1

DAACS Cataloging Manual:

Ceramic Pattern Appendix

By Lynsey Bates

MAY 2014
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A PPENDIX 2: P ATTERN N AMES

This Appendix contains two sections, one on transfer printed patterns (2A) and one on
handpainted patterns (2B).

APPENDIX 2: PATTERN NAMES .............................................................................................. 1

2A: TRANSFER PRINT PATTERNS, NOTES, AND REFERENCES ................................................... 4
ASIATIC PLANTS ............................................................................................................................... 5
BEE MASTER ................................................................................................................................... 6
BELZONI ......................................................................................................................................... 7
BOUQUET ....................................................................................................................................... 8
CALEDONIA ..................................................................................................................................... 9
CHEVY CHASE ................................................................................................................................ 10
CYRENE ........................................................................................................................................ 11
DOGS ON THE SCENT ...................................................................................................................... 12
FLOWERS AND LEAVES..................................................................................................................... 13
FLOWER, SCROLL & MEDALLION ....................................................................................................... 14
GENOA ........................................................................................................................................ 15
“GOAT” ....................................................................................................................................... 16
GRECIAN ...................................................................................................................................... 17
MEDINA ....................................................................................................................................... 18
ORIENTAL ..................................................................................................................................... 19
PINWHEEL PATTERN ....................................................................................................................... 20
POMERANIA .................................................................................................................................. 21
RHINE .......................................................................................................................................... 22
SCENE AFTER CLAUDE LORRAINE ....................................................................................................... 23
SPANISH PROCESSION ..................................................................................................................... 24
SYDENHAM ................................................................................................................................... 25
SYRIAN ......................................................................................................................................... 26
WILD ROSE ................................................................................................................................... 27
WILLOW PATTERN.......................................................................................................................... 28
UNIDENTIFIABLE............................................................................................................................. 29
REFERENCES: TRANSFER PRINT PATTERNS ........................................................................................... 30
2B: HANDPAINTED PATTERNS NAMES, NOTES AND REFERENCES ......................................... 31
ALTAR OF LOVE .............................................................................................................................. 32
CANTON ....................................................................................................................................... 33
CHINESE LANDSCAPE PATTERN 1 ....................................................................................................... 34
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CORNFLOWER................................................................................................................................ 35
DAGOTY ET HONORE, PARIS ............................................................................................................. 36
FITZHUGH* ................................................................................................................................... 37
FLOWER BASKET ............................................................................................................................ 38
GRAPE, BAMBOO, SQUIRREL ............................................................................................................ 39
NANKING*.................................................................................................................................... 40
NOTE 1: NANKING AND FITZHUGH BORDER DESIGNS ............................................................................ 41
REFERENCES: HANDPAINTED PATTERNS .............................................................................................. 42
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2A: T RANSFER P RINT P ATTERNS , N OTES , AND R EFERENCES

Please refer to the following information and examples when identifying and selecting a
pattern.

Unless otherwise noted, the examples of vessels and borders are from the Transferware
Collectors Club database. ([Link]

Note: Enter “Unidentifiable” in the Pattern Name field for all transfer printed sherds for which
the pattern cannot be determined. The Pattern Notes field can be used for recording pertinent
information about the printed decoration on a sherd that might later facilitate the identification
of a pattern. For example, use this field to record the presence of a unique design element (e.g.,
camel, a rim band of roses, etc.).

Note: DAACS does not record Stylistic Elements or Motifs for transfer printed decorations. In
these cases, both Stylistic Element and Motif should be recorded as “Not Applicable.”
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A SIATIC P LANTS

Manufacturer: William Ridgway (1830-1834);

Ridgway, Morley, Wear & Co. (1836-1842)
Manufacturer Location: Shelton, Hanley,
Staffordshire

Notes:
Possible additional manufacturer: Minton c.
1840
*Central scenes vary

References:
P. Williams, 1978 (V1), p. 474.
Coysh and Henrywood, 1982 (V1), p. 38.
Neale, 2005, p. 99. Example 2

Border Image Ex. 2

Example 1

Border Image Ex. 1

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B EE M ASTER

Manufacturer: Unknown (possibly Hicks &

Meigh; or Adams)
Manufacturer Date Range: Unknown
Manufacturer Location: Unknown

Notes: Border and scene do not vary

References:
P. Williams, 1978 (V1), p. 474.
Coysh and Henrywood, 1982 (V1), p. 38.

