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The body decorated with a slightly mottled, deep green glaze. The neck covered with yellow-brown and brown glaze, which has been encouraged to run down over the body at regularly-spaced intervals, giving the body an organic appearance, perhaps suggesting an artichoke. The inside of the neck and the rim are covered in yellow-brown glaze, down which the darker brown glaze  has been run in closely-packed, fine lines. The interior is covered in yellow-brown, and the underside in thinly applied, mottled, green glaze."}],"identifier":[{"accession_number":"C.8-1984","primary":true,"type":"accession number","value":"C.8-1984"},{"priref":"76172","type":"priref","value":"76172"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/76172","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/76172"}],"inscription":[{"location":"on base","method":"impressed","transcription":[{"value":"LINTHORPE"}],"type":"mark"},{"description":[{"value":"facsimile signature"}],"location":"on base","method":"impressed","transcription":[{"value":"Chr. 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He recruited Henry Tooth as the pottery\u2019s manager, until in 1883 Tooth left to form Bretby Art Pottery, in Derbyshire. Dresser himself was not based at the pottery, but supplied designs and suggestions on form and colour. A Linthorpe prospectus, c.1880, suggests his name was as important to the pottery as his practical input and notes that Dresser\u2019s impressed mark was included on all Linthorpe wares as \u2018a guarantee of their genuineness, and of their being made in strict accordance with the principles of decorative Art\u2019.  Dresser preferred simple shapes that could be thrown on the wheel, aiming to \u2018work the material in a simple and befitting manner\u2019, such that \u2018satisfactory results are bound to accrue\u2019. Originally trained as a botanist, he maintained a strong interest in botanic design, and held professorships in both scientific and art botany. In 1879, with Charles Holme, he established Dresser & Holme, to import Japanese and oriental wares; and in 1880 he became \u2018art manager\u2019 of the Art Furnishers\u2019 Alliance, a body established by a number of leading manufacturers to promote the manufacture and sale of \u2018high class goods of artistic design\u2019."},{"value":"Linthorpe Art Pottery was set up by John Harrison in Middlesborough, in 1879, both to produce innovative art wares and to provide employment for 100 local people. The pottery initially used the same local red clay as a brickworks formerly on the same site, though later imported white clays from Cornwall. It was one of the first 19th Century potteries to use gas fired kilns and to successfully use glazes as decoration in their own right. Linthorpe supplied Liberty\u2019s and other major outlets, but closed when Harrison died in 1889."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-108070","uid":"adlib-term-108070","uuid":"7e278258-23e3-3d5b-a4ff-ab5ecacb4bf3"},"summary_title":"19th Century, Late"},{"@link":{"type":"reference"},"admin":{"id":"term-15214","uid":"adlib-term-15214","uuid":"744af2c4-a2f2-37ad-bbf4-2cd00e91ed9b"},"summary_title":"Victorian"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-113217","uid":"adlib-term-113217","uuid":"10522cb1-487d-35dd-b6a9-ce858239425b"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Middlesbrough"}]}]},"materials":[{"note":[{"value":"presumed 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Fig.207 a jug with very similar brown over green glaze c.1880, The Birkenhead Collection. Also other examples of Dresser\u2019s designs for Linthorpe Pottery and information about the pottery.","page":"162-173","type":"reference"},"admin":{"id":"publication-5660","uid":"adlib-publication-5660","uuid":"d1772eb9-3c61-3418-a7cc-2921c8270d5c"},"summary_title":"Christopher Dresser, A Design Revolution"},{"@link":{"type":"reference"},"admin":{"id":"publication-200002892","uid":"adlib-publication-200002892","uuid":"7ae524d9-9209-3efe-9ad7-b309dbc3f74b"},"summary_title":"Linthorpe Pottery: an interim repor"},{"@link":{"type":"reference"},"admin":{"id":"publication-3553","uid":"adlib-publication-3553","uuid":"87fb5945-4f9d-3bae-be37-5919049a8780"},"summary_title":"Christopher Dresser 1834-1904"},{"@link":{"notes":"Ref. 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Probably moulded from a thrown original (see Le Vine)."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-27616","uid":"adlib-term-27616","uuid":"61e6a95d-84c8-3893-b6c8-213392262987"},"summary_title":"glazing (coating)"}}],"title":[{"value":"Globe vase"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-47104","_score":16.757633,"_source":{"admin":{"added":1592999465000,"created":1312637261000,"flag":"Standard Record","id":"object-47104","indexed":1747160127191,"modified":1714465445000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-47104","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/47104","uuid":"3d3060de-6853-3e85-ab77-e7a6a42b8f7c","version":6},"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-190564","uid":"adlib-agent-190564","uuid":"ef08b736-9cd4-3a5c-91f4-4c7122724072"},"summary_title":"Minton, Henry"},{"@link":{"note":[{"value":"later known as Royal Society of Arts (RSA)"}],"type":"reference"},"admin":{"id":"agent-155614","uid":"adlib-agent-155614","uuid":"22fbeb8e-eaf9-38da-8701-2e2c43501212"},"summary_title":"Society of