Just Who Was Josiah Spode?

QUESTION: My mother collected English Staffordshire transferware dinnerware. She passed away recently and now I have her collection which consists of plates, cups and saucers, gravy boats, sugars and creamers, and assorted other items. On the bottoms of some of these are marks saying “Spode and a number,” “Spode Stone-China,” and “Copeland Spode England.” I realize they refer to the pottery that made them, but who was Spode and what did he have to do with Copeland?

Spode Stone China

ANSWER: The name Spode on your pottery pieces refers to English potter Josiah Spode while the name Copeland refers to William Copeland, who was in the tea trade.

Josiah Spode

While English transferware is a common antique/collectible, coming in a wide variety of forms and styles, it was Josiah Spode who started it all by perfecting two techniques that made this form of pottery such a worldwide success—the technique of transfer printing in 1783 and the formula for fine bone china around 1790.

At the beginning of the 18th century, the cluster of towns in North Staffordshire, now know as the Potteries, was a series of villages, hamlets and farms. Forty or so potteries, concentrated around Burslem produced all the Staffordshire wares.

On April 9, 1749, Thomas Whieldon, a potter who was already producing early Staffordshire wares, including agate wares in variegated colors, tortoiseshell table-wares, creamwares, black basaltes and black-glazed wares, hired Josiah Spode at age 16. Spode stayed with Whieldon as a journeyman potter until about 1762, when he took the job of manager of a pottery at Stoke which produced mostly creamware and white stoneware.

Spode Creamware

By 1776 Spode had purchased his own pottery works. His first produced pottery, then porcelain, and finally a superior kind of ironstone china which was almost porcelain, which Spode invented in 1805. After some early trials, he perfected a stoneware that came closer to porcelain than any previously and introduced his "Stone-China" in 1813. It was light in body, greyish-white and gritty where it wasnt glazed and approached translucence in the early wares. Later stoneware became opaque.

Spode plate from Indian Sporting Series

By 1785 Spode had a London warehouse and showroom_He met William Copeland who was in the tea trade. Copeland opened a warehouse where the Spode wares could be displayed and offered for sale to the London "China men."

Spode’s mastery of the transfer printing process contributed to the firm’s success in the early years of the 19th century. The process, which appears to have been invented by an Irish engraver named Brooks, involved first, engraving a copper plate, then inking it and applying to it a thin tissue of paper, the impression on the paper could then he transferred to articles of any shape.

Spode Oriental Field Sports Wolf Trap

Contemporary book illustrations often inspired the decorations Spode used on his pottery. China experts consider one of Spode’s  most interesting patterns, the Indian Sporting Series, to be one of the most original in its use as a design for tableware.

In June 1805, there appeared the first of 20 monthly issues of a publication called Oriental Field Sports, Wild Sports of the East. Each included a printed story and two large aquatint prints engraved from drawings by Samuel Howitt, a distinguished animal painter. Spode adapted the engravings to his dinnerware, which depicted hunting scenes with animals and birds. Some views showed mounted hunters carrying spears with native bearers on foot.

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.

Spode platter "City of Corinth" from Eastern Mediterranean Series

Spode also used illustrations from “The Castle of Boudron;" "The City of Corinth" and "Antique fragments at Lissima" in this series. He based another series on views in Italy, usually of ruins or classical landscapes, from Merigot's Views of Rome and its Vicinity,  published in 1798.

Spode's most popular series, Blue Italian

The most famous pattern was the "Blue Italian," described as Spode's masterpiece in his Blue and White series. Spode took his inspiration for this from the painting of ruins and quiet pastoral scenery by 18th-century Italian artist H.P. Pannini.

From 1800 to 1827 the mark consisted of the name Spode in printed letters, impressed, and the name of the pattern in blue, purple or red. On the stoneware the mark was "Spode, Feldspar Porcelain" or "Spode, Stone China." After this date, if the name Spode was used, it appeared as "Late Spode."

In addition to tea wares, Spode produced a variety of useful and ornamental pieces in bone china, from miniature ewers and basins and toy tea sets to richly decorated, sometimes flower-encrusted vases.

