WHITE IRONSTONE NOTES

WHITE IRONSTONE NOTES
VOLUME 3 No. 3
WINTER 1997
This Classic Gothic Octagon T. J. & J. Mayer ewer and Red-Cliff mini ewer are introductions to a Gallery of
Large Pitchers from members’ collections (page 4) and an article on Red-Cliff reproduction ironstone (page 9).
IN THIS ISSUE
WICA BOARD OF DIRECTORS
Tom Moreland, President
Jim Kerr, Vice President
Olga Moreland, Secretary
Jack Allers, Treasurer
Beverly Dieringer
Patty Spahr Hitt
Fran Kinne
Tom Lautenschlager
Harry Lowe
Dorothy Noble, Howard Noble
Jill O’Hara
Ed Rigoulot
Honorary Lifetime Member
Jean Wetherbee
The WHITE IRONSTONE CHINA ASSOCIATION, INC. is a not for profit corporation.
WHITE IRONSTONE NOTES  is the official newsletter of the corporation and no article, photograph or drawing may be reproduced
without express permission of WICA, Inc.
_____________________________________
WHITE IRONSTONE NOTES is published
and edited by Ernie and Bev Dieringer four
times a membership year. Drawings and photos are by Ernie and Bev Dieringer unless otherwise noted. Please send all news notes, articles, suggestions, questions and listings for
advertising or the Spare Parts column to:
WICA, Box 536, Redding Ridge, CT
06876. Fax # 203 938 8378 or e-mail
[email protected].
_____________________________________
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WHITE IRONSTONE NOTES is available at
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Volume 1, #1, 2 & 3. Volume 2, #1, 2, 3 & 4.
Make checks payable to WICA and send to the
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_____________________________________
ADVERTISING RATES
Advertisements will be accepted in order of
receipt from WICA members and space allowing, from non-members. Rates (subject to
change): $20 per column inch (7 lines). Nonmembers, $40 per column inch. Members can
list a single piece for sale free in the Spare
Parts column each issue space allowing.
Payment in full by check made out to WICA
must accompany each ad. Send to newsletter
address. Publishing deadlines are, Dec. 1 for
Winter, March 1 for Spring, June 1 for
Summer, Sept. 1 for Fall.
_____________________________________
APPLICATION FOR MEMBERSHIP
Send $25 for each individual or $30 for two
individuals at the same address with check
made payable to WICA, to: Jim Kerr / Cavern
View Antiques, RD#1 - Box 23, Howes Cave,
NY 12092. Please send all ADDRESS
CHANGES to the same address.
Pg. 4 A Gallery of Large Pitchers
Pg. 9 Red-Cliff Reproduction Ironstone
Pg. 12 New and Unusual Marks
Pg. 12 Peroxide
Pg. 13 Regional News
Pg. 14 Spare Parts
Pg. 14 Collectors’ Showcase
FROM THE EDITORS’ DESK
We want to thank our members for their generous response to our requests for photographs. We were thinking of lost opportunities to get shots of certain Red-Cliff pieces
when we opened a letter from Lynn Gonzales
of California, and there was a photo of the
Coral Soup Tureen we wanted.
Sometimes people get to be in the right place
at the right time. We hit the jackpot several
weeks ago when we went to Jack Anspaugh’s
home to assist at a photo session. Jack’s collection of PRESIDENT SHAPE ironstone was
being photographed to be included in a book
on kitchen wares by Suzanne Slesin and
Stafford Cliff. (We will report more on this
when we find out when the book is published.)
While we were waiting for the photographer, a
car drove up with three people. They had
arranged to meet at Jack’s for the purpose of
picking up pieces that had been borrowed and
photographed in the New York studio.
One of the visitors was a young man named
David Barker. He was from England and was
spending a week in the U.S. visiting friends
and taking a workshop in Mocha ceramic techniques. As the conversation turned naturally,
to white ironstone, David said that he was an
archaeologist at the City Museum and Art
Gallery at Stoke-on-Trent. He had recently
excavated some white shards from the pottery
areas of Pankhurst and Livesley Powell & Co.
This was curious to him because he had never
seen undecorated ironstone. Almost none
exists in England.
You might think that this would be as interesting as things could get, but you would be
wrong. David went on to tell us about a friend
named Neil Ewins, also from England, who
was doing a dissertation on ironstone. I wrote
Neil and here is the letter he sent back:
*************************************
LETTERS TO THE EDITORS
Dear Mrs. Dieringer,
I have been given your name by David
Barker, Keeper of Archaeology at the City
Museum and Art Gallery of Stoke-on-Trent.
He showed me a copy of your White Ironstone
Notes which was fascinating.
I have just completed an M.Phil dissertation
entitled Staffordshire Ceramic Trade with the
United States 1775-1880: Design and
Marketing, and this is being published by the
Museum.
My thesis considers the ceramic requirements and tastes of the American market, and
how manufacturers established links with
America. More minor Staffordshire manufacturers could not necessarily afford to do extensive market research and so I found that merchants continued to exercise an influence on
ceramic design, even in the nineteenth century.