Arts"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-42861","uid":"adlib-term-42861","uuid":"5b368285-f1a8-3dcf-a5b2-637fd3c3956c"},"summary_title":"earthenware"}],"component":[{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107733","uid":"adlib-term-107733","uuid":"00160189-e3ce-3796-a88b-5aa8d6c808c4"},"summary_title":"lead-glaze"}}],"name":"Decoration"},{"measurements":{"dimensions":[{"dimension":"Width","units":"cm","value":"16.5"}]},"name":"Handle To Spout"},{"name":"Interior","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120058","uid":"adlib-term-120058","uuid":"9e43c4bc-1f48-3a76-b4ea-7075449f5add"},"summary_title":"slip-coating"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-115","uid":"adlib-term-115","uuid":"94d65983-dea2-361b-b187-a968c98ab1d8"},"summary_title":"Nature"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Earthenware jug, relief-moulded, slip coated and lead-glazed"},{"value":"Beer jug. Relief-moulded buff earthenware, the interior slip-coated in white and the whole covered with very slightly bluish-grey tinted glaze. The jug has an ovoid body with a short cylindrical neck, and projecting spout, moulded in two halves. The handle is in the shape of a tapering hop branch which extends on each side of the neck into relief spray of hops and ears of barley corn. The lower part of the body is gadrooned. The underside is slightly recessed and glazed."}],"identifier":[{"accession_number":"C.6-2002","primary":true,"type":"accession number","value":"C.6-2002"},{"priref":"47104","type":"priref","value":"47104"},{"date":[{"earliest":2002,"latest":2002,"value":"2002"}],"source":"Fitzwilliam Museum","type":"entry form number","value":"167"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/47104","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/47104"}],"inscription":[{"description":[{"value":"'M & Co' on separate section of ribbon"}],"location":"on base","method":"moulded in relief on a ribbon","transcription":[{"value":"Society of ARTS\/PRIZE JUG 1846 \/ M & Co"}],"type":"mark"},{"description":[{"value":"script 'M', on separate section of ribbon"}],"location":"on base, on a relief ribbon with ornamentation","transcription":[{"value":"No. 279 \/ M"}],"type":"mark"},{"description":[{"value":"lozenge shaped Patent Registration Mark for 2 May 1846"}],"location":"on base","type":"mark"},{"description":[{"value":"two dots linked by a line"}],"location":"on base","method":"impressed","type":"mark"},{"location":"on base","method":"impressed","transcription":[{"value":"12"}],"type":"mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Mrs Valerie Kessels"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-159008","uid":"adlib-agent-159008","uuid":"af7edfe8-2e0f-370c-b40d-591ff0dfedfb"},"summary_title":"Kessels, Valerie, Mrs"}],"date":[{"earliest":2002,"latest":2002,"value":"2002"}],"method":{"value":"given"},"note":[{"value":"Entry date: 2002-04-22"}]}],"creation":[{"date":[{"earliest":1848,"era":["CE"],"latest":1848,"value":"1848"}],"maker":[{"@link":{"role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-153865","uid":"adlib-agent-153865","uuid":"853be336-7cfb-32d1-aa54-fb4dff401cf0"},"summary_title":"Minton & Co."}],"note":[{"value":"Relief moulded jugs were popular in mid 19th Century homes. The smear-glazing makes the most of the way that colour-stained clays show off crisply-moulded ornament, whilst the stoneware would be durable in an everyday setting. There are several examples in the Fitzwilliam Collection. This jug\u2019s hop and barley design indicates its function as a beer jug."},{"value":"The Society of Arts, founded in 1754, ran its first competition for arts and manufactures in 1846. Encouraged by Henry Cole, Herbert Minton submitted two beer jug designs, winning a silver medal for pattern number 268, a white stoneware jug with a blue stained neck and a relief moulded frieze of hops and barleycorn in white. The design was registered in May 1846.  This buff earthenware version, no.279, bears the impressed year cipher for 1848. 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It is said that he could throw a large pot and then make a lid to fit it exactly, using only his eye and hand. Some of his pots were huge, but some were tiny: in Salford Museum there are examples of his pots which are only an inch and a half high. Towards the end of his career he gave demonstrations of throwing in the window of the local china merchants. Radford stayed at Pilkington\u2019s until he retired, in 1936, aged 76, and Pilkington\u2019s ceased pottry production soon afterwards.  According to some sources, the inscribed initials are typically found on his later pots."},{"value":"Pilkington\u2019s Tile and Pottery Company, formed in 1891\/92, was one of the largest producers of decorative tiles. Lancastrian Pottery was introduced in 1904, using simple classical shapes and decorated with innovative coloured glaze effects, such that no two pieces were identical.  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The neck is shaped in a rough hexagon, with the rim shaped to match the sections. The exterior is decorated with naturalistic bulrushes, in relief, the leaves running from foot to shoulder or rim. The handle is also shaped as a bulrush and leaves. The outside is smear-glazed, the interior fully glazed and shiny. The underside is recessed and smear-glazed."