Embossed scrolling highlights this body style. Note the alternating wide and narrow ribs that punctuate the necks of pitchers, sugar bowls, teapots, etc. These are repeated on the shaped base.

Registered in 1860.

Embossed arrowhead shapes located near the rims of both holloware and flatware pieces attest to the origin of the name of this early body style. Even the ring finial is embelished with an arrowhead.

Registered in 1858.

Hyacinth features an embossed hyacynth under the handle near the top where the handle attaches to the rim The embossing extends across the face of the body on the upper third of pieces such as creamers. Cochran applied the pre-tea leaf motif in copper lustre to this body style.

The Ionic body style features deep ribbing or grooves on the top part of the accessory pieces while the bottom half of these pieces are quite bulbous. The moss rose motiff with gold lustre were applied. 

This body style was identified by a printed mark.

A smooth body with tapered base and vertically ribbed neck. The piece has large ear-shaped handles.

Jumbo is a rare and unusual body style. The teapot is pear-shaped and very plain except for the addition of chrysanthemum flowers on each side of the handle terminals. The striking feature, is, of course, the well defined elephant head and trunk on the handles. This is repeated on the finial with two elephant heads facing away from each other. Jumbo was Henry Alcck's charming contribution to the animal feature whimsey of the 1880's.

This body style mirrors the age of the dashing cavalier Charles Stuart II, King of England, in the late 17th century. The bulbous base and upright neck are typical of the pouring vessels of that period. 

This is a simple body style featuring "C" shaped handles and a distinctive rim with a recessed line running just under the rim. Pieces flare out a bit at the top of holloware pieces and then taper down to the lightly smaller base.

The lavishly embossed Lafayette Shape was a name that would appeal to the average housewife. Strangely, the plates and platters in this body style are plain in conrast to the hollowware pieces. 

Elsmore & Forster's bulbous style with embossed laurel wreaths is lavishly decorated with brilliant copper lustre. The neck is marked with vertical ribs and thumbprints while only ribbing marks the lower body and shaped base. Copper lustre adorns the twisted rope finials and upturned handles of holloware pieces. The copper lustre dotted bands on the necks and lids of holloware pieces can also be found on the rims of plates, platters, relish/pickle dishes, cups and other flatware.

This square body style is found in two versions: one is slightly bulbous while the other is quite flared. Both styles are characterized by leonine facial features in a medallion at handle corners and in the arch finial.

Little Cable is a square shape with a simple cable design without the ring. The pyramidal finial is square with lines radiating from the apex, circus-tent fashion. These lines are repeated on handles, spouts and throats of pitchers.

A close cousin to Grand Loop, Loop and Line features a horse-shoe shaped line decoration on the flange of underplates. Covered dishes have a split pod finial encircled with foilage.

Holloware pieces in Maidenhair Fern feature embossed fern designs at the handle terminals. The same embossing is found at the strap finials. Although basically a rectangular shape, it is softly rounded. Tea service pieces and pitchers have scalloped rims above a very pronounced neck. They are very high waisted, then taper to a scallopd base. Note that some bath pieces have a roiund footprint.

The bulbous waist of this body style is embossed with ribbing that resembles a melon.

This body style is characterized by a diamond shape footprint on pieces such as covered vegetables and a distinctive finial shaped like a chambered spiral which resembles a Nautilus. The spiraled handles continue the nautical theme. Lustred tendrils at the finial and handle terminals resemble seaweed. The relish/pickle is also chambered and features the seaweed tendrils at the handles. 

The spoon warmer (or vase) is the only piece known in this body style and is typically referred to as "Nautilus." We've added the word "Shell" to distinguish this from Clementson's Nautilus body style.

Clementson's New York Shape is characterized by a tapered bulbous body with embossed leaf designs sometimes referred to as phoenix. The distinctive base has a thumbprint design below the low waist.

Registered in 1858.

Niagara Fan is thought to be one of the first body styles decorated with the traditional Tea Leaf motif. The fan designs at the junction of each ridged section resemble Walley's Niagara Shape, thus the name, Niagara Fan.

Note that on Niagara Fan there are four flutes in the design, whereas Niagara Shape has five.  Also, the Shaw decoration extends al the way to the neck on teapots, etc.  The Walley design terminates at a decorative band that surrounds the neck.

Registered in 1856.

Edward Walley decorated this widely popular design with a variety of lustre motifs. In addition to the Tea Leaf and related motifs, Walley also used Chelsea Grape and other various painted patterns.

The flared round tea service pieces flow to an extremely low waist and then are sharply indented to a shaped base. The shape of dinner serving pieces can be seen in the Register of Designs, British Patent Office, dated November 29, 1856.

