English Transfer Printed Earthenware at Junagarh Fort, Bikaner, Rajasthan, India an Extraordinary Occurrence

English Transfer Printed Earthenware at Junagarh Fort, Bikaner, Rajasthan, India An Extraordinary Occurrence

David Hoexter and Judie Siddall

Figure 1. Junagarh Fort Exterior

INTRODUCTION by the coronavirus pandemic. The story palace complex (a total of 39 tour participants were all Transfer- individual palaces) covering 13 acres lthough not exactly remote, ware Collectors Club (TCC) members, enclosing innumerable rooms, court the city of Bikaner in Rajast- although the tour was not an official yards, temples and shrines (at least 9), Ahan, India, situated near the TCC activity. The primary purpose gardens, stables for both horses and border with Pakistan, is certainly not of the tour was to view some of the elephants (!), armories, barracks and a common tourist destination. While remaining Indian scene locations pic- jail, and of course, staircases, which not ignored, it is much less visited tured on 19th century transferware, have been constructed, re-construct- than the so-called Golden Triangle, primarily spread across the northern ed, and expanded over centuries. In consisting of Delhi, Agra, and Jaipur, part of the country (perhaps the best addition to exquisite Indian art and or other popular destinations within known Indian scene on English trans- stonework are four locations featur- India. The city is best known for its ferware is the Taj Mahal, as viewed on ing transferware, installed, of course, 16th – 20th century Junagarh Fort “Tomb of the Emperor Shah Jehan”, long after the fort’s initial construc- (Figure 1). It is not generally known but there are many more). Download tion. These four locations comprise for 19th century English transfer Michael Sack’s excellent article on an extremely small portion of the fort. printed pottery. However, transfer- this aspect of the tour from the TCC The source(s) of the transferware is ware enthusiasts would be well-re- website: (are) unknown. warded if they arranged a visit to the A note about the images included fort, where four locations display a Visit the website at in this article. We were provided fascinating assemblage of at least 107 www.transcollectorsclub.org > with very limited time at each of the transferware, two painted creamware, Research & Learning > Articles > four transferware locations, and were and three Chinese export patterns. enter “#27 India” in Search Articles. faced with documenting far too many Exactly how such a varied accumula- individual patterns in way too little tion of English transferware ended up One of the highlights of the tour time and tight quarters with poor at this location is uncertain. was the aforementioned Junagarh lighting. In addition, some of the Thirteen transferware enthusiasts Fort (not pictured on transferware). pottery had obviously been impacted participated in a tour to India in This huge complex, initially construct- by prior handling and by the ele- February and March, 2020, returned 1589 – 1594 and encompassing ap- ments, including wear and soiling of ing home just in time to be greeted proximately 44 acres, features a five- the pieces, smearing of the plaster

TCC Bulletin, 2020 Vol. XXI No. 3, Page 11 adhesive onto surfaces, and pigeon to the FOB bulletin editor, L.G. Fuller, is based on the excellent postings by excrement on outdoor surfaces. and named some of the patterns. Scott Hanson on his personal Face- We’ve done the best we can with the FOB and TCC members Sue and book page, which include several images, and at the same time, have Frank Wagstaff visited the fort in hundred images of the entire India avoided extensive retouching or “pho- 1993, and wrote about their experi- tour and of course many from Jun- toshopping” to alter image appear- ence in an article titled “Blue and agarh Fort. Additional information ance and thus to present the transfer- White Palace in India”, published in is derived from a Wikipedia article; ware pieces as they now appear. TCC Bulletin Vol. VI, No. 3 (2005). a useful study conducted during the The article included three images 1940s by the German art historian “DISCOVERY” OF THE and a brief description of their visit. Herman Goetz, an authority on Indian TRANSFERWARE Sue and Frank returned to Bikaner art and architecture (Art and Archi- The Junagarh Fort transferware in 2015, and described their visit in tecture of Bikaner State, published in was first brought to the attention of a second article, titled “Return to 1950); and other sources. Friends of Blue (FOB) members in Bikaner”, published in TCC Bulletin Bikaner was a princely state a brief article in its Summer 1984 Vol. XVI, No. 2 (2015). The article founded in the 15th century. The Ju- Bulletin. The article consisted of two included additional information and nagarh Fort complex was built under pages of text but no images. The images. These three articles and the the supervision of Karan Chand, the article was based on images pro- Wagstaffs’ enthusiastic description of Prime Minister of Raja Rai Singh, the vided by FOB member Judith Busby, the fort inspired us to add Bikaner to sixth ruler of Bikaner, who reigned although the source of the images our transferware tour. from 1571 to 1611 AD. The fort was was an unnamed friend of Judith’s. built outside the original city, about The friend visited the fort and gave A BRIEF HISTORY OF 1.5 kilometers (0.93 mi) from the city Judith three pictures, from which she JUNAGARH FORT center. An aerial view from Google described the transferware occurrence Much of the following discussion Earth and a representative view of the

