The Strength of Iron with the Hardness of Stone

 

QUESTION: My grandmother collected all sorts of odds and ends of antique china. Among all the pieces she had were a half dozen plates and jugs that had a special quality about them. She called them her stoneware and said they were probably from the early 19th century. Three of them had the name “Spode” on the back or bottom. Two were pure white with no decoration while the others had Chinese scenes painted on them. Can you tell me anything about them and when they would have been made?

ANSWER: The pieces your grandmother called “stoneware” are actually “ironstone,” a form of china with the look of porcelain. Ironstone china is a hard earthenware similar to porcelain. Although it has the hardness and fine surface of porcelain, it’s opaque while porcelain is transparent when held up to a light. 

Josiah Spode II first made ironstone in 1805. But before that, Miles Mason had been experimenting with a china formula that reproduced the appearance of Chinese porcelain. In 1813, Mason’s son, Charles, took out a patent, listing it as an improvement on ironstone china. Both Spode’s and Mason’s ironstone were equally fine. The blue-white color of both of their wares, as well as their patterns, were  imitations of Chinese wares.

Spode used his ironstone as a way to copy Lowestoft patterns. Lowestoft was a soft-paste porcelain produced in Lowestoft, Suffolk, England, made from 1757 to 1802. It was mostly used for pots, teapots, and jugs, with shapes copied from silverwork or from Bow and Worcester porcelain. The English nobility had their initialed tableware made in China but getting replacements was a slow process, so they called upon English potters to make them.

While these pieces usually had no marks, they sometimes had the name “Spode” impressed in small letters on their bottoms. These patterns included crests and coats of arms and initials in shields with borders of small floral or leaf patterns or delicate ribbons.

One of Spode’s early ironstone patterns, commonly known as “Tree of Life,” is a design of the famille rose type, painted in blue, green, yellow, brown and pink. The mark appeared in black with the name “Spode” set on a rectangle of fretwork.

Patterns on Spode’s Lowestoft also included Queen Charlotte’s pattern, selected for Her Majesty’s visit to the Spode factory in 1817. Decorated in blue, it featured a butterfly border and a Chinese landscape in the center. It was a version of the old willow pattern that was popular on Chinese wares.

Though Spode copied many of his patterns from imported Chinese wares, he adapted others by making them more elaborate than their Chinese originals. Two types of old Chinese porcelain influenced Spode. The first was the old blue-and-white Nankin designs with pagoda and landscape and the butterfly border. The second was the famille rose design of the Yung Cheng period 1734. These patterns were in polychrome with gold and had floral and bird motifs. However, Spode didn’t use these patterns exclusively on his ironstone.

Spode marked the pattern numbers in red on his ironstone in addition to the factory mark. Lower numbers indicate an early production date, enabling pieces to be placed within certain years even if the exact date cannot be identified.

Eventually, Spode’s ironstone came in a variety of patterns. The Cabbage pattern featured a large leaf and flowers. Printed in blue, workers then filled it in by hand in blue, gold, rose, and Chinese red. Another early pattern, Peacock, features birds and peonies in gold and other colors in the famille rose style with a border known as India edge.

Landscape was Spode’s most Chinese looking pattern. It featured Chinese figures in blue and gold in the border with a landscape of water and buildings painted in colors in the center. Bang-up, first produced in polychrome, was a pattern of Chinese flowers. Ship and Star featured a pattern of a ship, buildings and figures set in a center cartouche and has a star border printed in brown.

The pattern known as George IV, was first made for the Coronation of George IV on July 29, 1821. The center of the plate has a design of Chinese still-life motifs with flowers and vases in blue, Chinese red, and gold with a heavy border.  

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It's All About the Patterns

 

QUESTION: When I was a little girl, I used to sleep over at my grandmother’s house. While there, I used to stand in front of her china cabinet looking at all the beautiful china. Each piece had some sort of scene, usually a landscape with people. Most of the dishes were blue but some were pink and one or two were lavender. After my grandmother passed, I got her china collection. I just love it but don’t know much as these beautiful pieces. The name Spode is either stamped or impressed on the bottom of most of the pieces. Can you tell me who made them and where they got the ideas for the scenes on them?

ANSWER: What your grandmother collected and you now have is Spode china. All those with scenes and borders are what’s known as transferware, a technique for transferring prints to pottery.

During the early years of the 18th century, Spode achieved success because of  his mastery of transfer printing.  An Irish engraver named Brooks invented the process. It involved first, engraving a copper plate, then inking it and applying to it to thin tissue paper. The impression on the paper could then be transferred to wares of any shape.

