I was wondering if anyone could shed some light on pattern longevity. In studying a number of mid 19th century transferware patterns, I've noticed that some seemed to be produced for quite a long period of time, which seems unusual given the number of patterns produced at that time. For example, "Roselle" was registered in Aug 26, 1848 by J. Meir & Son. One example has the diamond registry mark for the pattern but also has an impressed back mark that registered the shape "Memnon" on Feb 4, 1857. Another example is marked "Roselle" by J M & Son and also includes "England" suggesting it was made after 1891/2. Did some manufacturers churn out the same pattern, in this case, for nearly 50 years (keeping in mind that there were many, many other patterns to compete with) or did they simply pull the pattern out of the 'archives' after a couple of decades? Is it possible that they were making old patterns to be sold as replacement items for broken dishes in a set purchased years ago by consumers? This is not to be confused with some of the late 19th/early 20th century 'turn back the clock' patterns produced by Spode and others. Unfortunately, I'm told that bills of lading from importers & country stores do not give a description of the pattern names so are there other resources to investigate that might shed light on this? Thanks for any comments or information.
Re: Pattern Longevity
Posted by Andrew J Pye on February 6, 2013, 7:14 am, in reply to "Pattern Longevity"
Tim Pattern longevity is not at all unusual. A transfer printed pattern needed a complete set of engraved copper printing plates, which represented a considerable investment up front, so decent sales would be needed to recoup that. Also once engraved the plates could be used for many years, provided they were used carefully and repaired etc as necessary. Spode's Italian pattern has been in continous production from 1816 to the present day, their Tower pattern virtually continous in different versions from 1814 to a few years ago. Asiatic Pheasants from about 1830, made by many, many potters in its hey day around 1880 and still made today by Burleigh. Burleigh's Calico pattern introduced in the early 1960s and still made today. Rhine pattern another Meir pattern, which was produced by a number of other potteries as well, over a long period. Roselle was made from 1848 through to about 1917, as Adams continued it after they took over the Greengates Pottery from Meir, having acquired the factory plus all contents, paterns etc. It was not unusual for a set of copper plates for a pattern to pass through the hands of 3 or 4 different potters, who may or may not have used the same name for the pattern. Texian Campaigne kept the same name, but was made over a long period by three different, successive owners of the printing plates. Not all patterns would have been in continous production and some may have been rested for a few years and then brought out again. Some like the 19th Century pattern Arcadian Chariots were acquired by a fresh owner Cauldon, re-engraved and re-launched as Blue Chariot in 1924, selling steadily up to the 2nd World War. Adams made Abbey Wreath pattern in the 19th Century and George Jones acquired the printing plates at the bankruptcy sale in 1861, but did not relaunch it as their own Abbey pattern until 1901, from when it sold well until the 2nd World War again. It is said that one printer at the the Weatherby pottery spent his entire 40+ years there printing only their popular flow blue Belmont pattern. So longevity is by no means uncommon. Regards Andrew
Thanks again for your comments, they are very helpful. In regards to the "Roselle" pattern being produced through to about 1917 - how was it determined that the actual pattern was made until then (back mark styles, other attributes..)? Also, in regards to the copper plates, is there any evidence that named patterns that utilized different central designs (ie. "Bologna" by Adams, "Palestine" by Adams, "Sydenham" by Clementson, "Columbia" by Adams, "Seasons", etc) would have fetched a premium price in the 19th century over printed patterns that had the same central design on each piece in a set?