Figure 2. Junagarh Fort Aerial View Figure 3. Junagarh Fort Additional View of Exterior

Figure 4. Rooftop Pavilion Exterior Figure 5. Rooftop Pavilion Interior

Page 12 TCC Bulletin, 2020 Vol. XXI No. 3 fort complex exterior are presented in to the transferware as “Delft”, and to locations within the fort: an isolated Figures 2 and 3, respectively. Con- the patterns as painted, as opposed rooftop tower or pavilion (Chhattar struction of the walls and associated to printed. We are not certain that Mahal) (Figures 4 and 5); surround- moat commenced in 1589 and was we were able to convince him of the ing the exterior of a window opening completed in 1594. Subsequent rul- proper term. One wonders how many (Sur Mandar (Mandir) Jharokha from ers added rooms and entire palaces visitors to the site have carried the one of the palaces onto a courtyard and temples within the complex. Bi- misconception away with them. In (Figure 6); the interior of the window kaner and Junagarh Fort came under addition, a portion of the transferware surround (Figure 7); and an interior suzerainty of the British Raj in 1818, appears as “tiles”, square or rectan- room (Badal Mahal, the “Cloud” or although improvements and additions gular pieces. In reality, there appear “Weather” room) (Figure 8). The continued to be made at least through to be few if any actual transferware Pavilion location and the Window the 19th century. In particular, exten- tiles, with the apparent tiles actually Surround Exterior locations can be sive renovations and additional con- pieces cut from larger flat wares such viewed from the adjacent courtyard struction were conducted by the 20th as platters and plates. Finally, there (Figure 9). Portions of transferware Maharajah of Bikaner, Dungar Singh, are multiple spellings of the trans- pieces (primarily drainers and parts who reigned from 1872 to 1887. literations of the various Rajasthani of platters and/or plates) are affixed names identifying various parts of the with plaster or mortar to both interior TRANSFERWARE OCCURRENCE fort, and the names may be difficult room and building exterior surfaces. WITHIN THE FORT for an English speaker to remember. Some of the pieces are cracked, and If you visit Junagarh Fort, you Thus, for simplicity, we have primarily the surfaces of many are smeared may be confused by terminology. used English names which we have with the adhesive, or occasion- Our guide, and apparently previous derived. ally paint or bird droppings (Figure guides over past decades, referred Transferware is present at four 10). When not employing an entire

Figure 6. Window Surround Figure 7. Window Surround Figure 8. Interior Room (Badal Mahal) Exterior Interior

Figure 11. Random Patterns in Pavilion

Figure 9. Courtyard View of Pavilion and Window Sur- Figure 10. Window Surround Figure 12. Repeated Patterns round Exterior Pigeon in Pavilion

