WHITE IRONSTONE NOTES

WHITE IRONSTONE NOTES
VOL. 18 No. 2
FALL 2011
DE SOTO SHAPE / RING O’ HEARTS
THE MODELERS
The photo above is of a family of De Soto Shape pieces
taken by Dave and Karen Klein from their collection.
(Patent reg. 1855) Both it and Ring O’Hearts shape (reg.
1853), are profiled in this issue. They are mid-century
shapes that are rare. It took a lot of hunting to find enough
white examples for this article.
We also have an article on The Modelers – those elusive,
almost unknown, artist craftsmen who created the sculptural
white ironstone forms we all are so attracted to. A few of
them were revealed in the research of Patent Registries
WICA did last year. A DVD of the Kew project is available from the WICA Shoppe. (See page 3)
Page 2 Vol. 18.2
INDEX
WICA BOARD OF DIRECTORS
Harry Moseley, President
Bob Hohl,Vice President
Carol Fleischman, Secretary
Dave Klein, Treasurer
Jeanne Atkinson
Roland Bergner
Jane Diemer
Bev Dieringer
Jim Miller
Boyd Payne
Dorothy Riley
Barbara Tegtmeyer
Don Wagner
The WHITE IRONSTONE CHINA
ASSOCIATION, INC.
is a not-for-profit corporation whose purpose is
to further our knowledge and enjoyment of
white ironstone china. WHITE IRONSTONE
NOTES  is the official newsletter of the corporation. Photographs submitted by members
become the property of WICA, Inc. and no article, photograph or drawing may be reproduced without the express permission of
WICA, Inc.
WHITE IRONSTONE NOTES is published
and edited by Ernie and Bev Dieringer with associate editor, Jim Kerr. Drawings and photos
are by Ernie and Bev Dieringer unless otherwise noted. Please send all news notes, articles,
photos, suggestions, questions and listings for
advertising or for the Spare Parts and Whole
Pieces column to:
WICA, c/o Dieringer
718 Redding Road
Redding, CT 06896.
203-938-3740
e-mail [email protected].
WICA web page:
www.whiteironstonechina.com
Pg.
Pg.
Pg.
Pg.
Pg.
Pg.
4 The Modelers
8 Ring O’Hearts
12 De Soto Shape
15 New & Unusual
18 Spare Parts
18 Collectors’ Showcase
FROM THE EDITOR’S DESK
We have an error to correct on page 4 in
the last newsletter. We attributed numbers
17572 and 17566 to Jas. Edwards and it is
really Thomas Edwards who is the potter.
This was brought to our attention by Jane
Diemer and our new member, Sue Mussell. Thanks for keeping us on our toes.
LETTERS
Bev & Ernie – I purchased this base to a
veg. tureen a week ago. I don’t know the
pattern. The impressed mark (about the
size of a dime) on the bottom appears to be
a shield with a crown or something on top.
I can’t make out any letters on the mark. It
is 10” around though in the picture it looks
oval – also 12” from handle to handle.
Finally, the mother of a friend of mine
did a water color and gave it to her daughter to give to me. The lady lives in NY and
collects only Corn & Oats. I have given
her pieces I have found in that pattern.
The picture measures 17 ¾” Wide by 15”
tall. Thought you both might enjoy seeing
the picture.
ADVERTISING RATES
Advertisements will be accepted in order of
receipt from WICA members and, space allowing, from non-members. Rates (subject to
change): $10 per column inch (7 lines). Nonmembers, $20 per column inch. Payment in
full by check made out to WICA must accompany each ad. Send to newsletter address.
PubLISHING DEADLINES are Nov. 15
for Winter, Feb. 15 for Spring, May 15 for
Summer, Aug. 15 for Fall.
Members can list white ironstone Parts &
Pieces Wanted and For Sale without charge in
the Spare Parts column of each issue.
APPLICATION FOR MEMbERSHIP
Send $30 for one or two individuals at the
same address with check made payable to
WICA, Inc. to: WICA
c/o Suzanne Nielsen
PO Box 6052
Chesterfield, MO 63006-6052
e-mail: [email protected]
Membership year is June 1st to May 31st.
ADDRESS CHANGES
e-mail [email protected]
Boyd
*********************************
We have a teapot and a covered veg in
this shape. We have named it Quarter
Scrolls. It is by John Ridgway. You may
be seeing the mark upside down. Check
out the pdf.