Spode produced a variety of pottery wares, often imitating those of Wedgwood, including creamwares, basalts, stonewares, redwares, Jasperwares, and of course blue-printed pearlwares and early experimental porcelains.

In 1784, Spode began printing under the final glaze in blue on earthenware. He copied the early patterns from Chinese porcelain imported wares. By that time, London customers who had originally purchased Chinese porcelain dishes needed replacements. The engraver Thomas Lucas brought with him to Spode’s pottery the knowledge of designs from his previous employer, Thomas Turner at Caughley. 

Most of the early blue transfer-printed patterns were Chinese in style.  As Spode's production advanced and its customers' tastes evolved, the variety of patterns grew. Interest in Chinoiserie patterns later gave way to patterns that depicted rural scenes, exotic places, literary themes, as well as floral and botanical examples.

The earliest pattern produced by Spode around1790, was “Willow,” now known as “Blue Willow,” printed examples of the Willow pattern, commissioned by Josiah Spode and made around 1790, and its copperplate, engraved for Spode by Thomas Minton. 

In June 1805, there appeared the first of 20 monthly issues of a publication called Oriental Held Sports, Wild Spurts of the East, published by Edward Orme of Bond Street, London.  Each issue included a printed story and two large aquatint prints engraved from drawings by Samuel Howitt, a distinguished animal painter. Spode adapted the prints to his dinnerware depicting various hunting scenes with animals and birds. Some views show mounted hunters carrying spears with native bearers on foot. The ’Indian Sporting’ series alone had 21 different hunting scenes.

Another popular series formed a travelogue of views in the Eastern Mediterranean. Spode based these on engravings in Mayer's Views in Asia Minor, Mainly in Caramania, published in 1803. "The Castle of Boudron;" The City of Corinth" and “Antique Fragments at Lissimo” were all part of this series. 

From around 1800, most of the patterns painted by Spode's artists were recorded in Pattern books.  These books contained watercolor paintings of tens of thousands of patterns made from about 1800 up to the end of production. Many are beautiful works of art in their own right, but they also acted as a historic document of changing design styles over two centuries. Georgian simplicity, Regency opulence, Victorian Naturalism, sentimentality, Pre-Raphaelite styles, Japanese Revival, Arts and Crafts, Art Deco, and 1950s Modernism.

Spode introduced his more famous pattern, “Blue Italian,” around 1816. It became immediately popular and remained a best seller. Over the years, the company produced it on a wide variety of earthenware shapes. One Spode catalog from the 1920s and 1930s records over 700 different shapes available. 

Unlike many of the other classical scene patterns on Spode wares of the early 19th century, the origin of the view for the Italian pattern isn’t certain. Some experts believe Italian artist G.P. Pannini, well known for his painting style, inspired pictures of ruins and quiet pastoral Italian scenery fpor Spode pieces. The Spode engravers derived many of their pictorial subjects from scenes which had appeared as prints. Publications of prints of scenes associated with the Grand Tour became the inspiration for many patterns. Merigot's Views Of Rome and Its Vicinity, published in 1798, was the source for several Spode patterns, including Tower and Castle, but experts agree that none of these views inspired the Italian pattern.

Furthermore, there is no one location in Italy that seems to correspond to all the features included in the original “Blue Italian” scene. It seems to be a composition made up of several elements. The ruin on the left, although architecturally incorrect, might have been based on the Great Bath at Tivoli, near Rome. The row of houses along the left bank of the river is similar to those of the Latium area near Umbria, north of Rome. The castle in the distance is of a type which occurs only in Northern Italy in the regions of Piedmont and Lombardy.

Could it be that a traveling artist from Northern Europe made sketches of the scenes he encountered as he made his way through Italy? Upon returning home, did he combine his sketches into an attractive scene which, later, Spode used and chose to call the Italian Pattern? Unfortunately, there is no proof of this. The inspiration for the Italian scene may have even come from a print of a painting and then another painting taken from the print by a different artist.

In the early 19th century, most of the pieces Spode produced in the “Blue Italian” pattern were on dinnerware items used by the rich---asparagus servers, huge meat dishes, enormous soup tureens with ladles, cruet sets, foot baths, and more. Wealthy households set their dinner tables with Spode’s Italian. And there were many variations of the pattern. 