TCC Bulletin, 2020 Vol. XXI No. 3, Page 13 transferware pattern, the artisans who are likely creamware, and three hand Chhattar (Chattar, Chhatar) Mahal selected the pattern fragments com- painted Chinese Export examples (Tower / Pavilion) monly repeated the same small por- also occur (these three Chinese origin The Tower / Pavilion is a small tion of a larger pattern, as opposed patterns are present only as single roof-top addition to one of the pal- to cutting a pattern into pieces and drainers at one location within one aces (Figure 4). It is not currently using all of the pattern. Apparently, room). Patterns include identified included on the regular Junagarh Fort large parts of some patterns were locations, both in England and on the tour, and thus a considerable amount discarded. Unrelated pattern themes Continent; named Indian views and of negotiation was required for us are juxtaposed, and pattern place- additional Indian scenes; both styl- to access this somewhat isolated ment is commonly random (Figure ized and botanically accurate florals; location. It is a small room, roughly 11), although occasionally patterns generic and Romantic period scenes; 10 by 20 feet in plan dimension, are repeated or alternate in a clearly geometric shapes; and a handful of constructed in approximately 1877 intentional manner (Figure 12). The makers’ marks. Each of the four loca- (Goetz, 1950) to provide a relatively intervening surfaces between trans- tions also includes the Willow pattern. cool place for sleeping for the Maha- ferware pieces, particularly within the We should note that there are ad- rajah and his family, as previous reno- Chhattar Mahal (Pavilion), are both ditional ceramics of various origins vations reduced cooling air ventilation undecorated and hand-painted, or at Junagarh Fort. In particular are to older royal apartments. In addition are filled with smaller fragments of spectacular displays of English 19th to transferware the room features an various patterns, primarily the Willow century encaustic floor and molded elaborate and colorful painted ceiling, pattern (Figure 13). tiles on walls at other locations within including Indian musicians in various Nearly all of the patterns are blue- the fort, as well as tiles of non-British poses, and numerous alcoves, doors, printed. However, red, green, purple, origin. stained glass, and mirrors (Figure 14). and brown printed wares are also Following are descriptions of the The most striking feature of this present. Two patterns appear to be four transferware localities within room from a transferware perspec- painted underglaze and the bodies Junagarh Fort. tive is the predominance of drainers

Figure 13. Willow Fragments Surrounding Willow Drainer in Figure 14. Rooftop Pavilion Additional Interior View Pavilion

Figure 15. Rooftop Pavilion View of Various Drainer Pat- Figure 16. Painted Plaster Between Drainers in Pavilion terns, including Cowman, Lange Lijsen, with Chinese Export at base. Page 14 TCC Bulletin, 2020 Vol. XXI No. 3 arrayed on portions of all four walls marks, including Joseph Stubbs and ferware patterns. (Figure 15). Many of the drainers likely John and William Ridgway, and Also of interest are two hand-paint- are nearly intact (all or most of the an unknown maker, are also present ed creamware drainers (Figure 21). pattern is presented), as opposed at one location along the baseboard We made a tentative maker identifi- to most of the patterns at the three (Figure 18). Willow pattern squares cation of one, but the maker of the other locations within Junagarh Fort are present as entire panels (Figure other thus far remains elusive. which range from partial to scraps 19), and Willow is also present as We observed 67 discrete patterns at of pattern. The small drainer holes drainers and as plate or platter frag- this location, consisting of 62 transfer- were filled with the plaster adhesive ments filling space between unrelated ware, 3 Chinese Export, and 2 hand- when placed, and the prominent theme drainers (Figure 13). painted creamware. center holes filled with either a small Of particular interest are three fragment from a different pattern, Chinese export hand painted porce- Sur Mandar (Mandir) Jharokha or again, with the adhesive. Some- lain drainers, each a different pattern (Projecting Window Surround) times the adhesive was painted blue (Figures 15 and 20). According to The Projecting Window Surround (commonly a rendition of flowers or Loren Zeller, these drainers date from (Jharoka or Pharokha) consisted clouds) (Figure 16) and was some- the mid-18th century as opposed to of both exterior and interior sur- times unadorned. the later 19th century transferware. faces, discussed separately, below. Also present are fragments of plat- We observed only the three individual The exterior façade consisted of two ters and/or plates, primarily placed pieces, and wonder how and why balconies at the opposite ends and along the base of walls, seemingly these three Chinese export drainers three intervening windows. Only the as an afterthought (Figure 17). A found their way among the multitude center window (exterior and interior) number of colors in addition to blue of British-origin transferware. As was adorned with transferware, the are present. For the most part these they occur together, the three export central location being a common ar- platter/plate fragments are present pieces were clearly noted by the chitectural design feature providing a only at the Pavilion. Three maker installers as different from the trans- focal point for the eye to rest.