*********************************
We are new to W.I.C.A. as members but
we think everything is great and put in
the right order, we have learned so much
about ironstone, which we collect.
Thanks to all of you for a fine job done,
and all the hard work all of you do. I understand some of what is done, I have
worked in an Educational System for
almost 39 years.
Richard & Rebecca Rhea
**********************************
This was posted on our Members Only
section of our web site. It’s always nice to
hear good things.
**********************************
Your White Ironstone Notes (Summer,
2011) features a 3-piece butter tub courtesy of James Edwards. I own a similar 3piece item made by J. Heath in the
TONQUIN flow blue pattern. My piece
differs significantly in that the inner chamber does not have tab handles that were
used to secure the lid with cord (not to attach a bale handle). Many of the butter
tubs we have found had flat lids with the
two slots, and some even had old cordage
attached. The idea is that the cord stretching from one tab to the other would hold
the lid in place during transport. The tub I
have differs in that the inner tub has a lid
rim - a grooved rim into which the lid fit,
much like conventional covered vegetables. I am sending several photos to you,
one per email, so that you can appreciate
both the similarities and the differences between the Edwards and the Heath sets (see
photos on page 3). Note that my piece has
a married lid, and that the lid, while
Heath's TONQUIN, is most likely a sauce
tureen lid. It is the correct size and shape
(my HEATH'S FLOWER Classic Gothic
covered vegetable has the same exact handles and finial that are present on this butter set) except that the lid has a ladle slot,
which was probably not present on the
original lid. Note also that the inner bowl
has no handles of any sort.
I hope this adds a bit to your appreciation of this rarely encountered form!
George Wells
*********************************
We asked Rick Nielsen to send David
Vol. 18.2 Page 3
Barker & Miranda Goodby a copy of the
Kew DVD. Below is his reply.
Off-site auction:
Rick Nielsen
& Jim Kerr
On-site auction:
Don Wagner
First Timers:
Dorothy Riley
Flea Market, Tops and bottoms: Boyd
Payne
Hotel Negotiations and Coordination:
David Klein, Bob Hohl & Harry Moseley
Photographer: Diane Dorman
Programs & Exhibits: C o n v e n t i o n
Program Planning Committee
Publicity: Public Relations Committee
Raffle: Gather items: Ernie Dieringer
On-site coordinator: Roland Bergner
Registration: Pre-convention: David
Klein At convention: TBD
Show & Sale:
Rick Nielsen
Show, Tell & Ask:
Patty Hurt &
Rick Nielsen
Silent Auction:
Jim Miller
Trip Planning:
Jane Diemer
Wetherbee Honors Award: Jim Miller
WICA Shoppe:
Karen Klein
I am looking forward to being with you
in Ohio and encourage you to attend to see
friends old and new.
Yours in collecting, Harry
*********************************
*********************************
The CD arrived safely, although my dog
had a chew at it when it popped through
he letter box! Fortunately no damage to
the CD.
What an amazing resource this is. We
so need this level of information for all
other ceramic types, though I guess we'd
be looking at a lifetime's work for someone.
A great job - well done to you all, and
many, many thanks.
David Barker
*********************************
PRESIDENT’S LETTER
As summer winds down I hope everyone has been successful in finding some
pieces of our cherished white ironstone.
Your board continues to keep busy in
preparation for the mid-year meeting on
October 8.
In the last issue of WIN I highlighted
many members who worked hard to produce a very enjoyable 2011 Convention.
In this letter I want to recognize those who
are already working to make the 2012
Convention in Independence, Ohio, another memorable one.
WICA 2012 Convention Planning
NEXT ISSuES
Cups and Saucers
Honorary Lifetime Members
Jean Wetherbee
Ernie & Bev Dieringer
Olga & Tom Moreland
Rick Nielsen
CALENDAR
Region 7, 8, & 9 Combined Regional
Extravaganza
October 1, 2011 by Jim & Mara Kerr
Howes Cave, NY, 518 296 8052
[email protected]
Everyone invited
WICA 2012 Convention, May 3-6
Crown Plaza Cleveland South
5300 Rockside Rd.
Independence, Ohio 44131
216 524 0700
WICA SHOPPE
This is a digital copy of the information
obtained from the Patent Registration
books at the National Archives, at Kew,
England. These files are available in both
powerpoint (PPT), as well as Portable
Document Format (PDF), so they can be
read on most computers. The PDF version
is less than 1/2 the size of the PPT file, so
it will open quicker and still have search
capabilities. This DVD will aid in your
identification and research on shapes that
have been registered, and serve as another
great digital tool for your ironstone library.
