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In the mid 1860s, Henry Doulton introduced decorative stoneware and architectural terracotta and, over the next 50 years, employed some 400 artists, many of them Lambeth School of Art students. Doulton championed individuality, innovation and versatility, and his modellers and decorators used a wide range of techniques and decorative treatments in producing both unique, artist-signed, and limited edition pieces. From 1872 the business expanded into faience and in the 1880s opened a factory at Burslem, Staffordshire, where bone china and other wares were made. In 1901, Edward VII granted the Royal warrant to the factory. Stoneware production at Lambeth reduced after 1914, and ceased in 1956."},{"value":"George Tinworth (1843-1913 ) worked for his father, a wheelwright, whilst he studied modelling at Lambeth School of Art and the Royal Academy. He worked at Doulton & Co from 1866-1913, where he lead the introduction of decorative salt-glazed stoneware. 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The sides and neck are decorated with six bands of raised, geometrical patterns which incorporate natural forms such as flowers and are separated by strips of raised, shell-like vertical forms. The body is finely painted in olive-green, grey, blue and buff, following the patterns. The neck and foot are painted in solid bands of blue and brown, and the inside of the neck in blue. The interior is unpainted below the neck, and lightly glazed. 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Henry Doulton, his son, introduced decorative stoneware at the Lambeth Art Pottery in the mid 1860s, encouraged by John Sparkes, Head of Lambeth School of Art; in all, some 400 artists were employed there, many of them Lambeth students.  From 1872 the business expanded into faience and in the 1880s opened a factory at Burslem, Staffordshire, where bone china and other wares were made. In 1901, Edward VII granted the Royal warrant to the factory. Stoneware production at Lambeth reduced after 1914, and ceased in 1956."},{"value":"Eliza Simmance worked for Doulton\u2019s from 1873 until 1928. She worked with a variety of decorating techniques, often combining two or three of them in a single pot. She is particularly known for her finely incised and pate-sur-pate decoration, where several layers of slip are applied with a brush to build up a raised design. John Sparkes, Head of Lambeth School of Art, found her \u2018first amongst those who have thrown their whole energy into their work [\u2026with] so many ideas to spare\u2019, and her work \u2018so eminently graceful and well drawn as to emulate [\u2026] the work of the Italian ornamentists\u2019 (quoted in Eyre (1975), p.105).   She often worked with the assistance of younger artists."},{"value":"The decoration of this piece follows principles of geometric design set out by Owen Jones in his 'Grammar of Ornament', 1856, and the designs chosen may have been copied from his illustrations."},{"value":"The impression 'g o' is an assistant's mark, possibly for Kate Giblin (who is listed as a senior assistant in 1882) or for Jessie Gandy (who began as a junior assistant in 1881 and stayed until 1889. 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