English Registration Codes

There seems to be a lot of confusion among dealers and beginning pottery collectors when it comes to the English Pattern Registration diamond system in effect from 1842 to 1883.

The system had two purposes: to identify a piece of pottery as being of English origin; and to offer a degree of "copyright protection" to the designer of the piece. Many pottery companies took advantage of the system to protect their more original designs, though the degree of protection offered was fairly limited. These registration numbers are commonly found on the base of English majolica. Although by themselves they do not tell you anything about the manufacturer of the piece nor the age of the piece, they can tell you when the design was created and after what date the piece was created.

There were two basic code systems put into effect during this period. From 1842 to 1867 there was one system where the number designating the day of the week is found in the code on the right, the month on the left and the year at the top. Then from 1868 to 1883 there was another, where the number designating the day of the week is found in the code on the top, the month at the bottom and the year on the right. Here is a graphic to explain the two systems:

The Rd stands for Registered Design and appears on all registration marks.  The classification IV identifies the piece as pottery. (A piece of glass would have the designation III, a wood design would have a II, a metal design would have a I and so forth.)  The bundle refers to the number of items included in the classification. The other symbols, for month, day and year are self explanatory. 

An entry from the English registration books for a Minton lobster terrine

English registration entry for a Minton butterfly plate

So, if for example you take the code pictured at the top of this post, one can see that this registration mark comes from the second classification system. If you follow the table you can see that this code appears on a design that was registered on November 17, 1876.

Registration guide from the Minton Archive

The system is so well known among pottery collectors that even those creating majolica copies have tried to mimic it as can be seen by the example below. These rather pathetic attempts fool no one as they are always crude and rather ridiculous. 

Base of reproduction corn pitcher

Fake English Registration mark

Starting in 1884, the diamond registration system was replaced by a numbering system. To read this you need to consult one of the printed guides that will tell you to who and when this design was registered. Below is an example of the line system.

English numeral registration code

By 1884 the golden age of English majolica production had past, with most manufacturers tapering their majolica output. Within ten years production on most English Victorian majolica would cease, and majolica pottery will have begun its long decline into a century of obscurity.

Brush McCoy Corn Ware Majolica

If you've done any substantial traveling around the United States, one of the most common types of majolica you're likely to encounter in antique shops is a specific line of corn shaped wares made by Brush McCoy known as Corn Ware or Cornline.

Designed in 1910 by McCoy designer John Cusick, who signed his wares at the base of the pitcher handles, Corn Ware was created at McCoy but fully flourished after McCoy's merger with the Brush Pottery in 1911. An expansive line, Corn Ware was made with pitchers in six sizes, ale pitchers in 24oz and 18 oz sizes, butter canisters in two pound and three pound sizes, cereal, salt and tobacco containers, wall pockets, condiments, a teapot and mugs. It was made in two color glaze as well as --after 1918-- in solid green. It is believed to have remained in production until about 1925 when the McCoy name was dropped from the Brush McCoy pottery.

Brush McCoy Corn Ware pitcher

Brush McCoy Corn Ware mug

Brush McCoy Corn Ware group

Brush McCoy Corn Ware advertising piece

Brush McCoy Corn Ware canister

Brush McCoy Corn Ware butter crock

Brush McCoy Corn Ware salt wall pocket

I have to admit, I've rarely seen a line of ware that inspires more adamiss among collectors than this one. Many majolica collectors absolutely despise these wares though I've never been exactly sure why. Both McCoy and Brush made majolica jardinieres and pedestals in the early years of their existence so majolica was long part of their output. From what I have seen, collectors of Victorian majolica generally do not include these majolica wares in their collections possibly because of the late production dates or general nature of this majolica which was rather rustic and not as finely detailed as the earlier majolica. But make no mistake about it, this pottery is the Twentieth Century successor to Victorian majolica and should still be considered in the same classification.

Price wise these are generally inexpensive pieces with most selling for less than $100. They are also easy to find so they are a good pattern for beginner collectors who are looking to add a little majolica to their decor.

Griffen, Smith and Company's Pandora Pattern AKA Classical Pattern

Etruscan Majolica Pandora group

One of the most significant things we uncovered in doing the research for my book, Etruscan Majolica: The Majolica of Griffen, Smith & Company is the true identity of the Etruscan pattern generally known as the "classical" pattern.

We really have no idea who came up with the pattern name "classical" but we do know that Charles Rebert popularized the term in his book American Majolica 1850-1900. From there it was picked up by Marianne Marks in her early majolica guides and from that point the term spread across the general majolica universe like wildfire. The same is true of the so-called "albino" wares. This is how misinformation is generally spread.

Until our books were released a few years ago there wasn't any real reason to call this "classical" series anything else but now that we have uncovered the real name of the series, Pandora, this is how it should be properly referred to.

Pandora first appeared in the Etruscan line in 1886, two years after the 1884 International Cotton Exposition brought the company great good fortune. Designed by Etruscan Works master decorator W.H. Edge, the line was meant to expand the GSH catalog by offering a different line of earthenware from the gaudier majolica that was beginning to fall out of favor. Although the entire line was glazed using majolica lead glazes the company did not consider Pandora a majolica pattern. It was marked with the non majolica Good Strong and Handsome logo and was glazed in a variety of monochromatic and duo chromatic glazes, both with gold banding. Only a very small percentage of the line is marked with the GSH Etruscan Majolica logo and covered in multicolored glazes.

The pattern design is a complex one. The plates feature an intaglio representation of John Flaxman's sculpture, "Mercury bringing Pandora to Earth" in the center.

The bowls, compotes and other shallow serving pieces feature an intaglio representation of M.E. Rietschell's "Cupid and Panther."