This body style features arched panels with spade-like decorations at the base of each panel. It's reminiscent of the designs in the art nouveau period - hence the name. To date, only a bath ewer has been found.

Ths body style was a late comer to the Tea Leaf family. The squared shape is typical of the English Arts and Crafts movement of the early 20th century.

The ribbing at the base of the chamber pieces may have been the inspiration for the Adams' 20th century Tea Leaf replicas (Empress). Since Adams called his ware "Empress," we have dubbed this late 19th century product Old Empress. After all, in the late 1890-'s, Queen Victoria was indeed an "Old Empress."

Note that the potter is C. Challinor who was in business for only four years, from 1892 to 1896. This firm was the successor of the better known E & C Challinor, 1862-1891.

This body style is known for its fluted rim and bulbous waist. Its C-shaped handles are embossed with decorative additions giving it an elegant, regal stance. 

Palissy is a body style developed by Vodrey and Brother Pottery. It is a square shaped body style with elliptical finials and eared handles. The gold lustre Tea Leaf on this body style may seem almost to be on its side.

Panache is a fitting name for a body style that is splashed with glittering copper lustre. The plates sport embossing with swirling copper lustred lines. The Beardmore & Dawson firm was only in business for four months. There were other Beardmore partnerships, but the B & D mark is very rare indeed.

Registered in 1863.

Panelled Berry with Leaves was named by Jean Wetherbee in A Collector's Guide, page 86. Potted by J & G Meakin, this body style is likely from the 1850's or 1860's. The example found - a teapot - is decorated with a copper lustre Pinwheeel variant design. This variant design of Pinwheel has only been found on one other piece - an unmarked Gothic plate.

A close relative of the Gothic body styles, Panelled Decagon was potted by Elsmore & Forster. The ten panelled plates and flatware sport a scalloped rim that defines the ten-panelled flange. Covered pieces bear a typical Gothic finial with lavish embossing on the finial surround - basically the only decoration on an otherwise plain body style.

This bulbous body style features embossed grape leaves spreading from the finials and the handle terminals. It is found with at least two types of finials, the ring finial and also a grape cluster version. Since it is found with such a variety of treatments, including the unusual Botanical motifs, it was evidently one of the most popular of the early body styles.

Pear is recognized by its squatty bulbous body and the pairs of long narrow leaves at the handle terminals. The finial is a perky pear atop the domed lid. Note that there are two styles of bases - one has a shaped base while others are pedestaled.

John Edwards was provileged to use the three-plumed feather insignia of the Prince of Whales in his trademark, evidence of a visit to the pottery by that emminent gentleman, the future Edward VII. Dare we assume that Mr. Edwards honored that visit by naming his feather embossed body style "Peerless" in honor of the Prince?

Note: The impressed mark of this potter-named body style does not contain the word "Shape."

Registered in 1887.

The body is smooth and free of embossing.  The base is very round.  The neck is ruffled.

This is a body style featuring a smooth collar without any ribbing or embossing and sporting either no distinct spout or a non-flaring spout formed as part of the collar and not reaching upwards above the collar rim.

This body style is identified by the embossed and decorated lily affixed to the top handle terminal. Otherwise, the body is plain without embossing.

This body style can have a varying number of sides (6, 8, 10, etc.). It is very plain without embossing of any kind.

Plain Round is a term we use to describe a variety of wares by different potters. These wares are typically of a simple bulbous shape, unadorned and may have been produced for institutions such as hotels or restaurants and Inns. Durability was the drawing card, yet there is beauty in the simplicity of the lines. They were not necessarily manufactured to go with one body style but with many different ones. Plain Round can be found in children's and adult wares, as well as in bath and dinnerware items.

This late 19th century design was used by many potters of that era. Notable are the Tea Leaf designs by Anthony Shaw and the Teaberry motif examples by Clementson Brothers. Both examples have knob finials The Plain Uplift body style has simple lines and the uplifted handles attached to the body. Sometimes the handles are adorned with a decoration similar to beaded band.

Although the potter for this body style is still a mystery, the impressed mark "Opaque China" and the design of the copper lustre Tea Leaf indicate it may be another product of Anthony Shaw & Sons.

The handles and the finial of this body style are shaped and decorated with lustre to resemble pieces of ribbon. The entire rim on the base of the covered vegetable also has this ribbon look.

This is a most desirable piece to grace any table.

Registered in 1886.