Example

Border Image
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B ELZONI

Manufacturer: Enoch Wood & Sons

Manufacturer Date Range: 1818 -1846
Manufacturer Location: Burslem, Staffordshire

Notes: *Central scenes vary

References:
Williams and Weber, 1986 (V2), p. 522.
Coysh and Henrywood, 1982 (V1), p. 40.

Example 2 (hunting deer)

Example 1

Border Image Ex. 2

Border Image Ex. 1

Base Mark Ex. 2

Base Mark Ex. 1

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B OUQUET

Manufacturer: Knight, Elkin & Co. (K. E. & Co.)

Manufacturer Date Range: 1826 -1846
Manufacturer Location: Fenton, Staffordshire

Notes: Border and scene do not vary

References:
Coysh and Henrywood, 1989 (V2), p. 32.
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C ALEDONIA

Manufacturer: William Adams & Sons (1829 -

1861), Stoke-on-Trent, Staffordshire;
Middlesbrough (1834-1844);
Isaac Wilson & Co. (unknown)
Manufacturer Date Range: 1821 - 1861
(Adams)

Notes: *Central scenes differ

References:
P. Williams, 1978 (V1), p. 210.
Coysh and Henrywood, 1982 (V1), p. 67.
J. Snyder, 1997, p. 14. Example 3

Border Image Ex. 3

Example 1

Border Image Ex. 2

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C HEVY C HASE Alternate Version also called Chevy Chase

Manufacturers: Thomas Dimmock & Co.
Version 1 Manufacturer Date Range: 1828 - 1859
Manufacturer: Enoch Wood & Sons* Manufacturer Location: Hanley, Staffordshire
Manufacturer Date Range: 1818 - 1846
Manufacturer Location: Burslem, Staffordshire References:
Williams and Weber, 1986 (V2), p. 81.
Notes: *Central scenes differ in Version 1

References:
Williams and Weber, 1986 (V2), p. 210.
Coysh and Henrywood, 1982 (V1), p. 281.

Version 2

Version 1, Example 1
Version 2, Border Image

Version 1, Border Image Ex. 1

Version 1, Border Image Ex. 2

Version 2
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C YRENE

Manufacturer: Williams Adams and Sons

Manufacturer Date Range: 1829 - 1861
Manufacturer Location: Stoke-on-Trent,
Staffordshire

Notes:
Alternate manufacturers may include J & T. Base Mark Ex. 1
Lockett, and George Jones.
*Central scenes differ

References:
Williams, 1978 (V1), p. 248.
Snyder, 1997, p. 18.

Example 2

Example 1

Border Image Ex. 1

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D OGS ON THE S CENT

Manufacturer: Enoch Wood (possible)

Manufacturer Date Range: c. 1820
Manufacturer Location: Staffordshire

Notes:
*Central scenes may differ. Scene of Version 1
is most often cited as “Dogs on the Scent.”

References:
Coysh and Henrywood, 1989 (V2), p. 224. Version 2 (Neale 2005:31)
Neale, 2005, p. 31.

Close-up of central scene, Version 1

Version 1 (Coysh and Henrywood 1989:224).

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F LOWERS AND L EAV ES

Manufacturer: Henshall and Co.

Manufacturer Date Range: 1800 - 1828
Manufacturer Location: Liverpool

Notes:
*Sheet pattern with flower and scroll border,
not the border series.
Alternate manufacturer may be Herculaneum.

References:
Coysh and Henrywood, 1982 (V1), p. 141.
Neale, 2005, p. 134.

Example 2

Border Image, Example 2

Example 1
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F LOWER , S CROLL & M EDALLION

Manufacturer: William Mason

Manufacturer Date Range: 1800 - 1828
Manufacturer Location: Liverpool

Notes:
*This is a Border Series with many different
central scenes. Small vignettes within the
border should be consistent.

Alternate manufacturer may be Herculaneum.

