Transfer-PrintedBy Connie Rogers Victorian Tiles

t is sometimes surprising how Iquickly a new interest comes upon us. As collectors, we have varying ways of limiting our collections. It may be just one pattern, one fac- tory, or perhaps a specific category of transfer printed ware, or only one color. When we do that, we tend not to look for items outside our spe- cific collecting field. Of course there are those who collect a little bit of everything – whatever strikes their fancy when they see it. But for most any collector, there may come a time, when something comes along and grabs your interest so that you look for more of the same. This happened to me when our Aesthetics Editor began finding transfer-printed tiles. She had no books on the subject, and asked me to help find references for the pat- terns. I had several books devoted to tiles (and promptly bought more). It became apparent that Victorian tiles, c. 1850-1910, cover a wide spectrum of styles and decorative subjects rang- ing from flowers, animals, abstract and geometric patterns to literature, Figure 1. Jarius’ Daughter history and fairy tales. Lockett tells us Designer. With an apprenticeship and dress. His classical style of design in the Introduction to Collecting Victo- in architecture and training in art is easily recognizable. In addition to rian Tiles, that an important factor in school, Smith became involved with series illustrating Early English Histo- creating all this diversity is the artistry other students and architects in the ry, scenes from Shakespeare, Waverley of designers of the tiles. In order to Glasgow Architectural Society. Meet- and Idylls of the King by Tennyson, touch on this wide range of patterns ings were held regularly that covered John Moyr Smith designed 12 scenes on tiles, I will begin by discussing all aspects of architecture and design. from the Old Testament and another the work of prominent designers at This group was important in his de- 12 from the New Testament. These Minton China Works and Wedgwood, velopment as an artistic designer, and were not necessarily the well-known two of the largest manufacturers of he maintained life-long connections Biblical stories. For example, Figure Victorian tiles: John Moyr Smith, Wil- with his colleagues. Smith found early 1 shows Jarius’ 12 year old daughter liam Wise, Thomas Allen and Helen recognition as a cartoonist (“Fun” and dying in her bed. Jesus went with J.A. Miles. “Punch”). He illustrated many chil- Jarius (a leader in the synagogue) to Lockett’s book, published in 1979, dren’s books as well as becoming an the daughter’s bedside. Although she gives an outline biography of John author himself. appeared to be dead, Jesus said she Moyr Smith on pages 121-133, with In the 1870s, he was employed was just sleeping. He took her hand, illustrations of tile patterns in Plates by Minton’s China Works, designing and she arose (Mark 5:21, Matthew 9: 26-29 with 6 tiles in each plate. Lock- various series of tiles, specializing in 18-20, Luke 8: 41-56). Stapleton tells ett names Smith as the “most prolific literature and history. He was fasci- us that Smith was a staunch Presbyte- of Minton’s tile designers.” In 2002, nated with historical detail, literature, rian and knew his Bible well. He also Annamarie Stapleton wrote a much fables and legends from all cultures illustrated at least one children’s book more complete biography in John and loved the chance to research and of bible stories and illustrated publi- Moyr Smith, 1839-1912, A Victorian to discover new periods of culture cations for the Religious Tract Society.