Early Spode blue and white serving platter

The factory pattern books which still exist show that Spode introduced new patterns at the average rate of about 150 year. By 1833 the pottery’s patterns numbered in the 4,000 range. Over its lifetime, the Spode Pottery produced about 75,000 patterns. Most Spode wares carry a pattern number along with the name Spode.

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  world's fairs in the 2020 Summer 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.

Carrying on a 150-Year-Old Pottery Tradition

Catawba Valley swirlware vase

QUESTION: Last Fall, I discovered several pieces of pottery with a swirl design at a local antiques show. The dealer called it Catawba Pottery but couldn’t tell me much more than it had been made somewhere in Appalachia. What can you tell me about this pottery? And where did it originate?

ANSWER: Catawba Valley Pottery describes an alkaline glazed stoneware made in the Catawba River Valley of Western North Carolina from the early 19th century to the present day.

Early Catawba pottery jar

Before modern conveniences such as electricity, plastic and refrigeration, pottery jugs. jars and crocks stored a family's perishables. A springhouse or pantry were the equivalent of the Frigidaire. Local potters were essential. When refrigeration and inexpensive glass came to the South between 1900 and 1930, the use of pottery to store food declined. However, a few potters in North Carolina's Catawba and Lincoln counties began making pottery for tourists attracted to the small stoneware pots with their distinctive alkaline glaze. The smarter potters kept their traditional pottery-making ways and shapes, but added customer-friendly swirl pitchers, miniatures, exotic vases, umbrella stands and, in a burst of creative marketing, face jugs.

Beginning with river-dug clay, potters turned milled clay on a foot-powered wheel, glazed the green-ware with a slurry of wood ashes, powdered glass, clay and water, and then fired it in a pine fueled ground hog kiln nestled against a hillside. This has been an unbroken 150-year-old tradition.



Stoneware, hard but not as brittle as earthenware, is durable, vitreous, easy to clean and non-toxic. Its strength made it ideal for the 5- to 20-gallon food storage jars needed by 19th-century farmers.

Catawba Valley potters used alkaline glazes on their wares

Catawba Valley potters used alkaline glazes in shades of brown or green instead of the commonly used salt glaze. Potters from Edgefield, South Carolina, originally brought alkaline glazes to the Catawba Valley. These potters made alkaline glazes by combining hardwood ash or crushed glass with clay and water. Catawba potters had an abundance of wood ash from burning their kilns but didn’t have plentiful salt deposits in their region.

The Catawba potters initially fired their alkaline glazed wares in what were known as "groundhog kilns." These kilns were a unique southern U.S. variation of climbing kilns built into hillsides. Semi-subterranean in construction, the groundhog kiln featured a door leading into a long, low passage of brick or rock construction, with a stack or chimney poking out of the ground up hill. Potters loaded pieces in the low passageway or "ware-bed" and built a fire in a sunken firebox, located just inside the door. The design allowed the stack to draw heated air, flames and ash through the pottery grouped inside and created the draft needed to generate the intense heat required to create stoneware. This type of firing or "burning " worked particularly well with large pieces of pottery. Contemporary Catawba Valley potters still use variations of these kilns, usually referred to as "tunnel kilns."

Pre-Civil War bulbous jug

Before the Civil War, jars from the area were bulbous with a flared top, gradual widening body, fat waist, and narrow base. After the war, jars maintained the same overall shape, but got bigger and fatter. By the 1930s, influenced by Ohio pottery jars, they became straight-walled, open top cylinders.

Jugs held all kinds of liquids from water to whiskey. During the 1920s and 1930s, Catawba potters added faces to these jugs, easily identified by their strap handle, pulled in shoulder and narrow spout. Catawba Valley potter Harvey Reinhardt was one of the first to produce this grotesque, but extremely popular form. However, potters made few face jugs until Burlon Craig, who produced thousands between the late 1940s and the present day.

Early Catawba Valley potters also made swirlware. Made by layering light and dark clays, they created a swirl pattern by moving diagonally up and around the body of a jug, jar, pitcher, birdhouse, vase, or dozens of other forms.