The DVD is available from the WICA
Shoppe at right for $75 including shipping.
WHITE IRONSTONE: A
COLLECTOR’S GuIDE
Jean Wetherbee, $30.00
WHITE IRONSTONE CHINA, PLATE
IDENTIFICATION GuIDE 1840-1890
Ernie & Bev Dieringer, $25.95
WHITE IRONSTONE TEAPOTS
Ernie & Bev Dieringer, $25.00
WHITE IRONSTONE PITCHERS
WHITE IRONSTONE PITCHERS II
Ernie & Bev Dieringer, $30.00 each
RELIEF-MOLDED JuGS bOOK
Volume II
Kathy Hughes, $29.00
Single back issues of
WHITE IRONSTONE NOTES ON DVD
Vol. 1, No. 1 thru Vol. 17, No. 4, $95.00
A savings of $250 over printed issues.
Yearly updates will be available.
Packing & Shipping Charges
Up to $25.00
$4.99
$25.01-$50.00
$5.99
$50.01-$75.00
$8.99
$75.01-$100.00
$10.00
Make check payable to WICA, Inc. and send
to:
Dave & Karen Klein
1513 Perry St.
Davenport, IA 52803
563-514-7116
[email protected]
Page 4 Vol. 18.2
THE MODELERS
Among all the potters applications for patents we found a few that were registered by modelers. Modelers were the designers and sculptors that made the
3-D models for creating master molds and working molds necessary for the
production of ceramics. Ralph Scragg (a modeler) registered 4 shapes – some
of which were produced by a long list of potters – leading us to believe that he
was an independent modeler to the trade- selling the right to manufacture again
and again – possibly making some small changes in the design. The first shape
Grape Octagon, has been found in this country marked with more than 20 potters names. #79184 - a soup tureen was registered on June 11, 1851, on November 10 he registered #81492 a the teapot and on Mar. 22, 1852 - #84385 the jugs. This shows that Scragg took almost a year to register the dinner, tea
and toilet services. He registered his next shape, # 87040, on Oct. 7, 1852 Vintage shape (plain round bodies with grape vine handles). It was followed
on Oct. 11, 1853 by #92864. Fig shape dinner service (an oval body tureen
with a fig finial and branch handles) and the matching ewer of the toilet service
- #95542 - on Apr. 5, 1854. The last Scragg shape found was on Apr. 18, 1856,
Mobile Shape - #104393. It was for a tureen and is as beautiful as the first
(Grape Octagon). The bodies are covered with fluted panels ending up and
down in scallops. The handles are elaborate spirals. It has a spectacular blossom for a finial although the registry only shows a vegetable tureen, tea and
toilet service pieces have been found by collectors with the same diamond registry mark of April 18, 1856. We surmise that in 1856 he didn’t see the need to
register designs for all three services.
The next modeler discovered was G.W. Reade (George William). He created
the highly collectable Columbia Shape (dinner service) Oct.29, 1855 - #102355.
It has many of the same motifs as the very successful T&R Boote’s Sydenham
Shape and was an obvious imitation. It was potted with variations of detail by
at least six different potters. Six years later, Aug. 23,1861, for some unexplainable reason, this time written as George Whieldon Reade, he registered a
vase shape ewer #142850. Its handle is decorated with tiny carved scrolls.
David Chetwynd is the last modeler we found. According to G. Godden –
“David and his brother Elijah were well known modelers - supplying many
popular new forms to various firms. David’s son Elijah was also a modeler”.
On Oct. 25, 1855 David registered Baltic Shape #102325 . It was sold to potters
with slight variations – who marketed them as Mississippi, Maltese and Dallas
Shape. Godden also suggests that David Chetwynd was the modeler of the famous Ceres Shape.
A few years later, on July 17, 1867, Elijah & David Chetwynd registered
#201601 a water filterer, relief carved with a reclining classical god. We were
not able to find the image of the water filterer.