David Barker thought you might be interested
to know of this research as references to white
granite crop up regularly, since this product
was considered by the Staffordshire press to be
particularly adapted to the United States market. As you know WG was exported in vast
quantities to America and I was just amazed to
see the photograph of the ‘Show and Sale’ in
your journal.
There was not a single piece of white granite ware in the City Museum collection until
David Barker purchased 4 pieces. This must
have been on the trip when he met you. I have
been to the City Museum to see them and they
are wonderful -- a splendid tureen, coffee pot
and two large plates. (The English call platters, plates. Ed) It is the ‘fault’ of my dissertation that the Museum is taking an interest in
wares made for export!
I would be very interested to know more
about your particular interests and whether I
could be of any assistance.
Yours sincerely, Neil Ewins
*************************************
Naturally, we wrote back immediately and
asked how we could get copies of his dissertation. This is his answer:
*************************************
I was delighted to have your letter of 27th
August, and all your enclosures. I have really
enjoyed reading your ‘White Ironstone Notes’.
Whilst in America doing some research for
my dissertation I was able to acquire some
pieces of white granite. I have an Atlantic
Shape plate by T. & R. Boote, an unhandled
cup and saucer by Elsmore & Forster in the
Victory Shape, and also a plate marked J.
Wedgwood with a registration mark of 14th
November, 1856. When I happened to be
researching in the Public Record Office, Kew
Gardens, a couple of years ago, I looked up
this date and found it was a design registered
by Davenport. I was so pleased to see you discuss this pattern in your Volume 2 No. 2. You
call it Fig Shape and Davenport called it Union
Shape.
2
3
The City Museum & Art Gallery of Stokeon-Trent are publishing my research dissertation next year. The Keeper of Ceramics,
Miranda Goodby is in charge of the project.
When I last saw her she thought that the book
may be ready by April. I do not know how
much it will cost but I will keep you posted.
Neil Ewins.
*************************************
The drawing is from the books of registration
records. We will do a more extensive article on
these drawings in a later issue.
In the same spirit of research and discovery,
we got a note from Julie Rich.
*************************************
I have a wonderful quote that I pulled out of
BARBER that I thought you might enjoy.
Josiah Wedgwood wrote this to Sir William
Meridith about a Mr. Bartlem who had emigrated to South Carolina in 1766.
“The bulk of our particular manufactures are,
you know, exported to foreign markets, for our
home consumption is very trifling in comparison, to what is sent abroad; & the principal of
these markets are the Continent & Islands of
North America. To the Continent we send an
amazing quantity of white ironstone & some of
the finer kinds, but for the Islands we cannot
make anything to (sic) rich and costly. This
trade to our Colonies we are apprehensive of
losing in a few years, as they have set on foot
some pottworks there already, and have at this
time an agent amongst us hiring a number
of our hands for establishing new Pottworks in
South Carolina: having got one of our insolvent Master Potters there to conduct them.
They have enough material there, equal if not
superior to our own, for carrying on that manufacture: and as the necessaries of life, and
consequently the price of labour amongst us
are daily advancing, it is highly probable that
more will follow them, and join their brother
artists and manufacturers of every class, who
are from all quarters taking a rapid flight
indeed the same way!”
Barber says that Wedgwood procured samples of the clay from SC and used it in “large
quantities” for several years. He then used
clay from Florida which he seemed to prefer.
I understand from Father Jim White (our
Tea Leaf member who is a potter) that
Wedgwood still imports clay from the US.
Julie Rich, Newark, DE
*************************************
I certainly do enjoy the White Ironstone
Newsletter! The article on T. J. & J. Mayer
was excellent, but there were a few points that
I would like to clarify with information I found
while doing research on Mulberry Ironstone.
First, Rhone Scenery, a pattern you mention
as being Flow Blue is Mulberry Ironstone.
There are three major Mulberry transfer patterns by Mayer: Rhone Scenery -- a “scenic”
pattern showing fanciful castles, trees, rivers
and bridges with different “views” on the various pieces; and Flower Vase/Ava which have
the exact same transfer -- a floral design which
is decorated with rose, blue and green. Many
pieces of Flower Vase have as part of their
printed backstamp: Prize Medal 1851. Many
pieces of Rhone Scenery have the impressed
registry date of October 22, 1853.
Ellen Hill, Madison, NJ
Above: Rhone Scenery mulberry transfer on
Mayer Long Octagon/Curved Gothic? undertray.
*************************************
Frank and I were just at the regional meeting in Monroe, WI, and found a teapot the
same as on page 48, figure 7-54. (White
Ironstone: A Collector’s Guide) This one is
stamped James Edwards and a patent date of
1854. The month and day are not readable.
Carol & Frank Fleischman, Joliet, IL
*************************************
Jean had noted that the maker’s name and
date were unreadable. We have passed this
information on to her and hope Dan
Overmeyer who owns the teapot sees this too!