}],"identifier":[{"accession_number":"C.47-1981","primary":true,"type":"accession number","value":"C.47-1981"},{"priref":"75217","type":"priref","value":"75217"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75217","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75217"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Countess Shelagh S. Rietberg, Cambridge, 1981"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-166432","uid":"adlib-agent-166432","uuid":"46431f0b-ebf0-3857-9a9c-c73542adfde6"},"summary_title":"Rietberg, Shelagh, Countess"}],"date":[{"earliest":1981,"latest":1981,"value":"1981"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1981-10-12"}]}],"creation":[{"date":[{"earliest":1848,"from":{"earliest":1848,"era":["CE"],"latest":1848,"precision":"circa","value":"1848"},"latest":1850,"note":[{"value":"Design was registered on 7 March 1848"}],"range":true,"to":{"earliest":1850,"era":["CE"],"latest":1850,"value":"1850"}}],"maker":[{"@link":{"role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-160980","uid":"adlib-agent-160980","uuid":"7a83d9b5-7352-3ae3-9950-be68d6de8d1c"},"summary_title":"Ridgway & Abington"},{"@link":{"type":"reference"},"admin":{"id":"agent-190601","uid":"adlib-agent-190601","uuid":"8a43a61b-26ec-3dfe-978f-290165b4d453"},"summary_title":"William Ridgway & Co"}],"note":[{"value":"Relief moulded jugs were popular in mid 19th Century homes. The smear-glazing makes the most of the way that colour-stained clays show off crisply-moulded ornament, whilst the stoneware would be durable in an everyday setting. There are several examples in the Fitzwilliam Collection. This jug\u2019s bulrush design indicates its function, as a water jug."},{"value":"The Ridgway family produced stoneware and porcelain in Staffordshire from the 1790s until the 20th Century. Trained by their father, Job, the brothers William and John already had a reputation for drab (coloured) stoneware  decorated with applied relief sprigs when William Ridgway established Church Works, Hanley, in 1831. He was also a noted philanthropist, building alms houses and a school for local children \u2013 many of whom he employed in his potteries. With his partner James Leonard Abington and (later) his son Edward, by 1843 he operated six pot-works in Hanley and Shelton. The business  became known for its relief-moulded jugs, for which it is likely that Abington was the modeller, and was re-named Ridgway & Abington in 1845. One of the first to offer such jugs, in the early 1830s, they produced some 26 designs over the next 30 years. Other potters followed, notably Minton and Charles Meigh, and relief moulded jugs (some with ceramic or metal lids) in a wide variety of design became a popular household mainstay for water, beer milk and other liquids which might now be kept in bottles, cans or plastic jars."},{"value":"The decoration is unusual. However, an 1849 review in The Journal of Design and Manufactures commends it over the more common use of narrative or classical designs: 'The bulrush jug is calculated for a large sale, by reason, as it seems, of its demanding probably little labour to finish it, and its consequent cheapness\u2026 we presume [it] is for tee-totallers, from the watery character of its ornament\u2019. The same design was used on a mustard pot and a sugar box, both with metal lids, and some jugs have \u2018BULRUSH\u2019 impressed on the base; only two Ridgway jug designs were named in this way. The design seems to have instigated a new fashion, as several other potteries, notably Dudson, produced naturalistic relief moulded jugs from the 1850s.   It may have been influenced by Richard Redgrave\u2019s 1847 \u2018Well Spring\u2019 carafe, is decorated with water weeds and flower heads, which is also in the Fitzwilliam Collection (C.50-1972)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106851","uid":"adlib-term-106851","uuid":"e155f998-1e0b-3f2a-851c-24f44d05dd59"},"summary_title":"19th Century, Mid"},{"@link":{"type":"reference"},"admin":{"id":"term-15214","uid":"adlib-term-15214","uuid":"744af2c4-a2f2-37ad-bbf4-2cd00e91ed9b"},"summary_title":"Victorian"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-110443","uid":"adlib-term-110443","uuid":"8e41da15-698e-303b-ac89-c241a4e52efc"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Hanley"}]}]},"materials":[{"note":[{"value":"pale 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The sides of the jug spread out towards a high shoulder and a cylindrical neck, which flares towards the rim and spout. The sides are decorated with six oval strapwork panels, each containing, in turn, the leaves and fruit of vines, hops and barley or corn. Below each panel is an oval shield flanked by foliate scrolls. A strapwork border runs around the neck. The handle is angular, with scrollwork decoration. The outside is smear glazed; the interior is fully glazed and shiny. The underside is recessed and smear-glazed."}],"identifier":[{"accession_number":"C.46-1981","primary":true,"type":"accession number","value":"C.46-1981"},{"priref":"75185","type":"priref","value":"75185"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75185","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75185"}],"inscription":[{"description":[{"value":"Diamond shape with 'Rd' in the centre, 'w' in the left corner, 'u' in the top corner, '7' in the right corner, and 'I' in the bottom corner. Above the diamond a small circle with 'IV'."