Figure 17. Fragments Forming Base of Walls in Pavilion

Figure 19. Willow Pattern Squares Forming Panels in Pavilion

Figure 18. Stubbs, Ridgway, and Unknown Maker Marks in Pavilion

Figure 20. Three Chinese Export Drainers in Pavilion Figure 21. Creamware Drainer in Pavilion

TCC Bulletin, 2020 Vol. XXI No. 3, Page 15 Window Surround Exterior whelmed by the multitudes of trans- The Window Surround Exterior ferware patterns, we didn’t initially (Figures 9 and 22) consists of nu- focus on the photo, and only on our merous transferware fragments return home did we wonder about surrounding a window, and faces a its significance. It is badly faded and large courtyard. The base is located is difficult to view, but careful com- approximately 15 feet above the ad- parison of the photo with current jacent courtyard ground surface, and views of the window and surrounding thus the surround must be viewed wall clearly indicate that the historic upwards, resulting in some degree of photo depicts the Window Surround neck strain. Our images of the trans- wall, although the currently exist- ferware are therefore taken from a ing transferware surround, nearby distance and an upward angle. Some support columns and overhang are of the transferware fragments are not present in the historic photo obscured by pigeon excrement. and obviously were constructed at The base of the Window Surround a later date (a late 1940s view in Exterior is composed almost exclu- Goetz (1950) shows this feature with sively of the Willow pattern, with a the later nearby modifications, but few additional patterns randomly Figure 22. Window Surround Exterior the small photo is not present (Fig- dispersed among the Willow. Numer- Direct View ure 25). One only wishes the photo ous individual patterns are present on date was included in the text arrayed multiple pieces as one moves up the above the photo. We attempted to window surround and within the arch obtain a translation of the text, and above the window (Figure 22). The our efforts are on-going. The script is very upper part of the arch primar- apparently Devnagri, a form of script ily includes pattern borders and bits/ no longer used. The text is appar- pieces, some of which may be derived ently Marwari or another old Bikaner from larger fragments employed at dialect of Rajasthani, a common the Pavilion and Surround Interior Rajasthan language. As of the writing (Figure 23). of this article we could not obtain a An interesting feature of this loca- complete translation, but it apparently tion is an historic photograph mount- commemorates a brave king or noble ed in a wooden frame under the (probably a maharaja), and/or the window (Figures 6 and 24). Over- Figure 23. Arch Above Window Sur- noble’s court. round Exterior We observed 37 patterns total at this location, consisting entirely of transferware.

Window Surround Interior The Window Surround Interior is essentially an alcove with a thin framing border of various pattern Figure 24. Detail of Historic Photo Below fragments, and the interior walls on Window Surround Exterior either side and the ceiling fully faced with roughly square pattern pieces (Figure 7). The walls and ceiling of this small alcove consist of blue printed patterns, while blue and four symmetrically arranged examples of a green and red floral pattern form the forward border. The alcove is approximately 6.5 feet high and 4 feet square. We observed 36 patterns total at this location, consisting entirely of Figure 25. Historic Photo of Courtyard Figure 26. Bada Mahal (Blue Room) transferware. and Window Surround Exterior (late Alcove Detail 1940s)