Another piece in the puzzle. Thank you.
*************************************
On page 4 in the Fall 1996 Newsletter under
T. J. & J. Mayer Octagon Shapes you have a
picture of a large tureen and matching sauce
tureen marked Long Octagon.
I have the same two tureens (smaller one
lacking the tray and ladle). When I first found
the sauce tureen some years ago, I looked in
the Wetherbee books for the pattern. As you
know there was none. Then I tried to match it
on the basis of general shape, and the shapes of
base and finial. I thought I had found it in
Wetherbee II, page 36 -- marked “Curved
Gothic epergne” by T. J. & J. Mayer. Both my
pieces are T. J. & J. Mayer.
Is the Mayer pattern now called Long
Octagon? And if so, is there still a Curved
Gothic pattern by James Edwards (as drawn on
page 36, also)? Or is his pattern now also
Long Octagon? I’ve never seen anything in
the Edwards pattern -- are the 2 patterns the
same or just similar?
As always, the newsletter is fascinating, and
very high quality.
Denise Andre, Chicago, IL
*************************************
James Edwards Curved Gothic will not
change. Mayers Curved Gothic epergne in
Weatherbee’s new book, pg. 45, is aptly
described. The Long Octagon name was
added when the new design was found because
of a teapot drawing on pg. 210. We suspect
Mayer’s Curved Gothic and Long Octagon are
the same pattern. The handles and finials are
the same and even when different, all have
curved corners and are octagon shaped (some
square and some rectangular). The English
designers did the same in other body shapes ie.
President Shape has both round and oval versions of almost everything.
*************************************
We have new Membership Invitation leaflets.
Anyone who wants to place some in antique
stores or malls or use at shows, please write to
the newsletter address for a supply.
WICA THIRD ANNUAL
CONVENTION
MAY 2 - 4, 1997
CANANDAIGUA, NY
At the Inn on the Lake
Fill out and mail in the
enclosed registration form
CALENDAR
MAY 2 - 4, 1997 - WICA 3rd Annual
National Convention, Canandaigua, NY.
SEPTEMBER 6, 1997, Region 4 Meeting in
Rochester, MN, hosted by Jane & John
Yunginger. (507) 289-6138 for information.
NOVEMBER 9, 1997, Region 5 Meeting in
Houston, TX, hosted by the Hurts and the
Bedfords. (713) 498 2395 for information.
NEXT ISSUES
SPRING 1997: A profile on Lily of the
Valley and Hyacinth.
Index of Newsletters
SUMMER 1997: Children’s tea sets and
other miniature individual pieces.
Convention coverage
FALL 1997: A profile on Full Ribbed,
Ribbed Bud and Ribbed Raspberry.
WHITE IRONSTONE:
A COLLECTOR’S
GUIDE
By Jean Wetherbee
Hard bound copies are available from
WICA for $25.95 plus $3 shipping.
Send check made out to WICA, to:
Fran Kinne
110 Hillside Ave.
Tenafly, NJ 07670
A GALLERY OF LARGE PITCHERS
Classic Gothic Octagon made by Early Davenport shape, c. 1830, with
more than 10 potters. This one anchor mark.
Lautenschlager collection.
by T. J. & J. Mayer.
Framed Classic by James
Edwards. Noble collection.
Prize Bloom by T. J. & J. Mayer,
1853. Allers collection.
Classic Gothic Octagon by T. & R.
Boote. Secrist collection
Pumpkin Primary by T. J. & J.
Mayer. Noble collection.
Fluted Hills by Jacob Furnival.
Probably 1840’s.
Hills Collection.
Footed Primary by Frances
Morley. Noble collection.
Fenton
by Davenport and J.
Wedgwood.
Very
Unnamed hexagon shape.
original design, possibly early.
Moreland collection.
Full Panelled Gothic by T. J. & J.
Mayer. Noble collection.
Full Panelled Gothic by Jacob
Furnival. Kinne collection.
4
Most of these large (11” to 14”) pitchers are ewers and would have had a matching basin or bowl. Some are 9 1/2” to 11” table pitchers. We
will show some ewers with their matching bowls (which are harder to photograph) in a future Gallery of Chamber Sets. If you have ewers or
large pitchers not shown here, please send photos (include marks and size) to the newsletter for use in additional future pages to this gallery.
5
Wrapped Sydenham by Anthony
Shaw and Livesley, Powell and
Co.
Sydenham made in Bennington,
VT. 1850 -1858. Allers collection
Fluted Band by Wedgwood.
Rigoulot and Brockey collection.
Montpelier Graybeard by John
Ridgway. Overmeyer collection
Sydenham Shape by T. & R.
Boote, 1853. Lautenschlager
collection.
Boote’s 1851 Octagon by T. & R.
Boote. Allers collection.
Girard Shape by Ridgway, Bates
& Co. 1856. Kinne collection.