4 TCC Bulletin, Vol. XV, No.2 Smith’s series on Fairy Tales, c. archives and definitely by Wise, 1873-74, was introduced at about there is no checklist of the precise the same time as a book titled The subjects in each set. Several refer- Old Fairy Tales, that he illustrated, ences, including Tiles, 1,000 Years as well as the Nursery Rhymes se- of Architectural Decoration by ries he designed on tiles for Min- Hans van Lemmen, show the pre- ton Hollins & Co. The popular liminary sketch for “Girl with Urn” Fairy Tales series was produced in as well as the finished pattern, an a number of color combinations excellent example of copper plate and also was used on tablewares, engraving specifically for a tile. as can be seen by this tile pat- A tile from “Animals of the Farm” tern named “Six Swans” on an 8 series is seen in Figure 4. It has a ½” plate in Figure 2. This pattern descriptive title of “Pig at Trough.” illustrates the Fairy Tale of the Both of these scenes demonstrate wicked stepmother who changed the work of an exceptionally her husband’s 6 sons into swans. skilled designer/engraver in the The factory liked to extend the Realistic style popular at the time. life of tile designs by also plac- Thomas Allen (1831-1915) ing the design on plates with an was an exceptional painter and Figure 2. “Six Swans” added border. designer. He trained at the Stoke- William Wise (1831-1889) was on-Trent School of Design fol- a painter, designer, etcher and lowed by studies in London. He engraver. Born in London, he went to work at Minton where he trained at an art school with a na- soon became known for his fine tional scholarship. He worked at a painting. A vase painted by Allen London studio, where he painted in the Sevres manner was shown glass windows and assisted in by Minton at the Great Exhibition the work of designing decora- of 1851. As a result, he received a tive tile panels for the Grill Room national scholarship to the South at South Kensington Museum. Kensington School of Design. After a fire destroyed the studio In 1854 he returned to Minton where he worked, Wise moved where he was employed as a to Stoke. There he was employed painter until c. 1875. Continuing by Minton from about 1876-1889, to paint in the French style, Allen where he began with underglaze was not given the high wages the painting for ornamental wares. An French painters there received excellent copyist and engraver, or permission to sign his work. his work included china patterns Allen moved to Etruria, where he Figure 3. “Girl with Urn” he designed and decorative tiles became supervisor of the Fine that he copied from other de- Art Studio at Wedgwood, moving signers. His best known, signed up to chief designer. From 1880 works are his own designs for to 1904, Allen served as its first several tile series: Rustic Figures, professional art director. Scenes of Village Life and Animals In Wedgwood, The New Illus- of the Farm. His designs began trated Dictionary, Robin Reilly with pencil sketches, followed by gives a brief summary of Allen’s engraving on copper plates and most recognizable work. His fine printing. Figure 3 shows Pattern painting of tall vases and plaques 2159 from the Minton pattern is noted, as well as his designs book: “A young woman carrying for transferware patterns on table water over stepping stones”. (“Girl wares, all of which were adopted with Urn” is the TCC Pattern and for tiles: “Ivanhoe,” “Banquet,” Source Print Database assigned “Columbia,” “Swallow,” and “Greek name.) It is one of many designs Musicians” (after paintings by under the general heading of Albert Moore), along with pat- Country Life that cannot be placed terns for tiles printed in a single in its correct series. Although color or printed and painted with these patterns are in the Minton enamels. Figure 4. “Pig at Trough”

Vol. XV, No.2, TCC Bulletin, 5 Figure 5 shows a soup plate floral pattern, evidently produced in the “Ivanhoe” tableware series. by more than one pottery. With It is titled “Friar­­­­­­­­­­­­­­­­­ Tuck Entertains a slightly different border, it is il- the Black Knight.” Figure 6 is an lustrated in the printed catalogue 8” tile made from the tableware of the Minton Tiles Exhibition pattern “Front de Boeuf exhort- at Stoke-on-Trent City Museum ing silver from Isaac the Jew.” April 9 - September 1, 1984. It is Figure 7, “Bell Player” is one of No. 177 in the Exhibition. Search the lovely scenes from the Greek “Dogwood in Bloom” in the Musicians series, also known as Database for more information “Greek Musicians in an Orange regarding this pattern. Grove.” The complete series can The sunflower motif is of- be found printed in blue in the ten used on tiles by various tile Database. companies. There are enough Helen Jane Arundel Miles (fl. examples seen in the references 1860-93) was primarily a painter that the motif might make an in- in watercolor. Also an illustrator teresting tile collection. Sherwin Figure 5. “Friar Tuck Entertains the and designer, she studied at the & Cotton (1877-1911) produced Black Knight” South Kensington School of Art the lovely sunflower pattern no. where she was a regular exhibi- “S.1598” seen in Figure 10. A tor for over twenty years. Helen lively oriental tile pattern seen J.A. Miles illustrated a number in Figure 11 features a central of books. She also designed planter with a full flowering tree. several series of tiles for Wedg- The four elements of Fire, Air, wood including “Months,” which Earth, and Water are seen in the were also used on tableware rectangular border images. The with many different borders, four-toed dragon denotes “Fire”, and Shakespeare’s “Midsummer and the two flying cranes the Night’s Dream.” That play is the “Air.” The fruit tree is growing basis for the subjects in a series from the “Earth,” and the fish of 12 tiles produced c. 1878. are swimming in the “Water.” Figure 8, shows “Peas Blossom” This tile design was registered (“Peaseblossom” in the play) by Sherwin & Cotton on May 3, whose role is fairy servant to 1881. Queen Titania. An interesting fruit and foli- Most tile patterns not included age pattern has been illustrated in series are by unknown design- in several references. It may have ers, and most do not have names been a pattern produced by sev- Figure 6. “Front de Boeuf exhorting given by the manufacturers. eral different potteries; however, silver from Isaac the Jew” Figure 9 is a lovely example of a the markings are either sparse or