Page 16 TCC Bulletin, 2020 Vol. XXI No. 3 Badal (Badel) Mahal (aka “Blue name, etc. It also includes an ex- locations within Junagarh Fort. We Cloud or Weather Room”) tensive bibliography of transferware created a spread sheet for each of the Badal can be translated as “clouds”, publications and resources. four locations, and entered informa- and Badal Mahal as “Weather Place” Many of the transferware patterns tion on each individual pattern. We (Figures 8 and 26). This room was a at Junagarh Fort are well known to also prepared a table summarizing all part of the palace women’s quarters. collectors. They were easily recog- observed patterns, both identified and To say that blue predominates would nized and located by name in the DB. unidentified, which indicates the loca- be an understatement. This small Other patterns proved to be relatively tions and relevant information of each spectacular room features decorative obscure and in some cases, remain identified pattern (Table 1). Space painting of clouds and falling rain on unknown to us (we were not able to limitations preclude inclusion herein the walls and ceiling, as well as blue locate them in the DB or from other of images of all observed patterns; Willow “tiles” used as an accent in sources). We identified additional Table 1 includes a listing of all pat- several alcoves which feature Indian patterns which we could not locate terns and the corresponding TCC DB sculptures and paintings. In actuality, in the DB in various printed refer- identification number, and the reader the Willow “tiles” are pieces cut from ences, and asked other TCC members is invited to view the patterns on the larger wares, and form only a small for assistance. A total of 18 patterns DB. We also intend to post images of portion of the room’s surfaces. It is remain a mystery to us (see Table 1). all patterns on the TCC website in the likely that only a ceramics enthusiast Many of the unidentified patterns Image Gallery. Visit the website at would take particular notice. are on drainers, a relatively uncom- www.transcollectorsclub.org > News Willow was the only transferware mon shape. If the drainer was part & Information > Image Gallery > pattern used in the Badal Mahal. of a pattern series, the pattern may India Junagarh Fort. not have, as of yet, come to light, and At the Pavilion, many intact pat- MECHANICS OF PATTERN thus not to date been documented terns were used (mainly drainers, IDENTIFICATION in the DB. An example is Unidenti- with the exterior circumference rim We identified and documented the fied Pattern 13 (Figure 27), which is a pushed into the underlying plaster various patterns (Table 1, Transfer- partial drainer located in the Pavilion adhesive and thus not visible). At the ware Patterns Identified at Junagarh and bears a striking resemblance to other three locations, however, a few Fort), initially using the Transferware the Caledonia series, but is not to drainers and possibly platters were Collectors Club Database of Patterns date among the 15 similar Caledonia used, but the majority of the trans- and Sources (TCC DB). The DB is patterns (none drainers) documented ferware pieces were apparently cut a research resource which included in the TCC DB or in published or from plates. The patterns on many over 16,600, distinct patterns as of Internet sources. Additional examples pieces ranged from recognizable to late October 2020 (and continues to of currently unidentified patterns are obscure; in size from up to approxi- grow at a rate of 60 to 70 patterns per a brown Romantic classical scene mately 16 inches for some drainers month). The DB can be searched in a (Figure 28) and a blue pastoral 1820s and up to approximately 6 inches for variety of ways, including using key- drainer fragment (Figure 29). most square pieces, down to as little words, predominant pattern features, In conducting our research, we as 2 or 3 inches for some fragments. categories of patterns, border class, initially reviewed several hundred Although a primary segment of a maker, print process, series or pattern photographs of the four transferware pattern was often used, some of the pieces were not the primary or read- ily identifiable portion of the pattern. Three representative examples of an available fragment and the complete pattern are presented in Figures 30 and 31 (Solar Rays #04, TCC DB

Figure 27. Unidentified Pattern, Possi- Figure 28. Unidentified Brown Roman- Figure 29. Unidentified Pastoral Scene bly Caledonia Series tic Pattern 16

TCC Bulletin, 2020 Vol. XXI No. 3, Page 17 7318), Figures 32 and 33 (Monk Driv- all four locations. As already noted, occur in abundance, but apparently ing Mule, TCC DB 3161), and Figures Willow was the only pattern present without associated platters. Were 34 and 35 (Dooreahs Leading Out in the “Blue Room”. other shapes (bowls, tureens, cups/ Dogs, TCC DB 16093). The observed transferware pat- saucers, etc) ever present? Although terns fall into 9 of the 14 primary TCC other shapes were not evident at the WHAT DOES THE PATTERN DB pattern categories, comprising 24 locations we viewed, Goetz clearly ASSEMBLAGE TELL US? subcategories. The specific categories indicates that there were pieces in All observed patterns, with relevant and subcategories are identified on the kitchens at the time of his visit information, are included in Table 1. Table 2, TCC DB Transferware Catego- more than a century after most of Altogether, we noted the presence of ries at Junagarh Fort. There would the transferware was manufactured. 112 unique patterns at Junagarh Fort, seem to be no particular rationale for Whether these other shapes remain primarily transfer printed, including such a varied assemblage of catego- at Junagarh Fort is unknown at this 94 patterns which we have identi- ries or, for that matter, patterns, other time; an excuse for a return visit and fied by name or series and 18 not yet than that a wide variety was available, in depth search! identified. The assemblage includes and thus, purchased and used. Identified pottery makers are listed 107 transfer print, three painted Chi- What have we learned from the in Table 3, Makers of the Junagarh nese Export, and two painted cream- Junagarh Fort transferware assem- Fort Transferware. We have identified ware patterns. Bearing in mind that blage? Foremost, it is clearly evident 27 makers (including “Unknown”) many patterns were present at more that there is no particular theme(s) in the assemblage. As there are 18 than one of the four locations, we to the collection, unless one wants to unidentified patterns, the total num- observed 67 patterns at the Tower/ consider the theme to be “no theme”. ber of makers is likely greater than Pavilion, 36 patterns at the Window As noted, a total of 9 of 14 TCC DB 27. With four exceptions (Wales, Surround Interior; 37 at the Window pattern categories and 24 subcatego- Northumberland, Yorkshire, and Lan- Surround Exterior, and one pattern at ries are represented at Junagarh fort. cashire), all of the identified makers the Blue Room. A total of 14 patterns The observed shapes are primarily were located in Staffordshire. were present at two locations, six at drainers and other flat wares, primari- Based on known transferware pat- three locations, and one (Willow) at ly plates with some platters. Drainers tern production and dates of pottery