Burlon Craig face jug

Among the 150 to 200 potters scattered throughout the area between the late 19th and early 20th centuries, a dozen individuals and two families stand out. Neighbors Daniel Seagle and Sylvanus Hartsoe were two of the most prolific potters with signed pieces surfacing at area auctions and antique shops. The meticulous work of Samuel Propst, called 'the best turner of all" by Burlon Craig, is less frequently seen. Enoch and Harvey Reinhardt were business partners between 1932 and 1936. Many of their larger pieces, produced by Enoch, and small tourist items, Harvey's specialty, have the stamp "Reinhardt Bros,/Vale, N.C." The Propsts and Reinhardts began making blurred, mottled edged swirlware in about 1930.

Two area families also produced several generations of potters. The Ritchie family, the largest, began making pottery with Moses and ended their work, 12 potters later, at the death of Luther in 1940. Producing 10 noted potters, the Hilton family established a half dozen potteries in and around the valley. By the 1920s, they dallied in decorated dinnerware and figurines for the tourist trade which locals called "fancyware." The Hilton family pottery-making business ended in 1939 or 1940. Crisscrossing nearly all of the prominent families as an apprentice, neighbor or co-worker, is Burlon Craig. It was he who kept traditional 19th-century pottery-making alive and continuous.

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  world's fairs in the 2020 Summer 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.

Art Deco a la Francaise

French Art Deco dining chair 1925

QUESTION: Recently I purchased a set of six dining chairs that seem like they could be from the 1950s. The blond wood and the upholstery tacks used were very common back then. But I’m not so sure. The chairs were a bit more than I originally wanted to pay but they’re in great condition and go perfectly with the retro look I’m trying to create. What can you tell me about my chairs?

ANSWER: Your dining chairs are a fine example of French Art Deco. They would have been placed under an equally simple, but elegant dining table.

Art Deco emerged in Paris just before World War I as a luxurious design style. But it wasn’t until after the war in the 1920s that Modernism appeared throughout Europe. Until the art world coined the name Art Deco later on in the 1960s, designers referred to the style as Arte Moderne which is French for Modern Art.

Art Nouveau chair 1900

Art Nouveau furniture became a commercial failure. The intricate inlays and carvings made it too expensive for all except the very rich.  Concerned by competitive advances in design and manufacturing made in Germany and Austria in the early 20th century, French designers realized they could rejuvenate a their French furniture industry by producing luxurious pieces that a greater number of people could afford.

The founding in 1900 of the Société des Artistes Décorateurs (the Society of Artist-Decorators), a professional designers' association, marked the appearance of new standards for French design and production. Each year the association held exhibitions in which their members exhibited their work. In 1912, the French Government decided to sponsor an international exhibition of decorative arts to promote French design. However, they had to postpone the exhibition, originally scheduled for 1915, until after World War I.

Set at the Trocadero in Paris, near the Eiffel Tower, La Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exhibition of Modern and Industrial Decorative Arts), held finally in 1925, was a massive trade fair that dazzled more than 16 million visitors during its seven-month run. On exhibit was everything from architecture and interior design to jewelry and perfumes, all intended to promote French luxury items. With such a long name, visitors began referring to the exhibition, and subsequently the design movement, as Art Deco. On display were a wide range of decorative arts, created between the two world wars.

International Exhibition of Modern and Industrial Decorative Arts, Paris 1925

French Art Deco barrel chairs

The French Government invited over 20 countries to participate. All works on display had to be modern, no copying of historical styles of the past would be permitted. The stylistic unity of exhibits at the fair indicated that Art Deco had already become an international style by 1925.The great commercial success of Art Deco ensured that designers and manufacturers throughout Europe would continue to produce furniture in this style until well into the 1930s.

French Art Deco molded and veneered side table

In France, Art Deco combined the traditional quality and luxury of French furniture with the good taste of Classicism and the exoticism of far-off lands. Many designers used sumptuous, expensive materials like exotic hardwoods, ivory, and lacquer combined with geometric forms and luxurious fabrics to provide plush comfort. Motifs like Chinese fretwork, African textile patterns, and Central American ziggurats provided designers with the exotic designs to play with to create a fresh, modern look. They depicted natural motifs as graceful and highly stylized. The use of animal skins, horn, and ivory accents from French colonies in Africa gave pieces exotic appeal.

