Teapot, "Rebecca at the Well" genre scene, James & Ralph Clews, (1834)

Although greatly in vogue in America, the majority of this under-glaze, blue transfer-printed earthenware was produced in the Staffordshire area of England. The century-old process of engraving on paper was first adapted to decorating pottery in 1751 by Irish engraver John Brooks while he lived in Birmingham. By 1810, after the end of the Napoleonic War and the signing of the peace treaty with America, a growing export trade was established between Europe and the United States. Between 1820 and 1840 the production of blue and white wares peaked, and they were being exported worldwide. Other colors of Staffordshire were initially popular on an international scene although blue remained America’s favorite.

The Printing Process
The beginning of the 19th century was an era rich in innovations and improvements in the ceramic industry. The greatest advance in transfer printing was due to the invention of a machine for making tissue paper. This enabled a significant change in ceramic printing. In order to have the image appear in the positive on a piece of pottery it had to be transferred from an engraved metal plate to paper, and then to the ware. Achieving a clear impression of the pattern was made far easier with the invention of this light-weight paper, and engravers were suddenly able to reproduce a clear, near-perfect impression.

Another popular style of the time, quite the opposite of the delicacy of tissue paper transfer, was the “flowing” technique, which created a rough image. While firing the pottery glaze, cups filled with volatile mixtures, including lime and chloride of ammonia, were placed in the kiln, causing the glaze to run. This technique was used to produce a softer image which blurred the printed effect, covered printing faults and stilt marks, and hid other defects such as glazed bubbles. However, many of the pieces printed in a very deep blue ran to such an extent that the design became completely obscured; hence the name, "Flow Blue."

The Designs
The earliest designs were based on Chinese chinoiserie motifs. English potteries continued the 18th century practice of imitating Chinese wares well into the 19th century. The Chinese willow pattern is traditionally regarded as the first original design to be produced in under-glaze blue on earthenware and was so popular it was copied in many variations based on Chinese motifs. By the early 19th century, however, the vogue shifted from oriental scenes to scenic vistas. Spode is known to be one of the first firms to break away from the oriental convention and introduce the Italianate Series of scenic motifs. These scenes were commonly derived from engravings published in the late 18th century. Between 1810 and 1840 patterns became very diverse, from romantic pastoral landscapes to domestic genre subjects. As tastes changed, a preference developed for country portraits and views of well-known places. The subject of these wares was strongly influenced by dominant trends in English watercolor. Firms like William Adams copied sketches of abbeys, castles, and colleges, whereas the more prolific Enoch Wood used American buildings and scenery. Moreover, many designs were reproduced from volumes of prints and sketches made by traveling artists. Published engravings including "Beauties of America," produced by Ridgway, and "Hudson River Portfolio" were the sources for many transfer-printed designs for the American market.

Plate: Lafayette at Franklin's Tomb, James & Ralph Clews plate (Clews plates are identified by the floral border)

Collectable Characteristics
Staffordshire comes most frequently in the traditional deep blue, but it can also be found in less popular mulberry, browns, greens, and plain black on white. The indigo blue is the most desirable color, and consequently the most valuable. Exceptionally, Staffordshire decorated with sketches of New Jersey Quaker Richard Jordon, a well-known 19th Century evangelist and abolitionist, were more commonly reproduced on earthenware in these other shades. While these pieces do not quite achieve the value of fine indigo Staffordshire, their popular subject matter makes them of greater value than other pink, brown, and green pieces.

The scenes depicted on any given piece of Staffordshire had always varied greatly though most were pastoral scenes of rural America or Britain, or even vignettes of colonial India. However, as the art of the Staffordshire earthenware expanded, the subject matter became somewhat unique among the domestic arts. Popular tastes demanded not only patriotic scenes with the Marquis de Lafayette and George Washington’s grave, but also more unconventional scenes like portraits of the new insane asylums of the American Northeast, the first institutions devoted exclusively to the care of the mentally ill. The subject matter is, in fact, the most important element of Staffordshire china: along with the border design it is the identifying mark of the maker and the definitive aspect of its artistry.

Two James & Ralph Clews plates. Left: Genre scene depicting "The Escape of the Mouse," (1815-1834). Right: The Landing of General Lafayette, Any subject with Lafayette was very popular when he came back to Colonial America to visit in 1824

As with all antique china, certain elements of a piece make it more valuable than others. For the first twenty or so years of production, Staffordshire came only in full sets though today it is most frequently sold separately. By nature, hollowware, such as bowls, pitchers and teapots, is more valuable, just as certain themes are more valuable than others. The maker can be identified most readily by the under-glaze stamp mark or by the design on the border of the plate or bowl: borders of eagles or rosebuds, for example, are associated with specific manufacturers. Clews, a manufacturer also known for pieces featuring Lafayette, made pottery identifiable through a specific floral border.

Some plates are made with a pattern of medallions on the rim, often portraits of famous Americans, and these are extremely valuable in their scarcity. A piece with four medallions is more valuable than a similar piece with only two. A series of plates based on the contemporary “Dr. Syntax” caricatures by Thomas Rowlandson was begun in the 1820s. Featuring vignettes of daily life in 19th century England, these pieces depicted the fictional narrative of a roving Dr. Syntax. These adaptations were produced by Clews pottery.

Certain types of restoration make the pieces less valuable. It is easy to hide marks of restoration, but the signs can be discerned with a small black light. Riveted restorations done as early as the late 19th century can be found on some of these pieces, and Staffordshire with this type of repair is actually a collectible in and of itself, though it remains less valuable than if the piece had not been broken.

When collecting transferware, identifying and dating pieces is quite simple. Early Staffordshire plates can be identified by searching for three small raised marks on the back; hints of stilts used for support during the original firing. And in addition to the backstamp, from 1842 to 1883 English items carried a diamond shaped registry mark which could be deciphered to reveal the actual day a pattern was registered. Other marks include “Limited” (or an abbreviation such as “Ld.” or “Ltd.”) which was generally used in the 1880’s. Any piece having the word “Trade Mark” was manufactured after the Trade Mark Act of 1862. The word “England” often appeared on items after 1891 to comply with the McKinley Tariff Act, and “Made in England” indicates 20th Century origin.

These historical scenes on earthenware not only encapsulate ordinary life in the early 19th century, they represented notable events in the history of our country. Whether you are looking to adorn your sideboard or complete a country Victorian table setting, blue and white Staffordshire is still attainable at affordable prices. Although of English origin, historic Staffordshire is the window to our American past.