in The Pottery Gazette in order to contradict 'Two Representatives of Earthenware Manufacturers in Staffordshire who have persistently published malicious statements to the effect that we are not Manufacturers, but only Decorators or Factors. We have been compelled to take out Legal Proceedings in order to prevent such innuendoes.'

The statement went on: 'We are just publishing a little "brochure" explaining the chief processes carried on in making pottery.'

The brochure was ostensibly printed to commemorate the opening of the new showrooms at Winton Pottery on 25th October 1906, but wouia have had a secondary purpose of squashing any further talk or rumours. The booklet, entitled 'A Short Description of the Art of Potting... as carried on by Grimwades Ltd at Winton, Stoke, Elgin & Upper Hanley Potteries', is well illustrated with scenes showing the clay presses in the slip house, the potters' shop, the 'biscuit' warehouse and so on. Some of the photographs were later used for a commemorative catalogue issued in 1913.

The company was awarded a gold medal award for some of its Hygienic Patented Ware in 1911, at the Festival of Empire, Imperial Exhibition and Pageant.

13

King George V and Queen Mary visited the Potteries in 1913 and Grimwades issued a catalogue commemorating the royal visit. This gave a short history of the firm as well as illustrating their ware. In addition, photographs (taken from the 1906 booklet) showed interiors of the dinner ware showroom, the toilet ware showroom, warehouses and the mould makers' shop. It also illustrated how employees carried out skills such as plate making, aerographing, gilding and enamelling.

During their visit, the royal couple toured numerous factories before attending an exhibition at the King's Hall in Stoke-on-Trent. The Pottery Gazette reported in their June edition that 'Grimwades had the largest individual exhibit in the whole display'.

The company were showing their new 'Jacobean' ware, a vine-leafed pattern which was a copy of early 17th century tapestry. Also featured was 'Royal Hampton', a pattern taken from old Queen Anne chintz, and 'executed in pink, black and green'. 'Royal Dorset' was another new pattern and this consisted of massed roses on a black ground.

The Queen was apparently delighted to purchase a Grimwades Winton teaset in the new 'Queen Mary Chintz'. She was also pleased to receive a gift of the Mecca Foot Warmer (a type of oval ceramic hot water bottle) in the Jacobean pattern. Leonard Grimwade, never one to miss a promotional opportunity, later used a full colour Illustration of this in a catalogue describing the foot warmer as, 'Graciously accepted by Her Majesty the Queen'. An ornate gold and red crown decorates the head of the page.

Two days later, the exhibition was moved to Harrods' Stores in London and from there, went to the Liverpool Trades Exhibition.

The year 1920 was a year of change. Grimwades purchased a new 5-ton 'Karrier' motor lorry, costing ÂŁ1,300. The company also installed gas-fired tunnel ovens which were to be 'lit-up' in September of that year. The famous 'QuickCooker' was now being made in aluminium instead of semi-porcelain as before.

A research laboratory was erected at the Victory Works (part of the Winton Works) with Charles Donovan Grimwade supervising it.

A catalogue for this period sounds a hopeful note: 'The War has so completely revolutionised industry that we embrace the opportunity which reconstruction offered for the complete reorganisation of our six factories. The introduction of new and approved methods of 'MASS PRODUCTION', whereby orders can be despatched more promptly and output can be increased, has enabled us to give greater satisfaction to customers and employees alike.'

Grimwades now employed well over a thousand workers and a Managers' Council was set up by the company to form a link between the directors and the staff in order to increase efficiency.

Further care was taken of workers. The 1920 catalogue reports that: 'A charming bungalow at Ashley Heath has, by the kindness of Mr & Mrs L.L. Grimwade, been placed at the disposal of the "Welfare Work" and any of our workers needing a rest or country air, can have a few days there to recuperate ...

Many have been completely set up and strengthened for the duties of life at this bracing spot. Already the health of our workers has so improved that frequently it is difficult to find even 3 or 4 out of 1500 employees who need the 14

recreative benefits which this institution provides.'

The Ashley Heath bungalow was the site of a works outing in Easter of that year, when 85 employees sat down to tea and enjoyed sports and games on the heath.

Leonard Grimwade kept his finger on the pulse of his empire, and he travelled extensively, visiting the United States, Canada, Italy, Germany, Switzerland, Norway, Belgium, Holland, Egypt andAustralia. Compelled by his restless energy to realise the value of time, he was one of the earliest motorists and drove his own car.

He was a Liberal free-trader and served on the Stoke-on-Trent County Borough Council. He was also a Justice of the Peace for Staffordshire and Secretary of the Potteries Association for the Promotion of Federation. When examined during the passing of the Federation Bill through Parliament he was asked where he lived. 'I sleep in Wolstanton,' came the reply, 'but I live in the Potteries.'

Perhaps his words make a fitting epitaph for such a man. He died as he had lived - at top speed - in a car crash when on his way to the factory on the 26th January 1931. Accompanied by his nephew, who was in the passenger seat, Leonard Grimwade failed to avoid a bus at crossroads. He died almost instantaneously, He was buried at Hartshill Cemetery.

A report in The Pottery Gazette stated: 'There was a big cortege, representing all sections of the local life of the Potteries, and the floral tributes were eloquent of the sense of loss which, by the passing of Mr Grimwade, the district has sustained.'

15

Products Early Grimwades catalogues, dating from 1888, show a range of useful domestic items. The company concentrated mainly on toilet sets, comprising wash stand jugs, wash bowls, toothbrush vases, soap and sponge dishes, and chamber pots. They also made matching trinket sets, composed of trays, chamber or candlesticks, trinket pots, pin trays and ring stands.

They also manufactured table ware and the range was extensive with dinner ana tea ware being produced in a variety of patterns ana shapes, together with additional items such as cheese dishes, bacon dishes, biscuit boxes and sardine dishes.

More mundane products were also made, such as the Hygienic Hospital and Nurseryware. This ware consisted of bedpans (including one with an airtight lid for the use of typhoid patients), and urinals (sic) for both male and female use, children's chamber pots, slop pails, sick-feeders and ceramic hot water bottles, For the housewife, they produced jelly and blancmange moulds, fluted pudding bowls for turning out ribbed sponge puddings, lemon squeezers, pie funnels and square pie dishes (known as bakers) of various sizes which fitted neatly into one another.

The range of patented products was both wide and ingenious. The Paragon coffee pot had a removable strainer, while the Patent Tea Machine had a valve operated infuser. The Safety Milk Bowl had an incurving rim to prevent spillage when carried. The contents of the bowl were guaranteed safe from flies. 'Those who study the habits of flies', wrote The Pottery Gazette, 'say they would not enter the bowl by means of the curved rim - but that the slope of the spout forms a ready convenient passage of which they make good use.'

Leonard Grimwade solved the problem by the addition of a patented spout cover which fitted over the spout, thus preventing any contamination, The design was awarded a Gold Medal in 1911.

The Patent Pie Dish was practically fireproof and a guarantee was given that the contents of the dish would not burn, due to a series of ring grooves at the bottom of the dish.

In 1909, the Patent Quick-Cooker Bowl was introduced and this had the virtue of doing away with unhygienic pudding cloths tied over a bowl by having a grooved ceramic lid which could be fastened down with string. The QuickCooker was available in no fewer than five sizes.

But perhaps the most ingenious and attractive of all was the patent hygienic Toilet 'Holdall'. This was a large shell shaped dish which would have stood between a set of two toilet jugs and basins. The 'Holdall' was divided into five sections and held two cakes of soap, two nail brushes, and a sponge. There were also four ringed holders for toothbrushes.

In 1902, the two Climax kilns were working overtime, turning out 15,000 commemorative mugs and beakers every 24 hours in preparation for the coronation of Edward VII. Grimwades claimed that at least five million mugs

16

and beakers would be needed for the British Isles and, judging by their advertising, it would appear that the company were quite prepared to make everyone of them.

Some of the prettiest toilet ware was made by Grimwaaes in the early 1900s, with the Nautilus toilet set being relief moulded in an attractive shell shape.

The jug had a handle at the top instead of at the side, as was customary. 'Oh, how easily it pours!' proclaimed the advertisement.

Many chintz patterns were being produced, ana Jacobean, Hampton, and Spode Chintz were all greatly admired by Her Majesty Queen Mary when, with King George V, she visited the Potteries in 1913. Matching trinket sets were available with the toilet sets, but what took the Queen's fancy was the new 'Mecca' Foot Warmer or hot water bottle ana, according to contemporary accounts, she was delighted to be presented with one in the Jacobean pattern. The foot warmer had a patent screw top, designed by Charles Donovan Grimwade, and a tasselled silk cord was tied into holes on either side of the neck for ease of carrying.

The Pottery Gazette eulogised over the toilet ware produced by Grimwades and much comment was made about the skilful modelling, the fine selection of shapes and delicate colours used.

It is sometimes thought that it was at around this period that Royal Winton adopted the prefix Royal to the Winton trade name. A press release issued some years ago by a development and promotion group wrongly asserts that the prefix was added in 1930 when the Royal couple visited the potteries. This is obviously incorrect, as the visit was in 1913, but such inaccuracies are often passed on and are taken as gospel.

In actual fact, the Home Office, whose records go back to 1897, can find no trace of Grimwades applying for or receiving permission to use the word 'royal' as a prefix. And, far from the use of the title dating from 1913, a catalogue for 1897 (when the firm was still trading as Grimwade Brothers) shows a full colour illustration for 'Royal Winton Ware'. This shows tea and coffee pots, cocoa jugs, beer or milk sets, cruets, egg sets, cups and saucers and pillar candlesticks made in plain colours of celadon, terracotta, ivory and beige, banded with contrasting colours of sage green, brown and turquoise blue.

However, the name Royal Winton does not appear on ware until about 1917/18 when Royal Winton Ware was produced. It then vanished again, not being used until about 1929, when Grimwades took out a full page advertisement in The Pottery Gazette introducing their new Octron vegetable dish made in Royal Winton Ivory, Leonard Grimwade ensured maximum publicity for his company. He advertised widely in the trade papers, invited journalists to inspect the new showrooms as they were opened, and exhibited at trade fairs. His strategy worked and The North Staffordshire Echo commented that Mr Grimwade had 'succeeded in establishing one of the largest businesses in the Potteries' with 'agencies or branches all over the world and is a marvel of organisation and energy.'

The first 'novelty' ware appeared around 1907 with the introduction of nursery ware decorated with illustrated quotations from nursery rhymes, while 'Brownies' ('quaint and amusing figures') adorned heraldic china. World War I 17

saw the introduction of 'Patriotic' Ware, with each article stamped 'Made by the girls of Staffordshire during the Great War, when the Boys were in the trenches fighting for Liberty and Civilization'. The 'Bairnsfather' Souvenir Ware was also made at this time and carried 'photographic reproductions of Captain Bairnsfather's inimitable Cartoons of the Great War'.

In 1922, another range of nursery ware, this time featuring 'Black Cats' appeared, together with 'Imps' and an updated version of 'Brownies'. These were followed in 1925 by 'Aesop's Fables', 'Robinson Crusoe', 'Old Country Nursery Rhymes', 'Bubbles' and 'Piggies'.

Art and novelty wares were not neglected, either, and these ranged from tobacco jars, in scenic designs or old chintz patterns, to jardinieres, similarly decorated.

In 1925, a range of lustre ware was introduced under the name of Byzanta.

This was made in rich colours of tangerine, powder blue, marone (wine red or maroon), cyclamen, yellow and turquoise. The new ware proved popular and the range was expanded to take in vases of every shape and size, fruit bowls, jardinieres, toilet ware and some table ware. It was reintroduced in 1937.

Grimwades introduced their new chintz ware in 1928, and this was manufactured on a large scale from the late 1920s, and well into the 1950s. It featured small, tightly grouped floral patterns that were applied to the pottery in sheet or all-over fashion. Over 80 recorded patterns and many unnamed patterns have been discovered and have proved to be highly collectable.

(See: Collecting Royal Winton Chintz by Muriel M. Miller) The company pioneered several new ranges of relief-modelled ware in 1933 with cottage ware appearing in 1934.

During World War II, an effort was made by all the potteries to increase exportsales and this drive was spearheaded by Gordon Forsyth, the former principal of the Burslem School of Art, and a designer of considerable ability. He recruited successful designers such as Mabel Leigh, Eric Tunstall, Norma Smallwood and Billy Grindy and the Winton Potteries set up two studios for their use. Mabel Leigh, who had done such excellent work for Shorters, worked there between 1939 and 1945, and produced many strikingly lovely lustred patterns in strong, yet subtle colours. Much of her work was never fully exploited, the right market seemingly never being found.

Gordon Forsyth, known affectionately as 'Fuzzy', also worked with lustres at Grimwades, using silver and copper lustres to achieve dramatic abstract patterns and designs reminiscent of those produced for Pilkington's Royal Lancastrian ware with rampant dragons and leaping deer. He also experimented with scraffito patterns.

Norma Smallwood was best known for her tapestry aesigns, while Billy Grindy modelled the Royal Winton character jugs, based on wartime personalities.

In April 1940 The Pottery Gazette praised the new range of Rosebud ware made in plain underglaze colours of pink, green, cream and yellow. Other flowers were added to the range, such as petunias, honey lilies, pansies, briar (roses), fuchsias and tea roses.

Afterthe War, Polish refugees were employed by Grimwades at the Elgin factory.

18

The hand painted ware they produced was in the style of paintings by the famous still-life painter, William Hunt, and pieces can be found with anemones superbly depicted.

In the 1950s, in an effort to combat the recession that had succeeded the post-war boom, and which had destroyed the chintz market, Royal Winton produced a range of items in gold and silver lustre. They also reintroduced their coloured lustre ware, but this was a pale imitation of the rich lustres that had been made in former years. The takeover by Howard Potteries in 1964 proved to be the death-knell of exciting, innovative designs.

19

Cottage Ware This ware featured various cottages, inns and water mills and appears to have been introduced in 1929, when the Anne Hathaway series was mentioned in The Pottery Gazette in September of that year. Cottage ware was mentioned again in January 1934, when The Pottery Gazette wrote, 'The "Old English Cottage" series, of which considerable quantities have been despatched in recent months, is about to be represented in a new guise, namely as a line of old ivory. To those people, who have a leaning towards something novel, but who are not enamoured of ultra-gay colourings, this new treatment will unquestionably appeal.'

In September 1934 The Pottery Gazette published a photographic illustration of Ye Olde Inne, showing a plate, jam pot, sugar shaker and 3-piece condiment set.

The trade fair at Olympia in 1935 was reported in the trade papers. It was evidently well-attended and Queen Mary purchased several pieces of cottage ware from the Ann Hathaway's Cottage and Ye Olde Mill series, the latter having recently been introduced.

Always great innovators and believers in advertising, Grimwades offered some of their ware as premiums i.e. customers would collect wrappers from various food items, chocolate, for example, and be able to send off to Grimwades to redeem these against a cheaper purchase of various wares. A four-piece teaset in Ye Olde Inne, and comprising teapot, hot water jug, cream and sugar, has been found bearing a Nestle's label tied on with silk ribbon.

The cottage ware was hand painted and this can give subtle variations to the designs, as one paintress's work was never exactly like another's. The pottery was intended for use at the table and generally comprised four-piece teasets (teapot, hot water jug, cream jug and sugar bowl), milk jugs, biscuit barrels, cheese and butter dishes, jam and preserve pots, cruets (salt and pepper) and condiments sets (salt, pepper and mustard), sugar shakers and dessert plates (now more popularly used as decorative wall plates). More rarely found are tea cups, saucers and plates, and table lamp bases.

There are five designs in cottage ware: Anne Hathaway's Cottage, Olde England, Shakespeare's Birthplace, Ye Olde Inne and Ye Olde Mill. Olde England is generally found bearing the Grimwades Rubian Art backstamp.

Ann Hathaway's Cottage

(picture page 49)

Date of manufacture 1929+ Pattern Number 6605 (Tea plate), 6805 (cruet) Registered number: Registration applied for Backstamp 24 sometimes accompanied by BRITISH and REGN APPLIED FOR. This series first made its appearance in 1929 and was commented on by The Pottery Gazette in their September issue. 'Those dealers,' they wrote, 'who

20

have a call for useful and ornamental ware for the souvenir trade should make a point of seeing the new "Anne Hathaway" ware of Grimwades Ltd., which comprises a series of pretty views in on-glaze colourings, depicting scenes from Shakespeare's country, applied upon a maize-tinted background.'

It was also mentioned in The Pottery Gazette in 1935 when Queen Mary bought a quantity at the trade fair in Olympia. An invoice dated 21st February 1939 shows that the Queen purchased two teapots at a cost of two shillings (lOp) each and two cheeses for one shilling and ninepence (about 8V2P) each.

Anne Hathaway was a Stratford girl who married William Shakespeare in 1582.

She was some eight years older than her husband and bore him three children; Susanna in 1583 and twins, Hamnet and Judith, in 1585. According to the Encyclopedia Britannica, Anne was the daughter of Richard Hathaway and 'was mentionea in the will of a Richard Hathaway of Shottery (a hamlet near Stratford) who died in 1581, being then in possession of the farmhouse known as "Anne Hathaway's Cottage".'

For some reason, Grimwades missed the final 'e' from her name and the backstamp bears the incorrect spelling.

Plates show a long, half-timbered house with a thatched roof. This is usually of a straw colour but examples can be found with the thatch in a blue-grey colour streaked with red. To the front of the house is seen a typical cottage garden with a profusion of bushes and plants painted in blues and pinks. A wooden gate is set into a hedge and is open to the road.

Teapots and biscuit barrels are upright in shape and appear to feature just part of the cottage. The thatched roof is stepped and the chimney is also stepped. The mullioned windows are picked out in blue and a tree coloured in pink, yellow and green is set by the front door. Cottage-garden flowers border the base of the piece. The teapot handle is green and formed from the branches of another tree.

Smaller items such as covered butter or cheese dishes, cruets, condiment sets and sugar shakers are sometimes less well decorated, the colours being harsher and the modelling rather more crude.

Olde England

(picture page 50, 51)

Date of manufacture c 1930s Backstamp 23 This series was produced by Rubian Art, a subsidiary company of Grimwades Ltd. The cottage featured bears certain similarities to Anne Hathaway's Cottage, both being half-timbered buildings with straw-coloured thatched roofs and mullioned windows picked out in blue. The Rubian Art modelling is less fine, however, and the painting rather less well done.

The wall plates are perhaps the most attractive items, being well-detailed and featuring a cottage fronted by a garden and flanked with a brick wall and a fence. A woman stands on the right of the scene and, a little further to the right, a farm vehicle of some sort which could be mistaken for a tractor, but is more likely to be a horse-drawn hay wagon. The aessert plates can differ in colour and have been found in both a yellow and pink colourway.

21

A contemporary catalogue describes the ware as 'A distinct novelty for table use. The modelling is in high relief and the colour work done by hand'.

Shakespeare's Birthplace

(picture page 51)

Date of manufacture c 1930s Backstamp 25 This design may have formed part of the Anne Hathaway series, but there is no information to corroborate this. The scene has been found depicted only on plates so far, and features a long, half-timbered Elizabethan house with mullioned windows. The house is bounded by a low picket fence and fronts a highway complete with pavement and road.

The colours are subdued; the roof is streaked dully in blue and magenta, the windows are a pale blue, while the walls and fence are picked out in beige and brown. The only real touch of colour comes from the greenery in the garden.