Pearl Sydenham by
Meakin
J. & G.
Dallas Shape by J. Clementson
Many Panelled Gothic by Anthony
Shaw. Kinne collection.
Gothic by Elsmore & Forster.
Goselin and Vasseur collection.
Baltic Shape by T. Hulme and G.
Wooliscroft, 1855. Mississippi by
E. Pearson, Maltese by E. Corn.
Chinese Shape by Shaw, 1856
and also by J. Clementson.
Chinese Shape by T. & R. Boote,
1858. Many variations by other
makers.
Panelled Grape by J. F.
Clementson, E. Pearson and
Charles Meigh and Son.
Quartered Rose by J.F. This one
has an impressed mark “FURNIVAL 20”
Walled Octagon by Jacob .Furnival.
Panelled Decagon by Elsmore &
Forster. Noble collection.
Divided Gothic by John Alcock.
Atlantic Shape by T. & R. Boote,
1858.
Scalloped Decagon/Cambridge
by Davenport and Wedgwood.
Gonzales photo and collection.
Grape Octagon by Livesley, Powell
& Co. and a dozen other makers.
Noble collection.
Fig/Union Shape by Davenport
and also Wedgwood.
Split Pod also called Alternate
Octagon by James Edwards, also
made by John Alcock.
6
7
Ribbed Grape by W. & E. Corn.
New York Shape by
J. Clementson, 1858.
Prize Puritan by T. J. & J. Mayer
1851.
Laurel Wreath Shape by Elsmore
& Forster. Diemer collection.
Sharon Arch/Erie Shape by
Davenport and J. Wedgwood,
1860.
Columbia, unmarked. Registered
by several potters in 1855.
Morning Glory also known as
Halleck Shape by Elsmore &
Forster. Moreland collection.
Victor Shape by F. Jones, 1868.
Diemer collection.
Full Ribbed by J. W. Pankhurst.
Kinne collection.
Ribbed Bud by J. W. Pankhurst.
Kinne collection.
Ceres Shape by Elsmore &
Forster, 1859.
Wheat by W. & E. Corn.
Athenia Shape by J. & T. Close &
Co., 1866.
Lily of the Valley by
Edwards, 1858.
James
Unknown shape. Unmarked.
Secrist photo and collection.
Scotia Shape by Jones & Co. also
known as Poppy Shape by
Wileman. Kinne collection.
Unknown Shape with great loop
handle by Clementson Bros.,
1856. Lowe photo and collection.
Unnamed late Victorian shape by
Alfred Meakin marked Royal
Ironstone, England. Gonzales collection.
Unknown shape possibly American.
Note Sydenham shape on the bottom. Lowe photo and collection.
Union Shape by T. & R. Boote,
1856.
Laurel Shape by Wedgwood & Fuschia by George Jones. Diane
Co. 1860’s. R. Rich collection.
Dorman collection.
Draped Leaf by John Maddock &
Son. Kinne collection. Note similarity of leaves and handles on
pitcher at left.
Corn and Oats by Davenport
and Wedgwood. Kinne collection.
8
RED-CLIFF REPRODUCTION IRONSTONE
Fred Clifford started the Red-Cliff
Company in Chicago, Illinois, in the late
1950’s. He purchased pieces of antique
English ironstone and had the Hall China
Company in East Liverpool, Ohio, make
reproductions. Some of those antique
pieces were bought from Mrs. Pauline
Meisen-Helter of York, Pennsylvania, an
early dealer/collector of ironstone. The
Hall China Co. made the molded pieces
and the hollow ware, but the Walker China
Co. of Bedford Heights, Ohio, made some
of the flat ware such as dishes, plates and
platters. Almost all pieces are marked
with a printed Red-Cliff mark. There was
no attempt at deception since the lion and
unicorn or other English-looking
“antique” marks were not used, unlike the
practice of some of the earlier American
ironstone potters. Mr. Clifford must have
run his company very frugally because his
catalogs had no flashy photographs, only
line drawings of each piece and the same
drawings were used in the 1962 catalog as
in the 1976 catalog. Red-Cliff retail catalogs began with a brief history of English
ironstone china and called their new wares
a modern reproduction ironstone with
alterations. A fully vitrified body fired at
2,400 degrees which makes it oven,
microwave and dishwasher-proof. This
process also makes it “craze-proof” and
nearly stain-proof because the clay is not
at all porous. To an experienced eye, Red-
9
Cliff ware does not look like early English
or American ironstone because of its
creamy-white rather than blue-white
color. Modern production techniques of
one-piece slip-poured molds, rather than
slabs of clay hand pressed into separate
molds, surely are the reason these copies
are not like the originals. In some pieces
it seems they made exact casts right off the
antiques. But in others, they elongated or
widened the shapes and even substituted
different handles. The most “wrong looking” pieces are complete fabrications. Mr.