“Blue Italian” was an immediate success from its introduction. Though it’s impossible to say what created this strong appeal, it’s perhaps due to the unique combination of a classical scene with a Chinese border which had been directly copied from pieces of Chinese export porcelain, dating from around 1785.

By 1822, Spode had developed other colors, in addition to blue, that could withstand high-temperature firing.  The production of these additional printed colors enabled Spode to expand his line of wares.  While not nearly as popular as Spode's various blues, these new colors included green, brown, manganese purple, Payne's grey, and black.  

Soon afterwards,  in 1824, two-color underglaze printing began.  Spode also employed other methods to add color.  One method was to transfer print outline patterns and then paint in or between the lines of the pattern in other colors. Other methods included enameling with additional colors and gilded decoration over the glaze to further expand the variety of offerings.  Near the end of the early Spode period, the pottery also began producing wares in pink.

Spode introduced about 150 patterns a year.  By 1833 Spode, they numbered nearly 4,000. Most Spode wares bear a pattern number, as well as the name Spode printed, painted, or impressed on the bottom or reverse side.

Some Spode collectors collect just the “Blue Italian” pattern while others specialize in collecting only the oldest pieces dating from 1816 to 1833. Since Spode china continues to be made, newer pieces are often passed off as older ones. It’s important to check the provenance if possible. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "The Ancients" in the 2021 Spring Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

The View is Blue

 

QUESTION: I’ve always liked the look of the Blue Willow ware dishes that my mom used to bring out for holiday dinners. Even though the scenes on them were all the same, I was still intrigued by the use of blue on a white background. When I became an adult, I started to look at other pieces of Chinese blue and white porcelain. Then one day while browsing a local antique show, I spotted a tea bowl and saucer, decorated in underglaze blue with two cartoonish Chinese fishermen unraveling their nets. At first, I thought the set was Chinese, but the dealer said it was made by Meissen in Germany in the 18th century. The set was way out of my price range, but I took a photo of it with my smartphone and decided I had to learn more. While I’ve learned a bit about these early handpainted porcelain wares, I’d like to know more. Can you help me?

ANSWER: While most people associate Meissen with 19th-century porcelain figurines, they were the first to produce hard-paste porcelain in Europe at the royal factory at Meissen, near Dresden, in 1710.

In 1717, King August the Strong of Dresden Saxony, announced a reward of 1,000 thalers to the first person who could come up with blue porcelain painting similar to that  of the Chinese imports. August called the white porcelain white gold. August had previously provided the funds to set up the royal factory in Meissen.

Johann Friedrich Boettger produced the first successful examples of European porcelain. He sent the King a letter on March 28, 1709, promising "porcelain with the finest glaze and all its attendant painting and decoration equal to that of the East Indian," by which he meant the Chinese. But despite his claims of having produced some preliminary pieces of blue underglaze painted porcelain, he was unsuccessful.

However, the sum of 1,000 thalers attracted many craftsmen, as well as charlatans. Notorious among them were a father and son team called the Mehlhorns, who in 1719 bragged to the local newspaper about possessing the secret of blue painting. However, they never produced consistent results. The real credit for developing the underglaze blue color goes to David Koehler and Samuel Stoeltzel, who accomplished it between 1721 and 1722. And although the King acknowledged their success, they never saw the 1,000 thalers.

One of the most talented early blue painters was Johann Caspar Ripp. He was already an accomplished faience painter trained in Delft when Johann Gregarious Hoeroldt brought him to Meissen late in 1720. But his creativity and independence made Hoeroldt jealous, so he fired him in 1723. 

Cobalt blue decoration began to be manufactured on an industrial scale in 1789, when Meissen began producing its most popular underglaze blue pattern—Blue Onion. 

While the popularity of the Blue Onion pattern exploded after1860, it was not the most common underglaze blue decoration during the 18th century. The earliest Meissen pieces depict imaginary Chinese scenes known as “chinoiserie” and Kakiemon-style decorations inspired by the Japanese Arita wares. As a set pattern, the most common one was actually the Strawflower decoration, later adapted and made world-famous by the Royal Copenhagen Factory.

Some of the rarest and most stunning underglaze blue wares were those that combined blue and overglaze polychrome painting in a single composition. Artists painted the background scenery in cobalt blue and the artist, visualizing the final painting, reserved areas prior to firing to which he would later apply an overglaze polychrome painting to complete the scene. Because artists handpainted each piece with unique designs, no two pieces are completely alike. 