We wondered about these unrecognized sculptors and how they, as modelers,
worked; what material was used to carve the designs; and what the process of
manufacturing was. There is little research available so we wrote to David
Barker (Keeper of Archaeology) and Miranda Goodby (Keeper of Ceramics)
at the Potteries Museum in Stoke on Trent, England for help.
These three Grape Octagon registries are
by Ralph Scragg.
Vol. 18.2 Page 5
In a message dated May 26, 2011, we wrote to David Barker and Miranda Goodby.
Hello David & Miranda, Its been so long since we have communicated with you both! Bev & I continue
with our WICA adventure and are now working on a newsletter in our 18th year.
Last year WICA hired a researcher in London to gather all the images of white ironstone china from the
Patent Registry Offices at Kew. We got 1200 of them including lots of door knobs, fireplace fronts and pipes.
We discovered a lot of unknown shapes and among them we found a few shapes that were registered by the
Modelers (Not the Potters). Those unknown sculptors fascinate us as the un-laureled creators of the stuff
we collectors value so much. They are Ralph Scragg, G.W Read and D. Chetwynd. Do you know of any others? We have read that one of the brothers (Joseph Mayer) of the T.J. & J. Mayer Co. was a gifted sculptor.
And suspect he was the designer of their Prize winning shapes. After discovering the modelers we realized
that we know practically nothing about what they did. Did they draw the designs? Or just carve the original
pieces from some other designers drawings? Or did they create them and then render them in clay? Were
the originals modeled in clay? Also we know nothing about the mold process.What were molds made of?
We understand that some must have been plaster since so few have survived and we know that if they were
discarded to the dump they would have disintegrated from the exposure to the elements.
Any help you can give us will be appreciated ,
Our Best to both of you,
Ernie & Bev Dieringer - The White Ironstone China Assoc.
David answers:
I'm not surprised that modellers were securing patents. It would certainly make sense in an industry in which so much was contracted out to specialist suppliers - and of course, this is one
way in which numerous factories come to be making the same shape. You see the same thing
back in the 18th century and also with transfer prints from copper plates in the 19th.
As for the medium of the master models - well this is a big subject, and one which has received
little attention. Many were simply lifted from plaster of Paris originals (especially true of figures
and chimney ornaments) - already popular, mass-produced designs in one medium acquiring
wider popularity in another! This was a huge industry - workshops churning out cheap and cheerful items for the average, less well-off household. As for tea and table wares, I suspect that you
have highlighted how much a few talented and inspired individuals contributed to what was perceived as fashionable in its day. They would have worked in plaster, certainly, but also in wax
where these were to be translated directly to pottery. Wax moulds survive for the Spode factory
- obviously a very rare survival! - and how many more have been lost. What tends to survive
today are the master moulds or working moulds - blocks and cases - which are all in high-fired,
durable (and infinitely reusable) ceramic bodies, but these are a stage or two removed from the
original (in plaster or wax) which really did not need to be kept. Obviously something so fragile
would damage, become work, etc. and lose detail. The master cases and blocks are the one which
were kept securely, with working moulds being taken from them for wider circulation.
Miranda's paper on the Woods - a family of modellers (English Ceramic Circle transactions)
is the best thing to deal with the 18th-century picture. Then a comparatively small number freelance modellers sustained the local (and probably the country's) industry with standard, popular
shapes which we are all familiar with. The 19th-century will not have been much different, although there were probably many more doing exactly the same thing. The reason for this is that
small factories could not have afforded to employ specialists of this kind - far cheaper and simpler
to buy popular designs 'off the peg'. They were certain of their popularity and did not have the
long-term commitment to a salaried individual. For larger factories, this would not necessarily
be the case and an individual factory style may well necessitate in-house modellers. Even in the
18th century the large factories had their own modellers - for e.g., John and Thomas Wedgwood
employed Ralph Wood, and Josiah Wedgwood employed William Wood, William Greatbatch is
an unusual example of a talented modeller who was himself in business as a pottery manufacturer,
supplying Josiah Wedgwood in his early years. In his letters, he writes to Wedgwood of having in effect - come up with an idea on spec which he has cut out on paper and would appreciate
Wedgwood's comments on this.