This 1890s body style has been discovered in a ewer and wash bowl set. The ewer is divided into four bulbous lobes. There are pleats at the spout and upper rim with vines surrounding the side and front lobes at the neck. The bottom rim also has the vine motif at the foot of each lobe. A C-shaped handle complements the piece with embossing on both sides.

This four lobed design is repeated in the bowl with an undulating rim and vines just below. A fantastic piece! 

This body style is named for the plumage embossed below the pouring spout of the pitchers. The basic lines are typically Gothic with the base similar to the Classic Gothic shape of Edward Walley.

The basic difference, other than the throat embossing, is the lack of a line defining the neck of the vessel. Both Classic Gothic and Full-Panelled Gothic have a double ridge separating the upper and lower portions of the body. Shaw's version, with the elegantly embossed throat, has smooth panels from the top rim to the base.

The color of pale Baltic amber, Edge Malkin's elegant Tea Leaf ironstone would be at home at a palatial feast. There are two styles of tea services: one has a high domed lid and the other a flat lid. The finials of the sauce tureen and the rare lidded pancake server are truly regal.

This panelled round style boasts distinctive trumpet flower finials. Portland Shape was potted over a period of thirty years. It is found decorated with marvelous copper lustre Morning Glory motifs or equally beautiful green and copper Reverse Teaberry designs. Some tea services have been found with Pomegranate finials. 

Note that children's sets were not made in Portland Shape but were made in Columbia Shape.

Powell and Bishop decorated the Prairie Flowers blanks of their predecessors, Livesley and Powell, with the fanciful copper lustre Pomegranate design. Pitchers have a vertical arrangement of wheat and poppy embossing which characterized this body style.

Priaire Shape is embossed with wheat sheaves and poppies. This body style rivaled Elsmore & Forster's Ceres Shape in popularity. Produced for the American export market, the name and the design had instant appeal.

Registered in 1862.

Primary is a generic name for several different body styles of the mid-19th century. There are many variations of this basic shape.

Some have uninterrupted vertical panels as in the Jacob Furnival child's pieces. Others may have a single straight line at the waist, or several lines belting the waist; diamond-styled vertical panels; or split vertical panels.

Prize Bloom is a well named body style. It features blooms not only on the finial but on the spout and the looping handle.

With a profusion of copper lustre adorning the blooms, it is a delightful example of this potter's art.

 Registered about 1853. Only tea sets are currently known in this body style.

Holloware pieces in this attractive style are divided into four sections by the ridged loops. Flatware pieces such as plates and platters have six sections while cups are divided into five sections. The rosebud finial lends its name to this early body style.

All over forget-me-not flowers inside diamond squares resembling a quilt.

The Reeded Round body style has to date only been found on bath sets. The style sports a scalloped-shaped basin and graceful ewer with scalloped rim. The C-shaped handle bears a knob to assist in handling the heavy ewer when filled with water. Both pieces are decorated with embossed reeding surrounding the base of each.

With very few specimens of this body style found, a soup tureen has provided the most details. It was potted in semi-porcelain. The name was derived from the corner embossing that resembles kingly trappings topped by a crown. Godden lists a Smith, Ford and Jones pottery in business for a short time prior to 1895. It is possible that the marking we know of as S. F. & J. refers to this pottery as the general characteristivs of this body style are consistent with this era.

The body style is identified by the ribbing around its neck. Pieces have a round waist, modified bracket handles and ribbed neck embossing.

This body style shows extensive ribbing on the lower, bulbous part of the body and daisy embossing on the upper collar. A beautifully executed ware!

A slight variation on some of our plain round and scallopped rim body styles, this design bears a perfectly smooth rim and a segmented or ribbed side.

Beribboned and bowed, this body style has beaded handles on tea set pieces and embossed stems and leaves flowing from the handle terminals. The same embossing is repeated on the lid. The gold lustre outlining the designs is completed with cloverleaf motifs.

Registered in 1878.

Ribboned Round features ribbons that stream from the upper handle terminals of holloware pieces like the teapot and waste jar. The design is repeated on the lids. Handles and finials are keyhole arches with splashes of copper lustre.

The name "Richelieu Shape" evokes thoughts of fancy French rococo designs but the plain bulbous lines of this body style defy that description. The conical knobs, some with circus tent stripes, is the only relief from a rather simplistic form.

The phoenix bird mark on a known sugar bowl reads J. Clementson while a pitcher is marked Clementson Brothers. Arnold Kowalsky points out that "Many prior Joseph Clementson shapes were reissued by his sons."

The ring-handled shape is consistent with styles of the 1850s, but the mark on a known pitcher indicates a later production date.