In the 19th century, Meissen standardized the underglaze decoration, applying it with stencils to outline the pattern, a job often left to apprentices.

Therefore, single pieces from the mid-18th century today sell for high prices, their value coming more from their rarity and age. They represent a time in the history of European porcelain when the blue color was just being brought under control. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "The Ancients" in the 2021 Spring Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

The Delight of Bristol Blue

 

QUESTION: I recently purchased a piece of what was described as “Bristol Blue” glass through an online antiques auction. I collect antique glass but this vase struck me as something unique. Although it looked like Victorian enameled glass, it resembled porcelain and the description said it was made in England in the late 18th century. I would really like to know more about this piece. I didn’t think glassmakers produced enameled glass that early Was it produced in Bristol, England, and thus the name, and who made it? And just how far back does Bristol Blue glass go?

ANSWER: Those are all very good questions. Let’s begin with the name. Even though this type of glass has Bristol in its name, glassmakers throughout most of England produced it. The blue in the name refers to the coloring used in the glass.

In the first half of the 18th century, near Redcliffel Backs, Temple Meads, Bedminster and other suburbs of Bristol, England, the squat chimneys of glasshouses and potteries silhouetted the landscape like giant beehives. But it was the age of porcelain, and anyone who could afford to buy it did so. Porcelain factories enjoyed the protection of kings, and European elite emptied their purses for priceless porcelain treasures. The arrival of an affordable substitute in decorated rnilch glass from Germany delighted Bristol glassmakers. For the first time, they had a perfect porcelain substitute  within their reach. 

The Venetians first made glass as an imitation of porcelain prior to 1500. Experts believe they used tin oxide as the agent to produce the white opacity in their glass. Eighteenth-century English white glass, called enamel glass in advertisements of the 1760s, was an intensely white, brittle material, generally a potash-lead mix, rendered opaque by the addition of lead arsenate. The porcelain-like, opaque glass  produced by the glassmakers of Bristol, was soft and smooth to the touch yet retained the fine heaviness of English crystal. It was an instant success, forcing the Bristol glassmen to borrow decorators from neigh-boring potteries to keep up with the public's demand.

England's glass excise tax of 1746 raised the duty on clear glass but didn’t tax opaque and colored glass because there was so little of it being made. This offered an excellent economic incentive for its increased production.

Chemists long knew that a powdered coloring could be premixed and supplied to glassmakers for addition to clear glass of their own making. But it was 18th-century German chemists from Saxony, who refined impure oxide of cobalt to produce a blue powder of unparalleled purity and uniform consistency. They exported their product, called “smalt,” to England, where a British merchant distributed it under the name "Bristol Blue."

The Bristol glassmakers quickly added the new deep-blue color to their already successful line of opaque white glass. Vigor & Stevens, of Thomas Street and Lazarus Jacobs, and later his son Isaac, of Temple Street, produced pieces primarily in deep Bristol Blue.

By the end of the 18th century the manufacture of blue glass became fairly common throughout England and continued to be marketed under the name of Bristol Blue. This makes it difficult, if not impossible, to identify glass made in Bristol from a piece manufactured elsewhere. The original term “Bristol Blue" referred simply to the coloring agent sold to glassmakers rather than to their finished products.

The early shapes, manufactured around 1770, emulated Chinese and English porcelain—pear-shaped covered vases, trumpet-mouthed beakers, and cruets—all   produced in sets. Glassmakers also produced scent or smelling bottles and snuff boxes, often facet-cut, with enameling and gilding, in both white and blue glass.

Early Chinese porcelain painters greatly influenced the 18th-century Bristol designs. The Chinese artists working at the Imperial Porcelain Factory excelled in delicate miniature enameled decoration on their opaque white glass. They often employed motifs of figures, birds, and European flowers much admired by the Emperor Chi’en Lung, who ruled from 1736 to 1795. Since most English glasshouses made their opaque white glass in competition with porcelain, most used the same styles and even the same artists to decorate both.

Glass decorator Michael Edkins linked the white and blue glass under the mutual name of "Bristol." At first, he apprenticed to an enameling firm in Birmingham, England, but at the age of 20, he took up residence in Bristol and settled down to decorate pottery dishes and tiles. At that time, artists painted the pieces with pencils made of bristles from the noses and eyelids of oxen. Graduating to glass, Edkins began decorating "enamel and blue glassware." He worked both independently and for Isaac Jacobs, Little & Longman, and Williams, Dunbar & Company from 1782 onwards. Instead of using enamel paints that needed to be fired, Edkins used standard oil colors, or plain gold gilt motifs, applied with unfired varnish, which he called "cold" decoration. 