}],"location":"underside of base","method":"moulded with the body","type":"mark"},{"location":"underside of base","method":"impressed","transcription":[{"value":"21"}],"type":"mark"},{"description":[{"value":"two small parallel lines"}],"location":"underside of base","method":"incised","transcription":[{"value":"'ll'"}],"type":"mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Countess Shelagh S. Rietberg, Cambridge, 1981"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-166432","uid":"adlib-agent-166432","uuid":"46431f0b-ebf0-3857-9a9c-c73542adfde6"},"summary_title":"Rietberg, Shelagh, Countess"}],"date":[{"earliest":1981,"latest":1981,"value":"1981"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1981-10-12"}]}],"creation":[{"date":[{"earliest":1848,"from":{"earliest":1848,"era":["CE"],"latest":1848,"precision":"circa","value":"1848"},"latest":1850,"range":true,"to":{"earliest":1850,"era":["CE"],"latest":1850,"value":"1850"}}],"maker":[{"@link":{"role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-160980","uid":"adlib-agent-160980","uuid":"7a83d9b5-7352-3ae3-9950-be68d6de8d1c"},"summary_title":"Ridgway & Abington"},{"@link":{"type":"reference"},"admin":{"id":"agent-190601","uid":"adlib-agent-190601","uuid":"8a43a61b-26ec-3dfe-978f-290165b4d453"},"summary_title":"William Ridgway & Co"}],"note":[{"value":"In October 1849 the Art Journal noted that Ridgway & Abington \u2018are famous for their manufacture of water and beer jugs, which are, in almost all cases, admirable examples of design and execution\u2019. However, a reviewer in the March-August 1849 Journal of Design and Manufactures was less complimentary about this jug\u2019s design, writing: 'The principal defects of form are, that the curve of the lower portion is rather high shouldered, and that the handle is surprisingly ugly. The whole surface is a little too uniformly covered with enrichment, and in some places the lines are rather too crowded and huddled together. The ornament, consisting of hop, vine, and barley, is, however, prettily modelled\u2019. He also felt the architectural regularity of the panels was at odds with  \u2018the artistic mode of production\u2019 on the potter\u2019s wheel."},{"value":"Relief moulded jugs were popular in mid 19th Century homes. The smear-glazing makes the most of the way that colour-stained clays show off crisply-moulded ornament, whilst the stoneware would be durable in an everyday setting. There are several examples in the Fitzwilliam Collection. Here, the jug\u2019s vine and hop design indicates its function as a jug for a jug for beer or wine. The same jug was made in buff and white stoneware."},{"value":"The Ridgway family produced stoneware and porcelain in Staffordshire from the 1790s until the 20th Century. Trained by their father, Job, the brothers William and John already had a reputation for drab (coloured) stoneware  decorated with applied relief sprigs when William Ridgway established Church Works, Hanley, in 1831. He was also a noted philanthropist, building alms houses and a school for local children \u2013 many of whom he employed in his potteries. With his partner James Leonard Abington and (later) his son Edward, by 1843 he operated six pot-works in Hanley and Shelton. The business  became known for its relief-moulded jugs, for which it is likely that Abington was the modeller, and was re-named Ridgway & Abington in 1845. One of the first to offer such jugs, in the early 1830s, they produced some 26 designs over the next 30 years. Other potters followed, notably Minton and Charles Meigh, and relief moulded jugs (some with ceramic or metal lids) in a wide variety of design became a popular household mainstay for water, beer milk and other liquids which might now be kept in bottles, cans or plastic jars."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106851","uid":"adlib-term-106851","uuid":"e155f998-1e0b-3f2a-851c-24f44d05dd59"},"summary_title":"19th Century, 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The unusual shape of this vase, however, suggests it is an individual piece."},{"value":"William Howson Taylor (1876-1935) came from a Staffordshire potting family and set up his pottery c.1898 with his father, Edward, a well known art educator and Principal of the Birmingham Municipal School of Art. Active supporters of the Arts & Crafts movement, the Taylors were friends of William Morris and Edward Burne-Jones and admirers of Ruskin. Wares were known as \u2018Ruskin Pottery\u2019 from c.1903 until 1933 (with the Ruskin family\u2019s agreement only from 1906), and first shown at the 1903 Arts & Crafts Exhibition.  Later they were exhibited widely, from Louisiana to Milan to Christ Church, New Zealand, and received many prizes including the Grand Prix at the International Exhibition in Brussels, in 1910.   .   A staff of around 20 included William Forrester, trained at Ruskin as a thrower, and from 1898-1912, Emily Boswell (decorator). Taylor favoured local clays and became known for his experimental lustre, flamb\u00e9 and souffl\u00e9 glazes, all of which were leadless.    His fascination with the effects of glazes on simple oriental-shaped pots is apparent in this example. 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Decorated with flags and inscriptions. On one side are two flags, the Union Jack and the French Tricoleur,  with the words 'LIBERTY AND FREEDOM' on a ribbon below; around these are the flags of Canada, New Zealand, Newfoundland, India, France, and Australia, each labelled in small capital letters. On the other side are the same two flags and over them an oval panel inscribed \u2018WAR AGAINST HITLERISM\u2019\/This Souvenir Teapot was made for\/DYSON & HORSFALL of PRESTON to replace\/ALUMINIUM STOCKS taken over for\/ALLIED ARMAMENTS, 1939'; below is a ribbon inscribed 'THAT RIGHT SHALL PREVAIL' and around these are the flags of France Eastern Colonies, New Zealand, Canada, France, Union of South Africa and Australia, labelled in small capitals. There are similarly labelled flags of South Africa (under the handle), and India, France Western Colonies and Newfoundland (on the spout).  