A complete line of this gold-lustred ware was advertised as "Iona" in an 1895 catalog. The graceful arc of the finial and the vertical handles add to the attractiveness of this late body style. Registered in 1886.

Wedgwood's (1880s) version of this body style is probably the best known and the most abundant of the Square Ridged varieties. Its popularity is attested by Red Cliff's reproduction of it in the 1960's. Johnson Brothers also made this shape but it is less plentiful.

Teh basic square shape is softened by a slight flare to the waist and the inward curve of the ribbing which extends to the bracket feet. The bracket handle is also slightly curved.

Corn's Square Ridged can be distinguished by its odd shape and scalloped rim. The somewhat facetious nickname "Square Pear" is based on the very wide lower section of the body. The body flares from a relatively narrow collar to a low waist with a narrow band of ribbing below. The bud-less gold or copper lustre motif is reminiscent of Davenport's Tea Leaf. Shaving mugs follow conventional lines but have a band of ribbing near the base. The gold lustre cloverleaf is an unusual adaptation on an ironstone body style.

This body style was named for it's embossed half-cross "stitches" separated by dots.

Named for the finials, this late Wilkinson body style has bulbous sides and a nicely shaped base. Its simple lines and forthright design combined with the distinctive finials and handles that resemble sunbursts make it very appealing.

This body style was illistrated in Minnie Kamm's book "Old China" (1951). It was Mrs. Kamm who coined the motif name "Pre-Tea leaf. " The body style name is derived from her description: "The embossed pattern consists of light scrolling around the widest part of the body and a slight indentation below the swags; the collar is slightly wider, with faint scalloping, as shown."

An ornate body style with much embossing by Glasgow pottery,

The Triple Border is divided into six sections with double embossed lines extending from the top rim to the base rim of a cup and to the well of the saucer. To date, only a cup and saucer has been found.

True Scallop is characterized by the sided rim and the deep scalloped well of the plate. About 1853.

Characterized by delicate scroll-like embossing below the top rim, this shape is found with a variety of treatments. Tea service items are found in both round and oval shapes. Many pieces are found with an impressed "No. 2."

NOTE: The impressed name does not include the word "shape." However, the mark clearly shows this as a potter-named body style. Registered in 1862.

This is believed to be the body style name that Ford China company, of Ford City, Pennsylvania, marked its tea leaf wares with.  The body style is a fancy shape with a low waist, ear shaped handles that connect at the top of the neck and at the middle of the waist.  It includes an impressed medley of flowers and leaves.  The spout on pitchers is slightly elongated and the rim is heavily scalloped.

This is a special body style listing for heavy weight cups and saucers that were evidently used as hotel ware. The cups have twelve panels while the saucers have 18 panels. Also noteworthy, the saucers by each of the potters have a double circle defining the well.

The Clementson Brothers ware are handled or handleless while Mr. Shaw's and Mr. Meakin's are handled. Guests using the Shaw set had to finish their "good to the last drop" beverage in order to find the Tea Leaf hiding in the bottom of the cup.

This body style is used to describe the identical ladles that Alfred Meakin used with different body styles, including: Bamboo, Brocade, Fishhook and Scroll.

This body style is used to describe the identical ladles that Anthny Shaw used with different body styles, including: Bullet and Daisy.

This body style is used to describe the identical ladles that Powell and Bishop and allied potters used with different body styles, including: Square Ridged - Iona and Simple Square - Puffy.

This body style is used to describe the identical ladles that Wedgwood used with different body styles, including: Simple Square - Wedgwood's Plain, Square Ridged Ribbed and possibly Chelsea. More research is needed to determine if Wedgwood made a Chelsea ladle.

This body style is not yet named.

A body style developed by Vodrey & Brother Pottery, Ursilla features a round footprint with scrolling embossing on the throats of pieces such as shaving mugs.

This body style boasts oval footprints with some serving pieces sporting a scalloped base.  Embossing adorns the rim and upper torso as well as the scallops on the foot of some pieces.

The lavish embossing on a known ewer and wash bowl set prompted the name of this unusual body style. To date, only chanber sets have been discovered in this body style.

Storybook dolphins grace the handles and finials of this basic square style with fluted corners. Why Mr. Edwards chose the name "Victory Shape" is not known. This style is one of the most collectible of the animal-feature shapes so popular in the 1880s.

NOTE: The word "Victory" is found impressed separately from the Edwards plume backstamp. It does not include the word "shape". Registered 1884.

Found only in syrup pitchers, it is rare indeed with its graceful melloned bulbous body and its pewter lid. Anthony Shaw decorated with copper lustre Tea Leaf.

Jacob Furnival is also known to have produced this body style but examples of his with copper lustre decoration have not yet been found. 

This body style is nick named "Grape and Medallion." It was produced extensively in white ironstone by E & C Challinor. The plate rim features an embossed outer chain from which grape leaves are suspended.

The embossing at the top of the handle resembles a Bird Foot Violet, a five petal flower with foilage. The lustre outlining the vines, which flow from the handle terminals, is an unusual and pleasing addition to this basically plain, round bulbous body style.

An early octagonal body style produced by Jacob Furnival, it is rarely found with copper lustre banding. The basic Gothic lines are interrupted by the wide vertical panels at the lower section of the body. The only embossing is found at the handle terminals where elaborate foilage relieves the plain lines of the style.

An embossed spray of flowers and foilage emanating from the handle terminals graces the body of the bulbous, rounded serving pieces.  Smaller sprays are found on the rims of plates and platters. 

Jacob Furnival's Wheat features wheat stalks embossed at the neck and curved gracefully upward from the lower handle terminals. Cinquefoil borders can be found on covered serving pieces while central cinquefoil motifs may be seen on other pieces.

Another of the very popular wheat styles, this one is by Powell and Bishop and features double sprays of wheat sheaves with flowers on a bulbous round shape. Registered in 1869.

A bulbous body style with ribbing that covers the bottom portion of pieces in a "fan" or "shell" pattern.

This late Corn body style sports faintly fluted corners on a body that is slighly bulbous. The embossing at the handle terminals resembles the flora of a forest floor. The twisted rope handle completes the rustic design.

The syndenham body style was introduced by T & R Boote in 1853. It achieved instant popularity and thus was copied widely. The three potters (Livesley and Powell, Anthony Shaw and Edward Walley) decorated their Wrapped Sydenham versions with a variety of treatments. Collectors will find traditional Tea Leaf (Shaw) , Scallops (Walley) and Lustre Band (Livesley & Powell) motifs. FInials may also vary - Shaw may have a bud finial ahile Walley feature an acorn finial. Patton also made wares in this body style.