Ye Olde Inne

(picture page 52)

Date of manufacture 1934 Registered number 819286 Backstamp 26 sometimes with the addition of the word GRIMWADES or BRITISH. Sometimes known to collectors as The Swan Inn, the building featured is a halftimbered public house or inn. The painting is dramatic with the timbering picked out in black against creamy yellow walls. There appear to be two colourways for the roof; scarlet with some greenery or a greyish lavender highlighted in scarlet. The name of the inn is Ye Olde Swan and this can be found above the front door, along with the picture of a white swan.

In the 4-piece teaset, the building is shown as diamond-shaped, with the front door set on the corner. In biscuit barrels, however, the building is square, with the front door set between two blue mullioned windows. Protruding supports for the wicker handle are portrayed as lanterns.

Dessert plates feature the inn sign as swinging away from the door; also shown are four geese and a war memorial standing on part of a village green.

The 4-piece teaset was offered as a premium and the silk ribbons which secure the lids of the teapot and hot water jug to the bases carry a gilded label for Nestle.

In 1937, H.M. Queen Mary ordered several items in the new colouring of Ye Olde Inne, namely, dessert plates, cheese dishes, teapots and 3-piece cruets.

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Ye Olde Mille

(picture page 53)

Date of manufacture 1935 Registered number 803446 Backstamp 27 sometimes with the addition of GRIMWADES or BRITISH. Also found with the words REGISTRATION APPLIED FOR The first mention of this design appears in The Pottery Gazette in April 1935 when it was reported that several pieces of Ye Olde Mill were purchased by Queen Mary at the trade fair at Olympia.

The mill featured is a water mill, the water wheel being a prominent part of the design. In the teapot (which hasanunderplatesimilarto that of the covered butter dish), the wheel is set to the front of the piece, the handle is formed by the hoist set above large wooden double doors. The reverse shows a small door set between two blue painted windows, with another winaow above.

Trees surround the building and form an integral part of the design.

The covered butter dish also has a painted hoist and the wheel is set to the side. The base is painted to indicate a stream and cobbled paths leading to the doors. The dessert plate shows the water mill set in a meadow, backed by trees and fronted by a rushing stream. Smaller pieces, such as cream jugs leave out the mill wheel, while, with cruets, only one piece features the wheel.

There are two versions of Ye Olde Mill: one having a red roof, the other a pink roof. However, the red-roofed version is not so well-modelled and the painting is not so attractive.

23

Relief-Moulded Ware The relief-moulded ware, produced by Grimwades under the Royal Winton and Rubian Art trade names, is arguably the most innovative and fanciful of all ware that was produced from the mid-1930s onwards, and featured such diverse modelling as pixies, beehives and cockerels.

The ware, known to the trade as 'Fancies' consisted principally of items for the afternoon tea table, such as teapots, cream and sugar sets, butter and cheese dishes, toast racks, cake plates and comports, sugar shakers and so on. Large jugs, vases, fruit bowls and baskets were also made in some of the ranges.

The moulding was generally crisp and well-modelled, the colours appealing.

Some ranges were introduced in the plain cream colour of the new Royal Winton Ivory, only later being hand painted.

The first relief moulded ware made its appearance fairly modestly in the autumn of 1929 with the introduction of the Anne (incorrectly spelled as Ann by Grimwades) Hathaway ware (see chapter on Cottage Ware). This was closely followed in the spring of 1930 by a range of salad, cucumber and cress ware which was initially decorated with green leafage and red tomatoes.

Primula was introduced by the Rubian Art Pottery in 1933, followed by Regina, which was manufactured by both the Royal Winton and Rubian Art factories and can carry either backstamp. Gera was issued by Royal Winton and appeared in 1934.

The success of the Ann(e) Hathaway ware saw a whole series of relief moulded being introduced, with Lakeland being made in 1935. Pixie, Chanticleer and 'Dovecot' made their appearance the following year, while Terrace and Beehive were made in 1937, with Trellis Rose Garden and Peony following on in 1938.

In 1939, the range of salad ware was expanded to include relief modelled vegetables in naturalistic colours.

There were other series of relief moulded ware produced which, unfortunately cannot be dated with any accuracy, other than they were made during the years between 1929 and 1939 and bear the Royal Winton backstamp for this period. Some of the designs have been found only as jam or preserve pots, although other items may well have been made. Some series, although illustrated in the trade papers of the time as consisting of a great many items, do not appear to have actually been made in any quantity and are rarely found today. This apparent lack of production could have been due to the impending war in 1939; alternatively, it is possible the series were produced for export only.

Most of the designs were named by Grimwades and were marked on the base of these. Some, however, remain unknown. For ease of identification, these designs have now been given working titles which are printed in quotes.

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'Apple'

(picture page 54)

Date of manufacture 1934+ .

Backstamp 7 So far, this has been found only in the form of a lidded preserve pot on a fast (integral) stand. It was described as 'Jam pot No. 16 (Honey)' in an invoice dated 1939, when H.M. Queen Mary ordered 12 of these - which suggests that the pot would be used for honey rather than a preserve.

The base consists of rosy apples, realistically painted and interspersed with leaves in a rich green. The lid depicts apple tree leaves with a stalk forming the knob or finial.

Beehive

(picture page 54, 55)

Date of manufacture 1936 Pattern numbers 3284, 4070 (primrose colourway); 6822 (tan colourway) Backstamp 7, 28 This relief moulded design is perhaps one of the most popular with collectors.

The series was first mentioned in the trade press in October 1937: 'A unit which seems to have met with universal acceptance in the embossed fancy tableware is the "Beehive" offered in various styles of colouring.'

However, an invoice addressed to 'The Controller & Treasurer to Her Majesty Queen Mary, Buckingham Palace, London' shows that the Queen ordered 12 Beehive teapots in size No. 10 (in natural colours), with the order being dated for the 15th July 1936 and the invoice dated for the 19th September 1936.

The design consists of a domed beehive shape, rather unrealistically decorated with flowers in pastel shades. Where there is a finial, it consists of a bee with folded wings. The most commonly seen colour is a light tan with the base of the piece, as in a cruet, represented as vivid green green grass bordered by a small brown fence.

The teapot is of a rather squat appearance, while biscuit barrels have been found in both a squat and tall shape. Butter and cheese dishes have a square or oblong base in cream bordered with green; occasionally, a chromium plate base was supplied.

Primrose, which can sometimes appear to be a pale cream, was offered as an alternative colourway. Rather more rarely found today, is the pale blue colourway. Sugar shakers can also be found with the upper part in the tan colourway with the base in a greyish lavender.

The dessert plate shows a colourful scene with three tan beehives set next to a branching tree. A flagged path leads to a half-seen cottage, fronted by tall pink hollyhocks.

H.M. Queen Mary was obviously impressed with the Beehive design as, in February 1937, she placed a further order for '6 each of covered butters, cheeses, teapots, cruets (3 piece), and honies (with fast stands)'. These were all listed against the pattern number 3284.

Items found today are biscuit barrels with wicker work handles, tea pots with matching cream jugs and sugar bowls, butter dishes, cruet and condiment 25

sets, cheese dishes, dessert plates (more popularly used as wall plates today) preserve pots (some with fast stands, some without), sugar shakers, and chargers (large plates intended for wall hanging). ' C a s t l e On t h e Hill'

(picture page 56)

Date of manufacture 1930s+ Backstamp 6 with REGISTRATION APPLIED FOR So far, this pattern has been found only as the illustrated cheese dish, and carries no pattern name. The cover is modelled as a hill with a castle perched on top. The building is picked out in tan and orange, and green foliage partially covers the walls. A stepped path leads down to a gated fence which is interspersed with trees. The base of the cheese dish has a green grassy border with a path at either end.

Chanticleer

(picture page 56, 57)

Date of manufacture 1936+ Registered numbers 810173 and 810775 Backstamp 7, 11, 13, 14, 19, 29, 30 Cockerels and hens have always been popular additions to the breakfast table and Chanticleer was no exception. Realistically moulded in warm colours, the cock and his hen were classed as 'distinctive novelties' in the Grimwades advertising leaflets. The range first went on show at the British Industries Fair in February 1936, along with Lakeland and Pixie.

With the exception of the toast rack, the items produced were in the shape of the bird set on a grassy green base. They were available in different colourways, with the hand painting adding variations to these. The teapot, for example, can be found in streaked and speckled shades of a golden brown, with the tail and lower body feathers highlighted in soft green. Alternatively, a rich, dark blue combination was used with bands of scarlet emphasising the tail feathers. These tail feathers curve down to create the handle of the tea pot, with the spout being formed by the open beak of the bird. Sugar shakers were either golden brown or a pale yellow lightly streaked with red, the wings being a light grey and the breast cream.

What appears to be a cock bird set in a nesting pose was modelled for the cover of a cheese dish. A cream colourway was used in combination with aark grey for the breast and tail feathers.

Toast racks are in green with a cockerel decorating either end; 3-piece cruets (salt and pepper pots on a base) show the cockerel standing with his head held high, while the hen stares into space. The 4-piece condiment set (salt, pepper and covered mustard pot on a base) has the cockerel in the same proud pose, accompanied by two hens, one as before, the other shown head down, pecking for food. The male bird always sports a large scarlet comb and scarlet wattle, while the hen has only the merest suggestion of a comb. The base resembles a grassy field, the carrying handle depicting a fence.

Items listed in the trade catalogue were 'teapot, hot water jug, sugar and cream, marmalade with cover, sugar sifter, cheese cover and stand, Cruet 26

(3 pieces), condiment set (4 pieces). 3-bar toast rack, 5-bar toast rack, jam, covered butter, mint boat and stand, dessert plate.' In addition to this published list, a milk jug has also been found.

Some items bear the name Chanticleer (which is French for cockerel), while others are marked Rooster. The former would appear to apply to the golden brown colourway, the latter to the blue colourway. Both names carry the same registered number. Occasionally, items are marked only with the backstamp, but on small items such as sugar shakers, and cruets and/or condiments sets, this can be missing altogether.

Countn/Side

(picture page 57)

Date of manufacture 1938 Backstamp 31 Like 'Castle on the Hill', very few pieces, other than the one illustrated, have been found. The dish shows an orange-roofed water mill set on a slight hill beside a rushing river. A stepped, winding path leads to a small bridge over the water.

The pattern was mentioned in the trade papers in October 1938, when it was exhibited at the trade fair at Olympia, although it was erroneously described as portraying a windmill rather than a water mill. In 1939, H.M. Queen Mary ordered 6 open trays in the Countryside pattern at a cost of 1/- (5p) each.

CrOCUS

(picture page 57)

Date of manufacture 1930s+ Backstamp 32 The Crocus pattern falls into two categories: Relief Moulded Ware and Pastels (see chapter on Pastels). As a sundae dish, attractively hand painted in shades of pink, green and yellow, it is definitely relief moulded ware. However, other wares made in the same series have a highly glazea pastel body with only the flower shown in relief. The pastel shades are invariably green with the crocus itself portrayed in varying colours.

A range of table ware was produced, although the complete list is not known.

'Dovecote'

(picture page 58)

Date of manufacture 1936 Backstamp 1,7 Although illustrated in The Pottery Gazette in September 1936, this design was not actually named in the advertising so the title 'Dovecote' has been used for identification purposes only, for the ease of collectors.

The range would appear to consist more of decorative items rather than table ware with fruit bowls and flower vases of various shapes and sizes being made.

Items were made with both a matt and gloss glaze. The matt example shows a dovecote modelled in relief with brightly coloured flowers surrounding it.

Grey-blue doves flock around. The ground colour is cream. The gloss example

27

is less well-modelled and the hand-painting is less well-defined. This would suggest a later date of manufacture.

'Galleon'

(picture page 58)

Date of manufacture 1930s Backstamp 9 The biscuit box shown appears to have been modelled on an Elizabethan galleon, and sails on a painted sea. An animal is used for the figurehead and, at the stern, high windows are picked out in blue. The planked body of the ship is brown, with the gun ports emphasised with black and orange. The knob or finial consists of a cut-out metal galleon but it is not known whether this is original to the piece, or a later replacement by a loving owner. Unfortunately, the design bears no name.

Game

(picture page 58)

Date of manufacture 1936 Backstamp 9 A photograph for this series appeared in the trade papers in September 1936, advertising it as suitable for gift ware.

The series shows a mallard in flight over a lake fringed with irises. It was made in two colourways. In one, the bird can be seen painted predominantly in shades of lilac, set against a cream ground; the irises are tinged with blue. This cream colourway is more rarely found than the dark blue.

The dark blue colourway has the bird, brightly coloured, flying across clouds outlined in gilt. The foreground is also very colourful, the irises being hand painted in yellow, pink and blue.

Gera (picture page 59, 60) Date of manufacture 1934 Registered number 797640. Registered Canada 1934 Pattern number 2209 Backstamp 6, 33 Gera, a flower-embossed design, is very pretty and appealing. The Grimwades trade catalogue describes it as, 'A most attractive adaptation in strong relief of the popular Geranium Foliage and Flower in natural colours with an appropriate rustic background. This design is made in three distinct colourings.'

A later catalogue describes it as 'A new series of table ware having for its special motif a well-modelled spray of Geranium flower and foliage in strong relief with wicker work background in low relief. This affords great scope for very tasteful and effective decorations. Made in six distinct varieties.'

More information can be gleaned from the January 1934 edition of The Pottery Gazette. 'Another new suite that is being prepared for the New Year trade is the "Gera". The decoration of this is based upon the geranium, and the arrangement of the design consists of a series of geranium sprays which spring

28

from variegated foliage at the base. This pattern, like the "Regina" will lend itself to various styles of treatment, from natural to conventional. One very simple way in which the new "Gera" ware will be offered will be in the plain old ivory style, without any added colouring. All that will happen will be that the embossment will be allowed to appear a little whiter than the brownishtinted glaze. We feel quite sure that ware of this type, simple and unassuming though it may be, will command attention on other grounds than that it will be relatively inexpensive.'

A further account, which gives us some clues as to the colours in which Gera was available, was published by the same periodical in January 1935, '... the ware is dealt with first of all in a basic ground colour - which may be bright green, Wedgwood blue, or a delicate shade of fawn - and the floral work is over-pencilled (i.e. over-painted) in colour, the leafage being naturally tinted and the flowers left in low relief. Alternatively, the pattern can be had with an ivory ground, in which case the geranium is emphasised naturalistically in red or pink.'

In fact, a more dramatic colourway was also issued, with the flowers painted a vivid scarlet against a black ground.

Items available at the time were listed by Grimwades as: Tea pots, tea pot stands, cream and sugar sets, jugs (5 sizes), marmalade pots, butter dishes with stands, cheese dishes, covered milk or hot water jugs, 3- and 5-bar toast racks, salad bowls (with servers), condiment sets on trays, dessert plates, 3compartment and twin-compartment trays, sweet dishes, sandwich sets, cups, saucers and tea plates, sugar sifters, mint boats and stands, and comports or cake plates with integral stands.

The pattern name is also used as the name for the shape and pieces can be found bearing GERA impressed on the base.

'Grapes'

(picture page 60)

Date of manufacture 1934+ Backstamp 7 Like the 'Apple' design, this has been found only as a preserve pot. The body of the pot, with its integral base, is made up from vine leaves hand painted in shades of yellow, green and pink, with a few grapes scattered about. The lid consists of grapes painted a purplish blue, the knob or finial being formed by the stalk of the vine leaf.

'Haystack'

(picture page 60)

Date of manufacture 1934+ Backstamp 6 It is possible that the teapot illustrated is part of the Chanticleer/Rooster series as the finial of the lid portrays a cockerel. However, as no haystacks are depicted in Chanticleer, this design has been given a separate entry. The body of the teapot is formed as an old-fashioned round haystack, tapering to the base which is surrounded by a wattle fence interspersed with colourful flowers.

The handle is formed by a tree in full leaf.

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"Iris'

(picture page 61)

Date of manufacture 1934+ Backstamp 6 The only known example of this is a tall jug, the body formed of overlapping iris leaves, with the purple flowers arranged in a deep band around the rim.

The jug was reproduced in the 1950s/1960s, but the modelling was less sharp, and the colours of pale pink and pale blue seeming dull and unattractive.

Lakeland

(picture page 61, 62)

Date of manufacture 1936 Registered number 810588 Pattern number 3015 Backstamp 34, 35 The Lakeland series was first mentioned in the trade papers in February 1936 with Grimwades taking out a full page advertisement. The ware would be seen, stated the advertisement, at the British Industries Fair which was taking place that month. Also introduced were the series Chanticleer ana Pixie.

In March 1937, H.M. Queen Mary placed an order for 6 plates No. 20 at a cost of l/4d (about 7p) each. She also ordered a salad bowl and servers, No. 19 andl9Aat4/6d(22V 2 p).

The design takes two forms, the main one portraying a lakeside scene, flanked on one side by trees, with a range of hills beyond. The other portrayal seems to have been used only on flower holders. These were modelled in the shape of tree trunks with three or four apertures at the top to take the flowers. Leaves and flowers decorate the trunks and a large butterfly is prominent. Colours of the trunk are brown, the foliage green, although a different colourway is provided with a lilac trunk and yellow foliage.

Two colourways were used for other items. The most frequently found uses a green palette for the grass, trees and shrubs, with flowers being picked out in pink. The alternative has green grass, yellow foliage, and yellow and lilac flowers. In addition, the hills and lake are tinged with lilac.

Items made include teapots, cream and sugar sets, hot water jugs, milk jugs, compartmented dishes, preserve pots, mint boats and stands, sugar shakers, coffee pots and so on.

LotUS

(picture page57)

Date of manufacture 1934+ Backstamp 6 To date, this has been found only as a lidded preserve pot. The base is attractively shaped from leaves and hand painted in blue. The lid shows the expanded flower in yellow with a lily bud as the knob or finial. The base is impressed with the shape name Lotus.

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'Pagoda'

(picture page 63)

Date of manufacture 1934+ Backstamp 6 This has been named from the mustard pot in the condiment set which is shaped like a small wooden pagoda. The roof is picked out in orange and the salt and pepper pots are shaped like bushes planted in wooden tubs. The base consists of a paved garden. The orange roof features again in the toastrack and is seen atop a wooden gate. The sugar sifter, in the shape of a water pump, and the twin-compartment dish have also been included in this pattern, as both feature distinctive similarities.

Peony

(picture page 63)

Date of manufacture 1938 Backstamp 6 An extremely pretty range of tableware, Peony, was introauced in 1938 and was illustrated as a new suite of tableware in the trade papers in October of that year. It is possible that the production run was short-lived due to the impending war as very few pieces of this pattern have been found.

The muffin dish illustrated has a plain cream base, bordered by green leaves while the cover is formed of cream petals, shading to a deep pink at the edges, with a touch of blue at the base. The knob or finial is composed of the flower, set on a leaf and accompanied by yellow and pink stamens. A yellow colourway was also used, but the modelling is not as crisp, the glaze glossier and the hand painting less well done.

Peony was issued in teapots, cream and sugar sets, cups and saucers, preserve pots, cheese and muffin dishes, serving and triple dishes, condiment set, sugar shakers and toast racks.

Pixie

(picture page 63, 64)

Date of manufacture 1936 Registered numbers 811696 and 811804 Pattern number 4037 Backstamp 6, 11, 13, 36 Pixie was introduced in 1936, along with Lakeland and Chanticleer, and was mentioned by The Trade Gazette in its February issue when it was written, 'Good business is confidently expected with these new lines.'

H.M. Queen Mary was obviously impressed, as an order from Marlborough House in March 1937 lists a request for teapots, hot water jugs, cheese dishes and cruets.