There are thin blue bands around the rim, alternating with yellow bands around the widest part of the body, down the central ridge of the handle, and around the cover knob; the cover also has a yellow band set in from the edge. The underside is recessed and glazed."}],"identifier":[{"accession_number":"C.32 & A-2006","primary":true,"type":"accession number","value":"C.32 & A-2006"},{"priref":"131316","type":"priref","value":"131316"},{"date":[{"earliest":2006,"latest":2006,"value":"2006"}],"source":"Fitzwilliam Museum","type":"entry form number","value":"818"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/131316","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/131316"}],"inscription":[{"description":[{"value":"a crown with an oval medallion below crossed by a ribbon with penant ends projecting on either side; TRADE MARK is at the top of the oval frame; CROWN\/DUCAL\/WARE is within the frame; MADE IN ENGLAND is below the frame"}],"location":"on base","method":"printed in green","transcription":[{"value":"TRADE MARK\/CROWN\/DUCAL\/WARE\/MADE IN ENGLAND"}],"type":"factory mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by the Friends of the Fitzwilliam Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-190463","uid":"adlib-agent-190463","uuid":"a170891a-71e1-3a7f-9429-cb63a6afe514"},"summary_title":"Taylor, Derek"}],"date":[{"earliest":2006,"latest":2006,"value":"2006-07-17"}],"method":{"value":"bought"},"note":[{"value":"Entry date: 2006-07-17,  Purchased from Mr Derek Taylor, OBE, London, NW11 for \u00a375."}]}],"creation":[{"date":[{"earliest":1939,"era":["CE"],"latest":1939,"precision":"circa","value":"1939"}],"maker":[{"@link":{"role":[{"value":"factory"}],"type":"reference"},"admin":{"id":"agent-173474","uid":"adlib-agent-173474","uuid":"9c38ec06-4ea5-3733-9d63-9968e995dc29"},"summary_title":"A.G. Richardson & Co. Ltd"}],"note":[{"value":"During the 1939-45 World War, metals-  including railings and domestic items - were collected up for recycling into armaments. This teapot was probably added to the Dyson & Horsfall catalogue as a replacement for aluminium teapots the catalogue had previously offered, and perhaps also recognises the company\u2019s own contribution through surrendering their original stock of metal products."},{"value":"This patriotic commemorative teapot from Richardson's 'Crown Ducal' range, produced at the start of World War II, is decorated with inspiring slogans, the names of Imperial and Commonwealth countries and positive references to an as yet un-conquered  France. Dyson & Horsfall, of 222 Aqueduct Street, Preston, was a mail-order catalogue firm; a 1939 Christmas price-list is held by the National Archives (ref.1341\/20) and the catalogue seems to be particularly remembered as a source of Christmas presents.  The teapot was produced in volume, and was clearly a successful product: examples are held by The Imperial War Museum (EPH 4624) and the British Museum (2006,0901.1) and others frequently appear for sale."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120066","uid":"adlib-term-120066","uuid":"7d68b404-6003-3715-bdce-af5ba4e8f5a3"},"summary_title":"20th Century, second quarter"},{"@link":{"type":"reference"},"admin":{"id":"term-107693","uid":"adlib-term-107693","uuid":"afd597bc-a952-3ee0-970d-71e530f7efbc"},"summary_title":"George VI"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-113547","uid":"adlib-term-113547","uuid":"842362d2-b32b-3590-8ed9-69487370fba7"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Staffordshire"}],"summary_title":"Staffordshire","type":"region"}]],"summary_title":"Cobridge"}]}]},"materials":[{"note":[{"value":"clear"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32652","uid":"adlib-term-32652","uuid":"82d8ae3b-f165-395c-ba93-dfa1c282b7be"},"summary_title":"glaze"}},{"note":[{"value":"cream"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-42861","uid":"adlib-term-42861","uuid":"5b368285-f1a8-3dcf-a5b2-637fd3c3956c"},"summary_title":"earthenware"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"14"}]},"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-91394","uid":"adlib-term-91394","uuid":"2bb189d3-6008-3a4e-abbb-eb2a240e0739"},"summary_title":"teapot"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107478","uid":"adlib-term-107478","uuid":"81002e74-5083-37b8-a429-4a303fc40695"},"summary_title":"cover"}},{"value":"lid"}],"note":[{"type":"history note","value":"private collection"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Cf. p. 358, pl. 2148, a comparable teapot with a slightly different knob - rising up in the middle","page":"358","type":"reference"},"admin":{"id":"publication-2295","uid":"adlib-publication-2295","uuid":"37d354cc-f553-3b46-b273-5ed197cdfad6"},"summary_title":"An Anthology of British Teapots"},{"@link":{"notes":"Ref. information about A.G. 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The whole pot is coated in a pale sea-green glaze, thinly applied to display pronounced throwing rings. The outside is covered with a tube-lined design of over-lapping, tube-lined lotus leaves. Alternate leaves are in-filled with a thin coating of lustrous olive glaze, which has also been applied to the outside of the neck and foot-rims. At the top, the space between the leaf tips and rim is painted sky blue.  The underside is recessed and glazed."