Landscapes
Contents of this page:
California (Moore & Co)
Circular landscape plaques
Cows and ruin
Cuyp (Moore & Co)
Eddystone lighthouse (Garrison)
Express – landscape with a train
Gothic folly
Hunting scenes (Moore & Co)
Landscapes that appear on John Carr & Co plates
Oriental landscapes
Punting and fishing
Romantic landscapes (Garrison)
Staffordshire plaques with landscapes
Waverley, and Chantry (Moore & Co)
Unidentified Moore & Co landscapes with large houses
Other landscapes
California (Moore & Co)
Circular landscape plaques
Cows and ruin
Cuyp (Moore & Co)
Eddystone lighthouse (Garrison)
Express – landscape with a train
Gothic folly
Hunting scenes (Moore & Co)
Landscapes that appear on John Carr & Co plates
Oriental landscapes
Punting and fishing
Romantic landscapes (Garrison)
Staffordshire plaques with landscapes
Waverley, and Chantry (Moore & Co)
Unidentified Moore & Co landscapes with large houses
Other landscapes
California
Left: a Samuel Moore & Co plaque showing a man prospecting for gold, from the Sunderland Museum & Winter Gardens, Tyne & Wear Archives & Museums collection. Centre: the mark on the reverse of the left plaque. Right: a similar plaque with the same mark on the reverse. The California gold rush began on 24 January 1848, supporting the theory that the numbers on these Moore & Co plaques, in this case 'California 48', correspond to the year and not a pattern number (see 'Waverley 49' and 'Hunting 50' below).
Circular landscape plaques
Left plaque shows a boy with goats; the right a girl with chickens. See the Prepare to meet thy god page for a similar shaped plaque with an impressed mark with the Stockton coat of arms – an anchor and cable impaling a castle - used by the Stockton Pottery of Thomas Ainsworth. The pottery was founded in the 1840s and closed in 1901.
Cows and ruin
An exceptionally rare, purple and green bordered plaque, with cows before a ruin.
Aelbert Cuyp
Plaques by Samuel Moore & Co with a transfer after the Dutch landscape painter Aelbert Cuyp (1620–1691), famed for his paintings of cows (see top centre). Top right, a plate with cows from the same series. Both the plate and the plaques have the same printed mark with garland and cowhorns.
http://en.wikipedia.org/wiki/Aelbert_Cuyp
http://en.wikipedia.org/wiki/Aelbert_Cuyp
Eddystone lighthouse (The Edystone)
The transfer is titled 'THE EDYSTONE' and shows Smeaton's lighthouse, which was first lit in 1759. It remained in use until 1877, when erosion of the rocks underneath made the structure unsafe. The plaque, which is from the Sunderland Museum & Winter Gardens, Tyne & Wear Archives & Museums collection, has the impressed Dixon, Phillips & Co anchor mark (1839–c1850).
Express – landscape with a train
There is a name plate on the engine reading 'EXPRESS'. Grabham writes in his book on Yorkshire Potteries that the Express 'ran between Liverpool and Manchester about 1827–1830'.
These plaques are Adams Pottery, 20th century reproductions, made in Staffordshire. Read more here. See p143 of the 5th edition of Griselda Lewis' 'A Collector's History of English Pottery' for two mugs with this transfer and the printed mark 'RAILWAY W. ADAMS & CO ENGLAND'.
These plaques are Adams Pottery, 20th century reproductions, made in Staffordshire. Read more here. See p143 of the 5th edition of Griselda Lewis' 'A Collector's History of English Pottery' for two mugs with this transfer and the printed mark 'RAILWAY W. ADAMS & CO ENGLAND'.
Gothic folly
These plaques are attributed to John Carr's Low Lights Pottery, North Shields. The description under the right image (click to enlarge), from Battie and Turner's 'The Price Guide to 19th and 20th Century British Pottery' (reprinted 1990 by the Antique Collectors' Club), confused me at first. However, I am now satisfied that the impressed mark on this plaque reads 'LONDON' and not 'MOORE'. Read more here.
Hunting scenes
A series of for 'sporting' transfers by Moore & Co. The printed marks are on the reverse of the plaques to the left of them. The second, with 'SPORTING. 50' also appears on the rectangular plaque to the right of it. Perhaps the '50' indicates 1850. The plaque with 'SPORTING' alone is almost certainly an earlier example. Dick Henrywood points out that 'SPORTING. 50' isn't centred within its oval frame, suggesting the '50' was added at a later date. Note also the 'MOORE & Co' impressed mark beneath 'SPORTING. 50'.
The next two plaques are unmarked, but of a smaller form associated with John Carr. The right plaque has patches of blue in the copper lustre border. Anderson and Garland write in one of their catalogues: NB the blue is in fact the under painting for the copper lustre. Copper lustre is just pink lustre but shows copper when applied to dark colours. Brown or green were the normal colours used, and blue is an unusual choice.
The next two plaques are unmarked, but of a smaller form associated with John Carr. The right plaque has patches of blue in the copper lustre border. Anderson and Garland write in one of their catalogues: NB the blue is in fact the under painting for the copper lustre. Copper lustre is just pink lustre but shows copper when applied to dark colours. Brown or green were the normal colours used, and blue is an unusual choice.
The plaques below are Adams' Staffordshire Pottery reproductions. The left plaque has a printed mark that was used at their Greenfield site 1914–1955, and at their Greengates site 1914–1970.
Landscapes that appear on John Carr & Co plates
The above plaques are both unmarked. Transfers, apparently from the same copper plates, appear on daisy-bordered plates with the London impressed mark above an anchor (see top left and right below). A variation of the transfer appears on daisy-bordered plates marked J CARR & Co (see bottom left and right below). Read more here.
Oriental landscapes
Punting and fishing
Romantic landscapes
Top two rows: variations of two transfers of Middle Eastern landscapes with camels and horses. Most with the impressed mark 'Dixon Co'. Bottom left: a romantic scene with castle and bridge (the impressed mark on the reverse is shown to its right). Note the red-pink 'snail' shape that appears in the centre foreground of both the top left and bottom left plaques. A variation of the castle transfer appears on plaques with scalloped corners (see below).
Staffordshire plaques with landscapes
Small black and white plaques made in Staffordshire. The rectangular plaques are 5.5" x 4.5", and the circular is 5.5" diameter. Read more about these plaque forms here.
Waverley, and Chantry
The top left and right are two unusually large plaques from Moore & Co, with the printed mark Waverley on the reverse. Their subject is a scene from the novel of that name by Sir Walter Scott. Baker suggests a date of circa 1840. The lower left picture shows the back of the plaque above it. The lower right shows the transfer on the reverse of the pink plaque beside it. Note the number '49' in the centre. Again, perhaps this refers its date. Dick Henrywood points out that 'WAVERLEY 49' isn't centred within its vine leaf frame, suggesting the '49' was added at a later date.
Above is a similar large black-bordered plaque, also Moore & Co. The two scalloped-cornered versions both have the printed mark 'Chantry' on their reverse, and the initials 'S M & Co'. Anderson and Garland Auctioneers wrote in their catalogue description of the bottom left plaque that Chantry 'is based on an engraving of the Italian terraces designed by Charles Barry at Trentham Hall, Staffordshire, for the Duke of Sutherland.' I've yet to substantiate this as I haven't seen a print of the suggested source. A variation of the printed mark appears with the number '52'. In this case on the base of a washing jug and bowl.
Landscapes with large houses
The first with the impressed mark 'MOORE & Co'.
Other landscapes
