Lustre Band

A classic Gothic body style with grape leaves and fruit both at the throat and below the upper handle terminals on pitchers. There is detailed embossing on the throat of the pitchers. Covered items have a grape cluster finial.

Dangling Tulips is the nickname of a body style registered by Edward Pearson. A firm named Pearson, Farrall & Meakin operated a pottery in Shelton in 1854. The firm did not last very long for there is no record of a notice of dissolution for the partnership. Mr. Pearson and Mr Farrall evidently went their separate ways, both potting the same shape under their individual names. (The Meakin in this partnership was James Meakin, not one of the Tea Leaf Meakins.)

Elsmore & Forster's very popular wheat style was widely copied by other potters, both British and Amrican. It is an extremely well potted line which is found in many elegant decorations. In addition to the copper lustre enhanced version, there are examples with cobalt, a lighter blue, green and gold lustre, a mustard yellow and even in a Rockingham glaze. 

Registered in 1859.

Many potters produced goods in the Gothic style, such as Classic Gothic, Full Panelled Gothic, etc. To our knowledge, only Elsmore and Forster actually marked their wares with the "Gothic Shape" name.

The mark has appeared on a relish dish that has also been found marked "Portland Shape."

Plain Tobacco Leaf plates have been found maked "Gothic Shape" also.

The Davis' utilized Clementson's popular Teaberry as the motif on their wares. The name of this very plain round shape, typical of the 1870's, is derived from the bands of the C-shaped handle of the teapot and repeated on the upturned handles of the sugar bowl.

A vanity box with the same banding was marked Livesley and Davis , evidently a transition piece made at the time the pottery was changing ownership. 

An elegantly paneled style with leaf embossing at the handle terminals and surrounding the rosebud finial. Chinese Shape is found decorated with Tea Leaf or Teaberry motifs; even with gold lustre motifs on lighter weight bodies. Some examples by Anthony Shaw actually are in lustre band only and may be either panelled or smooth.  Red Cliff copied the lines and the distinctive Shaw tea leaf in their mid-20th century reproduction line.

The vertical panels of this Gothic body style flow gently outward to the wide base. The collar is widely flared above the neck. Pitchers and teapots have bracket handles while covered pieces are found with ear-style lug handles. This Gothic style does not have a deeply indented arc near the base that characterizes the Classic Gothic.

This Sydenham-related body style was potted by several makers, each adding their own individual touch by varying the finials. Livesley and Powell used a cone-shaped knob; Elsmore & Foster used an acorn on top of the child's pieces, and a nut finial on their adult pieces. Children's sets by Elsmore & Foster sport Morning Glory or Tpbacco Leaf motifs. Registered in 1855.

Crescent arches embossed near the top rims of holloware and flatware pieces identify this body style. It is usually found with only banding but examples with teaberry motif are known. The impressed oval mark verifies that the potter's name for this body style is Augusta Shape. Many pieces are found simply marked "J. Clementson, Sheldon." 

Crystal is a very plain bulbous style potted by two famous producers of Tea Leaf ironstone. The only difference in the teapots is the rim style. Clementson used a flanged simple rim while Elsmore & Forster scalloped their flanged rim. Elsmore & Forster uses a heavily lustred knob finial.