}],"identifier":[{"accession_number":"C.13-1998","primary":true,"type":"accession number","value":"C.13-1998"},{"priref":"28616","type":"priref","value":"28616"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28616","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28616"}],"inscription":[{"location":"underside of base","method":"impressed","transcription":[{"value":"148"}],"type":"mark"},{"description":[{"value":"letters in script, with a crown over"}],"location":"underside of base","method":"printed in blue","transcription":[{"value":"Crown Ducal\/England"}],"type":"mark"},{"description":[{"value":"CRheAd (sic)"}],"location":"underside of base","method":"inscribed in black script","transcription":[{"value":"148.  \/ CRheAd"}],"type":"signature"},{"description":[{"value":"a reverse 'C' enclosing a dot, below the facsimile signature"}],"location":"underside of base","method":"inscribed in black","transcription":[{"value":".)"}],"type":"mark"},{"description":[{"value":"very small, could be '87'"}],"location":"underside of base, over glaze","method":"inscribed in black","transcription":[{"value":"47"}],"type":"mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by the Friends of the Fitzwilliam Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-188843","uid":"adlib-agent-188843","uuid":"7f132481-060b-3b75-af6e-6c0074a99abd"},"summary_title":"Cheffins, Grain & Comins"}],"date":[{"earliest":1998,"latest":1998,"value":"1998"}],"method":{"value":"bought"},"note":[{"value":"Entry date: 1998-06-08"}]}],"creation":[{"date":[{"earliest":1932,"from":{"earliest":1932,"era":["CE"],"latest":1932,"precision":"circa","value":"1932"},"latest":1938,"note":[{"value":"(dated by factory mark)"}],"range":true,"to":{"earliest":1938,"era":["CE"],"latest":1938,"value":"1938"}}],"maker":[{"@link":{"type":"reference"},"admin":{"id":"agent-156383","uid":"adlib-agent-156383","uuid":"ed7726a5-1705-3adf-804e-e275f07a1205"},"summary_title":"A. G. Richardson and Co"},{"@link":{"role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-156384","uid":"adlib-agent-156384","uuid":"325bee4d-188f-375f-afea-2f67246decf8"},"summary_title":"Rhead, Charlotte"},{"@link":{"role":[{"value":"decorator \/ tube-liner"}],"type":"reference"},"admin":{"id":"agent-190479","uid":"adlib-agent-190479","uuid":"2f32834a-377e-3bf5-bc16-a71cd8dff6ec"},"summary_title":"Dickinson, Rose"}],"note":[{"value":"A.G.Richardson was based at the Gordon Pottery, Tunstall, from 1915. Tube-lining and  decorating continued there when a second workshop, for \u2018freehand work\u2019 was opened at Britannia Pottery, Cobridge, in 1934. \u2018Crown Ducal\u2019 was the trade name for Richardson\u2019s fancy or novelty ware; otherwise, the main products were breakfast, coffee, dinner and dessert sets. Richardson revived Charlotte Rhead\u2019s designs during the 1950s, though these later editions are rarely marked."},{"value":"Charlotte Rhead (1885-1947), also known as \u2018Lottie\u2019, came from a family of potters who over several generations built a reputation for tube-lined and p\u00e2te-sur-p\u00e2te decoration. Charlotte trained at Fenton School of Art and from 1901 worked at a succession of potteries as a decorator. From 1912-1926 she worked for her father, Frederick, who was art director at Wood & Sons, and at their subsidiaries Bursley Ltd and the Ellgreave Pottery Co; some of this work appeared under her own back-stamp as \u2018Lottie Rhead ware\u2019. By 1926, she had joined Burgess & Leigh, and from 1932-c.1942 designed art-ware and other products for A.G.Richardson & Co. In 1942 she returned to a Wood & Sons subsidiary, H.J.Wood, remaining there until her death. Although best known for her popular tube-lined designs, Charlotte Read also introduced new shapes and innovative glazes, including \u2018broken\u2019 (mottled) glazes and a thick matt white \u2018snow glaze\u2019 which attracted interest in the trade press."},{"value":"This design, pattern number 2691, \u2018Turin\u2019, is used on tea and coffee ware and plates, as well as bowls and vases, and was common from 1932. It is found with slight colour variations. It was produced on tracing paper and \u2018pounced\u2019 onto the leather-hard pot to guide the tube-liner. Rose Dickinson (Mrs Cumberbatch), whose mark appears under Charlotte Rhead\u2019s facsimile signature on the underside, was responsible for the tube-lining on this vase."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-107318","uid":"adlib-term-107318","uuid":"d27559f3-e90c-35cd-b7e4-46eaeb9ac521"},"summary_title":"20th Century"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-113547","uid":"adlib-term-113547","uuid":"842362d2-b32b-3590-8ed9-69487370fba7"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Cobridge"},{"@link":{"type":"reference"},"admin":{"id":"term-110045","uid":"adlib-term-110045","uuid":"8c30fae3-59fc-33dd-9f97-ccc44e63ae46"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Tunstall"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32652","uid":"adlib-term-32652","uuid":"82d8ae3b-f165-395c-ba93-dfa1c282b7be"},"summary_title":"glaze"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-42861","uid":"adlib-term-42861","uuid":"5b368285-f1a8-3dcf-a5b2-637fd3c3956c"},"summary_title":"earthenware"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"14.2"},{"dimension":"Width","units":"cm","value":"19.5"}]},"multimedia":[{"@link":{"type":"reference"},"admin":{"id":"media-15202","uid":"adlib-media-15202","uuid":"59e3c6e9-9cf3-3478-9c0f-e38e7cd17b65"},"processed":{"large":{"format":"jpeg","location":"aa\/aa6\/C_13_1998.