There would appear to be three different colour treatments of the Pixie pattern; the scenes, however, are all similar. The latest made is the one hand painted in pastel colours. A reclining pixie is seen relaxing on the grass in front of a garden wall. He is set against a background of toadstools, and shaded by a tree bearing bunches of cherries. The pixie is also seen standing and kneeling, and in the dessert plates, two pixies can be found relaxing by the side of a

31

lake, with one playing a musical instrument. A frog is shown in the foreground of the large jug, but has not been seen on any of the other pieces.

In the pastel shades, both the fruit and the toadstools are painted in various colours of pink, yellow, blue and lilac. The pixie is dressed in either yellow with a blue cap or blue with a yellow cap and these are all marked with Backstamp 13. Where the pixie is shown wearing bright red clothes, the backstamp is either Backstamp 6, 11 or 36 - all appear to have been used. A jam pot has been found without pixies; only the cherry tree with its fruit is portrayed.

Items bearing Backstamp 6 come in a choice of two colourways. The first shows the pixie wearing a dark red outfit; the wall is tan and the cherries are purple.

In the second, the pixie wears mid- to dark green, the wall is lilac and the fruit is a bright orangey red. The toadstools in both are yellow tinged with red.

A possible fourth colourway depicts a pixie dressed in black with a blue hat, The toadstools are very pale and in yellow and blue. The grass is pale green, It is not known whetherthis rather drab colourway ever went into full production.

Primula (picture page 65, 66) Date of manufacture 1933+ and 1934+ Pattern numbers 1802, 1847, 1848, 4667, 4668, 4669, 4715 Backstamp 6, 37, 38 Based on the flower. Primula was first manufactured in 1933 with a different colourway appearing in 1934. It can be found bearing either the Royal Winton backstamp or the Rubian Art backstamp.

The Pottery Trade Gazette wrote, 'Grimwades Ltd are embarking upon a new rendition of their now everywhere well-known "Primula" ware. It will in future be featured as an alternative to the older style, in old ivory with floral sprays treated in natural colours. It will be conceded everywhere that the "Primula" ware has been a great success during 1933, and when we announce that it is now being reintroduced in an entirely new treatment, which is generally acknowledged by all who have seen the preliminary pieces even to surpass the original, there is not likely to be much doubt that fresh interest will be aroused in it.'

A Grimwades catalogue sheet for 1933 shows four varieties of the ware, all set against green foliage and each having a different pattern number: with mauve flowers (4667), with cardinal red flowers (4668), with yellow flowers (4669) and with pink flowers (4715), Another catalogue sheet extols later ware. 'The treatment of this popular subject provides a contrast to the purely natural (i.e. the green foliage), as the foliage background is in rich old Ivory with delicate hand tracing in brown, thus emphasising the rich colouring of the flowers in a very striking manner.'

This later ware was made in three varieties, all set on the ivory ground. The catalogue went on, 'delicate blue flowers (1802), cardinal red flowers (1847) and sweet pink flowers (1848)'. Another alternative shows pale green and cream leaves, with flowers in shades of pink, mauve and yellow.

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These catalogue pages also list items of tableware in Primula series made by Atlas China, a subsidiary company owned by Grimwades, but to date no pieces have been found.

In February 1939, a Grimwades' invoice shows that H.M. Queen Mary ordered 6 teapots and 6 large jugs in Primula and these cost 21- (lOp) and 1/9 (83Ap) respectively. The items were identified by the number 5114 and it is possible that the number applies to the colourway having pale green and cream leaves, with flowers in shades of pink, mauve and yellow, mentioned above.

The list of items manufactured seems endless, sweet dishes, sugar sifters, cruets, condiment sets, covered jugs, egg sets, 3- and 5-bar toast racks, triple trays, marmalade pots, cheese dishes (2 sizes), mint boats and stands, teapots (2 sizes), dessert plates, cream and sugar sets, 7-piece dessert sets, cake comports, sandwich trays and plates, salad bowls, and sets of jugs.

Regina

(picture page 66)

Date of manufacture 1934 Backstamp 39 Based on the Regina water lily, the series features the flower resting on its large leaves. It was introduced by Grimwades in February 1934, 'Amongst the many new novelties for 1934, the new "Regina" suite is strongly recommended. It depicts a choice study of the Water Lily on strongly modelled embossed Ivory Ware. Made in various colouring, Warm Brown, Blue-Grey, Green, and Mauve.'

The trade press echoed the manufacturers, 'This new ware is... relief embossed, and in shape alone it is of such ornamental value that it is quite attractive without any decoration other than the merest ground tinting. It has, therefore, been decided by the firm to give the pattern a run in this way, as a simple decorative suite to be offered in four principal ground colours, green, old gold, mauve and pale blue ... if however, he (the dealer) should require something more elaborate, he will find on the same shape a number of renderings which involve the picking-in of the leafage and foliage embossment with strong colourings.'

Pieces having green foliage can be found in the two distinct varieties mentioned above. The pastel green has flowers in pale creamy yellow, and could be regarded as more attractive than the stronger green version which has the flowers enhanced with strokes of orange.

Like Primula, Regina was made in a wide range of tableware and Grimwades list articles such as footed salad bowls, sets of jugs, teapots and stands, hot water jugs, cheese dishes, 2- and 3- piece cruets, 3- and 5-bar toast racks, honey pots, sugar sifters, dessert plates, triple trays, watercress dishes and stands, mint boats and stands, sweet dishes, chocolate comports, handled cake stands, footed fruit or cake stands, tea cups and saucers, tea plates, sugar and cream sets.

Rooster - See Chanticleer

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'Salad'

(picture page 66)

Date of manufacture 1930s Backstamp 1,6 Introduced in 1930 and advertised by Grimwades during that period, the ware initially consisted of 'a range of salad, cucumber and cress ware, decorated with green leafage and red tomatoes.'

A page from a contemporary Grimwades catalogue for the 1930s shows an elongated celery tray 'in natural colours' and a similar rhubarb dish 'in natural pink and green'. A round dish, 'Savoy' depicted a cabbage leaf, while a biscuit box was made, rather strangely, in the shape of a rough-skinned melon.

Salad and fruit bowls were made in both 'Tomato Salad' and 'Vine', the latter covered in grapes and vine leaves. In keeping with the natural theme, flower pots were made which resembled wicker baskets.

A worker at Grimwades at the time maintains that some of the salad ware, such as 'an open lettuce leaf dish' was marketed underthe name of Middleton ware, and was mentioned in a gardening programme on the radio during the late 1930s.

Later production included dishes decorated with green pea pods, turnips, radishes, spring onions and rather improbable carrots, all set against a vivid green ground.

However, the idea of making salad and vegetable tableware was not a new one, as a rhubarb dish was introduced in 1900. The dish, realistically portrayed, was intended for stewed rhubarb. A tomato dish also made its appearance at this time, as well as an elongated lettuce dish (available in 4 sizes), in natural colouring. In 1901, a lettuce cheese dish and cover was advertised, together with a leaf-moulded bowl intended for punch or junket.

Terrace

(picture page 67)

Date of manufacture 1937+ Pattern number 4094 Backstamp 6 This was initially advertised in October 1937 when the trade papers wrote, 'There are also many excellent lines in matt-glazed ware, of which the "Terrace" pattern may be cited as typical.' Pieces can also be found with a high-gloss glaze, however.

The scene depicted shows a stepped path, flanked by brightly coloured garden flowers, leading up to a balustraded terrace. Leafy green trees set against a creamy white form the background. This creamy white is sometimes subtly shaded with pale lavender. The body of the piece is also slightly unevenly ribbed. Pieces made include wall chargers, and ornamental jugs and vases of various forms.

A different colourway is used for both the high-gloss dessert plate and the condiment set and is of soft beiges and browns, with the flowers picked out in more subdued colours.

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rellis Rose Garden

(picture page 68)

ate of manufacture 1938 â&#x20AC;˘ckstamp 6 erhaps one of the prettiest designs in relief moulded ware. Trellis Rose Garden /as mentioned in The Pottery Gazette in February 1938. The trade paper was reviewing exhibits to be shown at the British Trade Fair. 'A new series of relief lodelled wares is in the course of preparation, to be known as "Trellis Rose harden". Whether the modelling of the whole of the pieces will have been ampleted by the time the Fair opens is a moot point, for a good deal is sntailed in its preparation, but there will be a sufficiency of samples on view o show what the entire suite, when finished, will be like.' he Gazette was correct in its comments; Trellis Rose Garden is perhaps the nost detailed pattern of all the relief moulded ware, consisting, as it does, of ustic trellis complete with rambling roses in pink and yellow. The flowers and 3aves are finely modelled and delicately painted. Between the trellis, on larger nieces, can be caught a glimpse of an extended English garden complete vith a brick wall and crazy paving. "here is no list available of exactly what the suite comprised but a safe guess would be table ware, as in most of the other ranges.

Wishing Well'

(picture page 54)

Date of manufacture 1950s Backstamp 14 The jam pot illustrated is the only known example of this design. It features an attractive, covered well, the base of which is decorated with foxgloves and other flowers. The lid forms the cover of the well and is complete with winding chain.

35

Pastels The popular pastel series made its first appearance in 1940 and was hailed enthusiastically by the trade press in April of that year.

Rosebud was the first design made and The Pottery Gazette described it so, 'Another attractive but inexpensive line is offered in air-blown colourings beneath the glaze, with the handles and knobs of the hollow pieces formed by means of a delicately modelled rosebud, which is coloured up naturally by brushwork.'

Huge amounts were made specifically for export - only undecorated white ware was allowed to be manufactured for the home market during, and shortly after, the war years - and it was initially exported to Canada, Australia, New Zealand, India and South Africa, being exported to America later.

The trade papers listed the items available in Rosebud as: morning sets, coffee sets, afternoon sets (which would include a teapot), chocolate comports, covered honey pots, cheese dishes, butter trays and knives, jugs (in 5 sizes), open trays, salad bowls and servers, hot water jugs, sweet dishes, cruets, toast racks, watercress dishes, triple trays and bedside sets.

By the 1950s, the range had been extended to include dinner ware as well.

Wall pockets can be found in some designs, such as Petunia, Rosebud and Tea Rose, while dressing table and trinket sets were also produced.

Items of Rosebud were sometimes impressed with the pattern name and some Rosebud shapes were not exclusive to the range. The Thistle jam pot carries the name, and collectors can also find chintz-decorated pieces impressed ROSEBUD. Petunia and Honey Lily shapes were also used for chintz patterns.

Pastel ware was occasionally manufactured without the flowers being handpainted. These were issued in a plain colour or with the flower shown in white; the ground colour was usually green. Some patterns, such as Petunia were highlighted with gilding, rather than being hand painted in natural colours.

The glaze used on the Pastels seems particularly prone to age and fine glazings cracks are frequently found. The cracks are on the surface only, but can sometimes spoil the look of the piece.

'Apple'

(picture page 69)

Date of manufacture 1950s Backstamp 13 An Apple design also appears in the Relief Moulded Ware chapter. However, that was made in the 1930s and bears little resemblance to the Apple illustrated in the Relief Moulded section.

The fruit is shown in relief against a pale green ground and reflects autumnal colours. It has also been seen on an amber ground.

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' A p p l e BlOSSOm'

(picture page 69)

Date of manufacture 1950s Backstamp 13 The low fruit or dessert bowl is a warm pale green with the blossom shown in relief in pink and white. Like Apple (above), it does not appear to have been made extensively. It has also been seen with pale blue and pale pink ground colours.

Briar

(picture page 69)

Date of manufacture 1940s Backstamp 7, 40 Featuring the flower of the Briar Rose, this pattern was available in two colourways, green or cream. The cream ground is enhanced by the flowers hand painted in yellow, blue and pink, while the green colourway is rather duller with flowers in old gold, tan and blue. Very little actual tableware is to be found, leading one to think that it was less successful than some of the other patterns.

CrOCUS

(picture page 57)

Date of manufacture 1930s+ Backstamp 32 The Crocus pattern falls into two categories: Relief Moulded Ware and Pastels.

It has, therefore been included in both the Pastels chapter and the Relief Moulded Ware chapter. A range of table ware was produced although the complete list is not known.

The sundae dish illustrated is attractively hand painted in shades of pink, green and yellow, and is classed as relief moulded ware. However, other wares made in the same series have a highly glazed pastel body with only the flower shown in relief. The pastel shades are invariably green with the crocus itself portrayed in varying colours, as in the sugar shaker illustrated.

Fuchsia

(picture page 69)

Date of manufacture 1950s+ Backstamp 12, 13, 17 The flower is naturalistically depicted against the plain ground colours which came in a choice of pale blue, pale green, yellow and pink. Like Briar (above), it does not appear to have been made in any great quantity.

HibiSCUS (picture page 70) Date of manufacture 1950s+ Backstamp 7, 13 This pattern can easily be confused with that of Honey Lily (Tiger Lily) as the modelling is identical. However, the Hibiscus flower is portrayed in pale pink, shading to dark pink, and is quite plain, having no streaking or mottling on the 37

petals. Hibiscus was targeted specifically at the American market and is found less often in this country.

H o n e y Lily

(picture page 70)

Date of manufacture 1950s+ Pattern numbers 5774 (green), 5777 (cream with striped border), 5803 (could be 5802) yellow Backstamp 7, 11, 13, 14, 41 Known to many collectors as Tiger Lily, the Honey Lily pattern was made mainly in sunshine yellow and a soft green. More rarely seen is the cream colourway which has a banded border of green and pink.

The flower, like the Fuchsia pattern, is well modelled and stands out in relief. It closely resembles Hibiscus, and the company appear to have used the same moulds. The Honey lily flower, however, has mottling on the petals which are absent on Hibiscus. The Honey Lily flowers are also lightly streaked with yellow, whereas the Hibiscus is solid pink, Table ware was made, possibly on the scale of that of Rosebud, but unfortunately records are not available to verify this.

Mottled and Plain Coloured Ware

(picture page 75)

Date of manufacture 1939+ Backstamp 7, 14 Wares made in plain and mottled finishes were produced during the war years and the 'Buyers' Notes' in The Pottery Gazette dated October 1939 mentions 'several ranges of teaware in mottled self-colourings underglaze. The principal colours are pink, green, primrose, grey and amber; the finish is gold edge and half-solid handle.'

In addition to the tableware, the mottled ware included lamp bases, vases and wall pockets. It was also occasionally used on some of the flower patterns (see Fuchsia illustration). Clocks were made in plain, shaded colours, Pansy Date of manufacture 1940s+ Backstamp 11, 13, 14

(picture page 71)

This is a very simplistic pattern, featuring the garden flower, which is moulded in relief and emphasised by handpainting. Larger items have the flower accompanied by its foliage while smaller items, such as the ashtray illustrated, consist solely of the flower-head. It's not a pattern which is seen often and it is extremely pretty, especially when the stronger blue and mauve colours are used for the flowers, although the vivid yellow flowers contrast well with the pale green ground, as seen on the hors d'oeuvre dish.

There is no record of the amount of Pansy that was produced but, as it is seldom seen in the market place, it would appear to have been of limited production.

Neither is it known if any tableware was made.

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Petunia

(picture page 71)

Date of manufacture 1940s+ Pattern numbers 405 (pink), 466 (yellow) Backstamp 11, 12, 13,42 Petunia ware was made in pink, yellow and mottled pink. This pattern is extremely popular with collectors ana is, indeed, most attractive. The flower is depicted in white with a deep pink centre and is enhanced by green leaves.

In some pieces the pink centre is omitted, leaving the flower plain white.

Occasionally, the flower is highlighted with gilding.

Apart from tableware, vases were made, as well as items for the dressing table.

The name PETUNIA is occasionally impressed on the base of the piece.

Rosebud

(picture page 72, 73, 74)

Date of manufacture 1940s+ Pattern numbers 5488 (yellow), 5489 (green), 5490 (pink). The number 44 has been found on a cream ground cup.

Backstamp 7, 11, 12, 13, 14 Rosebud is, perhaps, the most popular pattern with collectors and is quite readily available. It was first produced in the 1940s and was greatly admired by the trade (see the introductory paragraphs to Pastels).

The flower is depicted as a half-open pink bud, accompanied by green leaves lightly streaked with yellow. It is used as a finial (knob) for tea and coffee pots etc, and forms the feet of salad bowls. Salt and pepper pots are shaped as rosebuds and are set on a plain green leaf-shaped base. The only time the flower has been seen in full bloom (similar to Tea Rose) is on the sugar shaker which carries the pattern number 5489 - a Rosebud pattern number.

The Rosebud pattern was in production for many years and an advertisement was inserted in the American Crockery and Glass Trade Journal in October 1952 by the Ebeling & Reuss Company, who featured the range, announcing the arrival of 'Rosebud' Royal Winton, imported from England. They went on to state, 'Ebeling & Reuss Co., is proud to announce that they have been appointed exclusive US Distributors of this very well known line, featuring embossed rosebuds as the decorative motif, The line is available in three pastel colours: green, rose or yellow, edged in gold. Not only does the line include dinnerware, but features a handsome and unique group of matching accessories.'

The American advertisement goes on to list the items available as table ana dinner ware, teapot stands, oval platters, double egg cups, round bonbons, 7-piece bedside sets, covered cheese dishes, tennis sets, Jumbo cups and saucers, butter dishes (with knife), chop plates, and covered toasts (sic).

At some point, a small amount of cream colourea Rosebud was made, but to date, very little has been found in this colourway.

The ware is often impressed with the name ROSEBUD beneath.

39

'Tea Rose'

(picture page 74)

Date of manufacture 1940s+ Backstamp 11, 13, 14 This is impossible to confuse with Rosebud as the rose shown is in full bloom. It is rarely found and so far, has appeared in three colours, on a pale blue-green ground, a pale primrose ground and a pink ground. The flower is particularly well-modelled and is predominantly pink with yellow shading. The leaves are arranged in a spray and are accompanied by rosebuds. As the flower seems to take up so much space on the piece, it is possible that it was reserved for ornamental items only, rather than more practical tableware.

'Thistle'

(picture page 75)

Date of manufacture 1950s Backstamp 14 The Thistle pattern shows the flower in streaked purple and green and it is used as a finial on jam pots. Showing an economy of design, Grimwades used a Rosebud body for the jam pot and the name is impressed into the base. The candlestick uses the flower for the nozzle.

'Tiger Lily' - see Honey Lily

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Hand Painted Ware Although the relief-moulded and pastel ware benefited from having the raised detail hand painted, Grimwades did issue several items that were hand painted in an entirely different manner and which were often signed by the artist.

These ranges differ enormously in style. The first to be manufactured was the Art Deco series painted in vivid flamboyant colours (see chapter on Art Deco) which was introduced in 1930.

The second range was produced in the mid-1930s when romantic scenery was portrayed in soft pastel colours (see Garden Scenes below). Some of these hand painted patterns were later transferred on to lithographs and issued in quantity.

The third range appeared in 1940 with items being decorated with groups of flowers, fruit or game birds (see Flowers and Fruit below).

With precious records being destroyed, it has proved impossible to identify the artists who initialled their work or to expand upon the lives of those who signed their pieces. Perhaps more information will come to light as more research is carried out.

GARDEN SCENES Delphiniums

(picture page 76)

Date of manufacture 1936 Backstamp 43 In 1936, H.M. Queen Mary placed an order for a 'Dish Hand Painted No. 7 (14 inch plaque Garden Scene)' and another for 'Dish Hand Painted No. 8 (Bowl Arosa. Delphiniums)' of which samples were retained by the company. It is highly likely that the pattern Delphiniums is the one illustrated on page 76. The bowl is signed W.H. and features a stepped bridge that spans a lake or river.