French Art Deco sideboard with marble top and inlaid ivory and exotic woods

French Art Deco armchair with ziggurat motif

French Art Deco furniture featured elegant lines and often had ornamentation applied to its surface. It could be utilitarian or purely ornamental, conceived only for its decorative value. It was the look that was important to many French designers, not the use or comfort of the piece. Even today, some pieces look as if their designers intended them to remain on display in a store window and not be used at all. At times it seemed as though the designers and their patrons were trying to escape the dismal reality of daily life at that time.

In 1937, the French government sponsored another trade fair, La Exposition Internationale des Arts et Techniques dans la Vie Moderne (The International Exhibition of Arts and Techniques in Modern Life). Less ambitious than the 1925 exhibition, this fair focused more on France's place in the modern world rather than on its production of luxury goods, thus marking the end of the French Art Deco Era.

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  world's fairs in the 2020 Summer 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.

As a River Flows, So Does Flow Blue

QUESTION: My mom loved collecting odd pieces of old china. She died recently and now I have her collection. Among the many pieces are some with designs that are all dark blue and blurry. Are these mistakes or are they some sort of china I’ve never heard of?

ANSWER: No, those blurry pieces are not mistakes. They’re what’s known as Flow Blue. And while many people call this type of ceramics “china,” it’s actually pottery not porcelain. Beginning in 1820, potters in Staffordshire, England, began making it as a way to provide a more affordable alternative for middle-class people who coveted the fine blue and white porcelains being imported from China. As dinnerware, it enjoyed its greatest popularity between the mid-19th century and the beginning of the 20th century. And as an antique, it has gained popularity in recent years.

Potters used cobalt oxide pigment to create the darker hue of flow blue. The porous earthenware absorbed it and blurred when the pottery glaze fired. Although it blurred by itself, potters discovered that it could be made to really flow by the addition of a cup of lime or chloride of ammonia during glaze firing. This had the additional advantage of covering over printing faults, bubbles, and other defects in the pottery. As a result, some flow blue is so blurred that all details are invisible.

Josiah Wedgwood first produced Flow Blue around 1820. But it wasn’t until 15 years later that mass production began. Since flow blue was a decidedly Victorian era phenomenon, its production fell into three time periods.—early Victorian from 1835 to 1850, mid-Victorian from   1860 to 1879, and late Victorian from 1880 to 1900. During the early Victorian period, the most popular styles imitated the Chinese porcelains. But they were largely inaccurate depictions of the Chinese designs, mixing Chinese, Arabic and Indian motifs. Scenics and florals were also  popular during this time.



The mid-Victorian period brought greater creativity to Flow Blue wares, as potters mixed styles and ornamentation became elaborate and varied. Also during the mid-Victorian period, styles began to mix and merge with one another. So, there were things like Oriental-style plates with floral, Gothic, or scenic borders. Other elaborate motifs, like scrolls, pillars, columns, urns and wreaths became quite common. The pieces themselves included toilet wares and teapots, plates and platters, vases and garden seats, and even dog bowls.

Flow blue designs of the late Victorian period exhibited a marked Art Nouveau influence, with stylized florals and beautiful symmetry.

By the end of the Victorian Era, there were thousands of Flow Blue patterns. Though most Flow Blue wares came from English potteries, those in Germany, France, Belgium, the Netherlands, and the United States all made it as well. The most noted English potteries included such names as  Wedgwood, Grindley, Davenport and the Johnson Brothers, while in the United States, Wheeling, Mercer, and Warwick. 
By World War I, U.S. potteries were producing most of the flow blue for the domestic market, causing English potters to close up shop since these wares had never been popular in England. The desirability of the ware waned in both countries between the wars, but interest picked up again in the U.S. in the 1960s.

Antique dealers determine the price of Flow Blue wares mostly based on their pattern, color, and rarity. Patterns range from Blue Danube to Iris and Classic Willow. Especially sought after ones include Amoy, Cashmere, Scinde, Shell, and The Temple, as well as the La Belle pattern by American maker, Wheeling Pottery Company.

