The authentic pieces are only found in a Staffordshire pitcher form, and childrens' mugs which come with either a blue or black transfer. The reproductions have a network of very coarse crazing (Figs.

Authentic pieces are pearlware 1 and have a very fine network of glaze crackle (crazing). When examining these pieces always remember the most important feature is the crackling of the glaze. These turn up in auctions from Park Avenue in New York to cornfields in Iowa. While it is uncertain whether these items were originally manufactured with the intent to deceive, they are currently doing so on a frequent basis. The first group of modern items we'll discuss appear in Fig. True, there are a few pesky items that show up occasionally but the authors hope to place a final fatal stake in the heart of these pieces with specific details on how beginning buyers can avoid them. Although the ware has been popular for over a century, there have not been many attempts to recreate ceramic items in this field. 11-21).The collector of historical transferware, made 1760-1860, is really quite fortunate that there are very few true fakes on the market. Certain Liverpool potters made it a practice to embellish the black transfers with a variety of hand-applied enamels in red, blue, green, yellow and brown. Normally all of the transfer prints were done in black, with the exceptions of a very few pieces found with transfers in red, rust, carmine, sepia, lavender, or green. The dates of production of Liverpool creamware ran from 1760 to 1820, with the Revolutionary War figures and events predominant. The earliest transfer prints were applied over the glazes of the creamware, a practice which continued well into the 19th century. Creamware is readily identifiable as a pottery having a cream-colored body and a perfectly clear glaze. This thin earthenware was dipped into a clear glaze, which combined with the natural impurities of the clay to give the ware a creamy, pale yellow tint. Certain potters, such as Josiah Wedgewood, Thomas Whieldon and Josiah Spode, made improvements to the existing earthenwares, which they named 'creamware' (or in Wedgewood's case 'Queensware'). Liverpool Creamware is the name generally given to pottery produced in England during the mid 18th and early 19th century by potters who were obsessed with the idea of copying Chinese porcelain-considered to be the highest quality ceramic available. A rarely encountered, quite magnificent and museum quality specimen. This rare design, historic Liverpool creamware pitcher is complete with a colorful tribute to George Washington and America's fight for Independence. There are some trivial manufacturing flaws on the handle and near the bow of the sailing ship, otherwise this pitcher is virtually new. This ornate, historic pitcher is in excellent condition, with no chips or cracks. The poem reads: 'As he tills the rich globe the old peasant shall tell, While his bosom with Liberty glows, How your WARREN expir'd, how MONTGOMERY fell, And how WASHINGTON humbled your foes.' See Arman, p. They include a large 'LIBERTY' Cap on a pole, Laurel wreath, flowers, fruit and an American banner flag, all framing an oval space which contains a poem, addressed to Americans by the British, praising George Washington. It is embellished with black transfers and a variety of hand-applied colorful enamels in red, blue, green, and yellow.

The other side of this pitcher has a colorful display of patriotic and artistic symbols. On one side the transfer print depicts an American sailing ship, with black sails and a huge, 15-Star American Flag. This rare multicolor Polychrome Liverpool Creamware Pitcher, measures 6.5' tall and has a 5' diameter base. 1792 Multicolor Polychrome Historical Liverpool Creamware Pitcher, With A American Flag Sailing Ship and a Historic Tribute Poem to George Washington and Americans, Near Mint. Outstanding Polychrome Historical Liverpool Creamware Pitcher With A Poem To Americans In Praise Of George WashingtonД¬.

Creamware pitcher