Generally, artists decorated Bristol Blue ware with unfired or lightly fired gold varnish. Cruets and decanters often sported the name of their contents as well as intricate garlands and wreaths of plain gold. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "The Ancients" in the 2021 Spring Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Onions Galore

QUESTION: I have several plates by Meissen with what I believe is called the Blue Onion pattern. Can you tell me more about it?


ANSWER: The Blue Onion pattern is the Meissen company’s most popular and has been for over 250 years.  Because Meissen never copyrighted it, more companies have copied it than any other ceramic pattern. But the pieces made by Meissen, itself, stand above the others because of the way its workers meticulously hand painted the design on each piece.


After Marco Polo introduced Chinese blue and white porcelains to Europe, the demand rose until by the beginning of the 18th century, Europeans clammered for more and more of the finely painted pieces. To satisfy this demand, the East India Company established trade with China and brought to Europe as much of the blue and white porcelain as it could.

But try as it might, the East India Company couldn’t keep up with the demand, so in 1710 Augustus the Strong formed a new porcelain company to produce blue underglaze decorations like those of the Chinese. Johann Gregor Höroldt, a talented porcelain painter who had worked for the Du Paquier Porcelain Company, a competitor of Meissen’s, perfected the blue underglaze paint, which the Meissen Company used to decorate its wares with the Blue Onion pattern, in 1739.

The model for this unique pattern most likely came from a flax bowl from the Chinese K'ang Hsi period, dating from 1662-1722. Originally, Meissen called it the “bulb” pattern. However, since Europeans were unfamiliar with the fruits and flowers shown on the original Chinese pieces, the Meissen artists created hybrids that were more familiar to the company’s customers. The so-called "onions" really aren’t onions at all, but stylized peaches and pomegranates modeled after the original Chinese pattern. They made the flower in the design a cross between a chrysanthemum and a peony and wove the stems of both the fruits and the flower around a stalk of bamboo.

As production continued, Meissen changed the pattern slightly. Originally, the fruits on the border pointed inward with the stem on the edge. But they altered this design by pointing the fruits alternatively inward and outward.

Not only did the Blue Onion pattern become Meissen’s most popular, but it also was its least expensive to produce. The company made money by using lower-paid “blue painters” as well as   apprentices to do the decorating. In addition, the pieces decorated with the pattern didn’t need a third firing which was necessary to fix the enamel decoration on Meissen’s other wares, plus the company decided not to add gilding to the standard pattern.

The Blue Onion pattern achieved popularity again during Victorian times when home furnishings became darker and heavier. It complemented the more elaborate Victorian furniture styles preferred by the new wealthy middle class. Immediately after the Civil War, the pattern took off. Everything from napkins to tablecloths, utensil handles to enameled cooking pots featured it. By the 1870s, the Meissen Company had adapted it to fit nearly every shape of porcelain ware it produced. To distinguish its Blue Onion pattern from those of its competitors, the company put its now famous emblem of Blue Crossed Swords at the foot of the design’s bamboo trunk in 1888.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 24,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about antique clocks in the Fall 2019 Edition, "It's That Time Again," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques & More Collection on Facebook.

Birds of a Feather

QUESTION: My mother loved birds. She had a number of birdfeeders in our yard when I was growing up, and I used to sit and watch all the different kinds of birds flock to them. I guess her love of birds transferred to me because I started looking up the birds I saw to learn more about them. Besides encouraging a growing bird population in our yard, she also collected little knick-knacks of birds that she found at yard sales and flea markets. Now I have them. Most of them look pretty cheap, but there are several that look like they’re made of fine porcelain. I know very little about antique porcelain and was wondering if you could point me to some of the better companies pieces to collect.

ANSWER: Birds have been a favorite of many people for thousands of years. They kept them as pets and even worshiped them. Even today, there some Asian cultures that believe certain birds bring good luck.

Birds have been kept as pets for at least 4.000 years. Doves and parrots appear in Egyptian hieroglyphics. Indians have considered the mynah bird sacred for over 2,000 years. During feast days, oxen would carry these birds in processions through the streets. The ancient Greek aristocracy kept the mynah and parakeets as pets. And in wealthy Roman households, one slave had the responsibility of caring for the family bird, which was often a type of parrot. Apparently, watching the parrot talk and perform was an early form of home entertainment.