To view the entire Table 1, please visit the TCC website: https://www.transferwarecollectorsclub.org/bulletins/20_TCCXXI_No3.pdf Page 18 TCC Bulletin, 2020 Vol. XXI No. 3 operation, represented transferware earliest date for the Junagarh Fort patterns were conceivably produced transferware production is ca. 1820, as early as 1759 and as late as 1873 and based on the presence of the nu- (ignoring the extremely long-lived merous Romantic themed wares, the Wedgwood). Many of the makers latest likely date of production is the were well out of business by the 1850s. Note that the painted cream- probable time of installation on the ware and Chinese export are likely walls of the fort (more on this in a from the late 18th century. We have subsequent section of this article). no explanation for the presence of An example would be the pottery these wares in conjunction with the Hopkin & Vernon, which operated much more abundant transferware. from 1836 to 1839, and The Cowman We made no attempt to count the pattern from an unknown maker (Fig- number of each pattern present at any ure 36), which based on its style and of the locations, nor did we count the Figure 30. Solar Rays Fragment / pearlware glaze, was produced during number of any particular shape or the Detail the 1820s. In our opinion, the likely total number of pieces. We ques-

Figure 31. Solar Rays Plate Showing Fragment Location

Figure 32. Monk Driving Mule Frag- ment / Detail

Figure 33. Monk Driving Mule Plate Showing Fragment Location

TCC Bulletin, 2020 Vol. XXI No. 3, Page 19 tion the utility of such an endeavor, ground or altered concepts. Yet, a would have been used to feed large given that there could be more than number of previously undocumented numbers of palace residents and one explanation as to the distribu- patterns (at least in the TCC DB) were guests, and if used, there would tion of patterns (artisan preference, identified at Junagarh Fort, for ex- likely have been a great many related availability at the time of installation, ample additional versions of Picking bowls, tureens, lids, and saucers, and etc.). Certain patterns are present in Hops (TCC DB # 19377) (Figure 37), certainly additional flatware. Some relative abundance, others are rep- Conway Castle, and Swan Center (DB should have survived. It is quite resented by a single example. First # 19384) (Figures 38 and 39). possible that these other shapes still and foremost in terms of profusion is exist somewhere within the fort, and Willow, the only transferware pattern ORIGIN OF THE JUNAGARH FORT that the objects we see plastered to in the Blue Room, but present at each TRANSFERWARE, THE BIG the walls of the fort, like the drainers, of the other three locations as well, QUESTION either were no longer used or were both as primary placements and as The question begging for an broken, or were in such abundance fill between placements. We did note, answer is how and why did all this (such as the voluminous occurrence in particular, multiple examples of transferware travel from its origin in of Willow), that they were repurposed Cowman, Nuneham Courtney (Wild England and Wales to a relatively re- as decoration. Rose), and Lange Lijsen, particularly mote location in western India? And Based on Goetz’s late 1940s re- within the Pavilion (Figures 15 and 36 was it all intended for use in the vari- search, the Pavilion was constructed (Cowman)). Also present are pairs of ous kitchens or tables, or for display in approximately 1877 during the the same pattern, such as two Spode on the walls of the palaces? reign of Maharajah Shri Dungar Singh, patterns (Trophies Etruscan and Dres- Of course, it is logical that large who died in 1887. We do not know den Border) placed within panels with quantities of English transferware for certain when the transferware numerous other patterns (Figure 12). would have found their way to India. was added, but we do know that his Until relatively recently, we are told brother and successor, Ganga Singh, A FEW DISCOVERIES that one could purchase transferware visited England to attend the August The TCC DB was initiated in 2005. at various markets throughout India. 1902 coronation of King Edward VII. One might think that most of the pro- And it would not be unusual to find As documented on a Royal Warrant duced patterns, particularly in popu- a mixture of patterns in use at one held in the Spode Archives and on lar series, would be documented by location, particularly one feeding so display at the Spode Heritage Mu- this point (2020). Who would think many individuals (no doubt in the seum in Stoke-on-Trent, Ganga Singh that 11 new discoveries would result thousands) from multiple kitchens. visited W.T. Copeland & Sons pottery from research of the walls of a 16th Given the obvious wealth associated on July 7, 1902 (Figure 40) (thanks to century Indian fort? Certainly, none with Junagarh Fort it seems likely Sue Wagstaff for this “discovery”, and of our discoveries has broken new that such a kaleidoscope of patterns to Janice Rodwell and the Spode Heri-