For Further Reading:

Austwick, J. & B., The Decorated Tile 1981, Charles Scribner & Sons Barnard, Julian, Victorian Ceramic Tiles, 1972, London Batkin, Maureen, Wedgwood Ceramics, 1981, London Lang, Gordon, 1000 Tiles, 2004 Chronicle Books Lewis, A Collector’s History of English Pottery, 1999, Antique Collector’s Club, U.K. Lemmen, Hans van, Tiles 1,000 Years of Architectural Deco- ration, 1993 Harry Abrams (A coffee table book with full color photos internal & external International buildings.) Lockett, Terence A., Collecting Victorian Tiles, 1979 Antique Collector’s Club Stapleton, Annamarie, John Moyr Smith 1839-1912, A Victo- rian Designer, 2002 Richard Dennis Figure 7. “Bell Player”

6 TCC Bulletin, Vol. XV, No.2 non-existent, making attribution dif- shaped motif on the lower side of the yellow and green. The pattern number ficult. It is also tricky to decide which photo in Figure 12 has moved to the “T.245” is seen painted on the back end of the pattern is up. Figure 12 is left side of the tile in Lockett’s illustra- of the tile in Figure 14. The back the “Fruit and Foliage Swirl” pattern tion. of a tile not only shows the types of printed in brown with yellow color A floral/geometric pattern with marks often found – this one also added, seen as illustrated in Plate no name will complete the examples has impressed “No”, and an indistinct 47 in Barnard’s Victorian Ceramic seen here illustrating the range and impressed circular section that may or Tiles. It is unmarked and dated c. styles of patterns found on transfer- may not have identification imbedded 1895. Lockett shows a black on white printed tiles. Figure 13 shows “T.245” in the circle. example on p. 208, Figure 62, possi- the interesting printed and painted We also see the remnants of glaze bly by Fielding & Co., c. 1890. The ‘J’ pattern with colors of brown, blue, and glue used to attach the tile to a

Figure 8. “Peas Blossom” Figure 9. “Dogwood in Bloom”

Figure 10. “Sunflower Pattern No. S.1598” Figure 11. “Fire, Air, Earth, Water”

Vol. XV, No.2, TCC Bulletin, 7 wall, fireplace or piece of furniture paper builds on that background and this photo.” for enhancement. We are reminded fills in more detailed information on Collecting of tiles probably began that the transfer-printed Victorian tiles transfer-printed Victorian Tiles. Trans- in earnest during the 1960s and 1970s were used for architectural decora- fer printed tiles are a broad subject. when many Victorian properties in tion. Wendy Harvey wrote an excel- There are dozens of tile manufactur- the U.K. were demolished. All types lent article, titled “A Brief History of ers not mentioned here, including of Victorian tiles taken from these Transfer Printed Tiles” (pp. 17-19, Spode/Copeland who produced sev- buildings were available in abun- TCC Bulletin Vol. XII No. 1, 2011), in eral pattern books full of tile designs. dance. Later, the source of the supply which she presented the background Pam Wooliscroft, former curator at diminished as the emphasis shifted for the history of transfer-printing Spode, provided me with an interest- to preserving the tiles in situ. In the beginning with the on-glaze printing ing photo that I will use as Figure 15. 21st century, reclaimed tiles are avail- (on tiles) by Sadler & Green. The sub- “Images are attached of a cellar at able. Many books have been written ject was enhanced with information Spode,” she wrote. “These are ‘left- on the subject, and the TCC Data- regarding the development of indus- over’ tiles of all sorts, including some base is doing its part by researching trialization, transportation, globaliza- printed ones, used to cover spillages and recording patterns. I would be tion and all factors that led to the pro- when a clay cellar was converted to a pleased to hear of your interest in duction of tiles in the Victorian period wine cellar. They are still in situ but tiles. ■ for architectural enhancement. This I believe very damaged since I took

Figure 12. “Fruit and Foliage Swirl” Figure 13. “T.245”

Figure 14. Tile back “T.245” Figure 15. Spode/Copeland Tiles

8 TCC Bulletin, Vol. XV, No.2