Clifford apparently found a T. & R. Boote
1851 Octagon teapot with a Sydenham lid,
which meant that his reproduction was
wrong from the start. Not having a sugar
or creamer, he simply had Hall China
make a small teapot for a creamer and created a sugar bowl by eliminating the pour
Red-Cliff calls this shape “Edwardian”. Ten pint
capacity and 13” tall. 1962 catalog price, $23 and
the undertray was sold separately for $7. Photo and
collection of Nancy J. Adams, Jamaica, VT.
Above drawings are
from the 1962 catalog.
spout and adding another ring handle. He
finished the set off by adding a tray for the
sugar and creamer to appeal to the 1950’s
homemaker. Red-Cliff catalogs advertised over a dozen different soup tureens,
a half dozen dinner services, tea sets,
condiments, lavabos, footbaths, candlesticks and even matching pressed pattern
glassware for the Sydenham Shape among
others.
Recently Red-Cliff reproduction ironstone has become a collectable china. We
did this article because we’ve been told by
many members that they believed RedCliff was real old ironstone and in many
cases they paid the price of an antique.
Red-Cliff is modern ware and should not
be sold as an antique.
The pieces shown here are from members’ collections. Some are shown with
the illustrations and prices taken from one
of the original catalogs. These catalogs
are valuable research material and we
don’t have the space to reproduce them
here in full. We have copies of the 1962
and 1976 catalogs. They are available to
WICA members for $6 each including
postage. Send a check made out to WICA
to: P.O. Box 536, Redding Ridge, CT
06876.
For further reading, see Grandma's Tea
Leaf Ironstone by Annise Heavilin, page
175-181.
Published by WallaceHomestead, 1981.
This piece is identified as a “Victorian tureen” in the 1962
catalog. $25. The undertray was $7. The original “Coral
Shape” tureen by Wedgwood 1847, appears on the cover of
White Ironstone Notes, Vol. 2 No. 1. The Red-Cliff version,
photo and collection of Lynn Gonzales, Watsonville, CA.
The teapot above is “Sydenham” and $22. in the ‘76 catalog. 10” high. The
creamer is identified as “Sydenham” in the same catalog, 6” tall with a 14 oz.
capacity, priced $10. There are five graduated sizes of this pitcher, the smallest
is 5 1/2” to the tallest at 8 1/4”. Collection of Jane Diemer, Wilmington, DE.
Above: Incorrectly named Sydenham tea set from the
‘76 catalog which has Boote’s 1851 body shape with
Sydenham lids . Note the ring handles on the sugar and
a tea pot used as a creamer, not to mention the set of
Classic Gothic pitchers above which are also designated
as Sydenham.
Right: A pressed glass goblet which we believe was
produced for Red-Cliff by Fostoria. It came in several
colors beside clear. There are four other patterns of goblets and several comports or “Bonbon dishes” in “RedCliff’s hand-pressed pattern glass”. These pieces appear
in the 1976 catalog along with a short history of
American pressed glass.
Above is an interesting example of a piece designed for
use by the modern homemaker. It is an undertray for a
sugar and creamer. 12” handle to handle. The inspiration
must have been from a Fig/Union Shape piece but Fred
Clifford decided that grapes were more saleable and substituted them for the fig budded flower. $7.50 in 1976.
Collection of Fran Kinne, Tenafly, NJ.
Above: The ‘62 catalog
calls this an Octagonal
Comport. 9” tall, $12.50.
In the ‘76 catalog it is a
“Heirloom Comport” for
$28. It holds 5 pints.
Photo and collection of
Harry Lowe, Culpeper, VA.
(Harry filled his comport
with white goose eggs.)
Above: “Colonial” candlestick is in the ‘76 catalog at $20 for a pair. 10 1/4” high.
The “Octagonal” candlestick appears in the ‘62 catalog at $9.50 a pair. 9” high.
The three miniature pitchers and bowls all have Red-Cliff marks. In the’62 catalog, the Fig set is named “Grape Leaf” and the Gothic set is identified as
“Sydenham”. Each is priced $4. The center pitcher and bowl appears in the’76 catalog and is identified as “Sydenham” even though the bowl is Boote’s 1851 Octagon,
and the earlier Gothic version appears to have been discontinued.
10
Left: This piece appears in the ‘62 catalog with
a matching lid. (Drawing below). We have seen
this shape in pewter but not in ironstone. In the ‘76
catalog it appears without a lid and is called a
soup or porringer. One cup capacity, $5.
Below: Egg cup. Photo and collection of Lynn
Gonzales, Watsonville, CA.
“Sydenham” salt and pepper set, 4” high,
$9 in ‘76 catalog. Collection of Kathy
Lautenschlager, Woodbury, CT.
Left: This grapevine
handled ladle with
pour spout is not
marked Red-Cliff nor
is the ladle below,
however, both have
come with Red-Cliff
tureens. There is a
grapevine handled
ladle in the Museum
of Ceramics in East
Liverpool,
Ohio,
marked Hall China.
Listed as “Octagonal Grape Tureens” the
above came in three sizes. These are the two
smallest. The mini is probably a mustard pot.