A rose arbour is shown at the centre of the bridge, with poplars behind. In the foreground are clumps of blue delphiniums flanked by bushes of yellow flowers tinged with red.

'Galleon' Date of manufacture 1950s Backstamp 17

(picture page 76)

Hand painting continued well into the 1950s when the table lamp featuring a galleon was made. The stylised Elizabethan sailing ship is picked out in pale yet definite pastel colours, while the background is softly dappled.

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'Poplars'

(picture page 76)

Date of manufacture mid-1930s Backstamp 6 The pattern on the jug could be the one referred to as Garden Scene in the Grimwades' invoice but it is impossible to be certain. The jug bears the signature H.C. Lea and depicts banks of flowers set beside an urn which is placed on a tall plinth. The other side of the jug features a glimpse of a lake, and the whole is set against a background of poplar trees.

R e d ROOf Date of manufacture 1930s Backstamp 44

(picture page 76)

Although not strictly a garden scene, the Red Roof pattern is worthy of inclusion in the hand painted chapter. Known also to collectors as Red Roof Cottage, it shows a view of houses or cottages nestling against the hillside, with a stretch of water and grass in front. The ground colour is a deep cream, almost yellow, which contrasts well with the green of the poplar trees. The houses consist of simple black outlines with the roofs hand painted in blocks of vivid red. The distant hills are blue and blue brush-strokes indicate the sky.

There is another similar pattern which is transfer printed and which is known to collectors as Red Roof Cottage with Pond. It is possibly a more romantic and detailed version of Red Roof, and shows a timber-framed house with a red roof set in front of a group of trees. In front is a river (or pond) which flows beneath a white-fenced bridge. The foreground is composed of numerous wild flowers and the ground colour is cream.

'6742'

(picture page 77)

Date of manufacture mid-1930s Backstamp 6, 9, 45, 46 Trees are also prominent in this design. Willows overhang a curving stone bridge while the foreground is brightened with a mass of brightly coloured crocus.

The large shallow bowl is signed F Phillips and the pattern was later transfer printed for mass production. The plate and biscuit barrel are transfer printed with the pattern number '6742' in blue. It is probable that the pattern was used on a range of tableware, although few items have been found so far.

FLOWERS AND FRUIT The Anemone pattern is perhaps the most popular and most frequently found of the flower and fruit designs. It was first produced in the 1940s and was initially issued for export only. The pattern was described in November 1940 by The Pottery Gazette as, 'The pieces...are much more than ordinarily interesting.

The decoration is quite a new one and features anemones arranged upon a mossy background after the style of the pictorial work which came so freely and skilfully from the brush of the famous still-life painter - Wm. Hunt - who used to paint in pure water colour on a basis of white, thus achieving a brilliance

42

which has never been excelled. The "Anemone" decoration is appealing and we feel sure it will be successful; in fact, we are assured the pattern has already proved a certain seller.'

After World War II, a team of three Polish refugees was employed by Grimwades on a piece work basis. Philip Plant, grandson to James Plant, identifies the signature Z. Kas, sometimes seen on the Anemone pattern, as belonging to one of the Polish workers. He was rumoured to be a former Polish ambassador to Lebanon and a High Court judge. He apparently lived in the Polish camp at Stafford and commuted to Stoke daily by train. It is thought his surname was Kojzinsky (sic).

Anemone

(picture page 77, 78)

Date of manufacture 1940 Pattern number 5633 Backstamp 14 The anemones are seen grouped against a soft amber ground, shaded here and there with apricot and ochre. The flowers are in cerise, rust, white and blue; the leaves a soft green. The background is hand painted, the anemones transfer printed.

'Roses'

(picture page 78)

Date of manufacture 1940s Backstamp 13 Full blown and budding tea roses are shown in this pattern. The background is hand painted and executed in a range of soft autumnal colours. The transfer printed roses are in shades of red, and pale and deep pink, with a single yellow rose and bud included. Some of these pieces were signed b. Austin.

'Fruit' Date of manufacture 1940s-60s Backstamp 13, 18

(picture page 78)

The basket (illustrated) would appear to be entirely hand painted with no transfer printing, as is seen on Anemone and Roses. It could therefore be a prototype which later went into production. The ground colour is shaded, like the flower designs, with the fruits being portrayed in a naturalistic fashion.

Strawberries, grapes and tiny gooseberries feature on one side of the piece, with pears, cherries and blackberries on the other. It was made in the early 1940s.

The pattern on the jug (illustrated) was completely transfer printed. The pattern consists of large rounded apples, accompanied by gooseberries and shiny blackcurrants and has a very autumnal colouring. It is signed J. Birbek with the figure 25 below. However, the base of the jug bears the nana painted mark NOJ/54 with a black transfer printed backstamp (Backstamp 18) which was still being used, with refinements in the 1990s. However, it is more likely that the jug dates from the 1950s and that NOJ/54 is a year mark.

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'Game Birds'

(picture page 78)

Date of manufacture 1940s Backstamp 12 with COMOY'S OF LONDON curved above.

This is more work by b. Austin, with the background colours being hand painted and the game birds transfer printed. The pheasants are finely drawn, the cock resplendently coloured, the hen more drab. On the reverse of the piece, a pair of male and female woodcock are featured. It is interesting to note that a colour page from a 1917/1918 catalogue shows vases decorated with game birds almost identical to the ones seen on the tobacco jar.

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Art Deco With the advent of Art Deco in the 1920s, it was only natural for Grimwades to follow suit and produce their own designs. The majority were hand painted, although some, such as 'Jazz' and 'Jigsaw' were transfer printed. The ware was issued under both the Royal Winton and Rubian Art trade names. However, like everything else produced by Grimwades from about 1928, there is little or no documentation and tantalising questions have to remain unanswered.

The Pottery Gazette for November 1930 states briefly, that 'Persian ware, No. 9882, in fully fledged colouring, is also worthy of recommendation.' A poor ana rather grainy black and white photographic reproduction on the same page shows a range of ware in geometric designs. The photograph also shows the new Delhi pattern. Apart from that, there is no other reference to the new and exciting products.

Some of the ware was hand painted while some was transfer printed, with the designs being used on vases, bowls, candy boxes, comports and so on, as well as table ware.

'Blocks'

(picture page 79)

Date of manufacture 1930s Backstamp 5 Blocks of colour are set against a white ground and arranged in rows, broken only by stepped blocks of black, together with black and white zigzags. The colours are less vivid than on other Art Deco pieces and comprise rust, cobalt, leaf green and ochre.

'Chimneys' Date of manufacture 1930s Backstamp: 5

(picture page 79)

Solid slabs of colour are applied to the pottery using a sponged technique, and these consist of cobalt, rust, ochre and green. Black lines and white rectangles are used to break up the colours and a chimney pot arrangement appears to be belching small spouts of black smoke.

Delhi

(picture page 79)

Date of manufacture 1930+ Pattern number 9833 Backstamp 47 A hand painted design in intensely vivid colours. The setting sun throws out wide yellow and orange-red rays against a cobalt blue sky. A curved tree has arching foliage, shaped like green clouds which spans the scene. Pale purple hills are in the background with green fields to the fore, together with bright 45

over-lapping discs of colour.

A page from a contemporary catalogue describes the pattern as being in 'Jazz colourings of brilliant reds, blues and greens. Hand painted'.

'Flames' Date of manufacture 1930+ Pattern number 4015 Backstamp 4, 22, 48

(picture page 80)

This pattern was designed by Ike Mattison and some pieces of ware carry his personal backstamp. Unfortunately, once again a blank has been drawn regarding history, and it has not been possible to find out anything about the artist.

'Flames' is a striking design, principally in colours of yellow, orange-red and black. Flames appear to emanate from a large round black spot, going both upwards and downwards. Irregular outlines are filled with the same colours and green, blue and light purple are additionally used. On some items, half a stylised flowerhead can be seen.

The range was issued primarily as table ware with tea pots, coffee pots, jugs and cups and saucers being found.

'Geometric Tulips'

(picture page 80)

Date of manufacture 1930s Pattern number 1194 Backstamp 49 This design is hand painted and has a mottled or sponged finish. Colours of cobalt, ochre, green, orange, mauve, light blue and black are spread across the piece in blocks and other angular, random shapes, outlined in black. Three orange tulips give the pattern its name and these are arranged in a 'stepped' manner against mauve and black.

'JaZZ'

(picture page 80)

Date of manufacture 1930+ Backstamp 9 Difficult to describe, the 'Jazz' pattern uses arcs and fans, circles, squares and triangles to great effect, combining the various shapes with colours of rich yellow, orange red, rust, green, purple, black and white. It gained its name, given to it by collectors, from the black and white squares arranged rather like musical notations.

Jazz has only ever been seen used on coffee ware and it is rumoured that it was sold through the pages of a women's magazine as a special offer. There is no pattern number, but the coffee pot bears the patent number 301262.

46

'Jigsaw'

(picture page 81)

Date of manufacture 1930s Backstamp 4 The interlocking pattern is transfer printed on to a beige-tan ground, with additional colour being hand painted. Orange, purple and yellow have been used, although the yellow is almost indistinguishable against the ground colour.

A splash of green is found on the handle of the jug.

Persian Date of manufacture 1930+ Pattern number 9882 Two fruit bowls poorly illustrated by The Pottery Gazette in November 1930 appear to be mainly of solid colour with broad, irregular geometric designs at the rim. Ajam pot, also featured, shows slashes of geometric shapes. No colours are mentioned in the accompanying text. ' P o l k a Dot'

(picture page 81)

Date of manufacture 1950s Backstamp 13 A simple polka dot design which is strikingly effective. The colours are reversed on the bedside set, giving relief from the bright scarlet used on the tray.

'Red Roof House' - Atlas China

(picture page 8i)

Date of manufacture 1930s Pattern number 7363 Backstamp 21 Totally different from the Red Roof pattern in the Hand Painted chapter, the house is depicted in typical Art Deco fashion, The colours are bright and typical of the period. The roof of the house is in orange, and a curving plume of lilac smoke issues from the chimney. Lilac is also used to suggest the shadows. The stylised trees are in yellow, green and cobalt, and yellow, cobalt and lilac.

Flowers are portrayed rather like lollipops on sticks and are painted orange and cobalt. The scene stands out vividly against the fine white china background.

'Tulips' Date of manufacture 1930+ Pattern number 9977 Backstamp 50

(picture page 81)

Hand painted stylised tulips in colours of orange, purple and yellow are set randomly against a background of criss-crossing leaves in light and dark green.

Patches of cobalt blue, purple and grey form the background. Although stylised, the design is less angular than 'Geometric Tulips' (above).

47

'Wheels'

(picture page 82)

Date of manufacture 1930s Pattern number 9900 Backstamp 50 A wheel-like arrangement of colours form the basis for this pattern. The 'spokes' of the wheels are in cobalt and orange, while the white ground is broken up by broad brush strokes in green and black with occasional splashes of citrus yellow.

48

Anne Hathaway's Cottage: Biscuit barrel, teapot, condiment set with Art Deco carrying handle.

Anne Hathaway's Cottage: Dessert plate, tea plate, fable lamp, sugar shaker, cruet, sugar shaker (a later version, less well-modelled).

49

STOKE-ON-TRENT

GRIMWADES LTD.

(Incorporating Rubian Art Pottery "3? Atlas China)

"®tbe gngl'cmd" Table Ware (Hand-painted).

A distinct tioxrlty fur tabic use. The modelling is in high relief and alt the color work done by hand.

The illustration faithfully represents the subject. An old world cottage complete with thatched and tichened roof, timbered walls and garden.

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No.

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1. Covered Butter

ni No. T,

!*ricc per dozen

Uncovered Jug, 18 ozs. capacity

...

21/-

...

...

...

24 -

8. Condiment Set (Salt & Pepper on Tray) ...

18/-

2. Cruet—3 pieces on Tray

...

...

24/-

9. Covcred Jug. 17 cos. capacity ...

28.'-

...

...

30/-

3. Cheese

30/-

4. Teapot S,S.. 18ozs. capacity

5. Covered Biscuit Jar with Wicker handle ...

39/-

0. Marmalade and Stand

21/-

...

...

10. Sugar. 3" diameter ... _ „ ..

13. (.ream. 0 ozs. capacity

...

...| f30/- perdoz. pairs r ...)

11, Teapot L/S, 87 ozs. capacity ... 36/-per dozen also Teapot Stand for L/S l'ot ... 9/- per dozen

Can also supply :— Sugar Sifter

14/- per dozen

Cigarette Box. covered

24/- per dozen

Stutvim «. Co. (H*mlry\, Ltd. PHmttn.

Olde England: Advertising sheet issued by Grimwades. (Courtesy Peter Greenhalf)

50

Olde England: Cheese dish, condiment set, biscuit barrel.

Olde England: Dessert plates in 2 colourways. Shakespeare's Birthplace: Dessert plate.

51

Ye Olde Inne (red roof): 4-piece tea service given as a premium with coupons collected by the customer.

Ye Olde Inne: Biscuit barrel (red roof), dessert plate, cheese dish, preserve pot, sugar shaker and condiment set (all grey roof).

52

Ye Olde Mill (red roof): Cheese dish, milk jug, teapot.

Ye Olde Mill (pink roof): Dessert plate, hot water jug, teapot, sugar shaker, salt and pepper pots, cup and saucer (rare), cheese dish.

53

Top left: Apple preserve pot. Below right: Wishing Beehive: Biscuit barrel in a seldom-seen pale Well preserve pot. turquoise blue.

Beehive: Teapot, cream and sugar set in the tan colourway.

54

Beehive: Biscuit barrel, dessert plate, covered butter condiment set, all in the tan colourway.

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Beehive (shown in various colourways): Small oval bowl, sugar shaker (tan/lilac), sugar shaker (cream), preserve pot (tan), cheese dish (cream), toast rack (primrose), preserve pot with fast stand (tan).

55

Chanticleer: Cheese dish in the cream colourway.

Castle on the Hill: Cheese dish.

Chanticleer: Three teapots in differing colourways.

56

Chanticleer (shown in various colourways): preserve pot, milk jug, sugar shaker, preserve pot (all in brown), cruet set (blue), sugar bowl (cream), condiment set (brown), sugar shaker (cream).

Countryside: Sweetmeat dish.

Crocus: Sundae dish, sugar shaker, Lotus: Preserve pot.

57

Dovecote: Shallow fruit bowl with a matt glaze; vase TAME shape, showing the pattern on the reverse.

Galleon: Biscuit box with silver plated cover.

Game (dark blue colourway): Sugar shaker. biscuit barrel.

Game (cream colourway): Vase in the TIBER shape.

58

GRIMWADES LTD.

STOKE-ON-TRENT

(Incorporating Rubian Art Pottery "3? Atlas China)

Royal Winton

Gera No. 2209. .1 most attractive adaptation in strong relief of the popular Geranium Foliage and l-'lower in

natural colours with an

appropriate

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back-

ground.

This design is made in ihree distinct colourings other than the

illustration.

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impossible to describe .'hem. but small sample pieces can be supplied.

PHICE LIST. Ittm No 1. Cheese J . Toaat-Kack, 3 bar Also 0 bar S. Sugar. 4" diameter t. < ream, 6J • •/- i-.iji.ii ity t. Covered Butler ...

Mint Itout and Stand 7. M.ir in.il "ti and Stand Cup and Saucer, tea siic Also Tea I1ate(Sec IIIiittration So. II

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9. Cake Comport. 8 | " diameter, 2" high 10. 3 Compartment Tray Twin Tray IS. Sweet, 8" diameter • • 1" •• .. 8 " ..

Shallow Fruit ( u m e shape an illustration No. IS, but 9 J " diameter) ... is. Dessert Plate, 8" diameter 14. Tea or Sandwich Plate, tij" diameter

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Price 21/ par dot.

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Item No IS. Covered Jug, £3 o n . capacity IB. Teapot, 33 o n . capacity Also Teapot Stand 17. Condiment Set (Salt and Pepp-ron Tray) ...

18. Salad Itowl, » | " diameter And Salad Server* 10. Cruet Set, 3 piece* on Tray SandwkhTray, l * ( J " x 7" Sandwich Set, 7 pieces Comprising :—1 Tray as No. . " 6 Plate* a> No. 14 11. Sugar Sitter 22. Cake Plate, handled Al»o made:— jug, 30'*. 42 o n , capacity ... „ SB's, 34 ,. 41'*. 28 , 48's, 19 „ S4's. 14 „ Shape as Illustration No. 15. but without cover.

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Price 24/- per do*.

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H Gera: Contemporary advertising sheet issued by Grimwades. (Courtesy Peter Greenhalf)

59

Gera (in various colourways): Dessert plate, teaplate (both black), shallow dessert bowl (cream), hot water jug and stand (blue), sugar shaker (green), sugar shaker, mint boat and stand (cream).

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Haystack: Teapot.

Grapes: Preserve pot with fast stand.

60

Lakeland (yellow colourway): Dessert plate and preserve pot.

Iris: Tall flower vase (!4'/?inches high).

61

Lakeland: Teapot, hot water jug, milk jug, tea plate, sugar bowl.

Lakeland: Dessert plate, sugar shaker, twin tray, salt and mustard pots, mint boat and stand.

62

Pagoda: Sugar shaker, twin tray, condiment set.

3-bar toast rack.

Peony: Muffin dish, 3-bar toast rack preserve pot.

Pixie (pastel colourway): Wall clock, milk jug, sugar shaker (black pixie), preserve pot with fast stand (showing only the fruit detail), preserve pot, 3-bar toast rack sugar shaker.

63

Pixie (dark green pixie): Cheese dish, sugar shaker, hot water jug, teapot, mint boat and stand.

Pixie (dark red pixie): Dessert plate, sugar shaker, large jug, condiment set, mint boat, cream jug.

64

GRIMWADES LTD.

STOKE-ON-TRENT

(Incorporating Rnblan Art Potter] SS Alias China)

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65

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Primula (various colourways): Oval dessert dish, teapot stand, preserve pot, mint boat.

Regina (various colourways): Biscuit barrel, square Salad: Rhubarb dish, triangular serving dish, dessert dish, 3 cruets, hot water jug.

66

Terrace (in two colourways): 2 dessert plates, sugar bowl for cubed sugar, with silver plated lid and integral tongs), condiment set.

67

Trellis Rose Garden: Dessert plate, cream jug, sugar shaker, teapot, 3-bar toast rack, condiment set.

68

Apple: Hors d'oeuvre dish.

Apple Blossom: Shallow serving dish.

Briar: Diamond shaped dish, sugar shaker Fuchsia: Oval dish, mint boat and stand (mottled), (cream), toast rack, sugar shaker (green). sweetmeat dish.

69

Honey Lily: Oval dish, smaller oval dish in cream with striped border, cup and saucer, mint boat, 5-bar toast rack, pair of salad servers.

Left: Honey Lily 5-bar toast rack; Right: Hibiscus 3-bar toast rack. Note the differences in the hand painting on the petals.

70

Pansy: Large hors d'oeuvre dish, tiny pin tray. Petunia (yellow): 5-bar toast rack.

Petunia (pink): Shaped dessert dish, milk jug, large milk jug, cruet set, tennis cup and saucer.

71

M Hfr Rosebud (yellow): Coffee pot, chocolate comport, preserve pot, teapot, cup and saucer.

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Rosebud (pink): Bread and butter plate, cup (cream), butter dish, preserve pot.