The modellers you mention are not known to me, but - to be honest - I've not looked into this.
I'll do some 'digging' (metaphorical) to see if we know anything more about these. At the moment,
I have no further names to add to your list - Miranda may have some.
Best wishes to you both
David
Page 6 Vol. 18.2
#104393 Mobile Shape Registered by Ralph Scragg on March 18, 1856.
D. Chetwynd registered Baltic Shape
October 25, 1855, #102325.
Vol. 18.2 Page 7
Ewer registered by J\G. W. Reade. August
23, 1861.
Basic Columbia Shape that was registered by G. W. Reade, October 29, 1855, # 102355.
Variations were made for the potters that he sold the design rights to.
Page 8 Vol. 18.2
RING O’ HEARTS
Below: A page from the patent registry for a
dinner service. It does not show a name for the
shape or show more than the two pieces.
William Livesley, Edwin Powell and Frederic Bishop – registered
this shape – trading under the name of Livesley Powell & Co. It was
also potted by Jacob Furnival, though no Patent Registry has been
found for him.
We waited a number of years to do a profile on this shape. It is
rarely found in undecorated white ironstone. For a long time the only
pieces we could find were decorated with copper luster. And only a
few pieces have been found by Jacob Furnival. The name was chosen by collectors because each panel or division begins or ends with
a heart shaped motif. Jean Wetherbee discovered that there were two
versions of the heart shape border. One is plain the other has a decorative motif wedged into the cleft of the heart. (See drawings pg. 9)
Overall, the form is elaborate even by Victorian standards. It catches
one’s eye quickly with its beautiful proportion and elegantly detailed
handles and finials. Livesley Powell & Co. registered it for a patent
(see patent registry pages) on Oct. 12, 1853 – the same year as the
popular Sydenham Shape. One wonders why it didn’t do so well. Perhaps it couldn’t compete with Sydenham. Hard to believe since now
collectors find it so appealing. Very little white was sent to the USA
- evident by how only a hand full of white pieces have been found
compared to copper luster decorated ones - and even copper luster
pieces are rare in members’ collections. Livesley Powell & Co. were
in business from 1851 to 1866. The shape was registered in 1853 –
so we know it could have been potted for 13 years. (unless L.P &
CO. successors Powell & Bishop or Bishop & Stonier) continued
potting it. No marks by the later companies have been found on this
shape. It was one of a dozen shapes potted and according to the Tea
Leaf Handbook only four of them were decorated with copper luster.
Detail of underneath
the vegetable tureen’s
handle.
Vol. 18.2 Page 9
RING O’ HEARTS
This is a variation of
Ring O’ Hearts which
was made by J.F.
“B” shape border.
Wetherbee drawings.
Drawing of handle detail
by Jean Weatherbee.
Tea waste bowl.
Page 10 Vol. 18.2
RING O’ HEARTS
These handle details shows the row of beads
or berries which also can be found on other
handles including the relish dish on the following page.
The flower bud finial has not been identified
botanically. It might have been a generic shape
created by the modeler.
Vol. 18.2 Page 11
RING O’ HEARTS
Although it is not easy to see, this sugar
bowl has the “B” shape border identifying
it as by J.F.
Two drawings of sugar bowls by Jean Wetherbee
The right one has handle details that we have not yet
found to photograph.
Livesley Powell & Co. round mark impressed on both pitchers. The body is
very similar to Paneled Grape shape but the tops of each panel have the heart
shape.
Page 12 Vol. 18.2
DE SOTO SHAPE
De Soto Shape was registered for a patent on April 17, 1855 by Stephen Hughes & Son. Many pieces of De Soto Shape ironstone
are impressed Thomas Hughes . We suspect (although we could not verify it in Godden, Kowalsky or Jewett) that Thomas is the son
of Stephen. The Hughes potteries started with Stephen and Elijah Hughes (1835 - 1853) in Cobridge. Elijah Hughes took over as
Elijah Hughes & Co. (1853 - 1867) Cobridge. Then Thomas Hughes opened a new pottery in Burslem (1856 – 1881). De Soto Shape
was registered for him by Stephen Hughes in 1855 just as his new pottery was opened. Very little has been found in the USA and no
collector has as yet been able to put together a whole dinner, tea or chamber set. Godden writes that the Hughes had interests in
wholesale and retail outlets in Canada. Perhaps more of their output could be found there. The pottery continued well into the 20th
century so there are probably some late shapes we have not discovered.