In 1782 the bald eagle was adopted as the national emblem of the United States. It was chosen because it is such a powerful, noble looking bird. And so it continued throughout history.

Birds have long appealed to Chinese and Japanese potters. A favorite mythological bird which appeared frequently on Chinese ceramics was the elegant ho ho bird or phoenix which was the symbol of happiness. It had the head of a pheasant, tail of a peacock and the legs of a stork or crane and symbolized beauty, rank and longevity.

White cranes in flight are often the subjects painted on Chinese Export items, Japanese Satsuma, Kutani and Banko ware. To the Chinese and Japanese, the crane means good luck and longevity. In Japan peacocks stand for elegance and good fortune and are often found together in design with the peony flower.



In Chinese mythology ducks and drakes denote conjugal bliss and made popular wedding gifts. Early Chinese potters made large soup tureens shaped as swans, ducks and other birds.

The largest category of bird collecting is figures and portraits in porcelain and pottery. And the English stand out in this category.

In l8th century England, the Chelsea and Bow Porcelain Factories copied the Chinese tureens and made them shaped as pheasants, pigeons, and a hen with her chicks. Early duck and partridge tureens are extremely rare and can sell for over $10,000 today. Chelsea teapots modeled as birds were also popular. One exquisite model, representing a guinea hen trapped in a rosebush, had a speckled white glaze and wonderful detail.

At the end of the 19'h century the four Martin Brothers, studio potters in Fulham, England, made some extraordinary pottery birds. They specialized in salt glaze stoneware and made humorously modeled birds with quizzical expressions. Their work was greatly influenced by the 19`" century Gothic Revival. Some of their most desirable pieces are figural tobacco jars with detachable heads. Martin Brothers pieces are clearly marked on the base with the incised signature: "R. W. Martin."

The Royal Worcestor Company also made magnificent bird figures in various colors and glazes. Regarded as one of the most notable sculptors of the era, Dorothy Doughty began her series of models of the Birds of America in the 1930s. From then until 1960, she created 30 different bird sculptures. Doughty, at her studio in Cornwall, worked from living birds. On an American field trip in 1953, she spent three weeks getting close enough to the elusive oven bird to study it. The birds, with their mounts of flowers and branches, were extremely elaborate and difficult to execute, requiring from 20 to 50 molds each. She sculpted them in correct size and color, and even modeled the foliage in which they sat true to nature. Every model, each made in limited edition, bears the artist's signature and marks of the factory. One of Doughty's rarest bird models, the Indigo Bunting on a Plum Tree, was made to be a cheap Christmas present, and its lack of flowers and foliage resulted in a market failure. Only six or seven were made, and today they are valued at $900-$1,200.

Royal Crown Derby produced many fine porcelain bird figures. Arnold Mikelson was a talented modeler who worked from 1939 to 1945. He designed over 60 different lifelike birds that are still popular, such as woodpeckers, pheasants, owls, goldfinch and fairy wrens. Royal Crown Derby artist Donald Birbeck studied bird and animal life in America in the 1930s. He designed many luncheon and dinner services with game subjects during his long stay at Derby.

Collectors get particularly excited about birds made by the Crown Staffordshire Company. J.T. Jones, decorating manager with the company until his death in 1957,  designed some of the finest. Jones carefully researched these bone china birds from nature.

He portrayed the lifelike songbirds in natural settings—perched on a tree branch or base surrounded with the lovely applied flowers for which the Crown Staffordshire Company is known. Today, the tradition continues with a range of wild fowl figures authenticated by Sir Peter Scott and modeled by John Bromley.

Birds in various colors and glazes have always formed an important part of the Royal Doulton collection. In 1902 the company produced its magnificent range of birds, including fledglings, ducklings, and penguins, in flambé glaze, which recreated the blood-red effects achieved by Chinese potters of the Sung Dynasty.




By 1920 Doulton's list of birds included pigeons, pelicans, eagles, kingfishers, ducks, penguins, and chicks. Designers created some in realistic detail and gave others human or comic characteristics, such as Charles Noke's Toucan in Tails.

In 1952, the company added a few large bird figures to its Prestige Series. In the 1970s Robert Jefferson produced some outstanding limited edition sculptures of birds for the U. S. market. An example is a pair of 8-inch white-winged Cross Bills perched on a branch with pine cones. Doulton's line of miniature character birds, including comic owls, puffins, penguins and toucans, are especially popular with collectors.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about western antiques in the special 2019 Spring Edition, "Down to the Sea in Ships," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques & More Collection on Facebook.  