Collectors are always on the hunt for the early patterns from the 1840s. Unusual items such as rare shapes, egg baskets and egg cups, large sized platters and early tea and coffeepots command high prices. Egg baskets with eggcups will fetch over $1,000. A single eggcup in a rare pattern can fetch over $400, whereas a not so rare one would fetch maybe $65. Rare coffeepots could he worth over $2,000, and large turkey platters from the 1890s, $600 to $800 if the pattern is right.

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  world's fairs in the 2020 Summer 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.

Basic Furniture Refinishing

QUESTION: I have a 1930's silky oak drop-door desk that has been in our shed for about 20 years.
It has seen a few cyclones and had a lot of weathering and the doors are off and knobs missing.
This desk holds special memories for me as a young child watching my dad working at it. I’d like to refinish it but have no idea where to begin. How hard would it be for a beginner like me to refinish it?

ANSWER: Your desk sounds like the ideal piece of furniture on which to learn about refinishing furniture. For many beginners, refinishing seems easy, but it’s far from it. First you need to decide if the piece needs to be completely refinished or the original finish preserved. Your desk sounds like it may fall somewhere in between.



It’s only been within the last 20 years or so that refinishing products have appeared that make the job less intimidating. However, most people think you have to strip off all the old finish before applying a new one. That all depends on the condition of the piece.

You piece sounds like it’s been through some tough times. Before you do anything, you need to evaluate it. Has the finish been mostly removed by weathering or is it spotty. If it’s the former, then you’ll need to sand it following the grain of the wood with fine to medium grade sandpaper. If it’s the latter, you may be able to just clean it up and apply a new coat of varnish. With refinishing, a little effort goes a long way. The nearer you can keep your desk to its original condition, the better.

Let’s assume the worst. If the finish has mostly been removed by weathering, you’ll need to remove what remains with a good varnish remover. Be sure to buy one that’s water soluble. Even though this takes longer to achieve the results you want, the fumes are mild and cleanup is easy. When using a remover, always brush it on with the grain of the wood. Do a little section at a time, turning the piece on end if necessary to make it easier to apply the remover. Scrap it off with a putty knife, and be sure to have a roll of paper towels handy to wipe up the excess and stripped varnish or paint.

After you’ve completely stripped your desk of its finish, lightly sand it with fine sandpaper. Wrap the sandpaper around a wooden block for support and sand with the wood grain. Be careful not to over sand----just enough to smooth the surface. After you’re finished sanding, wipe the desk with a damp cloth to remove all the dust. Do not get the wood wet.

Once you have prepared your desk for its new finish, let it rest for a day to make sure the surface is thoroughly dry. Dust it off with a dry cloth to make sure it’s clean, then begin to brush on a new finish using a soft-bristle brush and a furniture finish called tung or Chinese oil. Several manufacturers make this, including Formbys, and you should be able to buy it at your local hardware or home center. Apply the tung oil or a piece of white tube sock or other soft cotton material going with the grain of the wood.. The first coat will soak into the newly stripped wood. Let it dry 24 hours, then sand lightly with fine sandpaper. Dust it with a damp cloth again and let dry. Apply a second coat of the tung oil and repeat the process, except this time rub it with 0000 steel wool after it dries. Dust off again and apply a third and final coat of tung oil, but don’t rub with the steel wool this time.



The advantage to using tung oil is its rapid drying capability. Though it will feel dry to the touch in an hour or so, be sure to let it thoroughly dry for 24 hours. And don’t apply it on a humid or rainy day. And here's a tip: Wrap your application cloth in plastic wrap or put it into a Zip-Loc sandwich bag and place it in your freezer. Take it out 30 minutes before you're ready to apply another coat, and it will be ready for you.

Be sure to tune in next week to learn about preserving the finish of a piece of furniture that isn’t in such bad shape.

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  world's fairs in the 2020 Summer 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.

Getting the Word Out Victorian Style

Trading card scrapbook.

QUESTION: I recently purchased a scrapbook full of brightly colored cards displaying advertisements for various products. Can you tell me about these types of cards and about how old they might be?