De Soto Shape is a fluted panel design. The fluted panels on the flatware create a slight batwing effect on their rims. The covered
pieces are similar to T&R Bootes great 1851 and Sydenham Shapes, which it followed in two to four years. Note especially the spiral
handles and the finials. It could almost have been designed by the same modeler - if not the same modeler, one that certainly intended
to take advantage of the Boote’s popular shapes.
A few later shapes have been found with the Thomas Hughes mark., - Grape Octagon, Wheat & Hops, Wrapped/ Double Sydenham, Hyacinth, Ribbed Oak, Rhine Shape, a Pearl Sydenham type creamer and a Fruit Garden compote, possibly part of a dessert
set.
Although the mark says
Thomas Hughes, the
registry (#99876) is by
Stephen Hughes & Son,
April, 17, 1855.
Vol. 18.2 Page 13
DE SOTO SHAPE
This mark was found on a piece of
copper lustre decorated De Soto
piece.
The Tea service is octagon shape with fluted panels that
swoop down and out creating a bat wing design at the
hip. The handsome coffee pot (below) has a graceful
tall elongated form. Next to it is the shorter tea pot.
The cup, saucer and creamer have
the same panels with the bat wing
motif
The relish/pickle dish shown
here is a nicely proportioned
shell shape with an acanthus
shape leaf handle that terminates
in a spiral roll. Oddly, the relish
dish has been found also with an
A. Shaw and a Livesley & Powell mark. But no other pieces of
De Soto Shape have been found
by those potters. Perhaps the
modeler sold only the relish
shape dish to them.
Page 14 Vol. 18.2
DE SOTO SHAPE
The ewer & basin are exceptional pieces. All of the pitchers
repeat the body shape of the tall
coffee pot. The photo of this
ewer shows the bat wing scalloped effect very well. Note the
design of the split rim almost
creating a double pour spout.
The handles are identical to
those on the tea set and are
mounted on the side not at the
top edge of the rim as on so
many other ewers.
The covered vegetable tureen has a repeat of the fluted panel design
under the finial and on the foot.
The platters and bakers are octagon shape using the slightly fluted
edges only on the four corners.
Vol. 18.2 Page 15
NEW & uNuSuAL
Bill Lancaster sent photos of what is
undoubtably a merchandising tactic by
the potter J. Clementson. This New York
Shape compote is marked Chicago
Shape for that area’s market. We wonder
how well it worked? Haven’t seen many
pieces with this mark.
While browsing through our photo files we came
upon this unforgettable “Memory Jug”. This is
from the front of the pitcher with the handle at the
top. It is a plain ironstone table pitcher covered all
over with the memorabilia of someone’s life. It’s a
typical Victorian craft. (Think of the crazy quilts)
This object is a three dimensional version of another Victorian “time keeper”- the scrap book. Note
the pipes mounted on each side - also a watch,
pearls, beads, coins and shells etc... We remember
Harry Lowe’s “memory mirror “- A hall mirror he
had collaged with all sorts of pieces of white ironstone (shards) completely covering the frame. It is
an original contemporary version of Victoriana - recycling pieces of Victorian china, shown below left.
This Berlin Swirl vegetable tureen showed up on
e-Bay which would not have been of any particular
interest if it were not for the mark on the bottom.
Pinder Bourne & Co. is not known here as a maker
of Berlin Swirl shape. Another interesting thing
about this listing is that it was from Australia.
Page 16 Vol. 18.2
NEW & uNuSuAL
Bev & Ernie – while Brenda & I were in Charlotte, NC today I found this
platter by Edward Pearson. I know the year is a G – 1863 & the month
is an E – May – I can not quite make out the day but it appears to be 11
with the parcel number an 8. Kowalsky shows that two patterns were registered on that day by Pearson. Do you happen to know the name of this
pattern. I don’t believe that I have seen this pattern before. As always,
thank you.
p.s. the platter is 10” by 13 ¾”. Also, can you identify the leaf?
Boyd Payne
It’s new to us and the leaf appears to be generic. It’s very attractive.
