{"id":415,"date":"2014-02-19T12:40:50","date_gmt":"2014-02-19T12:40:50","guid":{"rendered":"https:\/\/madelena.com\/blog\/?p=415"},"modified":"2016-09-22T20:42:59","modified_gmt":"2016-09-22T19:42:59","slug":"makers-marks","status":"publish","type":"post","link":"https:\/\/madelena.com\/blog\/makers-marks\/","title":{"rendered":"Pottery Marks and Makers 1780 to 1900"},"content":{"rendered":"

Madelena Shop, Sell, Discover<\/a><\/p>\n

Who made it?<\/strong> This blog looks at\u00a0pottery marks and makers.<\/h1>\n

Makers of pottery in this period were known as pot banks. How many different ways did they mark their pots? We take a look at the pottery marks found in the popular categories in which we specialise.<\/p>\n

EARLY STAFFORDSHIRE FIGURES\u00a0 1780-1840<\/h1>\n

Figures from the Walton and Salt factories were marked on the reverse. The Lloyd partnership\u00a0marked some of their output, often indistinctly. Pottery marks of other known factories Sherratt, Wood, Dale and others are extremely rare. Most early figures were unmarked<\/em>.<\/strong>
\nA selection of early Staffordordshire figures<\/a><\/p>\n

Attributions can sometimes be made by comparing a hitherto unattributed figure with a positively identified figure or group of figures. Characteristics such as painting style, formation of bases, detail of bocage elements, use of underglaze colors, quality of modelling, size of head and feet, etc. all come into play. For a\u00a0better understanding of\u00a0the\u00a0considerable detective work<\/a> involved\u00a0make a study of\u00a0Myrna Scholne’s excellent blog<\/a>.<\/p>\n

Early Staffordshire Figures Shop, Sell, Discover<\/a><\/p>\n

VICTORIAN STAFFORDSHIRE FIGURES\u00a0 1837-1900<\/h1>\n

Victorian figures were almost never marked.
\nThere are reliable ways of dating Victorian figures\u00a0and various ways of attributing some of\u00a0them\u00a0to one or two known\u00a0factories e.g. Dudson figures<\/a>
\nbut the vast majority of figures are both unmarked and unattributed.<\/p>\n

\"Pottery<\/a>
Printed pottery mark found on 20th century figures<\/figcaption><\/figure>\n

The presence of printed pottery marks on the base of a figure\u00a0are a sure sign it is of 20th century manufacture.<\/p>\n

Victorian Staffordshire Figures Shop, Sell, Discover<\/a>
\nStaffordshire Figures Association<\/a><\/p>\n

PALISSY\u00a0 1843-1910<\/h1>\n

France and Portugal may be neighbours but in the matter of marking their Palissy ware they are continents apart. The French marked very few. \u00a0A selection of French Palissy wares<\/a><\/p>\n

\"Impressed<\/a>
Impressed pottery mark of the Elias pottery in Caldas de Rainha, Portugal<\/figcaption><\/figure>\n

The Portuguese makers marked almost everything.<\/p>\n

A selection of Portuguese Palissy<\/a><\/p>\n

Palissy Shop, Sell, Discover<\/a>
\nMajolica International Society<\/a><\/p>\n

MAJOLICA\u00a0 1851-1900<\/h1>\n

English Victorian Majolica makers’ habits in marking their wares\u00a0ranged from Minton and Wedgwood who impressed their pottery marks on almost everything with name, date code, and pattern number…
\nMarked Wedgwood platters<\/a><\/p>\n

through those like George Jones who was reasonably consistent with the pattern number but more often than not omitted the name or monogram and never used a date code or cypher,
\nMarked George Jones platters<\/a><\/p>\n

to those like Holdcroft whose output was usually unmarked in every respect, recognisable only by the glazes used and the very occasional marked piece to reference.
\nAttributed Holdcroft platter<\/a><\/p>\n

We will add the multitude of individual marks to this blog at a later date.<\/p>\n

\"from<\/a>
Rare George Jones dwarf elephant ear plates<\/figcaption><\/figure>\n

Very rarely in the world of majolica a descriptive pattern name mark is found.<\/p>\n

\"from<\/a>
Pattern name mark Alocasia Jeningsii (dwarf elephant ear), GJ monogram, black script pattern number and British Registry Office mark.<\/figcaption><\/figure>\n

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The\u00a0pottery mark above\u00a0is from a private collection of rare George Jones majolica leaf plates. They have an uncanny likeness to the real dwarf elephant ear\u00a0plant Alocosia Jenningsii.<\/p>\n