‘62 price $5, the sauce size was $9. The soup
tureen is 13” high and was $18 plus $6 for the
undertray in ‘62. In ‘76 it was $54 plus $14 for
the undertray. Photo and collection of Dale
Abrams, Columbus, OH.
Three pieces of Red-Cliff Tea Leaf owned by Julie Rich of
Newark, DE. Drawings are from the ‘62 retail catalog.
Below: This 5” pitcher was sold separately from the tea set
in the same pattern and was $4. A matching tray for the sugar
and creamer was also available. All these pieces were discontinued in the ‘76 catalog.
11
NEW AND UNUSUAL MARKS
Left: Wally Skinner included this
wonderful graphic mark with the
fancy “FOR” on an 11” plain oval
platter.
The platter also was
impressed with a J. & G. Meakin
mark.
Above: Harry Lowe sent this mark
which was on the lid of a square ROSE
BUD sauce tureen. Edwards marked
each piece of the tureen so that there
would be no question of copying.
Below: Lion and unicorn marks are
almost always printed. Wally Skinner
found this impressed one on a child’s
saucer. Below left: Wally also found this
whimsical lion and unicorn mark including a banner with “The Queen’s Royal
Ironstone.”
Above: We know this mark is not
unusual but isn’t it wonderful? This
American Knowles, Taylor & Knowles
mark is on a small, plain sauce dish.
Also from Wally Skinner.
HYDROGEN PEROXIDE
As hydrogen peroxide is one of the most
frequently used chemicals in the cleaning of
white ironstone china, it was suggested that an
informational article concerning its chemistry
and physical properties be prepared for the
WICA membership. The following is offered
with that objective; it is not intended nor suggested to be an instruction manual for the
cleaning of ironstone.
Hydrogen peroxide can be described as
“supercharged” water, because its chemical
formula (H2O2) is very similar to water
(H2O). The possession of an extra oxygen
atom gives hydrogen peroxide its chemical
reactivity, known as oxidation (releasing oxygen) when reacting with various organic and
inorganic materials. Upon reaction, this extra
oxygen atom is released, leaving water. The
released oxygen atoms may combine chemically with the organic/inorganic material
(dirt), or form oxygen gas (O2). These properties play an important role in the commercial utilization of hydrogen peroxide.
Hydrogen peroxide is manufactured via
chemical reaction/distillation, being recovered as a clear liquid of 50-90+% concentration. The dilution agent is water plus stabilizing chemicals to retard product decomposition. Chemical reactivity increases with
increasing solution concentration, 70+ percent solutions being used primarily by the
military as propellents. (Rocket fuel?) 50 to
70% product is typically diluted with water
for appropriate use in commercial/industrial
applications. (We have only been able to buy
it in up to 30 volume or percent.) Hydrogen
peroxide is always stored in vented containers
to avoid pressure buildup over time due to
decomposition -- with associated oxygen
release.
The possession of an extra oxygen atom,
increases its density when compared to water.
Therefore, a gallon of peroxide weighs 9.9
pounds compared to 8.3 pounds for a gallon
of water. (Julie Rich mentioned that she was
surprised that a 5 gallon container of peroxide was much heavier than 5 gallons of water
after having carried some into her home.)
The ability of peroxide to “oxidize” organic and inorganic materials, while producing
water as a reaction byproduct promotes its
widespread use as a whitening agent. As
applied to the cleaning of white ironstone, the
oxidizing reaction causes decolorization of
the “dirt” while increasing its solubility. The
byproduct water from this reaction further
aids in solubilizing the “dirt”, for “flushing”
from the item being treated.
This same oxidizing ability can present serious health consequences when in direct contact with human flesh and/or clothing.
Concentrations exceeding those of pharmaceutical bactericides should always be handled with caution -- the hazard potential
increasing directly with peroxide solution
concentration. Severe skin burns and permanent mucus membrane damage can occur
rapidly with direct exposure to concentrated
peroxide solutions.
Although hydrogen peroxide solutions are
non-flammable, the highly exothermic (heat
generating) nature of the oxidation reaction
when in contact with various materials can
cause combustion of those materials. The
combustion heat further promotes solution
“breakdown”, releasing oxygen and thereby
accelerating the combustion rate. (Feeding the
fire.) Further, direct contact of concentrated
peroxide solutions with certain metals will
cause an explosive decomposition of the solution due to steam generation and oxygen
release. (Always store peroxide in plastic or
glass containers.)
In closing, hydrogen peroxide appears to
be an excellent and effective “whitening”
agent when properly applied with adequate
safeguards. However its long term effect on
white ironstone china is not fully known and,
when applied to same, it is essential that the
user fully understand the hazardous implications of misuse or accident.
Ray Secrist (Member of the WICA education
committee and chemical engineer.)
Reference: Kirk-Othmar; Encyclopedia of
Chemical Technology, 2nd Edition, Volume
11, pp 391-410.