References:
Coysh and Henrywood, 1982 (V1), pp. 141-
142.
Neale, 2005, p. 44.
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G ENOA Version 2
Manufacturer: Enoch Wood & Sons
Version 1 Manufacturer Date Range: 1818-1846
Manufacturer: Davenport Manufacturer Location: Burslem, Staffordshire
Manufacturer Date Range: 1794-1887
Manufacturer Location: Longport, Notes: Border does not vary. Central scenes
Staffordshire differ, usually “Italian Scenery” series.

Notes: References:
*Version 1: Border and scene do not vary. Coysh and Henrywood, 1982 (V1), p. 151.

References:
Williams, 1978, p. 277.

Version 2

Version 1

Border Image, Version 2

Border Image, Version 1

Base Mark, Ex. 1

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“G OAT ”

Manufacturers: Unknown
Manufacturer Date Range: c. 1825-1830
Manufacturer Location: Unknown

Notes:
Since no backstamp has been associated with
this pattern, it is generally identified as “Goat.”
It should not be confused with The Goat
pattern manufactured by John and Robert
Goodwin, c. 1844 - 1866 (Williams 1978:496;
Neale 2005:66).

References:
Neale, 2005, p. 22.
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G RECIAN

Manufacturer: William Ridgway (& Co.)

Manufacturer Date Range: 1830 - 1854
Manufacturer Location: Hanley, Staffordshire

Notes:
*Central scenes differ - border and well
patterns remain the same.
Edges of plates and other tablewares are
usually scalloped.

References: Example 2 (blue)

Coysh and Henrywood, 1982 (V1), p. 162.
Neale, 2005, p. 44.
Snyder, 1997, p. 148.

Example 3 (red)

Example 1 (black)

Example 4 (brown)
Border Image, Ex. 1 (black)
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M EDINA

Manufacturer: Jacob Furnival & Co.

Manufacturer Date Range: 1845-1870
Manufacturer Location: Cobridge,
Staffordshire Backstamp, Ex. 1 (Furnival, blue)

Alternate Manufacturer: Cotton and Barlow

Manufacturer Date Range: 1850-1855
Manufacturer Location: Longton,
Staffordshire

Notes:
Not the same pattern as William Ridgway &
Co. (Shown in Williams 1978:142). Also not the
same pattern as that produced by Thomas
Godwin c. 1834-1854 (Williams 1978:141).

References:
Coysh and Henrywood, 1982 (V1), p. 243.
Williams, 1978, p. 140. Example 2 (Cotton and Barlow, purple)

Border Image, Ex. 2 (Cotton and Barlow,

purple)

Example 1 (Furnival, blue)

Backstamp, Ex. 2 (Cotton and Barlow, purple)

Border Image, Ex. 1 (Furnival, blue)

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O RIENTAL

Manufacturer: William Ridgway (& Co.)

Manufacturer Date Range: 1830 - 1854
Manufacturer Location: Hanley,
Staffordshire

Alternate M'facturer: William Adams IV & Sons

Manufacturer Date Range: 1878 - 1894
Manufacturer Location: Tunstall,
Staffordshire
Virtually identical to Ridgway’s print
Example 2 (Adams)
Notes:
Central scenes vary.
Not the same pattern as that produced by
Samuel Moore & Co. Border Image, Ex. 2 (Adams)

References:
Coysh and Henrywood, 1982 (V1), p. 266.
Neale, 2005, p. 121.
Williams, 1978 (V1), pp. 150-151.
Border Image, Ex. 2 (Adams)

Example 1 (Ridgway)

Example 3 (Ridgway)

Backstamp, Ex. 1 (Ridgway)

Border Image, Ex. 3 (Ridgway)
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P INWHEEL P ATTERN

Manufacturer: Unknown
Manufacturer Date Range: Unknown
Manufacturer Location: Unknown

Notes:
Border and central design do not vary.

References:
Coysh and Henrywood, 1989 (V2), p. 266.

Central Pattern

Example 3

Example 1

Example 2
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P OMERANIA

Manufacturers: John Ridgway

Manufacturer Date Range: 1830 - 1841
Manufacturer Location: Hanley, Staffordshire

Notes:
Central scenes vary.
Not the same pattern as that produced by
Samuel Moore & Co.
Example 3 (brown)
References:
Coysh and Henrywood, 1989 (V2), p. 159.
Snyder, 1997, pp. 145-146.