72

Rosebud (green): Coffee pot, 5-bar toast rack, condiment set, preserve pot, tennis cup and saucer.

Rosebud (green): Bread dnd butter plate, cheese dish, milk jug, candlestick, trinket pot, cruet.

73

Rosebud (green): Salad bowl and servers.

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Tea Rose (various colours): Oval serving plate, wall pocket, dessert dish, candy box.

74

Thistle: Preserve pot, candlestick.

Plain Colours: Wall clock in shaded green and Mottled Ware: Wall pocket in the NITA shape. Art blue.

Deco wall pocket in the ROSA shape.

75

Delphinium: Large dished plaque (diameter 12h Galleon: Table lamp base. Poplars: Jug in the inches).

Signed W. H. REMUS shape (height 7>A inches).

Red Roof: Plate in the ASCOT shape (9 inches Red Roof: Close up, showing the pattern in detail, diameter)

76

'6742': Large hand painted dished plaque (diameter 12'k inches) signed F. Phillips, transfer printed bread and butter plate.

Anemone: Coffee set.

Anemone: Small oval dish (diameter S/i inches). Fruit: Ornamental jug.

Fruit: Basket in the KEW shape (height 6'A inches).

Game Birds: Tobacco jar.

Roses: Table lamp base.

78

Chimneys: Bedside set with integral toast rack, comprising cup, cream and sugar set.

Blocks: Cup in the Art Deco style.

Dehli: Shaped oblong serving plate (length 11 'h inches), teapot in the COUNTESS shape.

79

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Geometric Tulips: Jug in the GLOBE shape, large Jazz: Part coffee set in the WINTON shape, tea plate

80

Polka Dot: Bedside set comprising tedpot. cup, credm and sugar set and toast rack.

Jigsaw: Cream jug in the HECTOR shape.

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Tulips: Chocolate comport in the GREEK shape.

81

Wheels: Small unlidded pot.

Apples: Chamberpot. (Courtesy Peter Greenhalf)

Asters: Cream fruit bowl (diameter 8 inches), green jug (height 8 inches).

82

Autumn Leaves: Charger in green colourway (didmeter 13 inches), covered vase in the CHINESE JAR shape in dark red colourway (height II 'A inches overall).

Aztec Fringe: overall).

Bubbles (orange): Art Deco shaped fruit bowl (diameter 9 inches).

Bubbles (green): Shaped fruit bowl (diameter 9 '/? inches).

83

Covered vase (height 9 inches

Butterfly: Small, shaped trinket box (diagonal width 4 inches).

Castle by the Lake: Bowl (didmeter 10 'A inches),

Cherries: vase in the VIENNA shape (height &A inches

Cherry Blossom (various colourways): Floating (flower) bowl in the BUTE shape (diameter 10'/? inches), soap dish, sugar shaker.

84

58 Bnf33010 'xoq finosiq peie/\oo :MOJ IUOIJ (sauou/'/s iuBieu) edous viAIOi! sm ui esbA :Ju6iy '(seqoui 8 tqBieq) edoqs VUINIO Sl# ui eso/\ :uei :UOIIDUJDO

Chinese Dragon: Jug in the REMUS shape (height Chrysanthemum: Jug in the RONDA shape (height 8'A inches).

8'A inches), bud vase (height 4'A inches).

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Courtship: Small dish in the BUTE floating bowl styleCrazy Paving: Jug in the REMUS shape (height 8'A inches), vase in the BOUQUET shape (height &A (diameter 5sA inches). inches).

86

Daisies: Art Deco shaped wall pocket.

Dragonfly: Jug (height 8'Ainches).

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Fa/ry Cobwebs: Pfate in the ASCOT shape (diameter 9 inches), flower vase (height 9 inches).

87

Fruit: Part sandwich set in the OCTAGON shape.

Fuchsia: Vase in the CAPRI shape (height 7 inches).

Floral Bouquet: Biscuit barrel with silver plated lid.

88

Galleon: Plate in the OCTAGON shape (diameter Garland: Covered vase in the GORDON shape 9 inches), vase in the VIENNA shape (height 6>A (height 8 inches overall). inches).

Hollyhocks: Vase (height 7 inches).

Honeysuckle: Jardiniere in the ARGYLEshape.

89

Humming Birds: Chamber pot.

Ming: Floating bowl in the GREEK shape (diameter 10'A inches) together with a GOLDEN ORIOLE bird flower holder and ARBOR Floweraid.

Hydrangea: Basket in the ESSEX shape (length 11 inches), wall pocket in the NITA shape.

90

Lakeside Flowers: Octagonal vase (height 7'Ainches), columnar vase (height 8 inches), shaped oval dish (length 12 inches).

Nasturtium: Jug in the RONDA shape (height 8'A inches).

Leaves: Tobacco jar.

91

Page from a Grimwades catalogue showing floating bowls and table centres in BUTE, CECIL and OCTAGON shapes, together with ARBOR Floweraid and perching rim bird.

92

Peacock: Plate (diameter 10 inches).

Petunias: Ribbed jug (height 9 inches).

Pheasant: Biscuit plate in the octagon shape Plums: Teapot in the SEXTA shape, (diameter 5 inches).

93

Poppies: Nut dish with cut-out handles (diameter Romance: Footed cake comport (didmeter 9'A 5sA inches). This would originally have had a small inches). scoop with it.

Scrolls and Flowers: Bowl (13 inches diameter).

Shells: Candy Box.

94

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Standdrd Rose Bush: Ribbed jug (height 9 inches).

Stylised Flowers: Ashtray (width 8'A inches).

Summer Bouquet: Pot pourri vase and cover (height 6'A inches overall).

95

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Sunburst: Vase in the REMUS shape (height 8'A Trees and Roses: Jug in the RONDA shape (height inches).

8'A inches).

Tulips: Vase in the A VON shape (heights1 A inches).

Tudor Rose: Tea plate.

96

Trailing Harebells: Plate (didmeter WA Inches). Watteau: Shaving mug.

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Yellow Iris: Flower vase (height 7 inches, width 10 inches).

Winter Flowers: Tea plate.

97

Plain Colours: Advertising ashtray made for Comoy's of London; shaped bowl introduced in a Grimwades cdtdlogue for 1925-28 as a basket in the NORMA shape (width 8 inches).

Plain Colours: Tobacco jar, advertising ashtray made for the 'Reedhill Finishing Co. Ltd.'.

Golden Age: Cornucopia shaped vase (height 7 inches), cream and sugar set.

98

Musical Jug made for the coronation of George VI showing front (right) and reverse (left). Courtesy of Royol Winton International Collectors Club)

Left to right: Annie Laurie, Come to the Fair, Floral Dance.

99

Left to right: Killarney. Phil the Fluters Ball, Sarie Marais.

Left to right: Stirling Castle, There is a Tavern in the Town, Under the Spreading Chestnut Tree.

TOO

General Douglas MacArthur (3 sizes).

Left to right: Uncle Sam (small and medium size), John Bull (medium size).

101

General Sir Archibbld Wavell (large size).

Mr Pickwick, stoppered container.

Indian Chief (large and medium size).

102

Mr Bumble and Sairey Gamp (height 7'A inches).

Mr Bumble: Pair of bookends (height 8'A inches).

103

Left to right: A Token of Love (height 9'A inches). Masquerade (height 8'A inches), Romance (height 9'A inches).

104

Lustre Ware Although lustre ware was not entirely new to Grimwades, (the Jacobean pattern issued around 1913 had a lustred finish), it really took off with the introduction of a new range marketed under the name of Byzanta Ware in 1925. A special Byzanta Ware backstamp was introduced, although this can sometimes be extremely difficult to see, especially when transfer printed on a dark ground.

The new ware was advertised extensively by the company as early as May 1925, and it was intended to capture a large section of the Christmas trade for that year. The range consisted, primarily, of 'fancies', although practical items such as toilet sets were manufactured. The Pottery Gazette gave it a favourable write-up, describing it as "a very smart range'.

Initially, the company concentrated on flower bowls, jardinieres and table centres. The flower bowls were large, round and shallow, and were available in two sizes - 9 inches and 10 inches - and cost respectively, 12/6d (62'Ap) and 13/6d (67'Ap).

In addition, customers were able to buy round Floweraids (Registered number 690980) in solid black to place in the centre of the bowl. These blocks held the blooms in place in order to make a pleasing flower arrangement. Alternatively, a lustred 'tree trunk', known as the 'Arobor' Floweraid, could be bought for a cost of 1 /- (5p) extra, into which blossoms were then inserted and these were also available in plain black. A further alternative consisted of a hand painted bird, perched on a similar tree trunk, and used for the same flower arranging purpose (see Ming entry). Rim birds were also available for 1 /9d (9p) each and these perched on the rim of the bowl.

The table centre, with the bowl set on a pedestal stand, was also available in two sizes - 8 inches and 10 inches - and cost a little more at 11 /6d (57'/2p) and 15/6d (JThp) respectively. The Floweraids could also be used with these.

The Pottery Gazette was enthusiastic about the new lustre ware and waxed lyrical in October 1925. 'Patterns which call for a special mention are the No. 4274 - a treatment of tulips in a dark lustred blue - and the No. 7606 - a decoration having for its inspiration a bunch of cherries, executed in the "Byzanta" lustre style. The "Greek" shape rosebowl is seen to advantage in a Gobelin blue. No fewer than fifty varieties are available in the new table centres, which have for their object the economising of table space.'

The new range proved so popular that Grimwades extended it to include table ware, concentrating especially on sandwich sets, known also as supper sets.

Vases and ornamental jugs were also included, as were baskets, biscuit boxes, fruit bowls, trinket boxes and even shaving mugs. Most of the designs were highlighted by the addition of gilding, done by hand, with the company using 'the best burnished gold'.

Plain colours were used without ornamentation and these were generally teamed together, such as Gobelin blue and yellow, or Gobelin blue combined

105

with a vivid orange, which Grimwades called Tangerine. Items of a dark red colour, using no other decoration other than rim gilding, formed a range known as Rubay Ware.

When used with other designs, the ground colours were either pale and in shades of blue, yellow, green, pink and cream, or were vivid in dark blue, orange, or rich ruby red known by the company as Marone. Occasionally, designs were further enhanced with dots and splashes of enamel colours which were applied by hand, The majority of patterns and designs were based on plants and flowers, although there were some Art Deco influences.

In 1937, The Pottery Gazette announced that 'a new series of ornamental wares has been produced, inspired by the old and thoroughly successful "Byzanta" ware. The colours, which are underglaze, are rich and intensive, such as ruby and mazarine blue, and the patternings are strongly traced in gold by hand.'

Lustre ware remained in production throughout the years, although colours in the 1950s are weaker, the designs less well portrayed and less imaginative.

In the late 1950s, the company marketed a range of gold and silver lustre ware intended for wedding anniversaries. Tea ware was produced as well as a selection of vases. The gold range was left plain, but the silver sometimes had a hammered finish.

It is impossible to know exactly how many lustre patterns were produced over the years. New patterns are frequently discovered and, doubtless, more will come to light after the publication of this book.

'Apples'

(picture page 82)

Date of manufacture 1925+ Backstamp 51 Several apples can be seen hanging from a gnarled branch. The fruit is depicted in glowing autumn tones accentuated by green leaves. The ground colour is Gobelin blue and the interior is finished in a mother-of-pearl lustre.

'Asters'

(picture page 82)

Date of manufacture 1930s Pattern number 5284 (cream ground); 5285 (green ground) Backstamp 7 Although the leaves in this pattern look more like those of the chrysanthemum, the flower closely resembles that of an aster. Two large blooms dominate the foreground, with leafy buds shown above. Other unidentifiable flowers are massed alongside.

In the cream colourway, the flowers are in shades of yellow and beige with the foliage picked out in dark brown, light green and dark green. In the green colourway, the flowers are delicately painted in pink and blue and the foliage is both light and dark green.

106

'Autumn Leaves'

(picture page 83)

Date of manufacture 1930s Pattern number 4194 (red ground) 4233 (green ground) Backstamp 6 The ground colours of dark red, almost maroon, and the alternative colourway of a pale khaki green, set off the autumnal colours of this pattern. Leaves and blossoms are portrayed in a stylised manner and are in muted shades of green, yellow, ochre, tan, blue and pink, ' A z t e c Fringe'

(picture page 83)

Date of manufacture 1925+ Backstamp 51 This pattern shows Art Deco influences, Multi-coloured pennants decorate the rim of the vase in a fringed manner (see illustration). Above are solid circles of colour, together with a geometric border in blocks of pink and dark blue. The ground colour is mid-blue, the interior being a vivid orange. This orange is also used on the main pattern together with yellow and green. The lid is decorated with a band of daisy-like flowers in white and yellow, separated from each other by gilding.

The plate illustrated shows the flowers in profile, set in a band around a circular motif.

'Bubbles'

(picture page 83)

Date of manufacture 1930s Pattern number 4071 (orange ground); 5280 (green ground) Backstamp 6, 7 When executed in the vivid orange typical of Byzanta ware, this is one of the more dramatic lustre patterns. Stylised flower heads are in shades of yellow, deep turquoise, green, blue, dark pink, tan, lilac and purple, and these are surrounded by a myriad of bubbles in green, tan and lilac.

The green colourway is less dramatic, the decoration being kept to a minimum.

The flower heads are in yellow, tan, dark pink and maroon, with the bubbles merely being outlined in dark brown.

It has also been seen on a pink ground.

'Butterfly' Date of manufacture 1925+ Backstamp 51

(picture page 84)

The only example of this pattern so far found is the trinket box illustrated. The base is coloured a rich orange, with the interior having a mother-of-pearl finish.

The butterfly is painted in naturalistic colours of rust and black against a pale yellow ground.

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Carnation

(picture page 85)

Date of manufacture 1930s Pattern number 2322 Backstamp 6, 52 This is perhaps the most widely known and most collected of all the lustre patterns, and one which is actually named by Grimwades. The ground colour is sponged in shades of cream and tan and is an excellent foil for the multicoloured carnations. These are portrayed in yellow, combined with pink and purple, and in apple green and yellow, combined with sage green and pale purple. The stylised leaves are in tan, cobalt, lilac and dark green. There are also additional dots of bright turquoise enamelling. The pattern is further enhanced by gilded fronds. Where there is an interior colour, this is sponged in pale blue and lilac.

'Castle by the Lake'

(picture page 84)

Date of manufacture 1930s Pattern number 4581 Backstamp 6 A more unusual scenic design is set against orange lustre. A turreted castle is in the background portrayed by a simple line drawing. The foreground consists of a lake in purples and mauve with stylised water lilies in white and yellow with dark pink stamens. Irises also occupy the foreground and these are in white, blue and orange, the leaves in a vivid green. In the middle ground, black trees are silhouetted against the orange sky. The colour on the reverse of the bowl is also orange.

'Cherries'

(picture page 84)

Date of manufacture 1925+ Backstamp 51 Four cherries hang gracefully from the branch of a tree and are painted in tones of red and yellow. The leaves are green and, out of sight, small buds of blossom can be found in white and yellow. The ground colour is a mottled mid-blue.

'Cherry Blossom'

(picture page 84)

Date of manufacture 1925+ Pattern number 4820 (blue ground) Backstamp 51 Used as a rim decoration, branches of cherry blossom are arranged against a curved, stylised border painted in dark blue. In the blue colourway, the branches are green, the flowers pink and white. Interior sponging is in deep pink. In the orange colourway, the flowers are yellow with pink centres and are set against green branches.

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'Chinese Dragon'

(picture page 86)

Date of manufacture 1930s Pattern number Possibly 2271 Backstamp 6 An exotic pattern that flows across the deep red ground which is given texture by small irregular outlines in a darker colour. The dragon undulates in an oriental fashion and is portrayed in turquoise, green, tan, purple and yellow. The scales are hand enamelled in pale turquoise, the tail and legs are dotted with enamel of the same colour, while the head and body have splashes of enamel in vivid orange. A scrolled border in cobalt and gilt is at the base, while at the rim are abstract shapes in cobalt, tan, green and lilac.

'Chrysanthemum'

(picture page 86)

Date of manufacture 1930s Pattern number 2134 Backstamp 6 Curly-petalled blooms of the chrysanthemum form the basis for this design.

The flowers are cream, with the petals highlighted by white enamelling, while the centres are picked out in orange enamel. The leaves are bronze and black and tend to disappear against the vivid cobalt ground. Near the top of the piece can be seen a gilt spider's web which stands out against the pale blue.

Yellow sponging has been used for the interior colour.

'Courtship'

(picture page 86)

Date of manufacture 1925+ Backstamp 51 Stylised blue trees are seen moulded in relief against a cobalt sky. A woman wearing a green dress is seen seated by a river in the foreground. Her companion leans on her chair, his dog at his feet. He wears a yellow cap, a pink doublet, lavender breeches and yellow hose.

'Crazy Paving'

(picture page 86)

Date of manufacture 1930s Pattern numbers 2997 (pink ground), possibly 2258 (cream ground) Backstamp 7 Random bands and blocks resembling crazy paving in a rich brown give this pattern its name. The stylised flowers resemble those used in the 'Bubbles' pattern (above) and, in the cream mottled colourway, are painted in colours of dark pink, purple, cobalt, tan, pale pink, yellow, green and purple. The leaves are both light and dark green.

The pink colourway is rather more vivid with the flowers in deep pink, purple, lilac, ochre, pale blue and pale green. The leaves are a deep turquoise, cobalt, purple and brown. The pink ground has been painted to have a scale effect.

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'Daisies'

(picture page 87)

Date of manufacture 1930s Backstamp 7 Stylised daisies and other flowers are seen set beside a boulder. The flowers are in shades of pink, yellow, green and deep turquoise. The ground colour is sponged orange.

'Dragonfly'

(picture page 87)

Date of manufacture 1930s Backstamp 6 A large dragonfly hovers above grouped stylised flowers and leaves and seems to shimmer against a pink scale ground. The body of the insect is yellow, the wings are green shading to yellow, with the tips a dark red shading to purple and blue. The flowers are in strong colours of dark red, ochre, blue, cobalt and purple with the leaves being dark and light green and banded with yellow and brown. Scrolling ornamentation at the base of the pattern is in tan and grey.

'Fairy Cobwebs'

(picture page 87)

Date of manufacture 1930s Pattern number 2351 Backstamp 6 A very pretty pattern, portraying the yellow-haired figure of a fairy perched on the branch of a cherry tree. She is dressed in shades of pink and lilac with wings in yellow, pink and green. Two green butterflies hover near her feet and to her left is suspended a gilt cobweb. The cherry blossom is in warm tones of pink and apricot which contrasts delicately with the dark blue ground.

Floating Bowls and Table Centres

(picture page 92)

Date of manufacture 1925+ Floating bowls were large, round, shallow flower bowls with incurving rims - a shape known as Bute. They were intended for use with an 'Arbor' Floweraid.

It is presumed that flowerheads were floated on to the water in the bowl, with sprigs or sprays of blossom being inserted into the Floweraid. Some floating bowls had straight sides and these were made in the Greek shape.

The table centres, which could be used for flowers or fruit, were floating Buteshaped bowls set on pedestals; an alternative was the Cecil shape which curved in rather more, and which had tiny club-shaped cut-outs near the rim.

The Octagon was a plain 8-sided bowl set on a pedestal.

Rim birds, set on springs, could be attached to the side of the bowls (see also Ming).