************************************
Comments in parentheses and italics are
those of the editors and not Ray’s.
12
REGIONAL NEWS
SECOND MID-ATLANTIC
REGION 7 MEETING
Beautiful early fall weather greeted the thirty
WICAns who were welcomed by Sandy
Jenkins and Mary Bell at their Bethesda,
Maryland home the morning of September 21st.
Members came from Delaware, District of
Columbia,
Maryland,
New
Jersey,
Pennsylvania, Connecticut and Virginia. As the
many boxes were brought in and unpacked,
there were numerous ‘finds’ and the enthusiasm
mounted. Then it was time for the feature of the
day...
Because we prefer white to stained ironstone,
Julie Rich was invited to speak on “Cleaning
Your Ironstone.” With her usual thoroughness,
Julie provided a sheet of instructions regarding
three methods of cleaning--but with a caveat:
“Use of high-volume peroxide can be dangerous!” A lively discussion followed Julie’s presentation, with excellent input by several
knowledgeable members including Ray Secrist
and Ernie Dieringer. (Note:White Ironstone
Notes Winter 1995 for Ernie’s article on cleaning and Ray Secrist’s article on pg. 12.) Julie’s
final advice was to have your ironstone safely
cleaned by a professional! A ruined plate was
passed around to show what Clorox does to the
glaze.
A buffet luncheon was served on J.F. platters
and other handsome ironstone belonging to
Sandy and Mary, and eaten from “Panelled
Grape” plates furnished by Harriet Denton.
Dessert was another showpiece of the day--a
huge cake decorated with the full WICA logo
and served from an impressive cake stand
belonging to Harry Lowe. During a brief business meeting, Jane Diemer suggested that we
plan ahead for the next regional meeting and
everyone applauded when Kathleen and Tony
Constable offered their Frederick, MD, home
for a 1997 get-together.
The afternoon was largely devoted to Show
and Tell. Several patterns (some with name
unknown) were examined and we all broadened
our knowledge of J.F. -- whom we now know
was Jacob Furnival.
Region 7 thanks all who contributed to make
it such a delightful meeting. Let’s increase our
13
Cake made for the Mid-Atlantic regional.
sharing and support of WICA, because we
enjoy it so much. And, as Jean says, “Think
White”!
Harriet Denton, Potomac, MD
REGION 4 MEETS
Saturday, September 7th brought 21 WICA
members together for the first Region 4 meeting
held in Monroe, WI. Represented were the
states of Wisconsin, Illinois, Iowa and
Minnesota. Bill and Carol Lancaster were
pleased to host this meeting held at the
Peppercorn Cafe.
Presentations included Kyle Husfloen, discussing his role as editor of Jean Wetherbee’s
White Ironstone: a Collector’s Guide. He provided examples of the process of categorizing,
describing and illustrating the numerous patterns. He complimented Jean on her knowledge
and organizational skills and their excellent
working relationship. The demands of the publishing industry were also made evident.
Bill Lancaster, host of the Region 4 meeting,
shares favorite creamers as part of his “A
Collector’s Saga” presentation
Bill Lancaster provided “A Collector’s Saga”
with 28 examples from the pitcher collection
that he and Carol have accumulated over the
past 20 years. Their interest in white ironstone
was started with an inherited Tracery creamer
that has since been joined by 6 other pitchers in
this pattern as well as many other shapes
including Ceres, Corn and Oats, Wheat and
Clover and others in the “grain” category. A
variety of plain creamers with Carol’s floral
arrangements decorated the tables.
Following a buffet lunch, Anne Miller presented information about the cleaning of white
ironstone that has been ruined because of the
use of chlorine bleach. Luckily, most stains can
be removed with great patience and a combination of cleaning techniques.
All members added to the event by presenting their collecting stories and providing items
for “Show and Tell” and table sales. It was
interesting to note the variety of pattern specialities and the quality of the collections represented by this group. John and Jane Yunginger
of Rochester, MN graciously agreed to host the
next regional in the fall of 1997.
The last event of the day was a tour of the
Lancaster’s home and an opportunity to see the
rest of their antique collections, including more
ironstone.
Bill Lancaster, Monroe, WI
REGION 5 MEETING
Twenty white ironstone enthusiasts attended
the second annual meeting of Region 5
(Arkansas, Louisiana, Oklahoma, New Mexico
and Texas) on November 2nd at the home of Ed
Rigoulot and Ted Brocky in Colleyville, Texas.
Seven tables set up around the pool looked
like they were topped with snow -- our favorite
kind of snow, ironstone china! The Hurts,
Bedfords and Panniers of Texas, the Lipperts of
Oklahoma, and the Whites of Arizona, brought
many beautiful pieces to sell -- including soup
tureens, teapots, relishes, a pedestaled compote,
Lily Pad cookie dish and much, much more.
Needless to say, a good time was had by all.