Figure 34. Dooreahs Leading Out Dogs Fragment Detail Figure 36. The Cowman Drainer Figure 38. Swan Center Fragment

Figure 35. Dooreahs Leading Out Figure 37. Picking Hops, Newly Identi- Figure 39. Swan Center Drainer (TCC Dogs Platter Showing Fragment Loca- fied Pattern Database) tion

Page 20 TCC Bulletin, 2020 Vol. XXI No. 3 tage Museum for permission to use point towards most of the transfer- IMPLICATIONS FOR THE TCC this document). We can surmise that ware arriving at Junagarh Fort during PATTERN DATABASE Ganga Singh saw examples of earlier the earlier rule of Maharajah Ratan The primary purpose of this article Spode transferware, and we can pos- Singh (1828-1851), which aligns with has not been to advertise the TCC tulate that he was smitten. However, the production dates for most of the Pattern Database. However, we would there is no evidence of Ganga Singh patterns we have identified. Accord- be remiss in not emphasizing this having purchased or installed the ing to Goetz, Ratan Singh was the extraordinary source of information fort’s transferware, and in fact Goetz first maharajah to have extensive on transferware patterns. Without indicates that Ganga Singh’s interests contacts with the British; during his the DB, our research would not have were with new construction and not rule Western manners and furnish- been nearly as successful, if even pos- with decorating the old. ings found their way into Bikaner and sible. Alternatively, Goetz states that all were incorporated into the daily life Our research indicated that 27 four of the transferware spaces were of Junagarh Fort. It would appear of the 116 Junagarh Fort patterns completed between 1872 and 1887, that British transferware was a part of were not included in the DB when including the interiors. The sources this Western trend. Goetz states that we initiated our research. We (with utilized by Goetz, decades after the the oval “fish strainers” found in the considerable help from fellow re- fact, are unknown, and he appears to interior of the Chattar Mahal (Pavil- searchers) identified 11 new patterns, get some other facts wrong, such as ion) were “such as are still found (at which have now been added to the attributing all of the transferware to the time of Goetz’s visit) in the late DB. Eighteen (18) patterns remain one specific maker, S. Hughes & Co. 1940s) among the palace crockery”. unidentified. Clearly, although includ- In fact, S. Hughes & Co. is not among Goetz is definitive in this statement, ing more than 16,600 patterns, new the 27 makers identified thus far by so we can ascribe an elevated level of discoveries await. our research. Goetz also incorrectly certainty to this concept. identified the transferware as painted. There is no definitive record to our Table 3: knowledge of when the transferware Makers of the Junagarh Fort Transferware was installed, whether at the time of Maker Location Dates construction of the four transferware locations, or later, but the evidence Bevington, T & J & Co. Swansea, Wales 1817-1824 suggests installation during the 1870s. Bourne, Baker & Baker (possible) Fenton, Staffordshire (not in DB) Also unknown for certain is Bourne, Baker, & Bourne (possible) Fenton, Staffordshire 1813-1833 whether the transferware was initially Burton, Samuel & John Hanley, Staffordshire 1832-1845 purchased earlier in the 19th cen- Castleford (Dunderdale & Co.)(probable) Castleford, Yorkshire 1790-1820 tury for use in the various Junagarh Clews, Ralph & James Cobridge, Staffordshire 1814-1834 kitchens, as claimed by Goetz, or for Copeland & Garrett Stoke-on-Trent, Staffordshire 1833-1847 decoration. Various lines of evidence Davenport Longport, Staffordshire 1794-1887 Fell, Thomas & Co. Newcastle-upon-Tyne, Northumberland 1817-1890 Griffiths, Beardmore & Birks Lane End, Staffordshire 1829-1831 Hamilton, Robert Stoke-on-Trent, Staffordshire 1811-1826 Herculaneum Liverpool, Lancashire 1796-1840 Hopkin & Vernon Burslem, Staffordshire 1836-1839 Keeling, James Hanley, Staffordshire 1790-1832 Mason, Charles James & Co. Lane Delph, Staffordshire 1845-1854 Mason, G.M. & C.J. Lane Delph, Staffordshire 1813-1826 Minton Stoke-on-Trent, Staffordshire 1793-1873 Minton & Boyle Stoke, Staffordshire 1836-1841 Ridgway, John & William Shelton, Hanley, Staffordshire 1813-1830 Ridgway, Wm. (& Co.) Shelton, Hanley, Staffordshire 1830-1854 Riley, John & Richard Burslem, Staffordshire 1802-1828 Rogers, John & Son Longport, Staffordshire 1815-1842 Spode Stoke-on-Trent, Staffordshire 1770-1833 Stubbs, Joseph Longport, Staffordshire 1822-1835 Unknown Various Various Walley, Edward Cobridge, Staffordshire 1845-1858 Wedgwood, Josiah Burslem, Etruria & Barlaston, Staffordshire 1759-2005