Example 3 (pink)

Border Image, Ex. 3

Example 1 (blue)

Border Image, Ex. 2

Example 4 (green)
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R HINE

Sample of Manufacturers
Manufacturer: John Meir and Son
Manufacturer Date Range: 1837 - 1897 Backstamp, Ex. 1
Manufacturer Location: Hanley,
Staffordshire

Manufacturer: Ralph Hammersley

Manufacturer Date Range: 1859 - 1905
Manufacturer Location: Burslem,
Staffordshire

Manufacturer: J. F. Wileman
Manufacturer Date Range: 1859 - 1905
Example 2 (Williams Adams, blue)
Manufacturer Location: Burslem,
Staffordshire

Manufacturer: William Adams IV

Manufacturer Date Range: 1896 - 1917
Manufacturer Location: Tunstall,
Staffordshire

Notes:
All alternates are virtually identical to Meir’s.
Example 3 (Hammersley, gray)
References:
Williams, 1978 (V1), pp. 387-388.

Example 1 (Meir, brown) Example 4 (Wileman, black)

Border Image, Ex. 1

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S CENE A FTER C LAUDE L ORRAINE

Manufacturer: Leeds Pottery

Manufacturer Date Range: 1781-1827
Manufacturer Location: Leeds, Yorkshire

Alternate Manufacturer: John & Richard Riley

Manufacturer Date Range: 1802 – 1828
Manufacturer Location: Burslem,
Staffordshire.

Notes: Example 2 (Riley)

Alternates differ slightly in border images
(buildings) and small details of central scene.

References:
Coysh and Henrywood, 1982 (V1), p. 323.
Border Image, Ex. 2 (Riley)

Example 1 (Leeds)

Border Image, Ex. 1 (Leeds)

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S PANISH P ROCESSION

Manufacturer: Henshall, Williamson & Co.

Manufacturer Date Range: 1790-1828
Manufacturer Location: Longport,
Staffordshire

Notes: Border Image, Ex. 1

Border and Central Scene do not vary.

References:
Williams and Weber, 1986 (V2), p. 420.

Example 2
Example 1

Border Image, Ex. 1

Border Image, Ex. 1

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S YDENHAM

Manufacturer: John Clementson

Manufacturer Date Range: 1839-1864
Manufacturer Location: Longport,
Staffordshire

Notes:
Border does not vary. Central Scene differs in Example 2
small details (e.g., statue in foreground).

References:
Williams, 1978 (V1), p. 77.

Border Image, Ex. 2

Example 3
Example 1

Border Image, Ex. 1 Base mark, Ex. 3

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S YRIAN

Manufacturer: George & Ralph Leese

Manufacturer Date Range: 1841-1842
Manufacturer Location: Cobridge,
Staffordshire

Other manufacturers, with extended date

ranges, are possible.

Notes:
Border does not vary. Central Scene varies.
Not the same scene as that manufactured by
Samuel Barker and Son (1839 -1893), with the
same name (Syrian).
Example 2
References:
Williams, 1978 (V1), p. 166.

Border Image, Ex. 2

Example 1

Border Image, Ex. 1

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W ILD R OSE

Notes
A number of manufacturers produced this
pattern from c. 1830 to the 1890s.

*This pattern refers to both the border series

and the central scene. The Central Scene may
be referred to as Nuneham Courtenay or
Nuneham House. In DAACS, any part of this
particular Central Scene is identified as the
Wild Rose pattern. In addition, any part of the
border also is recorded as Wild Rose pattern.
See Coysh and Henrywood 1982 (Volume
1:399-400) for a discussion of this pattern.

References
Coysh and Henrywood, 1982 (V1), 399-400. Example 2
Neale, 2005, p. 57-58.
Weber, 1978 (V1), p. 464.

Border Image, Ex. 2

Example 1
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W ILLOW P ATTERN

Notes
Many manufacturers produced this pattern
from the last decade of the eighteenth century
(with first attributions made to Minton or
Spode companies) to the present.