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":550},{"dimension":"width","units":"pixels","value":760}]},"modified":1616255672441,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa6\/mid_C_13_1998.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":362},{"dimension":"width","units":"pixels","value":500}]},"modified":1616255672441,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa6\/C_13_1998.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":550},{"dimension":"width","units":"pixels","value":760}]},"modified":1616255672441,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa6\/preview_C_13_1998.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":181},{"dimension":"width","units":"pixels","value":250}]},"modified":1616255672441,"resizable":true,"type":"image"}},"sort":"0","type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-89480","uid":"adlib-term-89480","uuid":"f1ea518e-351c-3f42-b2a7-db0f8559fa2c"},"summary_title":"vase"}}],"note":[{"type":"history note","value":"Cheffins, Grain & Comins, Cambridge, 13th May 1998, Pottery, Porcelain & Glass, lot 37"}],"objects":[{"@link":{"cascade":true,"role":[{"value":"same designer"}],"type":"reference"},"admin":{"id":"object-28611","uid":"adlib-object-28611","uuid":"455804a2-5849-3a61-b274-c3b159451513"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-89400","uid":"adlib-term-89400","uuid":"194f8c99-93e1-30de-9465-9209222dafaa"},"summary_title":"jug"}},"summary_title":"jug"},{"@link":{"cascade":true,"role":[{"value":"same designer"}],"type":"reference"},"admin":{"id":"object-28620","uid":"adlib-object-28620","uuid":"81773a05-0c3f-3d7f-abd8-7a74e4c7a044"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-89400","uid":"adlib-term-89400","uuid":"194f8c99-93e1-30de-9465-9209222dafaa"},"summary_title":"jug"}},"summary_title":"jug"},{"@link":{"cascade":true,"role":[{"value":"same designer"}],"type":"reference"},"admin":{"id":"object-28624","uid":"adlib-object-28624","uuid":"ca1ced12-17a9-3d0c-abda-ea9d2bc1541a"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107667","uid":"adlib-term-107667","uuid":"1b81c806-cfb7-3291-9803-525db5f75e09"},"summary_title":"bowl"}},"summary_title":"bowl"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Cf. 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Charlotte trained at Fenton School of Art and from 1901 worked at a succession of potteries as a decorator. From 1912-1926 she worked for her father, Frederick, who was art director at Wood & Sons, and at their subsidiaries Bursley Ltd and the Ellgreave Pottery Co; some of this work appeared under her own back-stamp as \u2018Lottie Rhead ware\u2019. By 1926, she had joined Burgess & Leigh, and from 1932-c.1942 designed art-ware and other products for A.G.Richardson & Co. In 1942 she returned to a Wood & Sons subsidiary, H.J.Wood, remaining there until her death. Although best known for her popular tube-lined designs, Charlotte Read also introduced new shapes and innovative glazes, including \u2018broken\u2019 (mottled) glazes and a thick matt white \u2018snow glaze\u2019 which attracted interest in the trade press."},{"value":"Established as Hulme and Booth in 1851, Burgess & Leigh produced blue and white domestic and ornamental wares for the home and export market. A design Studio was introduced on moving to the Middleton Pottery, in 1889, and in the 1920s\/30s the company became known for hand-painted art deco ware. In 1926,  Burgess & Leigh announced in Pottery Gazette the recruitment of \u2018the accomplished lady artist Charlotte Rhead who has produced for us a number of original decorations, all pure Handcraft , combining grace and dignity\u2019.  \u2018Florentine\u2019 was one of her last designs for the business, which by then employed 500 people."},{"value":"\u2018Florentine\u2019, pattern number 4752, was advertised as a new pattern, \u2018Burleigh Florentine ware\u2019 available in an extensive range of vases and bowls\u2019, in 1932. 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W. L. Glaisher"}],"component":[{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32652","uid":"adlib-term-32652","uuid":"82d8ae3b-f165-395c-ba93-dfa1c282b7be"},"summary_title":"glaze"}}],"name":"Decoration","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-122641","uid":"adlib-term-122641","uuid":"d5fb75d8-097d-3fd7-8e70-87e9d96d77f7"},"summary_title":"glazing"}}]}],"department":{"value":"Applied Arts"},"description":[{"value":"Buff coloured stoneware, relief moulded jug, smear glazed."},{"value":"Inverted-coneshaped body, with flared neck and lip and an over-arching handle, set on a low pedestal foot. The exterior covered with relief moulded designs. Round the middle are two scenes: the first shows a man lighting his pipe before a fire while his dog looks on and behind him companions are drinking in an ale house; in the other, Tam o\u2019Shanter rides though a wood, pursued by two flying figures, one of whom grasps  the horse\u2019s tail. The handle is moulded in the form of a hand clutching a horse\u2019s tail. Ornate patterns run around the neck and foot: a wreath of thistle between rhe body and the neck and a leaf scroll beneath the neck rim. The outside is smear-glazed, the interior fully glazed and shiny. The underside is recessed and smear-glazed."