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)
Oriental landscapes
Punting and fishing
Romantic landscapes (Garrison)
Waverley, and Chantry (Moore & Co)
Windmill
Unidentified Moore & Co landscapes with large houses
Other landscapes

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).

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.
  

An exceptionally rare, purple and green bordered plaque, with cows before a ruin.

A plaque 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 plaque have the same printed mark with garland and cowhorns.

http://en.wikipedia.org/wiki/Aelbert_Cuyp

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.
 

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 likely 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'

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 mark below, which is on the plaque to its left, is later, from Adams' Staffordshire pottery.  It was used at their Greenfield site 1914–1955, and at their Greengates site 1914–1970.  There is nothing similar to this plaque in Furniss, Wagner and Wagner's book on 'Adams Ceramics', except a lustre jug with a print of the 'Shipwright's Arms' and 'Ship Caroline' (p231) with a similarly large suggested date span (1917–1970). The plaque to the right is unmarked.

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).

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.

The first with the impressed mark 'MOORE & Co'.