Other pieces have intaglio designs of cockatoos and dogs on them. The borders of these pieces vary in their design. The largest plates have a complex lattice and acanthus leaf design. The smaller plates and the hollowware have a faux alligator pattern on them. The large bowls copy a Wedgwood designed border of grape vines with leaves and fruit and the small bowls have a simple reeded border. The stand design is taken from the company's Morning Glory card stand with the Cupid and Panther motif substituted for the morning glories of the earlier majolica design. The tea wares have only the faux alligator pattern on them. The plates and serving bowls are much more common than the hollowware which is scarce.

 Etuscan Majolica Pandora dinner plate

Etruscan Majolica Pandora bowl

Etruscan Majolica Pandora dessert plate

Etruscan Majolica Pandora card stand

Etruscan Pandora tea set

This rather eccentric combination of motifs is unified by the monochromatic and duo chromatic glaze treatments that are used across the entire line. Where the pattern can be found in a variety of colors, the most common monochromatic color used is a dusty rose, a color that compliments the faux alligator treatment of the hollowware. The most common duo chromatic treatment features a green center with a rose colored border. This treatment is similar to the Tremblay wares, a commonly used mode of decoration found in English and French intaglio ware. The smaller plates are frequently seen in yellow with a green center.

Etruscan Majolica dinner plate

The pattern can also be found in a decorated earthenware called Ivory Ware by the company.

Etruscan Majolica Pandora Ivory Ware cup & saucer with decal decoration

The line is reported to have been quite successful in its day though that success has not translated to modern tastes. Along with the decorated earthenware made by the company, Pandora is not very popular today. This accounts for low prices across the board for most pieces in the line. A minor exception can be made for the Pandora plate with a dog on it, which has remained popular with dog lovers.

Etruscan Majolica Pandora dog plate

Ironically the only other popular piece is the centre bowl, the single Pandora designed piece that was most frequently decorated in multicolored glazes, the very glaze treatment it was made to replace. Other pieces with multicolor glazes surface rarely.

Rare full color Pandora dinner plate

Etruscan Majolica Pandora bowl in multicolor glazes

For more information on Pandora, as well as the other Etruscan patterns refer to my book, Etruscan Majolica: The Majolica of Griffen, Smith and Company

The most recent edition of my book

This post has been updated since it was first posted

Thanks to The Hunt magazine

We would like to thank Susan Hanway Scott for her mention of our Etruscan books in her September  post on The Hunt magazine Web site.

In her article Phoenixville Majolica: The whimsical wares that took America by storm she mentions us and quotes us on the factors that should be considered when buying Etruscan Majolica.
It's a lovely little article aimed at the general antiques collector and we appreciate the mention.

If you'd like to read the article for yourself go to The Hunt magazine Web site.

Victorian Majolica Splendor

We were delighted to come across an article from Antiques and Fine Arts magazine on the restoration of a classic Victorian house on New York's Upper East Side. The mansion, formerly the property of Louis Comfort Tiffany,  has been lovingly restored to its full Victorian splendor by current owners Michael and Margie Loeb, and as befitting the period, has been beautifully stocked with Victorian decorative arts including majolica.

The story behind this museum level restoration is a fascinating one and well worth a look. To read the entire article including additional photos go to the AFA News Web site.

Collectable Majolica Butter Pats

A few years ago, when the price of majolica was a its peak, collecting majolica butter pats was as expensive, if not more expensive, than collecting majolica plates or platters. It was not uncommon to see these tiny plates bring several hundred dollars a piece at auctions and antique shows. Since then the market has leveled out quite a bit and the prices of most pats has come down from the astronomical levels of that time to a somewhat more reasonable level. That's not to say that you won't still come across pats that command high prices because you will but unlike then, you can still put together a nice little collection of butter pats without mortgaging the house.

Butter pats, also referred to as butter chips, are tiny little plates used at the well set Victorian table to hold butter. Like everything else, Victorians had a special serving piece to hold your butter, the butter pat. They were made in all kinds of ceramic bodies and can be found in transfer ware, flow blue, ironstone, etc. of which the most colorful were majolica.

Every major majolica manufacturer made them and the variety can be staggering.

Wedgwood

Wedgwood

George Jones

Wedgwood

Adams & Bromley

Joseph Holdcroft

Wedgwood

Etruscan

Etruscan

Etruscan

Hawley & Co.

George Jones

Holdcroft

Fielding

Etruscan

Etruscan

Etruscan

Fielding

Shorter & Boulton

Etruscan

Tenuous

Wedgwood

Tenuous

Copeland

Holdcroft

Etruscan

Etruscan

Etruscan

Etruscan

Etruscan

Wedgwood

Holdcroft

Tenuous

Samuel Lear

George Jones

Etruscan

Fielding

Hawley & Co.

Fielding

Fielding

Joseph Holdcroft

Adams & Bromley 

Attributed to Hawley & Co.

Wardle Chrysanthemum 

Samuel Lear

So what constitutes a collectable, desirable butter pat? Just about anything! Like in any other type of majolica color, condition, design and rarity will affect the price. Name manufacturers also affect price. The two colorful Jones pats shown above can command prices of $250-$400. Colorful Wedgwood and Holdcroft pats generally bring around $100-$200 on the retail level, as do some of the more desirable Fielding and Etruscan pats. The others generally bring in the $25-$100 range.

The majority of majolica pats that are fresh to the market will require cleaning. The fat inside the butter will discolor the pat significantly. You should either clean them yourself using hydrogen peroxide and great care with the directions we supplied in this blog or have a professional restorationist do it for you. Only then can the full beauty of the majolica colors shine through.