}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-1313","uid":"adlib-exhibition-1313","uuid":"a1af3737-e16d-3118-bc9b-7dcc4b70b56b"},"summary_title":"The Essential Horse"}],"identifier":[{"accession_number":"C.1273-1928","primary":true,"type":"accession number","value":"C.1273-1928"},{"priref":"107884","type":"priref","value":"107884"},{"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"source":"Glaisher notebooks Vol 2","type":"old object number","value":"2207"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/107884","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/107884"}],"inscription":[{"location":"underside of base","method":"impressed","transcription":[{"value":"Published by\/ W. 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Trained by their father Job, the brothers William and John had already gained a reputation for drab (coloured) stoneware  decorated with stoneware  crisply finished applied relief sprigs when William Ridgeway established Church Works, Hanley, in 1831. With his partner James Leonard Abington and (later) his son Edward, by 1843 he operated six separate pot-works in Hanley and Shelton. He was also a noted philanthropist, building alms houses and a school for local children \u2013 many of whom he employed in his potteries. William Ridgway & Co. (later Ridgway and Abington)  became particularly known for relief-moulded jugs, for which it is likely that Abington was the modeller. One of the first to offer such jugs, in the early 1830s, they produced some 26 designs over the next 30 years. Other potters followed, notably Minton and Charles Meigh, and relief moulded jugs (some with ceramic or metal lids) in a wide variety of design became a popular household mainstay for water, beer milk and other liquids which might now be kept in bottles, cans or plastic jars."},{"value":"The jug, one of several in the Fitzwilliam Collection, is an example of  the\u2018artistic\u2019 relief moulded jugs which were popular in mid 19th Century homes.  The scenes are taken from Robert Burns\u2019 narrative poem  \u2018Tam o\u2019Shanter\u2019; the story ends with Tam pursued by witches, who pull off his horse\u2019s tail just before his escape. The smear-glazing makes the most of the way that colour-stained clays show off crisply-moulded ornament, whilst the stoneware would be durable in an everyday setting. The modelling follows engravings by J.Thompson and by Slader of  Thomas Landseer\u2019s illustrations for Marsh & Miller\u2019s 1830 edition of Tam o\u2019Shanter. The poem, written in 1790, was widely known at this time and used as a source by other potters too: the British Museum holds a 1934 relief moulded jug by Machin & Potts of Burslem, which carries a similar but differently modelled design (Cat. 1887,0307,R.12).  \u2018Tam O\u2019Shanter\u2019 was also used as a brand name for products, such as pipe 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Plate 46, showing both sides of a very simiar jug (b\/w); Plates 47 & 48, engravings by J.Thompson and by Slader of illustrations by Thomas Landseer for Marsh & Miller\u2019s 1830 edition of Tam o\u2019Shanter; Plate 49, a variant of this jug with \u2018linen fold\u2019 decoration replacing the Tam o\u2019Shanter scenes; Plate 50, an example of Ridgway impressed mark.","page":"65-66","type":"reference"},"admin":{"id":"publication-2707","uid":"adlib-publication-2707","uuid":"7930037b-b9e9-33ee-9c08-7542049d8e4e"},"summary_title":"Relief-Moulded Jugs 1820-1900"},{"@link":{"notes":"Cf. a very similar jug, held in the V&A collection (no.C.40-1969); also information about Ridgway sprig decorated stoneware (illustrated p.144, V&A no.C.38&A, made 1810-20).","page":"143-45, 182, 184","type":"reference"},"admin":{"id":"publication-5541","uid":"adlib-publication-5541","uuid":"5f1c299b-a6dd-3621-9e7b-128c00e539b3"},"summary_title":"English Pottery 1620-1840"},{"@link":{"notes":"Cf. 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Marked as designed by Clarice Cliff, items in this series have a cream ground and are decorated with a relief, polychrome fish."},{"value":"Clarice Cliff (1899-1972) joined the pottery industry at 13, as a paintress. She joined A J Wilkinson in 1916 as a lithographer, rising to become a modeller and shape designer. After local evening classes, she studied at the Royal College of Art. In 1929, A J Wilkinson introduced her colourful Art Deco \u2018Bizarre\u2019 series, which established her as a well-known designer. In 1940 she married Arthur Colley Shorter, the managing director, and through him became a major shareholder in the family group, founded in the 1870s, which comprised Wilkinson, Newport Pottery and Shorter & Son. Her younger sister Dolly Cliff also worked at Wilkinson\u2019s, supervising a team of specialist decorators, and some of her designs were later issued under Clarice\u2019s name."},{"value":"\u2018Fish ware\u2019, one of Shorter & Son\u2019s most popular designs, was first introduced in the late 1920s or early 1930s. A version similar to the Fitzwilliam items, and attributed to Clarice Cliff, is illustrated in \u2018The Quiver\u2019, December 1936, described as \u2018in a delicious matt cream glaze in pottery [with] only softly subdued turquoise fins as colour accent'. 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The exterior is coated in a mustard-cream slip and painted in thick vertical strokes of brown over blue-green, such that most of the neck, shoulder and upper of the body appears brown with blue-green and cream highlights, while the lower body is mainly mustard-cream, with the colours guided in thin runs to the base. The inside of the neck is unevenly covered with thin slip. The underside is slightly concave and painted with slip and some brown colour. 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