Note: Goetz (1950) identifies the maker of the Junagarh Fort transferware as S. Hughes & Co. of Cobridge, Staffordshire. However, we did not identify any S. Hughes & Co. patterns, and this Figure 40. Indian Princes Warrant maker is not identified in the TCC DB, although possibly some of the unidentified patterns may (1902) be attributed to this maker.

TCC Bulletin, 2020 Vol. XXI No. 3, Page 21

ver 1 20200823 CONCLUSIONS In our view, it is likely that the transferware was initially purchased for, and used in, the palace. After it was no longer in use, the transferware was employed for decoration. Oh for a few invoices or bills of lading to definitively prove this point! Additional research will hope- fully clarify the origin and use of the transferware.

ACKNOWLEDGEMENTS Thanks, first, to Sue and Frank Wagstaff, who brought Junagarh Fort to our attention, and provided vital observations and information on the history of the fort and its transferware. Then, equally, to Scott Han- son, who conceived of and worked tirelessly to turn our India trip dream into reality, and Michael Sack, who worked with Scott to develop the trip itinerary. Scott and Sue also provided historic background, and extensive, useful insight and comments on our initial draft. Finally, to Robin (Rob- indro) Saikhom of Serene Journeys, Delhi, India, and to our guide in Bikaner, Rahmat Kahn, who arranged our access to locations within Jun- agarh Fort which are not generally accessible to tourists. The authors identified most of the patterns, primarily using the Trans- ferware Collectors Club Database of Patterns and Sources (TCC DB), as well as published references. Sev- eral dozen DB editors have devoted unknown thousands of hours to re- Figure 41. India Transferware Travelers searching and documenting the more than 16,600 patterns thus far entered REFERENCES to the DB. Leslie Bouterie, Susan Fer- guson, Dick Henrywood, Len Kling, Anon, 1984, Blue and White Wagstaff, Sue, 2005, Blue and Connie Rogers, Michael Sack, Sue Palace, Bulletin, Friends of Blue, White Palace in India, Bulletin, Wagstaff, and Loren Zeller assisted Bulletin 44, Summer 1984. Source Transferware Collectors Club, vol. with pattern identifications and/or of information in article attributed VI no. 3, Spring 2005. background research of specific pat- to Judith Busby. terns observed at Junagarh Fort. Pho- Wagstaff, Sue, 2015, Return to tos were provided by David Hoexter, Goetz, Hermann, 1950, The Art Bikaner, Transferware Collectors Scott Hanson, and Susan Ferguson. and Architecture of Bikaner State, Club, vol. XVI no. 2, Spring 2015. Minati Roy provided insight into the Bruno Cassirer, Oxford, England. meaning of the Window Surround Wikipedia: “Junagarh Fort” entry. picture caption. And last but not Transferware Collectors Club least, thanks to our wonderful fellow website, Database of Patterns and transferware travelers, who are shown Sources https://www.transcollec- here near the entrance to Junagarh torsclub.org Fort (Figure 41).

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