Boyd Payne discovered this Scrolled Border plate by Bridgwood & Son, Anchor
Works Pottery. It was a shape we were
looking for mentioned on page 148 of our
White Ironstone China Plate Identification
Guide. All we had was a drawing by Jean
Wetherbee. We can only hope that if we
have enough patience all things will be revealed.
Vol. 18.2 Page 17
NEW & uNuSuAL
I think this is a new mark, at least for me. I found it in one of Godden's books. John Henry Middleton 1889-1911 in Longton.
Carol Fleischman.
Pap feeders like yours were very common in hospitals around the
turn of the century, so that potter seems right. Thanks for adding to
the list of potters of white ironstone.
Marked only REAL IRONSTONE CHINA, this jug was
found by Jim Lord. James Edwards & Son used REAL
IRONSTONE CHINA as a mark. We have a pitcher in
the White Ironstone Pitchers book named Framed Gothic
shape. We think this is the same shape.
Recently Richard Kropp had Jane Diemer take some photographs
of his white ironstone collection. This Fish and Hearts pierced pattern
platter liner was one of many wonderful items she found.
Page 18 Vol. 18.2
SPARE PARTS
WANTED
POTOMAC SHAPE hot beverage server
lid, QUARTERED ROSE sugar bowl lid,
RIBBED CHAIN sauce tureen lid, ST.
LOUIS SHAPE toothbrush box lid,
SCALLOPED DECAGON sauce tureen
lid, SCROLLED BUBBLE toothbrush
box lid, SCROLLED BUBBLE teapot lid,
SYDENHAM SHAPE, oval sauce tureen
lid, VINTAGE SHAPE hot toddy lid,
WALLED OCTAGON teapot lid.
Rick Nielsen, 314-997-7963 or e-mail
[email protected]
-------------------------------------------------CORN & OATS child’s teapot, PRIMARY
SINGLE LINE child’s creamer, ROUND
butter dish liner 4 5/8” dia.
Jo Ann Harris, 734-667-2950 or e-mail
[email protected]
-------------------------------------------------TUSCAN SHAPE teapot lid.
Marie Maguire, [email protected]
-------------------------------------------------JAMES EDWARDS white ironstone
wanted for my collection. Kindly contact
Jane Diemer, at 302-475-7412 or e-mail
[email protected].
-------------------------------------------------BERRY CLUSTER sauce tureen tray,
QUARTERED ROSE sauce tureen tray,
QUARTERED ROSE sugar bowl,
CORN & OATS child’s creamer.
Carol Fleischman, 815-723-0904
-------------------------------------------------SYDENHAM SHAPE 7 3/4” diam. round
lid for a stew tureen, 10” pitcher, a mug
and a butter dish, All SYDENHAM.
Mike Hair, 717-263-0792 or e-mail
[email protected]
-------------------------------------------------PRESIDENT SHAPE by John Edwards,
oval vegetable lid, inner opening 7 5/8” by
5 7/8”.
Marcia Waldemar, 310-320-4615
--------------------------------------------------
FOR SALE
BALTIMORE & ST. LOUIS SHAPE
teapot lids.
Marie Maguire, [email protected]
--------------------------------------------------
Due to many factors, we are going out of
business and closing our store in Gettysburg, Pennsylvania, We are selling our entire stock of white ironstone at 30, 40 and
50% off and some pieces at cost and some
you can have. We have the shop property
up for sale and when sold (have had quite
a few interested since we advertised it last
month) it will mean we have to box and
bring all that ironstone to our home, a job
that neither of us can now do. So we'd like
to sell all we can as it sits. No mailing - if
you want to stock up you'll have to come
to the shop by appointment, because we do
not stay open AT ALL any more.
Janet & Con Knorr, 717 642 8886 or
717 321 3353, e-mail
[email protected]
*********************************
We recommend that this is a trip worth
taking especially if you are a dealer in
white ironstone. And it’s a beautiful historic part of the country.
*********************************
COLLECTORS’ SHOWCASE
Cheese dishes and domes were profiled
in Notes Vol. 6 No. 4, in the spring of
2000. Since then many shapes have come
to light. This fuchsia decorated one found
by Rick and Suzanne Nielsen is possibly
the prettiest that we have seen.
The dome is 8 1/2” diameter by 7” high
and the matching underplate measures 10
1/2” diameter