Find out more about majolica makers\u00a0in our\u00a0article ‘What is Majolica?’<\/a> .<\/p>\n

The protectionist 1890 USA McKinley Tariff Act required imported goods to be marked with country of origin<\/strong>. Therefore an impressed or printed ENGLAND mark<\/strong> tells you that\u00a0the piece was made after 1891. Marking was however\u00a0haphazard and inconsistent so the absence of an \u2018ENGLAND\u2019 mark does not necessarily mean \u2018pre-1891\u2019.<\/p>\n

British Registry Office mark<\/strong>, ‘Also known as the ‘British Registry Lozenge’ or the ‘British Pattern Registration Diamond’ mark, when present and legible, tells us\u00a0the date the pattern was registered. The registration procedure was set up in 1842 to combat plagiarism, making it illegal to copy that pattern for a period of three years.\u00a0Letters and numbers in the four corners specify the exact date of registration. The system was sufficiently successful that its use continued throughout the majolica period and beyond.\u00a0\u00a0Note: The year of pattern registration is not necessarily the year of manufacture but does indicate a \u2018circa\u2019 date.<\/p>\n

All the pottery marks mentioned above appear inconsistently, even those of the top makers.<\/strong> Tableware services were frequently unmarked except for the major pieces.<\/p>\n

Majolica Shop, Sell, Discover<\/a>
\nMajolica International Society<\/a><\/p>\n

MINTON SECESSIONIST\u00a0 1900-1922<\/h1>\n

Some early art pottery\u00a0pieces\u00a0are sometimes\u00a0included as Minton Secessionist ware. They have a mark like this\u00a01903 Minton Secessionist vase<\/a><\/p>\n

\"from<\/a>
Printed mark, Minton Secessionist ware, 1 to 72<\/figcaption><\/figure>\n

The series of distinctive marks we are most familiar with\u00a0run from No.1,\u00a0found in many different shapes and colors, to No.72. Some of the intermediary numbers are either rare or\u00a0possibly missing.\u00a0More research and perhaps more\u00a0pooling of knowledge may lead to an understanding of exactly what the numbers mean.\u00a0My theory that they may be batch numbers or production run numbers or even design series numbers is somewhat weakened by the fact that the ‘1902 catalogue’ (if only it were the 1922 catalogue) illustrates numbers late in the series as well as early.<\/p>\n

 <\/p>\n

Minton Secessionist Wares<\/a>
\nMinton Secessionist Shop, Sell, Discover<\/a><\/p>\n

WEDGWOOD LUSTRE\u00a0 1920-1930<\/h1>\n

Fairyland Lustre\/luster, Dragon Lustre, Butterfly Lustre, Hummingbird Lustre and Fish Lustre all came from the same Wedgwood factory workshop and bear the same printed Portland Vase Mark<\/a>
\nNote that by the 1920’s Wedgwood and others had replaced ENGLAND with MADE IN ENGLAND.<\/p>\n

Wedgwood Lustre wares<\/a>
\nWedgwood Lustre Shop, Sell, Discover<\/a>
\nMadelena Shop, Sell, Discover<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Madelena Shop, Sell, Discover Who made it? This blog looks at\u00a0pottery marks and makers. Makers of pottery in this period were known as pot banks. How many different ways did they mark their pots? We take a look at the pottery marks found in the popular categories in which we specialise. EARLY STAFFORDSHIRE FIGURES\u00a0 1780-1840 […]<\/p>\n","protected":false},"author":1,"featured_media":733,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[33,26,23,36,34,32,24],"class_list":["post-415","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-fairyland","tag-madelena-2","tag-majolica-2","tag-palissy-2","tag-pottery-marks","tag-secessionist","tag-staffordshire"],"_links":{"self":[{"href":"https:\/\/madelena.com\/blog\/wp-json\/wp\/v2\/posts\/415","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/madelena.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/madelena.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/madelena.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/madelena.com\/blog\/wp-json\/wp\/v2\/comments?post=415"}],"version-history":[{"count":73,"href":"https:\/\/madelena.com\/blog\/wp-json\/wp\/v2\/posts\/415\/revisions"}],"predecessor-version":[{"id":877,"href":"https:\/\/madelena.com\/blog\/wp-json\/wp\/v2\/posts\/415\/revisions\/877"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/madelena.com\/blog\/wp-json\/wp\/v2\/media\/733"}],"wp:attachment":[{"href":"https:\/\/madelena.com\/blog\/wp-json\/wp\/v2\/media?parent=415"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/madelena.com\/blog\/wp-json\/wp\/v2\/categories?post=415"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/madelena.com\/blog\/wp-json\/wp\/v2\/tags?post=415"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}