ANSWER: You seem to have stumbled on a scrapbook full of advertising trade cards. While
T.V.  commercials, as well as magazine and Internet ads  promote everything from cars and medicines to food products, during the latter part of the 19th century, trade cards did the selling.

In the 1890s, manufacturers focused their advertising efforts nationwide. Although the Industrial Revolution gave them the know-how to mass-produce consumer goods, they needed a way to show off their new products. At the time, magazines were just beginning to show ads. A new inexpensive method of color printing called chromolithography appeared in the 1870s and paved the way for trade cards. Reproduced by the millions, these colorful handouts flooded the country, becoming at once an effective business device, as well as folk art. Companies mailed them. Merchants gave them to their customers. Traveling salesmen distributed them door to door. And consumers saved them, often trading them with friends.

Chromolithographic trading card.

Although most were about the size of a playing card, others measured up to 3 x 5 inches. The typical card featured a colorful picture on one side and a sales pitch on the other. Frequently, the manufacturer left a blank space for a merchant to add his name and address.

Two-sided trading card

Die-cut trading card.

The most common trade cards are flat pieces of colorful cardboard, however even more popular are die-cut cards—those cut in the shapes of the objects they advertise. Particular favorites include such varied subjects as pickles or teacups. Some are two-sided, with a different scene on either side, each of which promotes one of the company's products. Others fold or have movable parts.

Metamorphic trading card.

Metamorphic cards have flaps that fold out to reveal pictures different from those seen when closed. Some cards encourage the viewer to open the flap to discover what happens next. One titillating card pictures a woman sitting in a bathtub with her knees visible. When opened, the card reveals her serving drinks to two bald men.

Cards with movable parts are fragile and often in poor condition. Unfortunately, few of these cards with all their parts intact have survived decades of wear and tear. Hold-to-light or see-through cards are even more fragile. The picture changes or words come into view when the card is held up to the light, completing the advertisement.

At the Philadelphia Exposition of 1876, manufacturers put thousands of these bright little pasteboard salesmen into the hands of a product hungry public. Grocers handed them out for every imaginable product, from soup to soap! Manufacturers inserted some cards right into packaging. People saved the cards with a passion, pasting them into scrapbooks.

Arbhuckle Brothers Coffee trading card.

As their popularity grew, trade cards evolved into trading cards which manufacturers frequently packaged as serialized premiums in products such as cigarettes and coffee. Arbuckles' Coffee, for example, offered  a 50-card series of states and territories.

Medicine trading card.

Some of the products most heavily advertised by trade cards, included those involving medicines, food, tobacco, clothing, household goods, sewing items, stoves, and farming tools. Two of the most popular categories were medicine and tobacco. In the late 19th century, claims made for patent medicines weren’t  regulated by law, and trade cards advertising these medicines often promised miraculous results.

Tobacco companies inserted trade cards into cigarette packs as stiffeners to protect the contents. Allen and Ginter in the U.S. in 1886, and British company W.D. & H.O. Wills in 1888, were the first tobacco companies to print advertisements. Several years later, colorful lithographic illustrations began to appear on these cards which featured a variety of topics ranging from sports to nature. By 1900, over 300 tobacco companies produced thousands of tobacco card sets. Children would often stand outside of stores to ask customers who bought cigarettes if they might give them the trade cards in their packs. By the 1950s, trading cards boy began to collect sports, military, and automobile cards contained in packs of bubble gum.

The popularity of trade cards peaked around 1890, and then almost completely faded by the early 1900s when other forms of advertising in color, such as magazines, became more cost effective. The more common antique trade cards sell for about $1 to $15, depending on quality and condition.

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  world's fairs in the 2020 Summer 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 Cadillac of Chintz

Royal Winton

QUESTION: My grandmother left me quite a few beautiful pieces of china, decorated with floral patterns. What seems like the pattern name appears with the mark on the bottom of the pieces. Names like Summertime, Royalty, Florida, and such are common among them. Can you tell me anything about this china? I really like its bright, happy decoration and would like to collect more of it.

ANSWER: The pieces that you have, which are actually pottery not china, are known as chintz. Made from earthenware, they’ve become one of today’s most popular collectibles.