How About a Game of Bones?

QUESTION: While traveling on a recent trip to Cuba I noticed men playing dominoes on a table in a park. There were several games going. This took me back to my childhood when my grandfather taught me how to play dominoes. We used an ordinary black wooden set that had the image of a dragon pressed into the back. I'm certain the dominoes came from the five and dime store. I also remember drawing face-down dominoes from the so-called bone yard when none of the remaining ones in my hand could be matched with those on the table. The first player to rid himself of all his dominoes by matching them to others on the table was the winner. This, I learned later, was the draw game.  I haven’t played the game in a long time, but I’d like to know a little more about it. How and when did it originate? Are there different forms?

ANSWER: The game of dominoes, or bones, as some like to call it, has been around since the 12th century. Legend says that a Chinese statesman invented the game of dominoes which he presented to the Emperor Hui Tsung in 1120 C.E. and which were circulated abroad by imperial order during the reign of Hui's son, Kao-Tsung seven years later.



During the 18th century, the game reached Venice and Naples. No one knows if a set had been brought back from China or whether an Italian created his own game. The game changed in the translation from Chinese to the European culture. European sets contained seven additional dominoes, with six of these representing the values that resulted from throwing a single die with the other half of the tile left blank, and the seventh domino representing the blank-blank (0–0) combination. By the late 18th century, the game of dominoes had arrived in Britain from France where it became popular in inns and taverns.

The word "domino" probably came from the Latin word dominus, meaning “the master of the house.” This evolved through French, then English to domino. The word “domino” first referred to a type of monk’s hood, then to a black hooded masquerade costume with a white mask worn during the Venetian Carnival, then to the mask itself, and finally to one of the pieces in the domino set, namely the one-on-one tile.

The game moved from Italy to France in the early 18th Century and became a fad. By the late 18th century, France began producing two types of domino puzzles. In the first, a person placed tiles on a given pattern in such a way that the ends matched. In the second type, a person places tiles on a given pattern based on arithmetic sums of the pips, usually totals of lines of tiles and tile halves.

European-style dominoes are rectangular tiles of wood or ivory—thus the nickname bones—that are twice as long as they are wide. Each has a line dividing its face with two square ends. Each end has a number of spots called pips that range from one to six. There’s a single tile for each combination of the faces of a pair of dice. The backs of the dominoes in a set are either blank or had a common design. The domino gaming pieces make up a domino set, sometimes called a deck or pack. The traditional domino set consists of 28 dominoes, featuring all combinations of spot counts between zero and six. A domino set is a generic gaming device, similar to playing cards or dice, in that a variety of games can be played with a set.

Dominoes have traditionally been made of bone or ivory, or a dark hardwood such as ebony, with contrasting black or white pips, either inlaid or painted. Alternatively, domino sets have been made from many different natural materials, including various types of stone, woods; metals, ceramics, or glass .

Tiles are generally named after their two values. Deuce-five or five-deuce are alternative ways of describing the tile with the values two and five. Tiles that have the same value on both ends are called doubles. Players refer to them as double-zero, double-one, etc. Tiles with two different values are called singles.

The most common domino sets commercially available are double six, with 28 tiles, and double nine, with 55 tiles.

It’s amazing how many forms of the game can be played with just 28 dominoes. In addition to the basics like the draw game and the block game, there are games with unusual names like Sebastopol, Bergin, Rounce, Sniff, All Fives, Fives & Threes, and Flower and Scorpion.

While wooden dominoes are the most commonly found, the best ones are made of oblong pieces of ivory, with ebony backs. One hundred years ago, a set of polished bone dominoes in a mahogany box would have cost as much as $4, while ordinary bone dominoes sold for as little as 50 cents.

Dominoes are an affordable collectible. Only the best ebony and bone sets sell for  $100 or so today. Celluloid sets from the 1930s, made by the Elkloid Company of Providence, Rhode Island, sell for around half that. Other sets, tied to special events like world’s fairs, can go for much more. And the more common sets like the one used above sell for very little.

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The Ancient Game of the Mandarins

QUESTION: My grandmother looked forward to getting together with her lady friends at the Jewish Community Center on Wednesday afternoons to play Mahjong. When I was little, she took me with her several times, but I couldn’t figure out what they were doing.  But I was fascinated by the colorful tiles they used to play the game.  Ever since then, I’ve always wanted to own a set, not of the inexpensive new ones, but a beautiful older set. I’d also like to learn to play the game. Can you help me?

