The Tear: The Man Doom'd to Sail... – Sunderland
This transfer is the fourth verse of Byron's poem, The Tear. You can read more here, on Ian Holmes' site.
Phillips & Co, Sunderland Pottery
The frog mug below likely belongs to the Phillips period, 1807–1818, at the Sunderland Pottery.
Dixon, Austin & Co, Sunderland Pottery
An eel pot with similar enamel decoration to the jugs above.
Attributed to Dawson's Low Ford Pottery 1
The eel pot (above left) has a transfer that has been trimmed to fit. The puzzle jug has coloured over enamels.
Finally, a clear view of the whole transfer (click to enlarge) on a typical Dawson frog mug.
Attributed to Dawson's Low Ford Pottery 2
This large mug with a very simple rendering of the verse. It is attributed to Dawson's on the basis of a similar mug with the Mariners' Arms transfer.
Moore & Co, Wear Pottery, Sunderland
This version has a misspelt printed mark for 'Moor & Co'. It resurfaces on reproduction items a century later (see bottom of this page).
A Scott & Sons, Southwick Pottery, Sunderland
Two jugs with typical 'Scott' lustre decoration and short spouts.
The Tear: The Man Doom'd to Sail... – Tyneside
Robert Maling, Ouseburn Bridge Pottery, Newcastle
Redhead, Wilson & Co, Forth Banks, Newcastle Pottery – 1833–1838
Cornfoot, Carr & Co, North Shields – 1832–1838 or
Carr & Patton, North Shields – 1838–1846
Two jugs from the 1830s with transfers reliably attributed to North Shields.
Carr & Patton, North Shields – 1838–1846
This jug, with flowers around the collar, appears to imitate those made by Scott's in the 1830s. The bridge view, however, is a version I've attributed to North Shields.
John Carr & Co, North Shields – 1848–1854 or
John Carr & Son/s – 1854–1893
Carr produced two versions of the transfer, and both appear on the large jug below.
When the Carr and Patton partnership dissolved in 1846, John Carr continued at North Shields, and John Patton at the Phoenix Pottery in Newcastle. Each proprietor had their own version of the Mariner's Compass transfer with a printed signature beneath (see left details below). Those Mariner's Compass transfers were evidently paired with unique versions of the verse transfer (shown right below). The easiest way to tell them apart is by the centres of the flowers at the bottom of the verse.
John Patton, Phoenix Pottery, Newcastle – 1847–?
Two jugs with inscriptions for the Carre family, dated 1850 and 1851. Inscriptions with French names from the Channel Islands appear frequently on these items. See more Patton inscribed items here.
A Patton marked jug and a large mug with coloured over-enamels applied to the transfers.
Unidentified Tyne pottery – John Hobson
These small plaques, which are specific to Tyneside, are known to have been made by CT Maling, Newcastle, and John Carr & Sons, North Shields. This is a freer version of the Patton transfer. Note the ends of the leaves in the centre version below, and compare them to the Patton version, on the right.
The inscriptions on the jugs below are similar to those on the Patton items. However, it is possible that the enameller moved between potteries. The second jug has an inscription for 1854 that would put it within the Patton period. However, the lustre decoration on the first and last jugs is very distinctive, and doesn't appear on either the Carr or Patton items above.
The bowl below has this version of the transfer, coupled with the version of the mariner's compass with a J H printed mark. Sometimes these bowls are impressed 'J H' beneath a Staffordshire knot (it was not uncommon for North East potters to try to pass off their wares as Staffordshire). I have one bowl on record with the impressed mark 'Hobson'. As yet, I've been able to find out little about this potter. See the mariner's compass page for more information. I've previously assumed that items with the J H printed mark to be from North Shields.
A late mug with the transfer. Again, I had previously assumed this bridge transfer and frog to be North Shields.
The Tear: The Man Doom'd to Sail... – Reproductions
The items below were likely from the 1950s. You can read more about Gray's Pottery here.
This appears to be the original transfer used by Moore's in the 1840s, with a misspelt mark (see above). These reproduction items are easy to spot because they are lustred to the base and on the inside, a feature that almost never appears on original Sunderland items.
Interestingly, these items were also produced without the printed maker's mark. Note that the jug below has an undecorated base.