2013 Vol. XIV, No.

Contents
Inappropriate Patterns for Children,
A Sequel
Davida Shipkowitz................................................................... 4
Elephant Tracks: Elephants on
Transfer-Printed Wares c. 1790-1850
Judie Siddall and Loren Zeller............................................... 6
2013 TCC Raffle Fund Raiser............................... 12
Nuneham Courtenay (Wild Rose)
Exhibition
Richard Halliday.................................................................... 15
Transferware from a British Perspective
Dick Henrywood.................................................................... 18
Recent Discovery............................................................ 20

Announcing A Second Edition!

Transferware
Calendar for 2014
Once again, TCC member Richard Halliday
(Blue Transferware) has created a masterful and unique transferware calendar for the
Club. Placing some of the most spectacular
patterns and forms on a natural background
image results in a memorable context and
perspective. Proceeds from the calendar
sales support our educational programs
(last years calendar, our first, raised $435).
Order now for only $21.95 + shipping
(ordering more than one copy will save on
shipping). Order now via Lulu.com.

In Memoriam
With sadness, the Bulletin must report the loss of 2 long-time and devoted TCC Members:

Bill Cheeseman:

Bill passed away on May 25, 2013 at home in Lake San Marcos, CA. Bill and Mary were original members of
the TCC, getting great pleasure from attending the annual meetings and connecting with other transferware collectors in
California, Texas and the East Coast. Mary intends to continue their business privately and on Ruby Lane. Bills charm
and good nature will be missed by all who knew him.

Eleanor Gestler

Eleanor passed away in her home on August 2, 2013, after a courageous battle with cancer. Prior to her
retirement, she worked as a real estate agent. A member of Level Green Presbyterian Church, Eleanor was a graduate
of Slippery Rock University. She enjoyed working at Friends Thrift Shop in Export, playing bridge and gardening. She
loved collecting early glassware made in Pittsburgh and British transferware. Eleanors survivors include her husband of
54 years, David J. Gestler, a son, two daughters, and eight grandchildren. Eleanor, with her husband Dave, was a regular
at TCC Meetings. Eleanors cheery personality and delightful smile will be missed by all of us who had grown to know
her over the years.
TCC Bulletin 3

Nuneham Courtenay (Wild Rose) Exhibition

Peach Croft Farm, June 2013
By Richard Halliday

n the face of it, single scene or single maker collections

may seem a little bland. Anyone with this opinion would
certainly soon have their mind changed when they visited
the wonderful exhibition of the Homewood Collection of
Nuneham Courtenay (Wild Rose) pieces. Collections such
as these afford even the most experienced collector or dealer the
opportunity to learn.
Collections are formed for a wide variety of reasons: some
only consist of single manufacturers and some only of single
genres within transferware. The Homewood collection was
started for a simple geographical reason: the collector lives only a
matter of yards from the view that is depicted.
Born in 1929 to a family
of glasshouse growers at
Hampton near London, John
Homewood was the eldest
of five children. Soon after
graduating from Reading
University, he married Nancy
and they moved to Sussex
where he took up farming with
a friend. In 1958 they moved
to Radley in Oxfordshire to
partner with Nancys father at
Peach Croft Farm. In 1965,he
took on the tenancy there.
Across the river Thames
at Radley stands Nuneham
House, built in 1760. After he
retired from the farm, John
joined Radley History Club
and began to study the house
and the Harcourt family. These
interests quickly led to his
collecting Wild Rose or Nuneham Courtenaypottery.
John Homewood has now been collecting this pattern for
about ten years, and although he started relatively late in life,
his knowledge, passion and enthusiasm are certainly second to
none. It seems a very logical thing for him to collect this pattern,
being so close to the actual view on the pottery. It really is quite
inspiring to see this huge collection only a matter of yards from
the river and house in the scene.
The Nuneham Courtenay or Wild Rose pattern has to be
one of the most famous and indeed, widely produced patterns in
transferware. Well over fifty different potters made the pattern
throughout the nineteenth century, and it has gained an iconic
status similar to that held by the Willow and Italian patterns.
The scene depicts a view of Nuneham Park House, with the river
Thames in the foreground. The source of this design is thought
to be an 1811 engraving by W. Cooke after a drawing by S.

Owen. The grounds and garden were extremely beautiful and

were designed by world-famous landscape designer/architect,
Capability Brown.
Between 28th and 30th of June 2013, John Homewood opened
an exhibition of his collection to the public. This stunning display
was housed within a recently restored, eighteenth century barn
at Peach Croft Farm. The setting was just perfect, and it was
as much a treat to see such a wonderful and historical barn as
it was to see the pottery. One of the beams in the barn had two
symbols carved in to it by the person who felled the tree in the
eighteenth century. The symbol was used to ward off evil sprits
in the woods and to act as a good-luck charm. Well, it certainly
brought good luck to Mr.
Homewood: his exhibition
was very well attended on all
three days and he sold nearly
one hundred pieces during this
time. While John sold many
of the pieces in the exhibition,
his rarest and favourite items
were not for sale. He is still
actively purchasing unusual
and important pieces that
will add to his collection.
His enthusiasm remains
boundless!
Johns collection has many
rare and unusual pieces. These
include a cheese cradle, huge
loving cup, asparagus server,
bourdaloue, egg rings, pouch
vase and his favourite of all; a
syllabub tureen on stand. This
stunning piece would grace
any collection irrespective of the pattern. It has crisply moulded
acanthus leaf detailing on the lid and a typically Georgian-vase
knop.
Also amongst his favourite acquisitions is a copper plate that
was used to produce the wares he loves. Copper plates are indeed
a rare find and to have one that is specific to ones collection is
something really special.
Johns exhibition also had non-blue printed wares, having the
odd piece of brown, red, purple, black and green printed pieces.
Despite this pattern being relatively common, pieces printed in
colours other than blue are scarce. The sheer variety of wares,
shades of colours, quality of potting in the exhibition allowed
anyone with any interest to compare and contrast the notable
differences. This is where a single themed collection offers
the ability to inform us of the subtle differences in the aforementioned areas that we might otherwise take for granted.

See photos from the exhibition on the next page

TCC Bulletin 15

Images of the Nuneham Courtenay Exhibition

16 TCC Bulletin

TCC Bulletin 17