After an engrossing show and tell a video on
pottery making brought by Sally Erdman was
shown. The video detailed all the activity
involved in the making of china in the nineteenth century, and featured an excerpt on the
last firing of a bottle kiln in Staffordshire,
England. This interesting and informative film
is worth viewing, and we bet Sally would be
more than willing to advise where to find it to
all interested parties. The Hurts and Bedfords
of Houston will host the next Region 5 meeting
on Saturday, November 9, 1997 at their respective homes. That’s right -- two homes, two collections to view and admire...can’t wait!
Ed Rigoulot, Colleyville, TX
Below: Ed Rigoulot and Ted Brockey and
another creative cake sitting on the undertray
of a Sydenham Shape soup tureen, sporting a
marzipan “table cloth” and a real mini tea set.
Our apologies for not using more of the wonderful photos of the regional events. There just
wasn’t enough room to do them justice. Bev
SPARE PARTS
WANTED
SEVRES sugar bowl and lid with cone finial
for teapot 3 3/16” across by John Edwards,
TRENT sugar bowl lid with rosebud finial, 3
1/2” across, HOLLY chamber pot base by
John Maddock.
Nancy Adams (802) 874 4706
------------------------------------------------WHEAT & HOPS (Wheat & Blackberry)
teapot lid, opening 3 1/4”.
Nancy Rajala (810) 239 0272
------------------------------------------------SHARDS, pieces of white ironstone beyond
repair. Plain or fancy. Large or small.
Worthless finials and handles from broken
treasures. Needed for crafts project.
Harry Lowe (202) 546 8809
------------------------------------------------LAUREL WREATH dinner plates 9 1/2” or
larger, pitchers, compote, mug, sauce tureen,
BERLIN SWIRL coffee or teapot lid (will
consider buying whole pot if necessary).
Patty Hurt (713) 977 8879
------------------------------------------------CERES by Elsmore & Forster, 2 child’s set
saucers for cups, 4 1/4” diameter.
John Yunginger (507) 289 6138
-------------------------------------------------
WHEAT & CLOVER by Turner &
Tompkinson, saucers, a creamer, plates under
8” diameter and chamber (bathroom) pieces.
Ted Brown (410) 563 2221
------------------------------------------------SYDENHAM round cover to sauce tureen.
Kathy Lautenschlager (203) 263 4296
------------------------------------------------Looking for three soup tureen lids, BOOTE’S
1851
Octagon,
Edwards
CAMEO
OCTAGON, Alcock’s GOTHIC DECAGON.
B & E. Dieringer (203) 938 3740
------------------------------------------------SYDENHAM oval soup tureen lid, sauce
underplate, coffee pot lid, butter insert, any
children’s tea sets.
Dick Armbruster (313) 453 2390
------------------------------------------------SCALLOPED DECAGON sugar bowl lid,
NEW YORK SHAPE butter dish lid,
RIBBED BUD butter dish lid.
Jim Kerr (518) 296 8052
------------------------------------------------TRENT or STAFFORD gravy tureen undertray, FRAMED LEAF and PANELLED
GRAPE by J.F. soup tureen undertrays.
Ed Rigoulot (817) 354 4644
-------------------------------------------------
FOR SALE
SYDENHAM 4 piece soup tureen by
T. & R. Boote. $1,050 firm
Polly Gosselin (203) 233 2392
------------------------------------------------Sauce tureen underplates: WHEAT and
CLOVER,
IVY
WREATH,
Round
COLUMBIA SHAPE.
Dick Armbruster (313) 453 2390
------------------------------------------------WHEAT three piece tea set by W. & E. Corn,
WHEAT by W. & E. Corn 11” covered vegetable.
Ed Rigoulot (817) 354 4644
-------------------------------------------------
WHITE IRONSTONE
FOR SALE BY MAIL ORDER
Satisfaction guaranteed.
Please send LSASE
for our Winter 1997 list.
Jim & Mara Kerr
Cavern View Antiques
R.D. #1 - Box 23
Howes Cave, NY 12092
(518) 296 8052
COLLECTORS’ SHOWCASE
This rare white ironstone alphabet or ABC plate escaped having a
transfer design on its center which
usually depicted a moral teaching or
a nursery rhyme. These plates were
a Victorian instruction tool.
Leaving nothing to chance, it was
presumed that the child, while concentrating on his or her food, would
absorb the alphabet also. This idea
was carried into our century in the
form of alphabet soup.
Huge numbers of ABC plates
were produced between 1880 and
1890. This one is 7 1/4” across and
has an impressed Elsmore &
Foster (not Forster but sometimes
that spelling showed up on their
wares) mark on its bottom. No
date on it but we suspect it was
potted before 1870. Elsmore &
Forster were in business between
1853 and 1871.
For more reading on children’s
miniatures:
Understanding
Miniature British Pottery and
Porcelain 1730 -- Present Day, by
Maurice and Evelyn Milbourn.
Published by Antique Collectors’
Club.
14
These pitchers in Classic Gothic Shape,
a T. J. & J. Mayer ewer and a