Chintz dates back to the 18th century when English merchants imported exotic fabrics with elaborate floral patterns from India. By the early 19th century, Staffordshire potteries began to emulate these patterns on the decorations of their wares, using large flowers and exotic birds. By the 1820s many potteries in the Staffordshire area manufactured chintz for everyday use. Although they produced many Victorian patterns, today's collectors prefer the chintz made from the 1930s to the 1950s.

The four major companies making chintz back then—Grimwades Royal Winton, James Kent, Crown Ducal, and Lord Nelson—needed a product that was cheap to produce so that their chief market, the English middle class, could afford it. Since they made chintz from earthenware and decorated it with lithograph transfers, it filled the need nicely. All together, there are over 200 different patterns of chintz.

Grimades Royal Winton

The decoration of chintz required an amazing amount of handwork and skill since women transferred the designs by hand from lithographs on to the individual pieces. The process, which was similar to applying a  decal, required meticulous cutting and matching to ensure that the junctures of each piece were practically invisible. Other workers gilded each piece by hand before firing.

During the 1930s, the companies producing chintz, in ever-increasing competition, introduced fresh new patterns and shapes at the British Industries Fair. In order to come up with these new patterns, some  reversed the foreground and background colors. One of the leading manufacturers, Grimwades Royal Winton, changed their Welbeck with yellow background into Hazel with black ground and their Spring background into white. Companies often named their patterns for the flowers in them and incorporated them into the backstamp or mark.

Royal Winton 1950s

When World War II broke out, the British Government forbade all unnecessary manufacturing, so chintz production halted. After the war, people became starved for color and the chintz produced in the 1950s had a different look, with flowers larger and farther apart. Makers also changed background colors to  black, burgundy and navy.

But in the late 1950s tastes changed, and housewives’ preferences turned to modern Scandinavian design in furniture and accessories. The fussy chintz patterns clashed with the new decorating tastes, and most chintz production came to an end. It wasn't until the 1990s that interest in cozy, comfortable chintz returned.

Of all the chintz manufacturers, collectors deem Grimwades the “Cadillac of Chintz.” It produced over 60 different patterns from 1929 through the early 1960s.

Grimades Royal Winton

In 1885 Leonard Grimwades founded the pottery with his brother at Winton Pottery, Stoke-on-Trent. They started production in a simple shed and expanded rapidly, taking over the Stoke Pottery in 1900. They introduced the first modern chintz pattern, called Marguerite, in 1928. In 1932, they came out with their Summertime pattern which immediately became immensely popular. Grimwades applied this pattern to many different articles, including clocks, invalid feeders, and jardinieres, and shipped large quantities of it to the U.S. The company awarded Wright, Tyndale and Van Roden Inc., a luxury store in Philadelphia, exclusive rights to Floral Feast, Somerset and Summertime. However, many of these pieces bear only the store’s stamp. The cup and saucer in your photo bears this pattern. Throughout its history, Grimwades produced nine chintz patterns, more than any other company.

Crown Ducal

In 1915, Albert Goodwin Richardson bought the Gordon Pottery in Tunistall, England and renamed it the A.G. Richardson Ltd. He wanted to produce good quality earthenware under the name Crown Ducal. In 1919 he sold his interest to Harry Taylor who owned a lithograph company. Crown Ducal wares also appealed to Americans during the late1920s through the 1950s.

Richardson developed a deep ivory glaze base color in 1931, and a number of chintz patterns employed it, including Pansy, Peony, Primrose, and Priscilla. In 1980, the Wedgewood Group purchased the  company and renamed it Unicorn Pottery.

James Kent

James Kent took over the Old Foley Pottery at Longton. in 1897 and renamed it James Kent Ltd. to produce earthenware for the English middle class. He first produced the chintz pattern DuBarry in 1934, and it remained in production until 1980. The most popular Kent pattern is Hydrangea with a white background. The quality of James Kent wares is inferior to Grimwades, and prices are somewhat lower.  M.R. Hadida Fine Bone China Ltd. Bought the company in the 1980s.