ANSWER: Mahjong has been played in China for over 3,000 years, originating in Canton  during the Qing Dynasty before the days of Confucius. Only Mandarins played it, and the early tiles were handmade from ivory.

In 1911, when China became a republic, the game became popular with all classes of people. Mahjong maers produced tiles of bone and bamboo, or just bamboo, which was cheaper and easier to obtain than ivory. The British brought the game from China to England, and eventually to the United States in the early 1920s.

As a game of skill, strategy, and calculation, Mahjong became the rage. Soon there were as many variations to the rules of the game as groups of people playing it. During the Roaring `20s its popularity soared, but that didn't last long because no one could agree on which rules to follow. The National Mahjong League standardized the rules in 1937, but by this time most players had gone back to playing bridge.

At first glance, the game of Mahjong may seem confusing, even chaotic, especially if the players are experts. They use strange terms, and the rapidity of calling and discarding tiles appears maddening. The goal of Mahjong is to complete as many levels as possible until at least one player has no more moves left. At that point the game ends.

Players use a set of 144 tiles based on Chinese characters and symbols. Some variations may omit some tiles and/or add unique ones. In most variations, each player starts out with 13 tiles. In turn, player each draw and discard tiles until they complete a hand using the 14th drawn tile to form four melds, or sets, and a pair, or eye. Players follow standard rules when drawing tiles and robbing pieces from other players. Standard rules also apply to the use of “simples,” or numbered tiles, and honors, winds and dragons, the kinds of melds allowed, how to deal the tiles, and the order of play.



Mahjong tiles are divided into five groups—suits, dragons, winds, flowers and jokers. There are four winds—north, east, west, and south, and four pieces of each. Three dragons are green, white and red, and there are four of each color. There are three suits—dots, craks and bams, and each suit is numbered from one to nine, with four tiles of each number. Each set also includes eight flower tiles and, depending on the manufacturer of the set, these may depict flowers, mandarins, or seasons of the year. Eight jokers complete the pieces.

Players follow procedures. Each builds a wall 19 tiles face down, two tiers high, in front of each other seated around a table in positions set as points of a compass—North, East, West, and South. The player designated as East starts the game by dealing out the tiles to the others. Players pass the tiles between them In a specified sequence before the game begins, as each player gets rid of unwanted tiles, and hopes to receive pieces which fit a combination in his hand. The game proceeds with drawing and discarding tiles until one player completes a hand which contains 14 tiles in a specific combination, then that player calls "mahjong." Combinations include hands similar to a game of rummy—three of a kind, four of a kind, consecutive runs, etc. Each combination has a listed value for scoring. Sometimes, players draw all the tiles before anyone gets mahjong. It ‘s important for participants to play defensively so that other players don’t complete a hand. Only one player can mahjong.

Finding a complete antique set of tiles requires some perseverance. The completeness of a set depends on the variation of the game being played. As with a deck of cards, it’s essential that all tiles match. Early sets contained 144 tiles, a pair of dice, betting sticks which were used much like poker chips to represent money for wagers, markers portraying the seated players, a counter reflecting the four winds which the “bettor,” a fifth player, used to indicate his or her choice of the winner, and some kind of suitable box in which to store all the pieces. Craftsmen made these boxes of fine, carved woods, inlaid with mother of pearl or fitted with silver or brass handles. Sets made after 1923 often came with a small instruction book.

"Old Hong Kong Mahjong" uses the same basic features and rules as the majority of the different variations of the game. This form of Mahjong uses all of the tiles of the commonly available sets, includes no exotic complex rules, and has a relatively small set of scoring sets/hands with a simple scoring system.

By the early 1900s, Mahjong had become a craze in the United States. The first Mahjong sets came to America from China. Some came in handsome rosewood boxes with separate drawers for the stones, wind, flowers, and other Mahjong tiles. The best of these had fine joinery and ornate brass hardware and dice, but many sets came packed in handpainted cardboard boxes. While tiles in less expensive sets were wooden, those in deluxe sets could be ivory or jade.

Mahjong’s popularity continued into the 1950s, then waned in the second half of the 20th century, but surged again in the 1990s after the publication and film version of Amy Tan’s "The Joy Luck Club."




NOTE: There won’t be an antiques blog next week. Please look for the next one the week of Oct. 15.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about Colonial America in the Spring 2018 Edition, "Early Americana," online now.