This pattern refers to both the border series Border Image, Ex. 1 (Minton)
and the central scene. See Neale 2005 (p. 74-
75) for a description of the story associated
with this pattern. DAACS assigns any Willow
variants to the “Willow pattern.” It does not
refer to the “Wood Willow Border Series”
produced by Enoch Wood & Sons.

References
Coysh and Henrywood, 1982 (V1), 402-403.
Neale, 2005, p. 73-81.
Weber, 1978 (V1), p. 464.

Example 2 (Francis Morley & Co., 1845 – 1858)

Example 1 (Minton, 1793 – 1872).

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U NIDENTIFIABLE

Enter “Unidentifiable” for all transfer printed sherds for which you cannot determine the
pattern. The Pattern Notes field can be used for recording pertinent information about the
decoration on a sherd that might later facilitate the identification of a pattern. For example, use
this field to record the presence of a unique design element (e.g., camels, a band of roses, etc.).
 30

R EFERENCES : T RANSFER P RINT P ATTERNS

Coysh, A. W. and R. K. Henrywood
1982 The Dictionary of Blue and White Printed Pottery 1780-1880 [Volume I]. Suffolk: Antique
Collectors’ Club Ltd.
1989 The Dictionary of Blue and White Printed Pottery 1780-1880, Volume II. Suffolk: Antique
Collectors’ Club Ltd.

Neale, Gillian
2005 Miller’s Encyclopedia of British Transfer printed Pottery Patterns: 1790-1930. London:
Octopus Publishing Group.

Snyder, Jeffrey B.
1997 Romantic Staffordshire Ceramics. Atglen, Pennsylvania: Schiffer Publishing Ltd.

Williams, Petra
1978 Staffordshire, Romantic Transfer Patterns: Cup Plates and Early Victorian China.
Jeffersontown, Kentucky: Fountain House East.

Williams, Petra and Marguerite R. Weber

1986 Staffordshire II, Romantic Transfer Patterns: Cup Plates and Early Victorian China.
Jeffersontown, Kentucky: Fountain House East.
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2B: H ANDPAINTED P ATTERNS N AMES , N OTES AND R EFERENCES

Please refer to the following information and examples when identifying and selecting a
painted pattern.

Altar of Love (Valentine)

Canton

Chinese Landscape Pattern 1

Cornflower

Dagoty et Honore, Paris

Famille Rose

Famille Verte

Fitzhugh

Flower Basket

Grape, Bamboo, Squirrel

Nanking
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A LTAR OF L OVE

Description: Border and central scene also known as “Valentine” pattern. Typically the central
scene consists of two flaming hearts on an altar, and two doves on Cupid's quiver. The border is
composed of scroll and radiating bloom elements divided by a larger wreath and curtain (trellis)
motif. This pattern was first on a dinner service manufactured in Canton for Commodore
George Anson c. 1743 (Litzenburg 2003:163).

Ware and Form: Chinese Porcelain, primarily teawares.

Genre: “Overglaze, handpainted”

Decorative Technique: “Painted, over free hand”

Stylistic Elements: The Scroll and Bloom band is recorded as “Botanical Band

Any central scene elements should be recorded individually, with Motif as “Scene Combination
1.” These may include: “Bird, stylized”; “Bird”; “Quiver”; “Tree”; “Botanical, Unid.”, etc.

[Link] Archaeological example (Thomas Jefferson

Foundation).
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C ANTON

Description: Handpainted blue stacked set of bands. Canton decorated vessels were never
gilded. Later examples can be quite heavy-handed in execution and the vessels themselves
thick and clunky. For information on Canton, see Shiffer et al 1975 (pp. 20-25).

Ware and Form: Chinese Porcelain, typically tablewares

Genre: Handpainted Blue

Decorative Technique: “Painted, under free hand”

Stylistic Elements: The Canton border is comprised of the following bands:

“Hatched Line Band 03” or “ Hatched Line Band 06”: Short straight or diagonal vertical
lines
“Trellis Band []” (usually 02, or 26): Lattice pattern with tick marks at the intersections,
often with a shaded background
“Cloud Band 01”: Scallop- or cloud-like elements with short, diagonal lines inside

Date Range: 1785–1853

Also keep in mind that the “first” of the stacked may be a simple plain band rather than one of
the Geometric bands. Other variants in trellis band or cloud band are possible.
In the Stylistic Elements table, record Motif as “Stacked Combination A.”