110

'Floral Bouquet'

(picture page 88)

Date of manufacture 1930s Pattern number 298 Backstamp 7 The orange ground helps lift the rather muted colours of the flowers and leaves in this pattern. Shades of dark pink, yellow, turquoise and light green are used, with additional emphasis being given by the black in-fill and shadowing between the flowers and leaves.

'Fruit'

(picture page 88)

Date of manufacture 1930s Pattern number 7899 Backstamp 3 The fruit is in this pattern is extremely well-portrayed and enhanced with gilded outlines. The central grouping consists of a pear, an apple, a peach together with strawberries, gooseberries and redcurrants. The border comprises grapes, raspberries, plums and cherries - and all are painted in naturalistic colours.

The blue ground darkens into cobalt at the rim. The ground colour on the reverse is a rich burgundy.

'Fuchsia'

(picture page 88)

Date of manufacture 1930s Pattern number 4418 Backstamp 9 Strong mottled orange has been used for the ground colour with mid-blue being used for the interior. The flowers, painted in shades of cobalt and lavender, are seen suspended from a yellow branch. The decoration is minimal, but striking in its simplicity.

'Galleon' Date of manufacture 1930s Pattern number 4953 Backstamp 1

(picture page 89)

Billowing sails send this sailing ship scudding across the stormy sea, making for a dramatic design. The ground colour is dark blue and the sails are portrayed in various shades of yellow and tan, the hull being picked out in yellow, blue and dark pink. The sea is blue, green and black, with the horizon shown as a thin yellow line; threatening clouds are traced in gilt. The border pattern depicts Viking ships in yellow and dark pink. The reverse and interior ground colours are vivid orange.

Ill

'Garland'

(picture page 89)

Date of manufacture 1930s Pattern number possibly 4456 Backstamp 3 Unidentifiable flowers and leaves are shown in deep pink, lavender pink and two shades of green, and are arranged in a wreath or garland against a cobalt blue mottled ground.

'Hollyhocks'

(picture page 89)

Date of manufacture 1950s+ Backstamp 19 A later example of Grimwades lustre ware, and not really comparable with earlier pieces - the colours are pale and the design less well-drawn. Sprays of hollyhocks in pink and blue are set against an iridescent, mother-of-pearl ground,

'Honeysuckle'

(picture page 89)

Date of manufacture 1925+ Backstamp 51 The decoration on the jardiniere illustrated is minimal, consisting of honeysuckle flowers and leaves set on a wide band of cobalt blue. The flowers are depicted in cream and a pale apricot, with leaves in green and petrol blue. A narrow band of turquoise underlined in green adds definition above and below the pattern. The ground colour is mottled blue and the interior is bright orange.

'Humming Birds'

(picture page 90)

Date of manufacture 1925+ Backstamp 51 Dark blue trees are silhouetted against the Gobelin blue ground to great effect, while humming birds in green, yellow and blue dart among the branches. The interior has a mother-of-pearl finish.

'Hydrangea'

(picture page 90)

Date of manufacture 1930s Pattern number 4512 Backstamp 6 A pink, mother-of-pearl lustre is used to great effect on this pattern. The ground colour seems to shimmer delicately, accentuating the hand enamelled colours of the blooms. These are picked out in turquoise, white, yellow and pink enamels. The leaves are painted in green and russet. Further leaves, outlined in gilt, form the border which is additionally decorated with enamelled flower heads.

112

'Lakeside Flowers'

(picture page 9i)

Date of manufacture 1930s Pattern number 4025 Backstamp 6 Using a ground colour of a deep burgundy red, this design is intensely dramatic.

Dark-coloured trees and foliage are silhouetted starkly and form a contrasting backdrop for the plants in the foreground. These are in various shades of yellow and pink, with the leaves in green, and appear to fringe a lake, the water being picked out in black and yellow. '

Leaves'

(picture page 91)

Date of manufacture 1950s Backstamp 12 A simple, yet effective, sheet pattern of brown leaves and berries cover the tobacco jar. The ground colour is cream, with a mother-of-pearl finish.

Ming

(picture page 90)

Date of manufacture 1925+ Backstamps: Bowl: Backstamp 53 Floweraid: Backstamp 3 Bird: Backstamp 2 This design of an oriental dragon was also used on tableware of plain ground colours in 1925 and was advertised in trade catalogues of the time in the form of cube-shaped teapots and Octagon sandwich sets. The floating bowl illustrated has a mottled ground colour of dark blue, the only ornamentation being the transfer printed cream border decorated with black oriental dragons. The lustred 'Arbor' block or Floweraid, which is contemporary with the bowl, is in the shape of a tree trunk. The bird flower holder, identified in the Grimwades catalogue as a Golden Oriole, is hand painted, but not lustred, and was intended for used with the lustre bowls and table centres, (see also Floating Bowls and Table Centres)

'Nasturtium'

(picture page 91)

Date of manufacture 1930s Backstamp 6 Vivid orange has been used in a scale design for the ground colour, which contrasts well with the mottled yellow interior rim. The nasturtium leaves are in shades of green, the flowers being in yellow, deepening to orange at the edges. The 'dragon' handle of the jug is also in orange.

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'PeaCOCk'

(picture page 93)

Date of manufacture 1925+ Backstamp 51 Impressed 5 25 which is possibly a date mark.

A flamboyant pattern which takes up almost the entire surface of the plate illustrated, The ground colour is mottled yellow against which are painted stylised scrolling branches in burgundy and a deep petrol blue. The cock bird is perched centrally and has a body colour of bright blue, his crest being picked out in pink, blue and green. The curving tail is in shades of petrol, blue and pink and the 'eyes' on the tail are in yellow, green, pink and blue.

'Petunias'

(picture page 93)

Date of manufacture 1930s Pattern number 3097 Backstamp 6 Colourful flowers and leaves sprawl profusely overthejug illustrated. Theground colour is a pale mottled tan with an interior rim finish of lilac. The handle is dark brown and this colour is also used as an in-fill for the flowers and leaves. The blooms are portrayed in vivid yellow, deep pink, pale orange and pale pink, with accents of dark turquoise, green and purple. The leaves are in dark green, purple and pale orange, accented with tan and light green.

'Pheasant'

(picture page 93)

Date of manufacture 1930s Pattern number 8612 Backstamp 3 A hand painted cock bird perches on a leafy branch and is depicted in naturalistic colours of russet, shaded turquoise, yellow and tan. The leaves are in autumnal colours. Unlike 'Peacock' (above), the painting is contained within the centre of the plate, allowing the lilac ground to contrast quietly. The signature b. Austin can be seen - a signature which occurs on other hand painted game bird and flower designs (see Hand Painted chapter).

'Plums'

(picture page 93)

Date of manufacture 1930s Backstamp 3 It is unusual to find a teapot in lustre ware - the lustre being so prone to rubbing and wear that many will have been thrown away as unattractive. The dark orange lustre is a perfect foil for the purple and yellow plums. The pattern is lightened by the occasional blossom in white and the addition of blue and green leaves. The lid is decorated with buds and flowers in white and blue leaves.

114

'Poppies'

(picture page 94)

Date of manufacture 1930s Backstamp 7 A simple, yet effective, design shows shaded yellow poppies against a vivid orange ground. The light and dark green leaves provide minor contrast.

'Romance'

(picture page 94)

Date of manufacture 1925+ Pattern number 5564 Backstamp 51 A colourful pattern showing a couple standing against a backdrop of water, painted an improbable yellow, with a castle perched high on a hill. Like the water, the sky is yellow, with fluffy clouds in white and lavender. Far distant hills are indigo while the cliff-top grass and that in the foreground is bright green.

The girl's dress in deep pink trimmed with lilac, while the man's doublet is petrol blue. Stylised trees flank the couple and frame the scene.

'Scrolls a n d Flowers'

(picture page 94)

Date of manufacture 1951 + Backstamp 17 Rich burgundy is used as a ground colour for this ornate and stylised pattern.

The scrolls are in gilt, as is the shell border. Groups of flowers are depicted in apricot, blue, pink, yellow and lilac. The leaves are in a soft apple green. It is a more striking and ornate pattern than was usually produced during this period.

'Shells'

(picture page 94)

Date of manufacture 1940s+ Although the candy box illustrated bears no backstamp, it was undoubtedly made at the Royal Winton factory, being of a known and identifiable shape.

It is more than likely that the pattern was designed by Mabel Leigh, a talented pottery designer who made her name with the pottery manufacturers, Shorter & Son in Stoke-on-Trent. Her career is well documented in the book The Shorter Connection by Irene and Gordon Hopwood, and reveals that during the latter part of World War II, Mabel Leigh played a part in the export drive that was encouraged by the Government and spear-headed by Gordon Forsyth. Mabel Leigh, together with Gordon Forsyth and Eric Tunstall, were allocated studios at the Royal Winton factory. During this period, Mabel Leigh experimented with lustre ware and some fine pieces were produced. It is not known how many designs - if any - ever went into production. However, signed examples of her work, bearing the Royal Winton backstamp have been seen in a private collection and these included marine subjects such as fish and shells, identical to box illustrated.

The shells, together with sea creatures such as anemones and sea snails, are hand painted in delicate pastel colours and set against a black ground before

115

being given a lustrous, mother-of-pearl finish. It is likely that this design was a prototype which never went into production.

'Silver Birch'

(picture page 95)

Date of manufacture 1930s Backstamp 6 Possibly, another experimental piece - the trees in the foreground appear to have transfer printed outlines, being over-painted by hand, The painting of the foliage appears rather clumsy and heavy, with dark green dominating, while the row of trees in the background is picked out in two shades of brown. The foreground is a little more delicately done and lighter colours have been used.

The sky is of the typical Gobelin blue used by Royal Winton for much of their lustre ware.

'Standard Rose Bush'

(picture page 95)

Date of manufacture 1930s Pattern number 4551 Backstamp 6 A single standard rose bush, well laden with blooms, forms this design. The stylised flowers are in shades of yellow and lilac, and pale pink, dark pink, tan and lilac. Round berry-like shapes are in dark pink, yellow and blue, while the foliage is in two shades of green. Purple is used for decoration at both the base and rim, with blue delphiniums seen also at the base. The ground colour is a mottled light tan, with the inner rim done in a mottled lilac.

'Stylised Flowers'

(picture page 95)

Date of manufacture 1950s Backstamp 13 A simple pattern of two flowers, one half-opened, together with patterned leaves, is set against a plain cream ground, Beige is used for the design, the petals of the flowers being further hand painted in black and orange, A wide lustre band gives contrast.

'Summer Bouquet'

(picture page 95)

Date of manufacture 1930s Backstamp 6 A stylised bouquet of flowers and leaves is arranged against a two-tone ground of green and amber. The foliage is in two shades of green, some leaves bordered in brown, while the flowers are in tan, yellow and blue with purple, dark pink and black highlights.

116

'Sunburst'

(picture page 96)

Date of manufacture 1930s Pattern number 2505 Backstamp 6 Gilt sunrays peeping out from behind gilded clouds give this pattern its name.

Large stylised flower heads are painted in colours of ochre, yellow and dark pink, while the leaves are in green, turquoise, lilac and a burgundy brown.

Light tan areas are decorated with white bubbles outlined in gilt, while a reversed cornucopia is striped in lilac and green with bands of petrol blue and white and flashes of yellow. The pattern contrasts vividly with the dark blue ground.

'Trees a n d Roses'

(picture page 96)

Date of manufacture 1930s Pattern number 3083 Backstamp 4 Stylised flower heads, set on thorny stems, are set against a background of trees. The trees are in a deep tan with the flowers being in yellow, green, lilac, pink and blue; the stems are green. The in-fill colour between the stems and flowers is deep purple with the foreground being a light tan. Behind the trees can be seen a grey sky lightened with fluffy white clouds.

'Tudor Rose'

(picture page 96)

Date of manufacture 1930s Backstamp 3 A stylised border of flat flower heads and leaves, together with jardiniere or plant pot shapes, is set against a mottled blue ground. The flowers are either in green and white with dashes of dark red, in pale pink, or in yellow. Stamens are picked out in gilt. The jardinieres hold black-leaved plants and are ornamented with dark pink, white and yellow. All leaves are defined by gilding.

This border pattern is set against a black ground and highlighted with gilt scrolls.

'Tulips'

(picture page 96)

Date of manufacture 1930s Backstamp 7 The Spring-like appeal of this pattern is further enhanced by the use of a light green ground. Dark red and yellow tulips, with their spiky leaves, are seen accompanied by cottage garden flowers in blue and lilac.

'Trailing Harebells'

(picture page 97)

Date of manufacture 1930s Backstamp 7 Stylised harebell-like flowers in turquoise blue and yellow enamelling trail down from a group of abstract flower heads in beige, yellow and ochre which are

117

enhanced with bright turquoise and orange enamelling. Leaf shapes and pods are in green and grey, while an abstract clump of leaves is in green and black and highlighted with orange and yellow enamels. The pattern is set on a burgundy ground and this colour is also used on the reverse.

Watteau

(picture page 97)

Date of manufacture 1925+ Pattern number 5599 Backstamp 54 Based on scenes from paintings by the French painter, Jean Antoine Watteau (1684-1721), the Watteau pattern shows courtly figures in silhouette, promenading against a background of trees and grass picked out in grey.

Figures of Pan playing his pipes are set on columns and these flank the promenaders. The ground colour is yellow, with the interior being Gobelin blue.

'Winter Flowers'

(picture page 97)

Date of manufacture 1938+ Backstamp 6 This pattern was advertised by Grimwades in October 1938, and the fly sheet shows a large ginger jar. Unfortunately, no pattern name or number was given.

The dark blue ground, edged with purple, gives dramatic impact to the design, which consists of a stylised bouquet of flowers and leaves in yellow, apricot, green, blue and dark pink, together with white buds. Further stylised branches and leaves in turquoise, green and apricot form a border on the plate illustrated. Gilt 'bubbles' help lighten the dark ground. The reverse of the plate is bright orange.

'YellOW Iris'

(picture page 97)

Date of manufacture 1930s Backstamp 9 Yellow flag irises, accompanied by spear-like leaves in various shades of green, dominate this pattern. The dark blue ground complements the pattern and is further accentuated by the vivid orange interior colour.

Plain Colours

(picture page 98)

Date of manufacture 1925-1950s Backstamp 51,55 Plain colours were used a great deal for items associated with smoking, such as tobacco jars and ashtrays. These were often marketed as advertising pieces, a great many being made for Comoy's of London. Plain colours were also used for fruit bowls, flower bowls and baskets.

Orange, known by Grimwades as Tangerine, was combined with Gobelin blue, and the same blue was used in combination with yellow, with all colours having a sponged or mottled finish. This finish, together with the three colours, is instantly 118

recognisable as coming from the Royal Winton factory, even when pieces are unmarked.

Golden Age

(picture page 98)

Date of manufacture 1950s Backstamp 11, 13, 14 This ware was intended for customers to buy and give as gifts on wedding anniversaries. The gold lustre is particularly rich and pieces are generally covered inside and out, with the exception of flower vases. It is very prone to wear, however, and scratches easily.

Silver lustre was also made, sometimes with a hammered finish giving a pewterlike effect. Classical shapes were used, and handles on teapots were painted black, Wide borders of gold were sometimes used as decoration on non-lustred pieces (see Stylised Flowers),

119

Lustre Ware Pattern Names and Numbers Some pattern numbers are difficult to read. Where these are not clear, they have been given a question mark.

Apples Asters Autumn Leaves Dark red ground Green ground Aztec Fringe Bubbles Orange ground Green ground Butterfly Carnation Castle by the Lake Cherry Blossom Mid-blue ground Dark blue ground Cherries Chinese Dragon Chrysanthemum Courtship Crazy Paving Cream ground Pink ground Daisies Dragonfly Fairy Cobwebs Floral Bouquet Fruit Fuchsia Galleon Garland Hollyhocks Honeysuckle Humming Birds Hydrangea Lakeside Flowers Ming Nasturtium Peacock Petunias Pheasant Plums Poppies

5284 4194 4233 4071 5280 2322 4581 4820 10088 2271?

2134 2258?

2997 2351 298 7899 4418 4953 4456

4512 4025

3097 8612

120

Romance Scrolls and Flowers Shells Silver Birch Standard Rose Bush Summer Bouquet Sunburst Trees and Roses Tudor Rose Tulips Volcano Flowers Watteau Winter Flowers Yellow Iris

5564

4551 2505 3083 5316 5599

Lustre Ware Pattern numbers 298 2134 2258?

2271?

2322 2351 2505 2997 3083 3097 4025 4071 4194 4233 4418 4456?

4512 4551 4581 4820 4953 5280 5284 5316 5564 5599 7899 8612 10088

Floral Bouquet Chrysanthemum Crazy Paving (cream) Chinese Dragon Carnation Fairy Cobwebs Sunburst Crazy Paving (pink) Trees and Roses Petunias Lakeside Flowers Bubbles (orange ground) Autumn Leaves (dark red ground) Autumn Leaves (green ground) Fuchsia Garland Hydrangea Standard Rose Castle by the Lake Cherry Blossom (blue ground) Galleon Bubbles (green ground) Asters Volcano Flowers Romance Watteau Fruit Pheasant Cherry Blossom (dark blue ground)

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Musical Jugs, Character Jugs and Figures MUSICAL JUGS There is little or no information regarding these attractive jugs, apart from the fact they were made before World War II. However, manufacture continued well into the 1950s, as the backstamps confirm.

The first example mentioned in the trade papers was the tankard made in 1937 to commemorate the coronation of George VI. They were mentioned again in 1938, when The Pottery Gazette refers to 'Balmoral Castle', 'Stirling Castle' and 'Come to the Fair'. There is no further reference available and it is impossible to know exactly how many different varieties were made.

The jugs were fitted with a musical movement and this was protected by a gilded wooden base. All jugs originally carried a rectangular paper label which was stuck on to the wooden base, printed 'Thorens Movement, Made in Switzerland'. The name of the tune was typed on to the label and jugs are identified by collectors by these song titles. Unfortunately, many of these labels have disappeared over the years. Occasionally, an oval gilt and black label can be found, stamped 'Presenta, A Genuine Musical Novelty'.

All the tankards carry the Royal Winton backstamp, but this is often concealed beneath the musical movement.

Annie Laurie

(picture page 99)

Date of manufacture 1930s+ Backstamp 13 This features a Scotsman and his lass beside a stream, The man wears a green coat, a brown kilt and Tarn o'Shanter, and carries a shepherd's crook. The girl is portrayed seated, wearing a red dress, and holding a yellow shawl over her head. The background consists of green and heather-clad hills, while on the reverse of the jug, the stream widens and is spanned by a small bridge. The handle is topped by a thistle flower.

Come to the Fair

(picture page 99)

Date of manufacture 1930s+ Backstamp 13 Mentioned by The Pottery Gazette in February 1938, the jug is perhaps one of the most attractive in the series. A balloon seller, clad in a dark green coat, brown breeches, and wearing a black hat, can be seen sitting on a hill overlooking a fairground. He clutches a large bunch of balloons, picked out in pastel colours of blue, yellow and pink. The fairground scene shows a merrygo-round, complete with horses and riders, with a striped cover in dark pink and yellow; a swing-boat and covered tent are in the background. Crowds of people can be seen in front of booths which are striped in yellow and blue.

The handle of the jug resembles the trunk of a tree, 122

Floral Dance

(picture page 99)

Date of manufacture 1930s+ Backstamp 6 A trio of two men and a woman are seen dancing with linked hands in front of a cottage and along a cobbled street. The men wear pink and green coats, yellow breeches and blue and green knee length socks. The woman wears a yellow dress with a blue trim and a green hat.