This early bulbous style is divided into six sections by ridged lines which are extended above the neck to form heart shapes. Note that Livesley and Powell pieces have a mushroom finial while Jacob Furnival pieces sport a conical knob finial.

Registered in 1853.

A very ornate body style, usually of porcelain, Rococo is found in many guises with variations in embossing and shaping. Some examples of the body style can be found with fancy, footed bases while others have flat shaped bases below subtly embossed bodies.

The classic lines of this tapered round ware inspired the name "Rondeau." The name is particularly suitable, as in classic poetry and music, a Rondeau features a repeated line. Davenport's Rondeau carries this theme out with the wide and narrow copper lustre bands rimming flatware pieces and the rim and collar bands on hollowware pieces.

Identified by the intricate embossed rope on the handle.

The Johnson Brothes became the proprietors of the J. W. Pankhurst potter works at Hanley in 1883. Thus, the same body styles may be found with either a late Pankhurst mark or the Johnson Brothers' arms mark.

Rosetta is a bulbous round body style with simple lines. The rosette embossing on the handles of hollowware pieces is characteristic of Johnson Brothers. It is also found on some Wedgwood products which are similarly styled. On Pankhurst hollowware pieces the finials may be mushroom shaped. 

Round Scallop features deep scallops surrounding the well of the plate, but the outer rim is round and not sided. There may be other potters who produced this as well.

Royal Shape is a rare example of a body style that features a bulbous round body with embossed leaves at the upper handle terminal. Note that the impressed mark of this potter-named body style does not contain the word "Shape."

This is a generic category which includes scalloped rim pieces, both flat and hollow, that have no specialized embossing. In addition, it includes the scalloped rim bone dishes, butter pats, and nappies.

The scroll body style is thought to be Alfred Meakin's earliest style adorned with the tea leaf motif. Scroll is identified by the copper lustre decoration found at the finials and handles. The keyhole arch finial is also an identifying element.

Seashell is a club named body style produced by Enoch Wood. This body style features a low foot with a bulbous base featuring ridges reminiscent of a seashell. The spout on pitchers is quite flared and rises about the same height as the handles. The handles are like a small "C" and a large "C" facing away from each other with the smaller one on the bottom. It's a very elegant body style.

The throat of this piece is rimmed with a band of beading.  The name, however, comes from the serpent like handle.

Another unusual plate from Anthony Shaw features a slightly scalloped rim with embossed plumes. According to the mark, this dates to after 1882.

A saucer and a plate are the only known pieces so perhaps there is an entire dinnerware set.

A late Shaw body style on a semi-porcelain blank, which is creamy in color. It is characterized by the outline of a shield created by the vertical ridges. The backstamp is in brown ink. Registered in 1889.

This small, squatty style features a bulbous pear-shaped body. Covered pieces are topped with an elegant round finial; tea service pieces have huge "C" shaped handles which appear to be out of proportion with the small body.

This category includes compotes, rectangular platters and side dishes, square nappies and butter pats. They were made by many of the late period potters in a simple form without added embelishment. Thus, they could be used with any of the myraid of dinner services in vogue.

This body style features bracket handles, pagoda finials and beading on the handles - hence the name!

This simple square body style flares gently outward to the low waist, then is abruptly indented to the recessed base. It is named for the oriental flavor of the arch finials and handles. The Steubenville Pottery version is often decorated with a Tea Plum also called the Tea Leaf lollypop.

The bulbous sides of this square style inspire the name "Puffy." The diamond shaped openwork finial is a unique addition to an interesting form.

Wedgwood's Simple Square demonstrates a simple style with a recessed base and straight, tapered sides. The sides of the covered dishes taper gradually to a flat base while pitcher sides flare to a low waist, then indent sharply to the base. Note that some bath pieces may have a round footprint.

Simplicity is a bulbous round style with uplifted handles. There is no embelishment other than the prominent Tea Leaf motif featured on the Shaw examples or the distinctive Rose motif of Powell and Bishop wares.

A charming variation of the Plain Round styles of the 1870's, Anthony Shaw used lavish copper lustre decoration at the handles and finial surrounds. The uplifted handles are molded with a tied bow seen both on sugar bowls and on pickle/relish dishes. The medallion arch typ[e finial seems out of keeping with this style of handles. Creamers have a slightly scalloped rim and high spout, very similar to Shaw's Cable and Ring body style.

Henry Burgess' late entry of a Square Ridged style featured ribbing below the low waist of a flared body which is almost hexagonal. The upturned bracket handles are decorated with beading on the underside. The graceful curve of the triangular arch finial softens the vertical lines of this style. Registered in 1896.