Two sherds with slightly different Canton borders (Thomas Jefferson Foundation).

For a broader description of Canton, please see

[Link]
colonial%20ceramics/Less%20Commonly%20Found/CantonPorcelain/index-
[Link]
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Chinese Landscape Pattern 1

Description: Handpainted blue central scene. This pattern name was assigned to this fairly
generic central scene. According to research conducted by Mount Vernon archaeology
department, this is an example of a “pavilion landscape,” which changed over time with
increasing production. In general, “first period pavilion landscapes feature a two-dimensional
landscape and a diminished pavilion in relationship to the rest of the landscape scene”
([Link]). See images below.

Ware and Form: Chinese Porcelain, typically tablewares

Genre: Handpainted Blue

Decorative Technique: “Painted, under free hand”

Stylistic Elements: The scene is characterized by the following elements

Tree Bridge
Landscape/Hills Boat
House Water, body of

Date Range: 18th century

Mount Vernon Ladies' Association. [Link]

Thanks to Eleanor Breen and the Mount Vernon Archaeology department for this description
information and photographs.
Please contact a DAACS administrator if you encounter an additional Chinese landscape
pattern.
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C ORNFLOWER

Description: Overall handpainted pattern, often associated with French Porcelain

manufacturer, Sevres. The flowers are distinctive blue cornflowers with red and green shading
on the leaves. Vessels with this pattern often had gilt rims.

Ware and Form: “Porcellaneous/English Hard Paste.” If you have a base with a Sevres mark,
record ware as “Porcelain, French.” This decoration is typically found on tablewares, though
teaware examples are known.

Genre: Overglaze, handpainted

Decorative Technique: “Painted, over free hand”

Stylistic Elements: If “complete” individual flowers and stems, record as “Botanical,

composite.” For partial flowers or stems, record “Botanical, unid.” For gilt bands, select
appropriate Plain Band.

[Link] [Link]/history/museum/exhibits/hampton/

Recovered Cornflower pattern sherds (Thomas Jefferson Foundation).

 36

D AGOTY ET H ONORE , P ARIS

Description: “Paris” pattern produced by French Porcelain manufacturing company, Dagoty et

Honore. This pattern was added based on a back stamp recovered from a slave quarter site at
Andrew Jackson’s The Hermitage in Nashville, Tennessee.

Ware and Form: “Porcellaneous/English Hard Paste.” If you have a base with the “Dagoty et
Honore” mark, record ware as “Porcelain, French.” This decoration is typically found on table-
and teawares.

Genre: If only transfer printed, “Transfer Print Over.” If only gilt, “Overglaze, handpainted.” If
both, then select “Overglaze, handpainted.”

Decorative Technique: “Painted, over free hand” or “Printed, over” as appropriate. If both
techniques are present, enter separate records in the Stylistic Elements table.

Stylistic Elements: Element and Motif for printed decoration are “Not Applicable.” For gilt
bands, select appropriate Band element.

Archaeological examples of Dagoty et Honore, The Hermitage.

Reference:
Keefe, J.W.
1996 “The Porcelains of Paris, 1770-1870” The magazine Antiques. Brant Publications, New
York. Pp. 284-291.
 37

F ITZHUGH *

Description: Handpainted central scene. The introduction and rise in popularity of this pattern
has been attributed to the English FitzHugh family, who were involved in trade with China in the
1780s (Mudge 1981:163-165). Fitzhugh porcelain manufactured for the American market
occasionally contains a central design with an eagle and shield.

Ware and Form: Chinese Porcelain, typically tablewares.

Genre: If blue, “Handpainted Blue”. If another color, “Overglaze, handpainted.”

Decorative Technique: “Painted, under free hand”

Stylistic Elements
Four botanical designs surrounding a medallion central design. Border varies. See images
below:

[Link]

[Link]

*See Note 1 for border information.

 38

F LOWER B ASKET

Description: Handpainted blue central scene containing a handled basket full of flowers.

Ware and Form: Chinese Porcelain, typically tablewares, occassionally teawares.