The reverse of the jug shows a village street with attractive three-storey houses, flanked by trees and a wooden fence. The handle of the jug appears to jut out from a wall or pillar and consists of some of the musical instruments mentioned in the song.

George VI Coronation

(picture page 99)

Date of manufacture 1937 A Royal Winton advertisement, dating from 1937, assured buyers that, 'The beer or cider tankard is a beautiful specimen of Pottery Handcraft. Relief modelled, hand-painted in Royal colours, with burnished gold finish'.

The tankards were available with or without musical fittings at a cost of 15/(75p) or 9/6d (47'Ap) respectively. There was a choice of tunes, too, either 'God Save the King' or 'Here's a Health (Unto His Majesty)'.

Queen Mary ordered 5 tankards on the 5th April 1937, choosing the tune 'God Save the King'.

The tankard was modelled by Percy Lloyd and features King George VI and Queen Elizabeth, shown in profile, enclosed in a laurel wreath surmounted by a crown. Below are the flowers of Great Britain and the intertwined initials GR. The reverse portrays the coat of arms of the country with a ribbon reading 'George VI Coronation May 12th 1937'. The handle is formed from flowers and leaves, and topped with a crown.

Killamey

(picture page 100)

Date of manufacture 1930s+ Backstamp 6 Mountains in shadowy blues and pinks overlook a lake, which appears to be spanned by a bridge. A man in a rowing boat casts his line into the water. The foreground features rocks, grass and flowers, while the reverse shows a leafy tree. The handle is formed by a man, who wears a dark green coat, yellow breeches and dark pink gaiters. His hat is brown and he holds a red kerchief to his mouth.

123

Phil the Fluters Ball

(picture page 100))

Date of manufacture 1930s+ Backstamp 13, 58 A lively scene of dancers is portrayed in rather subdued colours of tan, beige, dark green, dark brown, grey, yellow, pink and maroon on a plain cream ground. A group of four dancers can be seen, clasping hands in a circle. Two musicians play the drum and the flute in the background. To one side, a stool supports two bottles and a beer mug, while on the other side, a small pink pig is dancing on his hind legs, Above, festive streamers and balloons complete the merry picture.

The reverse of the jug shows the exterior of the thatched house or pub set against a background of pale purple hills, with a lady driving a jaunting car towards it. She wears a pink dress with a white, ruffled collar and a pink hat trimmed with bright yellow flowers. She has one hand on the reins and encourages the donkey with a whip. The handle is plain.

Sarie Marais

(picture page IOO)

Date of manufacture 1930s+ Backstamp 6 This shows a South African scene with a couple trekking across the veldt in their covered wagon which is drawn by a team of oxen yoked together. Muted creams, yellows, and beiges are used, the only touches of colour coming from the woman's pink dress, the man's blue coat and a small amount of green grass in the foreground.

The team of oxen continues on to the reverse, and is led by a man in a bright green coat, carrying a whip, and this whip also forms the handle of the jug.

The tune Sarie Marais is of South African origin.

Stirling Castle

(picture page ioo)

Date of manufacture 1930s+ Backstamp 13 One of the few jugs to carry an inscription. The castle is portrayed in soft yellows, while the cliffs and foliage are in blue and green. The reverse shows pale pink hills, blue water, trees and grass, and is also inscribed with the word 'Tarbet'.

The handle is formed by intertwined bagpipes and thistles.

The tune is 'Road to the Isles'.

There is a Tavern in the Town

(picture page ioo)

Date of manufacture 1930s+ Backstamp 13 A public house scene is featured with a merry gentleman in a white wig dandling a young woman on his knee, while the landlord surreptitiously fills his tankard. The man wears a pink coat, white cravat and green waistcoat. His knee breeches are plum coloured. The woman holds a glass aloft and wears 124

a low cut dress in tan with a white ruffled neckline, while the landlord wears a green shirt, white apron and green stockings. All three wear black, buckled shoes.

The interior of the inn has blue mullioned windows, a tripod table, complete with beer tankards, and a brown wooden settle. A black cat surveys the scene, The reverse of the jug shows the outside of the pub with its bay window, and a wooden seat. A tree stands on the grass which is fronted with pink flowers.

The name of the pub, Ye Swan Inn, is seen on a board that is suspended on a wooden post.

Under the Spreading Chestnut Tree

(picture page ioo)

Date of manufacture 1930s+ Backstamp 6 A country couple sit clasping hands outside a house, she perched on his knee, under the leafy shade of a chestnut tree. A white dove is perched in the tree above their heads. The brickwork of the house is well defined and the leaded windows are picked out in dark blue. The girl wears a blue dress with a white collar while her yokel lover wears a cream coloured smock. Both are wearing shady white hats banded in red.

The reverse of thejug shows an arched gate leading into a farmyard, complete with farm machinery. The words of the song are printed below the branches of the chestnut: 'Underneath the Spreading Chestnut tree I loved her and she loved me There she used to sit upon my knee Neath the Spreading Chestnut tree' The handle of the jug is formed by the tree.

CHARACTER JUGS These were produced in the late 1930s and many were based on wartime personalities. They are of excellent quality, and were superbly modelled by Billy Grindy, a talented man who was exempt from fighting in World War II by being in a reserved occupation. After the war, Mr Grindy moved on to Thomas C. Wild & Sons Ltd (Royal Albert) where he designed the Montreaux shape for the Royal Albert pattern 'Country Roses'. He also worked for Shaw & Copestake Ltd, where he modelled the toby jugs that were issued under the Sylvac backstamp.

Again, a complete listing of the character jugs made is not available, but it is known that the following jugs featuring wartime persona were produced: Winston Churchill, George VI (in uniform), General Douglas MacArthur, Field Marshal Jan Smuts, Franklin D. Roosevelt and General Sir Archibald Wavell.

Patriotically, John Bull and Uncle Sam were also portrayed. The character jugs appear to have been made in three or possibly four sizes, ranging from 3 inches to 7 inches. Identifying names are printed above the backstamp.

125

Non-military character jugs were manufactured, some in the Dickens series which was first introduced in 1931 (see Figures). Those found so far include, Mr Pickwick, Mr Winkle and a non-Dickens Indian Chief. The Dickens series would appear to have been made to hold liquor, rather than to be character jugs, as there is no opening other than a round hole fitted with a corked metal stopper. This is sometimes at the front of the piece, on top, sometimes at the back. They can also be found, identically modelled and coloured, with a Kelsboro backstamp instead of a Royal Winton backstamp, but the reason behind this discrepancy is not known. The names of the Dickens characters are impressed on the reverse of the piece.

General Douglas Macarthur

(picture page 101)

Date of manufacture late 1930s+ Backstamp 56 MacArthur wears the American uniform with US in yellow on his collar and a star on his epaulettes. His hat features the American eagle, and is banded with gold braid, with gold braid also on the peak. An unsheathed sword forms the handle.

General Sir Archibald Wavell

(picture page 102)

Date of manufacture late 1930s+ Backstamp as 56 The General is portrayed in khaki uniform with red and yellow tabs on his collar.

His hat is banded with red and is decorated with gold braid and a regimental insignia. The handle of the jug is formed by an unsheathed sword.

J o h n Bull

(picture page 101)

Date of manufacture 1930s+ Backstamp 7 The symbol of England, John Bull wears a dark green hunting coat, a high collar and a red cravat tied in a bow, together with a black top hat. The hand is formed by a riding crop.

I n d i a n Chief

(picture page 102)

Date of manufacture 1930s+ Backstamp 7 A native American is shown wearing a feathered war bonnet, additionally decorated with banding and beading. The feathers are yellow and brown with red and blue tips. The head band is red, yellow and green, the strips of beading being blue, red and yellow. The handle of the jug is formed from feathers.

126

Pickwick

(picture page 102)

Date of manufacture 1930s+ Backstamp 7 Mr Pickwick presents a cheerful face as he smiles and peers over his spectacles.

His coat is blue and he wears a yellow kerchief below his wing collar. A flat hat in dark green completes the picture. The handle consists of a furled umbrella.

Uncle Sam

(picture page 101)

Date of manufacture late 1930s+ Backstamp 7 The character bears a marked resemblance to Abraham Lincoln and wears a dark green coat with a wing collar with a floppy brown cravat tied in a bow.

He has grey collar-length hair, heavy eyebrows and a jutting-out beard. He wears a grey top hat banded with blue and spaced with white stars. On larger figures, the handle is made from dollar signs.

FIGURES The Dickens series of figures was introduced in the early 1930s and the first mention appears in The Pottery Gazette in October 1931 when a photograph of bookends was published. A contemporary catalogue shows that the series of 6 figures produced consisted of Pickwick, Sam Weller, Bumble, Micawber, Pecksniff and Sairey Gamp. The complete set, in a box, was priced at 36/(ÂŁ1.80).

The modelling is crisp and the hand painted colours are strong and vivid, although the quality of the painting can and does vary.

A series of figures was produced by Grimwades, issued under the Atlas China backstamp between 1936-38 and these are more romantically inclined.

Unfortunately, no documentation exists at all in relation to these, and they are so rarely found that it is possible they were made for export only. However, it is known that the following were produced, Pan, Playmates, Bathing Belle, Dutch Girl, Jester, Pierrot and Masquerade.

Two figure groups have been discovered which are identical in colouring and modelling, apart from a slight tilt of the girl's head which could have occurred during the piecing together of the figure. These have different names printed on the base; one is called Romance, the other A Token of Love. The titles are painted on by hand, so it possible that an error was made at that stage.

Mr Bumble (bookends)

(picture page 103)

Date of manufacture 1931 + Backstamp 57 This Dickens character of a tipstaff wears a dark grey caped coat, bound with dark pink, with a matching pink waistcoat. The buttons are yellow. His cockaded hat is dark grey with a yellow border. He carries a staff in his left hand.

127

Mr Bumble

(picture page 103)

Date of manufacture 1931 + Backstamp 1 The Mr Bumble figure appears to have been made from the same mould as the bookends (above),

Sairey Gamp

(picture page 103)

Date of manufacture 1931 + Backstamp 1 The laundress is portrayed clutching a furled umbrella while carrying her bundle of washing. She wears a brightly painted shawl in dark pink, patterned in blue, green and yellow, over a black skirt. Her black bonnet has a yellow ribbon.

Her laundry bundle is yellow with a brown design and her umbrella is dark green,

Masquerade

(picture page 104)

Date of manufacture 1936/38+ Backstamp 59 The girl portrayed wears a low cut ball gown with ruffles at the square neckline and a ruff around her neck. She carries a fan in one hand and a mask in the other. Her dress is a purplish indigo and splashed with large pink flowers.

Romance and A Token of Love

(picture page 104)

Date of manufacture 1936/38+ Backstamp as 59 These figures are virtually identical, the only differences being the tilt of the girl's head and the title written on the base. As these models were made in sections, then assembled, it is easy to see how differences could occur.

The girl's low cut dress is delicately shaded in pink and blue and closely resembles that worn by Masquerade (above). Her companion wears a pink coat, a yellow waistcoat and blue breeches. His buckled shoes are pink.

128

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epmo eoud

Biscuit Barrels Butter dishes Cheese dishes Condiments 4-piece Cruets 3-piece Dessert plates Jugs: Cream Jugs: Hot water Preserve pots Sugar shakers Teapots 4-piece teasets (Premium)

Biscuit Barrels Butter dishes Cheese dishes Condiments 4-piece Cruets 3-piece Cups & saucers Dessert plates Jugs: Hot water Jugs: Cream Sugar shakers Teapots

Ye Olde Inne (Red roof) £75-£100 $135-$ 180 £50-£80 $90-$ 145 £75-£100 $135-$ 180 £50-£70 $90-$ 125

Ye Olde Inne (Grey roof) £100-£150 $180-$270 £70-£90 $125-$165 £80-£140 $145-$250 £70-£90 $125-$ 165

£45-£60

$80-$110

£40-£60 £60-£90 £35-£55 £45-£75 £60-£100 £150-£280

$70-$110 $110-$165 $60-$100 $80-$135 $110-$180 $270-$505

£50-£70 £45-£75 £50-£85 £75-£100 £45-£70 £60-£90 £80-£150

$90-$125 $80-$135 $90-$155 $135-$180 $80-$ 125 $110-$165 $145-$270

Ye Olde Mill (Red roof) £80-£120 $145-$215 £50-£70 $90-$ 125 £75-£95 $135-$170 £60-£80 $110-$145

Ye Olde Mill (Pink roof) £120-£175 $215-$315 £80-£100 $145-$180 £100-£150 $180-$270 £80-£100 $145-$ 180

£40-£60

$70-$110

£60-£90 £35-£50 £40-£70 £80-£150

$110-$165 $60-$90 $70-$ 125 $145-$270

£55-£90 £50-£80 £50-£80 £80-£120 £50-£80 £60-£100 £150-£250

$100-$165 $90-$ 145 $90-$ 145 $145-$215 $90-$145 $110-$180 $270-$450

£50-£80

$90-$145

Shakespeare's Birthplace

Dessert Plates

RELIEF MOULDED WARE Biscuit Barrels Butter dishes Cheese dishes Condiments 4-piece Cruets 3-piece Dessert plates Jugs: Cream Jugs: Milk Preserve pots Sugar bowls Sugar shakers Teapots Toast racks: 3-bar 5-bar

Beehive £120-£180 $215-$325 £80-£120 $145-$215 £120-£180 $215-$325 £70-£100 $125-$ 180 £55-£80 £50-£80 £50-£75

$100-$ 145 $90-$145 $90-$ 135

£50-£90 £40-£55 £70-£100 £250-£300

$90-$165 $70-$100 $125-$180 $450-$540 (Blue) (Brown)

£50-£70 £65-£90

$90-$125 $115-$165

Castle on the Hill Cheese dishes Countryside Sweetmeat dishes

130

Chanticleer £80-£100 £100-£150 £60-£90

$145-$180 $180-$270 $110-$165

£50-£70

$90-$ 125

£45-£70 £60-£90 £60-£90 £40-£55 £60-£90

$80-$ 125 $110-$165 $110-$165 $70-$ 100 $110-$165

£80-£120 £150-£200

$145-$215 $270-$360

£50-£80 £70-£95 £100-£150

$90-$ 145 $125-$170 $180-$270

£50-£75

$90-$ 135

Crocus

Sundae dishes Sugar shakers

£35-£55 £40-£70

$60-$ 100 $70-$ 125

Dovecote

Fruit bowls Vases TAME shape

£70-£100 £70-£100

$125-$180 $125-$180

Galleon

Biscuit boxes

£65-£100

$115-$180

Game (Dark Blue) Biscuit barrels Dessert plates Preserve pots Sugar shakers

£60-£100 £45-£70 £35-£50 £40-£70

$110-$180 $80-$ 125 $60-$90 $70-$ 125

Game (Cream)

Vases TIBER shape

£50-£80

$90-$ 145

Cheese dishes Condiments 4-piece Cruets 3-piece Dessert plates Fruit Bowls Jugs: Cream Jugs: Hot water Jugs: Milk Mint boats + stands Preserve pots Sugar bowls Sugar shakers Tea plates Teapots Toast racks: 3-bar 5-bar Twin Trays

£80-£120 £60-£90

$145-$215 $110-$165

Lakeland $180-$270 £100-£150 $135-3170 £75-£95

£45-£65 £45-£65 £65-£90 £40-£60 £70-£100 £40-£75 £40-£55

$80-$115 $80-$115 $115-$165 $70-$110 $125-$ 180 $70-$135 $70-$ 100

£50-£70 £45-£70 £150-£200 £50-£70 £100-£150 £80-£120 £40-£60

$90-$ 125 $80-$ 125 $270-$360 $90-$ 125 $180-$270 $145-$215 $70-$110

£45-£65 £30-£45 £50-£80 £30-£45 £100-£150

$80-$115 $55-$80 $90-$ 145 $55-$80 $180-$270

£50-£70 £30-£45 £60-£80 £30-£40 £150-£250

$90-$ 125 $55-$80 $110-$145 $55-$70 $270-$450

£40-£60 £50-£80 £40-£65

$70-$110 $90-$ 145 S70-S115

£50-£75 £75-£100 £50-£75

$90-$ 135 $135-$180 $90-$ 135

Gera

Haystack

Teapots

£150-£200

$270-$360

Iris

Tall vase

£200-£250

$360-$450

Pagoda

Condiments 4-piece Cruets 3-piece Sugar shakers Toast racks: 3-bar Toast racks: 5-bar Twin trays (small)

£60-£90 £50-£75 £60-£90 £45-£65 £60-£90 £40-£60

$110-$165 $90-$ 135 $110-$165 $80-$115 $110-$165 $70-$110

Peony

Cheese dishes Condiments 4-piece Cruets 3-piece Dessert plates Jugs: Cream Muffin dishes Preserve pots Sugar bowls Sugar shakers Teapots Toast racks: 3-bar Toast racks: 5-bar

£100-£150 £60-£90 £50-£70 £45-£70 £40-£60 £70-£100 £40-£60 £30-£40 £50-£75 £150-£200 £40-£60 £50-£80

$180-$270 $110-$165 $90-$ 125 $80-$ 125 $70-$110 $125-$180 $70-$110 $55-$70 $90-$ 135 $270-$360 $70-$110 $90-$ 145

131

Pixie

Cheese dishes Condiments 4-piece Cruets 3-piece Dessert plates Jugs: Cream Jugs: Hot water Jugs: Milk Jugs: Flower Mint boats + stands Preserve pots Sugar bowls Sugar shakers Teapots Toast racks: 3-bar Toast racks: 5-bar Wall clocks

Biscuit Barrels Cheese dishes Comports Condiments 4-piece Cruets 3-piece Egg Sets Dessert plates Fruit/salad bowls Jugs: Cream Jugs: Hot water Jugs: Milk Mint boats + stands Preserve pots Sugar bowls Sugar shakers Teapots Toast racks: 3-bar 5-bar

£60-£90 £50-£80 £40-£60 £45-£70

Primula $110-$165 $90-$ 145 $70-$110 $80-$ 125

£60-£95 £50-£80 £40-£60 £40-£60

Regina S110-S170 390-3145 370-3110 370-3110

£35-£55 £45-£65 £30-£50 £40-£70 £30-£45 £60-£85 £40-£60 £40-£60

$60-$100 $80-$110 $55-$90 $70-$ 125 $55-$80 $110-$155 $70-$110 $70-$110

£40-£65 £45-£60 £30-£50 £40-£65 £30-£45 £65-£85 £40-£60 £40-£60

370-3115 380-3110 $55-$90 370-3115 355-380 3115-3155 370-3110 $70-3110

£35-£55 £25-£40 £40-£70 £100-£150

$60-$ 100 $45-$70 $70-$ 125 $180-$270

£35-£60 £25-£45 £40-£70 £100-£150

360-3110 $45-$80 $70-$ 125 $180-$270

£40-£60 £50-£70

$70-$110 $90-$125

£40-£60 £50-£70

$70-3110 390-3125

Salad

Bowls Rhubarb dishes Serving dishes Serving trays

£35-£60 £20-£40 £30-£50 £30-£50

360-3110 335-370 355-390 355-390

Terrace

Chargers Condiments 4-piece Cruets 3-piece Dessert plates Preserve pots Vase: small Vase: medium Vase: large

£250-£350 £60-£95 £45-£70 £45-£70 £40-£60 £70-£100 £80-£120 £100-£150

S450-S630 3110-3170 $80-$ 125 $80-$ 125 370-3110 3125-3180 3145-3215 3180-3270

Trellis Rose Garden Biscuit barrels Condiments 4-piece Cruets 3-piece Dessert plates Jugs: Cream