Another factory turning out great quantities of chintz was Elijah Cotton's Lord Nelson ware. The firm Elijah Cotton Ltd. operated at the Nelson Pottery in Hanley from 1889, making mostly kitchen and hospital ware. Their chintz earthenware is chunky in shape and poorly decorated. To avoid having to hire skilled decorators, they purposely didn’t decorate the spouts and handles of their teapots and jugs. Black Beauty and Green Tulip are their most popular patterns.

Lord Nelson Ware

Today’s collectors include tea and coffee pots, whole tea sets, bud vases, and serving pieces in their collections. Some focus their collections on a single pattern while others mix and match designs. Still others collect only tea cups in as many patterns as 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  La Belle Epoque in the 2020 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 Cream of the Crop

QUESTION: Last year I went antiquing in the English Cotswolds. In nearly every shop I went into, I saw at least one or more little cow creamers waiting for new homes. How did these little ceramic accessories come about and why did they choose to make them in the shape of a cow?

ANSWER: Originally made in England, then in Scotland and America, these unique creamers were the pride and joy of many late 18th and early 19th-century English housewives, both rich and poor. They kept these spotted bovines sitting on top of their dining room dressers, ready to use on special occasions.

These pottery cow creamers are little jugs standing firm on all four legs. They’re  usually about six inches long and four to five inches high. Housewives would pour fresh cream through a hole in the cow’s back, then seal up the whole with a cover. Unfortunately, many a cow creamer today is missing its cover. The cow’s curved tail served as the handle while its mouth served as the spout.

Cow creamers are among the oldest forms of decorative tableware still in existence today. Their ancestry can be traced back  to a decorative European jug used for washing the hands before and during a meal called an “aquamanile.” These jugs were very fancy and often doubled as a centerpiece. Ironically, an aquamanile had many of the same features as a cow creamer—a body in the shape of an animal standing square on its legs, a tail arched to meet its back that served as a handle, a hole in its back by which the jug could be filled, and a gaping mouth from which to pour the water.

Made from gold, silver, bronze, or pewter, the aquamaniles were most commonly shaped like lions, sometimes encrusted with precious stones.

It was the Dutch that chose the cow as the shape for the cow creamer which became a luxury accessory.

During the 18th century, coffee drinking became popular among the social elite of Europe. The new coffee ritual demanded novelty jugs to hold the cream. Those depicting a cow with a bee perched on its back were the most popular.

Initially, silversmiths created cow creamers in different sizes but using the same freestanding cow. There were all sorts of whimsical variations—some had garlands around their necks, hinged lids, or handles shaped like flies, bees, or flowers. But when the Dutch began making the creamers in tin-glazed Delftware, the fencegates opened and a whole herd of creamers rushed out.

The first cow creamer came from the Whieldon Pottery, which imitated the silver cow jugs made in 1755 by John Schuppe. The most well-known of these had a mottled brown tortoise shell-type glaze. Others had brown and yellow spots, black with a criscrossed yellow pattern, and even light blue with yellow circles.

But the clay was more difficult to control and sculpt than metal, so the potters introduced a few changes to the design to make it conform more to the different material. While a silver cow could stand directly on its legs, a pottery cow could not. This necessitated the addition of a base to help stabilize and strengthen the clay.

It seems every potter added his touch of whimsy. In fact, there are almost as many different decorations as there are creamers.

 potters also crafted these unique little jugs, essentially copying from the earlier Whieldon design. None of these have markings on the bottom. The Welsh potters added their own creative touches to their cow creamers. Many decorated them freehand or applied transfer designs of rustic farm scenes. After 1850, the Scots developed a love affair with the cow creamer. Scottish potters experimented with sponged decoration and brightly colored glazes.

After the American Revolution and into the early 19th century, imported English pottery became too expensive, so the United States Pottery in Bennington, Vermont, began making its own version of the cow creamer. Each cow had crescent-shaped nostrils, open eyes, folds in the neck, and visible ribs. I guess the American cows weren’t as well fed as their English, Scottish, and Welsh cousins. After Bennington closed in 1858, its potters sought work at potteries in Ohio, Maryland, and New Jersey, taking their skill at making cow creamers with them.

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  La Belle Epoque in the 2020 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.