Contents2013 Vol. XIV, No. 2

Inappropriate Patterns for Children,A Sequel Davida Shipkowitz ..................................................................4 Elephant Tracks: Elephants on Transfer-Printed Wares c. 1790-1850 Judie Siddall and Loren Zeller ..............................................6

2013 TCC Raffle Fund Raiser ..............................12

“Nuneham Courtenay” (“Wild Rose”)Exhibition Richard Halliday ...................................................................15

Transferware from a British Perspective Dick Henrywood ...................................................................18

Recent Discovery ...........................................................20

TCC Bulletin 3

Once again, TCC member Richard Halliday (“Blue Transferware”) has created a master-ful and unique transferware calendar for the Club. Placing some of the most spectacular patterns and forms on a natural background image results in a memorable context and perspective. Proceeds from the calendar sales support our educational programs (last year’s calendar, our first, raised $435). Order now for only $21.95 + shipping (ordering more than one copy will save on shipping). Order now via Lulu.com.

Announcing A Second Edition!

With sadness, the Bulletin must report the loss of 2 long-time and devoted TCC Members:

Bill Cheeseman: Bill passed away on May 25, 2013 at home in Lake San Marcos, CA. Bill and Mary were original members of the TCC, getting great pleasure from attending the annual meetings and connecting with other transferware collectors in California, Texas and the East Coast. Mary intends to continue their business privately and on Ruby Lane. Bill’s charm and good nature will be missed by all who knew him.

Eleanor Gestler Eleanor passed away in her home on August 2, 2013, after a courageous battle with cancer. Prior to her retirement, she worked as a real estate agent. A member of Level Green Presbyterian Church, Eleanor was a graduate of Slippery Rock University. She enjoyed working at Friend’s Thrift Shop in Export, playing bridge and gardening. She loved collecting early glassware made in Pittsburgh and British transferware. Eleanor’s survivors include her husband of 54 years, David J. Gestler, a son, two daughters, and eight grandchildren. Eleanor, with her husband Dave, was a regular at TCC Meetings. Eleanor’s cheery personality and delightful smile will be missed by all of us who had grown to know her over the years.

In Memoriam…

Transferware Calendar for 2014

TCC Bulletin 15

On the face of it, single scene or single maker collections may seem a little bland. Anyone with this opinion would

certainly soon have their mind changed when they visited the wonderful exhibition of the Homewood Collection of “Nuneham Courtenay” (“Wild Rose”) pieces. Collections such as these afford even the most experienced collector or dealer the opportunity to learn.

Collections are formed for a wide variety of reasons: some only consist of single manufacturers and some only of single genres within transferware. The Homewood collection was started for a simple geographical reason: the collector lives only a matter of yards from the view that is depicted.

Born in 1929 to a family of glasshouse growers at Hampton near London, John Homewood was the eldest of five children. Soon after graduating from Reading University, he married Nancy and they moved to Sussex where he took up farming with a friend. In 1958 they moved to Radley in Oxfordshire to partner with Nancy’s father at Peach Croft Farm. In 1965, he took on the tenancy there.

Across the river Thames at Radley stands Nuneham House, built in 1760. After he retired from the farm, John joined Radley History Club and began to study the house and the Harcourt family. These interests quickly led to his collecting “Wild Rose” or “Nuneham Courtenay” pottery.

John Homewood has now been collecting this pattern for about ten years, and although he started relatively late in life, his knowledge, passion and enthusiasm are certainly second to none. It seems a very logical thing for him to collect this pattern, being so close to the actual view on the pottery. It really is quite inspiring to see this huge collection only a matter of yards from the river and house in the scene.

The “Nuneham Courtenay” or “Wild Rose” pattern has to be one of the most famous and indeed, widely produced patterns in transferware. Well over fifty different potters made the pattern throughout the nineteenth century, and it has gained an iconic status similar to that held by the “Willow” and “Italian” patterns. The scene depicts a view of Nuneham Park House, with the river Thames in the foreground. The source of this design is thought to be an 1811 engraving by W. Cooke after a drawing by S.

Owen. The grounds and garden were extremely beautiful and were designed by world-famous landscape designer/architect, Capability Brown.

Between 28th and 30th of June 2013, John Homewood opened an exhibition of his collection to the public. This stunning display was housed within a recently restored, eighteenth century barn at Peach Croft Farm. The setting was just perfect, and it was as much a treat to see such a wonderful and historical barn as it was to see the pottery. One of the beams in the barn had two symbols carved in to it by the person who felled the tree in the eighteenth century. The symbol was used to ward off evil sprits in the woods and to act as a good-luck charm. Well, it certainly

brought good luck to Mr. Homewood: his exhibition was very well attended on all three days and he sold nearly one hundred pieces during this time. While John sold many of the pieces in the exhibition, his rarest and favourite items were not for sale. He is still actively purchasing unusual and important pieces that will add to his collection. His enthusiasm remains boundless!

John’s collection has many rare and unusual pieces. These include a cheese cradle, huge loving cup, asparagus server, bourdaloue, egg rings, pouch vase and his favourite of all; a syllabub tureen on stand. This stunning piece would grace

any collection irrespective of the pattern. It has crisply moulded acanthus leaf detailing on the lid and a typically Georgian-vase knop.

Also amongst his favourite acquisitions is a copper plate that was used to produce the wares he loves. Copper plates are indeed a rare find and to have one that is specific to one’s collection is something really special.

John’s exhibition also had non-blue printed wares, having the odd piece of brown, red, purple, black and green printed pieces. Despite this pattern being relatively common, pieces printed in colours other than blue are scarce. The sheer variety of wares, shades of colours, quality of potting in the exhibition allowed anyone with any interest to compare and contrast the notable differences. This is where a single themed collection offers the ability to inform us of the subtle differences in the afore-mentioned areas that we might otherwise take for granted.

“Nuneham Courtenay” (“Wild Rose”) ExhibitionPeach Croft Farm, June 2013

By Richard Halliday

See photos from the exhibition on the next page

16 TCC Bulletin

“Images of the ‘Nuneham Courtenay’ Exhibition”

TCC Bulletin 17