Charles Allerton

Blue Willow Tea Trio by Charles Allerton & Sons.

Teacup measures 4 3/4″ across including handles, and 3 1/4″ high. The saucer is 6 1/4″ across, and the dessert plate 7″ in diameter.

Allerton ware from the 19th C was seldom marked.

Many differing marks occur with the name or initials of Charles Allerton & Sons 1859 to 1942. Some marks have an ‘established 1831’ date incorporated in the marks – this date was from the previous company Alterton, Brough & Green.

Allerton Brough & Green 1831 to 1858 were one of the largest pottery firms in Longton in the middle of the 19th century with 348 employees. The partners were Charles Allerton, Benjamin Singleton Brough and William Green.


Maxim’s De Paris

White, embossed porcelain by Hutschenreuther.

The company was founded in 1814 by Carolus Magnus Hutschenreuther (1794-1845) in Hohenberg an der Eger, Bavaria, Germany. After his death in 1845, the factory was headed by his widow, Johanna Hutschenreuther, and her two sons.

Arzberg 1382

Historic design of world-class popular until today.

The most beautiful series from the Bavarian porcelain manufacturer Arzberg was designed in 1931 by industrial designer Hermann Gretsch.

Arzberg Form 1382 White sets on round and restrained forms. It is always made of high quality porcelain. Teapot and pitcher, soup cup or breakfast trays are so simple and therefore so extraordinary, that the porcelain decorates every table in the best sense of the word.

Because of their extraordinary balance of form and aesthetics, Arzberg Form 1382 White remains incredibly popular until today. Whether plate, soup tureen, mug with handle, jug, warmer or cake platter: The timeless designed parts can be combined excellently.

Founded in 1887 in Arzberg, Bavaria, its fame is largely based on designs by Hermann Gretsch, whose Form 1382, conceived in 1931 and based on Bauhaus principles, marks a milestone in modern design. Form 1382 is still produced today, and sold worldwide.

Ann and Göran Wärff

Kosta Boda handcrafted art-glass designed by Ann and Göran Wärff and made by Kosta Boda in Sweden.

Party leaf-embossed designed by Ann and Göran Wärff
Grape pattern designed by Ann Wärff

“The melt, glowing in the furnace, is what draws me to new discoveries. With every gather, I feel an almost irresistible urge to give new expression to the magic of glass, to create a work that will be the bearer of light, the sea and the air. Each piece that I design I try to make a receptacle for light, for warmth and sensuality.” Few, if any, have such a deep feeling for the glass melt as Göran Wärff, who has always shown special interest in preserving the traditional skills of the master craftsmen in glassblowing and glass cutting. The play of light within the clear volume of the glass and the endless optical phenomena that occur as the glass diffracts the light are a recurring theme in Göran Wärff’s art and design work. Nature and the play of light in nature are his other main sources of inspiration, beyond the glass itself.

Limelight candle tealight holder designed by Göran Wärff

Blue Willow

The popularity of tea sets imported from China spurred British potters to copy their style of decoration. The first willow design may be attributed to Thomas Turner of Caughley Porcelain in 1780. William Spode and Thomas Minton both copied his pattern in 1790. The most popular colour was blue, followed by pink, green and brown. It is always on a white background and the pattern is applied as a transfer.

Dating specific Blue Willow pieces is extremely difficult. Many early pieces were not marked. The body type, glaze, and patterns of the piece give clues to wether it is from early, middle, or late eras. On older examples you will often find spots on a plate where the transfer has slipped, creased or been badly joined up. Copeland states the blue of early patterns was very dark. Through the years when manufacturing the process became more precise the pattern was produced in many shades of blue.

Spode 1889

The romantic fable associated with the pattern, and probably invented by Spode, has it’s origins in England and has no links to China.

The most popular version is a tale of star crossed lovers; a wealthy mandarin’s daughter and her father’s lowly accounting assistant. When the father discovers their love, he fires the assistant and builds a fence around his property to keep him away. You’ll always see a fence around the teahouse. The boat in the pattern carries a rich duke, who arrives with a chest of jewels and plans to marry the girl. The lover sneaks in and steals the jewels and the girl. You see the couple running across the bridge to escape to an island, but the father is close behind with whip in hand. The couple are killed. The first versions didn’t include the two birds. Later versions had the gods taking pity on the lovers and allowing their souls to take the shape of doves and fly off together.

Two antique blue and white English china Willow Pattern saucers. There is a very intricately patterned fluted rim, then an inner gold band and an inner geometric oriental pattern. In the centre is the willow pattern.

The colour of blue is paler in one saucer and the transfer although the same pattern is clearer in different parts of each plate, all suggesting early manufacture. There is no makers mark, early examples are often unmarked. Probably an early example of Charles Allerton.


Evesham Gold is a classic pattern that beautifully depicts autumnal fruits from the Vale of Evesham.

Introduced in 1961, the Evesham range was designed and made by Royal Worcester.

This Royal Worcester “Evesham” Jug holds approx 24 oz of liquid (over a pint) and measures approx 14cm in height.

Ramekins from the Evesham range, decorated with olives and blackberries with a gold rim around the edge.

Orchid China

Blue & White Antique China Cup & Saucer, backstamped Orchid 752. Date: c.1840-c.1900

Plum blossom, orchid, bamboo, and chrysanthemum were adored by the ancient Chinese literati and artisans, and referred to as the “Four Noblemen.” This was because they were used to portray noble characteristics, such as pureness, humbleness, and uprightness.

In ancient China, people called a man of great virtue a gentleman. In the world of flowers, plum blossoms, orchids, bamboo and chrysanthemums are known as the four gentlemen in China because these plants’ natural character have something in common with human virtues. They have all long been featured in ancient paintings and poems used to express loftiness, righteousness, modesty and purity by Chinese literati.

Grown in deep mountain valleys, orchid is one of the top ten well-known flowers in China. With delicate fragrance refreshing people’s minds, and the elegant figures swaying slightly in the wind, orchids are equal to elegance in Chinese people’s eyes.


The fascinating history of the only 20th century Swiss porcelain factory began in 1906 in the Bernese town of Langenthal. The porcelain manufactory Langenthal SA became noted for its cutting-edge technology, the diversity of its products as well as the quality of its porcelain. The artistic output followed the dominant aesthetic currents of the century while still preserving its local character.

Today, the range of products offered by the manufactory and made in the Czech Republic is mainly targeted at hotels and restaurants and responds to the contemporary taste for stylised forms and minimalist designs.

Source: Langenthal retrospective / Musée Ariana, Geneva, Switzerland


Huguenot Candlesticks

A rare set of four 18th century paktong candlesticks, the design of Huguenot influence, English circa 1720-1730. The octagonally facetted stem of two parts, seamed and fixed to the base by a course thread.

Paktong, a rare Chinese alloy imported in small quantities during the eighteenth century, was used by European craftsmen to make domestic objects in imitation of silverware. This metal has been shrouded in mystery since it was first recorded by Western travellers in the seventeenth century. The vital silver-coloured ingredient, nickel, was not identified in the West until the second half of the eighteenth century, and it was to be a further fifty years before scientists were able to perfect a viable imitation of paktong. In more recent times the mystery of paktong has lain in the lack of documentary evidence concerning its use in the Georgian period. This has given rise to many myths and speculative theories about the metal.