Genre: Typically “Handpainted Blue.” If enameled, then “Overglaze, handpainted.”

Decorative Technique: “Painted, [under or over] free hand.”

Stylistic Elements
Key elements (with DAACS Stylistic Element nomenclature) include the following:
Basket Botanical, composite
Bow Trellis bands (if present – often on proximal rim or plate well)

Thomas Jefferson Foundation. Mount Vernon Ladies' Association.

[Link] [Link]

[Link]
 39

G RAPE , B AMBOO , S QUIRREL

Description: Handpainted blue border and central scene combination containing a squirrels or
shrews on a bamboo plant, with bunches of grapes around the border. Border also contains An
Hua decoration in the form of botanical elements between the grape bunches.

Ware and Form: Chinese Porcelain, typically tablewares, possibly teawares.

Genre: If blue, then “Handpainted Blue.”

Decorative Technique: “Painted, under free hand.”

Stylistic Elements
Key elements (with DAACS Stylistic Element nomenclature) include the following:
Animal, unid. Fruit Trellis band (if present, often proximal rim or plate well
Bamboo Tree Cartouche

Date Range: c. 1730-1760

Mount Vernon Ladies' Association. Madsen 1995:Figure 30

[Link]

Thanks to Eleanor Breen and the Mount Vernon Archaeology department for this description
information and photograph.
 40

N ANKING *

Description: Handpainted central landscape scene with a bridge and large pagoda in
foreground, several small pagodas or houses on islands in the background, multiple tree types
Including a willow tree), and one or more boats on the water. This central scene is often
considered an early version or inspiration for the willow pattern, though it does not contain the
two birds.

Ware and Form: Chinese Porcelain, typically tablewares.

Genre: “Handpainted Blue”

Decorative Technique: “Painted, under free hand”

Stylistic Elements
Key elements (with DAACS Stylistic Element nomenclature) include the following:
Tree Bridge Landscape/Hills
Man Boat House
A majority of these elements, and a similarity to the scenes below, must be present on a vessel
for the Nanking pattern to be ascribed.

Central scene on a bowl, note willow tree (Litzenburg 2003:239).

Central scene on a serving dish interior (Litzenburg 2003:240).

*See Note 1 for border information

 41

N OTE 1: N ANKING AND F ITZHUGH B ORDER D ESIGNS

Description: The following borders appear on vessels with Fitzhugh or Nanking central scenes.
Both were popular patterns from 1780 to 1820.

Ware and Form: Chinese Porcelain, typically tablewares.

Genre: “Handpainted Blue”

Decorative Technique: “Painted, under free hand”

Border 1: Typically associated with Nanking though it appears on Fitzhugh.

Stylistic Elements
Key elements (with DAACS Stylistic Element nomenclature) include the following:
Trellis Bands (several different bands were used for this pattern)
Spearhead Band 03 or Spearhead Band 11

Border 2: Typically associated with Fitzhugh though it appears on Nanking.

Stylistic Elements
Key elements (with DAACS Stylistic Element nomenclature) include the following:
Butterfly Radiating bloom
Cartouche Diaper/1 Dot
Fish Roe Scroll 01
Trellis 01
 42

R EFERENCES : H ANDPAINTED P ATTERNS

Breen, Eleanor E.
2004 Whose Trash is it, Anyway? A Stratigraphic and Ceramic Analysis of the South Grove
Midden (44FX762/17), Mount Vernon, Virginia. Northeast Historical Archaeology
33:111-130.

Keefe, J.W.
1996 “The Porcelains of Paris, 1770-1870” The magazine Antiques. Brant Publications, New
York. Pp. 284-291.

Madsen, Andrew D.
1995 “All Sorts of China Ware...Large, Noble and Rich Chinese Bowls”: Eighteenth-Century
Chinese Export Porcelain in Virginia. Unpublished Master’s Thesis, College of William
and Mary, Anthropology Department.

Madsen, Andrew D., and Carolyn L. White

2011 Chinese Export Porcelain. Left Coast Press, Inc.

Litzenburg, Thomas V., Jr.

2003 Chinese Export Porcelain in the Reeves Center Collection at Washington and Lee
University. In collaboration with Ann T. Bailey. London: Third Millennium Publishing.

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