£150-£200 £70-£100 £50-£75 £50-£85 £60-£80

S270-S360 3125-3180 $90-$ 135 $90-$ 155 $110-$145

£90-£150 £60-£90 £50-£70 £45-£65 £30-£50 £80-£120 £60-£85 £100-£150 £35-£50 £45-£65 £30-£50 £75-£95 £150-£200 £50-£70 £65-£95 £100-£150

132

$165-$270 $11C-$165 $90-$ 125 $80-$115 $55-$90 $145-3215 $110-3155 $180-$270 $60-$90 380-3115 $55-$90 3135-3170 3270-3360 390-3125 3115-3170 3180-3270

Trellis Rose Garden Jugs: Milk Preserve pots Sugar shakers Teapots Toast racks: 3-bar Toast racks: 5-bar

£80-£120 £50-£80 £60-£95 £200-£300 £45-£65 £65-£90

3145-3215 $90-$ 145 $110-3170 $360-$540 $80-3115 3115-3165

Preserve pots

Apple Grapes Lotus Wishing Well

£40-£60 £40-£60 £30-£55 £30-£50

370-3110 370-3110 355-3100 355-390

Hors d'oeuvre dish

£40-£60

370-3110

Apple Blossom

Fruit bowl

£40-£60

370-3110

Briar

Condiments 4-piece Cruets 3-piece Dishes: small Dishes: medium Dishes: large Sugar shakers Toast racks: 3-bar Toast racks: 5-bar Twin trays

£50-£70 £40-£60 £25-£40 £35-£50 £40-£65 £35-£65 £45-£55 £50-£75 £25-£40

390-3125 370-3110 345-370 $60-$90 370-3115 $60-3115 $80-3100 390-3135 $45-$70

Fuchsia

Dishes: small Dishes: medium Dishes: large Mint boats + stands Pin trays

£25-£40 £35-£50 £45-£75 £35-£50 £15-£20

$45-$70 $60-$90 $80-$ 135 $60-$90 $25-$35

£300-£500 £40-£60 £60-£90 £40-£75 £80-£120 £60-£90 £90-£140 £120-2175 £60-£90 £45-£65 £30-£50 £150-£300 £40-£60 £70-£100 £40-£75 £25-£40 £20-£30 £18-£28 £12-£15 £45-£60 £45-£65 £70-£100 £20-£30 £60-£90

$540-$900 $70-3110 3110-3165 $70-$135 $145-$215 $110-$165 $165-$250 $215-3315 $110-3165 380-3115 355-390 3270-3540 370-3110 3125-3180 $70-$70 $45-$70 $35-$55 $35-$55 $20-$25 $80-$110 $80-3115 $125-$180 $35-$55 3110-3165

PASTELS Apple

COMPOSITE PRICE GUIDE Honey Lily (Tiger Lily), Hibiscus, Petunia, Rosebud Bedside sets Bon-bon dishes Butter dishes Candlesticks (pair) Cheese dishes Chocolate comports Coffee pots: small Coffee pots: large Condiments 4-piece Cruets 3-piece Cups a n d saucers Dressing table/trinket sets Jugs: cream Jugs: milk Mint boats + stand: Plates: bread a n d butter Plates: dinner Plates: salad Plates: tea Preserve pots Salad bowls Salad bowls with servers Sugar bowls Sugar/cream sets

133

Honey Lily (Tiger Lily), Hibiscus, Petunia, Rosebud Teapots: small Teapots: large Tea sets 6-place inc. teapot Tennis sets Toastracks: 3-bar Toastracks: 5-bar Trinket pots Wall pockets

£100-2150 £150-£250 £500-£700 £45-£60 £40-£60 £50-£75 £30-£45 £90-£150

3180-3270 3270-3450 $900-$1260 $80-$ no $70-$ 110 $90-$135 $55-$80 $165-3270

Tea Rose

Candy Boxes Candlesticks Fruit bowls Wall Pockets

£50-£80 £30-£50 £45-£60 £80-£120

390-3145 355-390 380-3110 3145-3215

Plain colours

Wall clocks

Mottled ware

Canoes Wall pockets NITA shape Wall pockets ROSA shape

£50-£75 £30-£50 £60-£90 £70-£100

390-3135 355-390 3110-3165 3125-3180

HAND PAINTED WARE Delphinium Large dished plaques Table lamps Galleon

£250-£400

S450-S720

£70-£95

3125-3170

Poplars

REMUS jugs

£150-£250

$270-$450

Red Roof '6742'

Plates, hand painted Plates, transfer printed Biscuit barrels Large dished plaques Plates, transfer printed

£40-£60 £20-£30 £75-£95 £250-£400 £30-£45

$70-$ no $35-$55 $135-$ 170 $450-$720 $55-$80

Anemone

Dishes, small oval Coffee sets 6-place

£40-£55 £400-£600

Roses

Candy boxes Lamp bases

£70-£90 £150-£200

Fruit

Baskets KEW shape Jugs

£70-£90 £40-£75

$70-$ 100 $720-$ 1080 3125-3165 $270-$360 $125-$ 165 $70-$ 135

Game Birds

Tobacco jars

£60-£90

S110-S165

Cups and saucers Bedside sets Oblong plates Teapots Baskets HAMPTON shape Jugs: CAMBRIDGE shape Jugs: Hot water GREEK shape Sweetmeat dishes Tea plates

£40-£60 £350-£450

$70-$ no $630-$630 $270-$360 $360-$540 3110-3155 3180-3270 3180-3270 3110-3155 S60-S100

ART DECO WARE Blocks Chimneys Dehli

£150-£200 £200-£300

Geometric Tulips

Jugs GLOBE shape Tea plates

£60-£85 £100-£150 £100-£150 £60-£85 £35-£55 £100-2150 £35-£55

Jazz

Coffee sets 6-place

£300-£450

Flames

134

3180-3270 S60-S100 S540-S630

Jigsaw

Cream/sugar se ts HECTOR shape Bedside sets Condiments TREFOIL shape

£50-£70 £150-2250 250-275

$90-$ 125 $270-$450 $90-$ 135

Tulips

Coffee cups and saucers Chocolate comports

£30-£50 £70-£100

$55-$90 3125-3180

Wheels

Small pots

£25-240

345-370

LUSTRE WARE Fruit Bowls Ginger jars Plates: ASCOT Vases: small Vases: medium Vases: large

Bubbles (Orange) £60-£95 3110-3170 £120-2180 3215-3325 £35-£60 360-3110 £40-£70 S70-$125 £70-£100 3125-3180 2100-2150 S180-S270 Carnation 270-295 $ 125-$ 170 235-250 $60-$90

Bubbles (Green) 240-265 370-3115 280-2120 3145-3215 £30-£50 355-390 £35-£55 360-3100 £50-£70 390-3125 £70-£90 $125-$165 Fairy Cobwebs

Polka Dot Red Roof House (Atlas China)

Biscuit boxes Cake plates (handled) Plates: ASCOT 235-£50 Vases: small £40-£60 Vases: medium £60-£90 Vases: large £90-£150 Lustre (all patterns) Baskets ESSEX shape Birds and Floweraids Biscuit barrels Bowls: medium Bowls: large Bowls: extra large Cakestands Candy Boxes Chamber pots Comports Covered vases: small Covered vases: large Floating bowls Floating bowls with Floweraids/birds Jardinieres Jugs: Globe Jugs: Remus Jugs: Ronda Nut dishes Plates ASCOT + OCTAGON shape Pot Pourri jars Sandwich sets Shaving mugs Sugar shakers Table centres Teapots: Tea plates Tobacco jars Vases: AVON shape)

$60-390 370-3110 3110-3165 $165-$270

135

£40-275

$70-3135

240-275 270-295 290-2120 2120-2175

370-3135 3125-3170 3165-3215 3215-3315

290-2150 230-260 260-2120 250-280 280-2120 2100-2180 240-280 250-290 240-290 250-290 250-290 2100-2200 250-290 £80-£150 £150-£250 £60-£100 £150-£250 £150-£250 £30-£50 £40-£75 £60-£90 £100-£200 £50-£75 £50-£90 £100-£180 £90-2150 225-235 250-290 240-275

3165-3270 355-3110 3110-3215 390-3145 3145-3215 3180-3325 370-3145 390-3165 370-3165 390-3165 390-3165 3180-3360 390-3165 3145-3270 3270-3450 $110-3180 $270-$450 $270-$450 $55-$90 $70-$ 135 $110-$165 $180-3360 S90-$135 $90-$ 165 $180-$325 $165-$270 $45-$60 $90-$ 165 $70-$ 135

Lustre (all patterns) Vases: BOUQUET shape Vases: CAPRI shape Vases: CINTRA shape Vases: REMUS Vases: VIENNA Wall pockets

260-2100 240-275 260-2100 £150-£250 £40-£75 £80-£150

3110-3180 370-3135 3110-3180 3270-3450 $70-3135 3145-3270

Ashtrays Fruit bowls Jardinieres Tobacco jars Vases Wall pockets Golden Age Lustre Cake plates Cream/sugar sets Cups and saucers Tea plates Teapots Vases: small Vases: medium Vases: large

£15-230 £30-£50 £40-275 240-280 230-260 £50-£80 £20-£30 £30-250 £20-£30 £15-£20 £50-£90 230-250 240-260 260-290

325-355 355-390 370-3135 370-3145 355-3110 390-3145 335-355 355-390 335-355 $25-$35 $90-$165 $55-$90 $70-$ 110 $110-$165

MUSICAL JUGS, FIGURES AND CHARACTER JUGS etc Musical Jugs Annie Laurie Come to the Fair Floral Dance Killarney Phil the Fluters Ball Sarie Marais Stirling Castle There is a Tavern in the Town Under the Spreading Chestnut Tree

2150-2200 2175-2250 2120-2200 2120-2200 2120-2200 2180-2250 2100-2180 £120-2200 £130-£250

$270-$360 $315-$450 $215-$360 $215-$360 $215-$360 $325-$450 $180-$325 $215-$360 $235-$450

Plain colours:

Character Jugs Small Indian Chief £60-£90 $110-3165 John Bull £40-270 370-3125 General Douglas MacArthur 260-290 3110-3165 Uncle Sam 240-260 S70-$110 Sir Archibald Wavell 260-290 $110-$165 Dickens Character Heads Dickens Figures

Figures

Medium £90-£150 $165-$270 £60-2100 $110-$180

Large 2150-2250 $270-$450 2100-2200 $180-$360

£80-£120 $145-3215 £50-270 390-3125

2150-2250 280-2120

3270-3450 3145-3215

280-2120 3145-3215 2150-2250 S270-S450 $55-$ no Pickwick £30-£60 $90-$135 £50-£75 Bumble Micawber £50-£75 $90-$135 Pecksniff £50-£75 $90-$ 135 Pickwick £50-£75 $90-$ 135 Sairey Gamp £50-£75 $90-$ 135 Sam Weller £50-£75 $90-$ 135 Bookends £80-£120 $145-3215 S270-S450 £150-£250 A Token of Love Masquerade £120-£200 3215-3360 Romance £150-£250 S270-S450

136

Backstamps Although backstamps are regarded as a reliable guide to dating ceramics, it has to be borne in mind that there was a certain amount of overlapping datewise. Manufacturers did not realise that their goods would one day become sought after and that collectors would want to know exactly when an item was made. Workers would often use whatever backstamp was to hand. One therefore finds anomalies.

For example, an early Grimwade Brothers backstamp was still being used on their ware and in their advertising as late as 1917, despite the fact that the company had changed its name to Grimwades Ltd in 1900.

The study of contemporary catalogues and trade papers sometimes gives a clue as to when a pattern, design or range of ware was produced - but there is never any mention of how long a range remained in production. Musical jugs, for example, were known to have been made prior to World War II, and were mentioned in 77ie Pottery Gazette in 1937. However, a jug mentioned in the same trade paper in 1938 has been found with a backstamp dating from the 1950s. In addition, The Pottery Gazette Year Book for 1948 shows the typical round Art deco mark for Royal Winton (Backstamp 6) but also shows the globe mark with a Grimwades strap (Backstamp 1) It was originally thought that the prefix Royal was added to the Winton trade name in the 1930s. However, research has shown that Royal Winton ware was being made as early as 1897 (See chapter on Products). The name was again used briefly in 1917/18, and revived in about 1929, when Grimwades introduced their new Royal Winton Ivory.

In 1942, as a result of World War II, potteries were divided into various categories and were designated a letter of the alphabet (A, B and C) with which to mark their wares, with the letters BY, CY and CZ being introduced in 1945. The letter had to be stamped indelibly under the glaze and the ruling was in force for quite a few years after the end of the war.

Grimwades were given the letter VA' and this can be found with both the Art Deco style and Script backstamps. It is often incorporated into the backstamp and can vary in size.

There are other marks of importance to be found on the base of Royal Winton pottery. Pattern numbers, usually consisting of four-figure numbers, were hand painted, making them difficult to decipher at times. Pattern names were sometimes transfer printed near the backstamp. Any name impressed in the base is the shape name and not the pattern name, the exception being some of the pastel patterns which used the same name for both categories.

137

WiHTor<WABE

.<^r^ LANO

J. 7930+ Globe with GRIMWADES strap and STOKE ON TRENT ENGLAND.

2. 1930+Globe with GRIMWADES strap.

'WINTON WARE' above, ENGLAND below.

3. 1930+ Globe with GRIMWADES strap. 'ROYAL WINTON' above, ENGLAND below.

f*%

|

WINTON 4. 7930+ 7?OW WINTON IVORY with GRIMWADES above, ENGLAND below (both curved).

S. 1930+ ROYAL WINTON curved above IVORY.

o,AUfc

6. 1934+ Round Art Deco mark with GRIMWADES ENGLAND.

ItAjQEIBT

*fre«w (Gattmftotu.j \ >ULf IN y 4 \ fcWHANO < 7. 1934+ Round Art Deco mark with GRIMWADES MADE IN ENGLAND.

8. 1934+Round Art Deco mark with GRIMWADES MADE IN ENGLAND below. Sometimes overlapping is MADE IN above curved ENGLAND.

JVSKJJVS 10. 1935. Grimwades paper label for 1935.

J J. 7942+ Round Art Deco mark with GRIMWADES MADE IN ENGLAND and letter A at the base of the mark.

138

9. 1934+MADE IN above ENGLAND curved.

nnion

MAOE > ENCtA.ktT A 12. 1942+Royal above Winton in script with MADE IN ENGLAND and letter A below.

m

'GRIMWADES MADE IN ENGLAND

mam

^ M A D E IN

'GRIMWADES MADE IN ENGLAND

ENGLAND

A

13. 1942+ Royal Winton in script with GRIMWADES MADE IN ENGLAND and letter A below.

nam

5^MADE IN

A

14. 1942+ Royal Winton in script with MADE IN ENGLAND and letter A below.

ENGLAND

-"tos&sr

16. 1942+ Royal Winton in script with MADE IN ENGLAND.

17. 1951+ Royal Winton in script with GRIMWADES MADE IN ENGLAND below set within lines.

75. 7942+ Royal Winton in script with GRIMWADES MADE IN ENGLAND.

I *&*ULV/?Nu!\ 78. 1950s+ Crown above a large W with ROYAL WINTON below.

^r^6\_AH0 <^GRlMWAOES ENGLAND

19. 1964+ Royal Winton in fine script with GRIMWADES ENGLAND below.

J^JL. WINftiN

*°

20. 1979+ J-W. Co With STAFFORDSHIRE ENGLAND. ROYAL WINTON curved below.

'GUi*<£ttgtan£ ^

>

22. RubianArt 1930+ RUBIAN above ART above POTTERY with ENGLAND curved below.

aJpoTirJQ j mtUWAOBB , MADE IN ENGLAND

23. 1930s+ Olde England.

Rubian Art. 139

I.

21. Atlas China 1910 onwards. Kneeling man supporting a globe (Atlas) with GRIMWADES across the globe. ATLAS CHINA STOKE ON TRENT above and ENGLAND below.

6605 24. 1929+Anne Hathaway's Cottage.

. gat* ^ \GN6LANO <"

Ovor Af, *

MADE IN

V

£~

ENOLAND GRIMWADES HAND

^

>

MADE

S

<

E NOLAND CRIMWADES

HAND

PAINTED

IN

PAIMTCO

R*«" Nt a o j m « j\

25. 1930s+ Shakespeare's Birthplace.

26. 1934+ Ye Olde Inne.

27. 1935+ Ye Olde Mill.

OVAtj,,

fi.

CrtMCTlCd»aij

2fi.

1936+Beehive.

29. 7936+ Chanticleer.

RYSIOC

l&nd Fainted

'• \ « MD Df| HI iff

/ f

Cmm^DEsp

t ENGLAND*-

RECISTFATION A P P L I E D FOP 37. 7935+ Countryside.

32. 1930s+Crocus.

33. 7934+ Gera.

Sane/

0

iRlMiy/MKS J2 L"w:t.»ND "-

35. 1936+Lakeland.

• lO» MMtO PAINTBO

34. 1936+ Lakeland.

• K O . NO 8 1 1 6 0 0 , 36. 1936+Pixie.

140

ENGLAND

<,

37 1933+ Primula (Rubian Art).

38. 1933+Primula Hand Painted.

Jw

gRAMPDa ONEY

Ui-f

47. 1950s+Honey Lily.

40. 1940s+Briar.

42. 1940s+ Petunia.

HAf*S> fAIHTep „

wA«t>

o*

^ 43. 1936+ Delphinium, signed W.H.

44 1930s+ Red Roof Hand Painted MADE IN ENGLAND.

'.

M A M >- » > « ' - *

M I NTH,

45. 1930s+ '6742' signed F. Phillips.

£

^

HAND PA1NTEDP

MO

IKC MATTISON

46. 1930s+ '6742'.

47. 1930s+DEHUwith Handpainted below. Used in conjunction with Backstamp 4.

141

48 1930s+ RUBIAN WARE set in an artist's palette with HAND PAINTED above and DESIGNED BY IKE MATTISON below, all contained within a square.

r fl Rll

49. 1930s+ Handcraft in script above Backstamp 4.

50. 1930s+Hand Craft Pottery GRIMWADES LTD ENGLAND, all hand printed.

ftutsvtUfM

GRIMWAMS.OTOKE OATRetfT. ENGLAND.

52. 1930s. Carnation above Hand Painted, both in script with MADE IN ENGLAND below.

Q(\L

s—i

53. 1925+MING above diamond containing a dragon. GRIMWADES STOKE ON TRENT ENGLAND below.

•*atVL>° 57. 7925+ Byzanta Ware above Backstamp 1.

•"

54 1925+ Two figures in silhouette with BYZANTA WARE WATTEAU above and GRIMWADES ENGLAND below

o

MADr N ENGLAND

55. 1951+COMOYSof London above Backstamp 12 but lacking the letter A.

£r>OLA* 0 56. Late 1930s+ Circular ROYAL WINTON mark with GENERAL DOUGLAS MACARTHUR above.

58 1930s+Oblong paper label typed Phil The Fluters Ball with THORENS Movement above and Made in Switzerland below. Also oval paper label with PRESENTA in gilt and black and GENUINE above and MUSICAL NOVELTY below.

142

57. 1931+DICKENS above curved GRIMWADES ENGLAND.

*Tk«» Ck.n« 59. 1930s+ Masquerade Atlas China Stoke-onTrent, all hand written.

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