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Our Telephone Number is + 64 3 477 6023
where Country=64, Area=3, Local=477 6023
(Note: the spaces are for ease of use, and are not required for dialing)

Our Postal Address is
Gales Antiques
385 Princes Street
Dunedin
NEW ZEALAND 9001

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We could give you a series of long legal sentences, but this is it "in a nut-shell"

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Robert & Sue Gale
Gales Antiques
385 Princes St, Dunedin, New Zealand

Phone: +64 3 477-6023

Copy & Paste

Instructions on how to "Copy & Paste"

Go to the Web Page with the item(s) you are interested in
With your "Mouse" highlight the Item Description you want to Copy.
Find the "CTRL" key, and the letters "C" & "V"
Hold down the "CTRL" key and the press the "C" key.
(This puts the text you have highlighted into a "special memory"
Go to your eMail
Go to the place where you want the description to go,
and "Click" with your "Mouse" to locate your cursor there.
Hold down the "CTRL" key and the press the "V" key.
Repeat as required.

NB: This "Copy & Paste" is very handy and can be used at any time in other programs as well.

Carlton Ware - Potted History

English Ceramic,
Period 1890 - 1992
Manufactured in Stoke-on-Trent, Staffordshire, England.

Carlton Ware was actually the trading name of the firm Wiltshaw & Robinson.

James Wiltshaw had the potteries in his blood, his father worked for the prestigious Macintyre firm where incidentally William Moorcroft also "cut-his-teeth", James joined his father at Macintyre's and worked his way up to manager before branching out with Messrs. J.A & H.T Robinson on their own.

Wiltshaw and the Robinsons formed their partnership about 1890, and the first mark used on their wares refers solely to the partnership of W&R.

It was not until fours years later after registering the trade name that the first Carlton Ware mark was used.

In 1906 china wares were added to the factory output, to reflect this a Carlton China mark was introduced. The partnership was dissolved in 1911.

In 1918 when Wiltshaw died of injuries sustained from a train accident, his son, Frederick, took over the reins and infused new vigor into the business.

Early in the 1920's, Lustre wares were introduced, technical excellence and stringent quality control meant that Carlton Ware lead the field, and introduced themes, such as Egyptian/Byzantine/Persian, relevant to the breaking news of the day with archaeological discoveries such as Tukenkamens tomb and the Aztec ruins.

Later Art Deco themes and shapes contemporary with other designers were developed to keep Carlton Ware at the forefront of the industry.

To cater to a wider market, novelty wares were introduced in the mid to late 1920's, the first of which were Salad Wares with Lettuce (Tomato), soon followed by the Floral Embossed range with Oak Tree and Garden Wall leading the way.

The Salad and Floral Embossed wares were to form the back-bone of the company for the next 50 years.

This change was also reflected the introduction of the first scripted Carlton Ware backstamp in 1925.

With success brings imitation, and Carlton Ware were having problems with other firms, especially those overseas, copying their designs. In order to protect these vital overseas markets, and in particular those of Australia and New Zealand, design patents/copyright protection was applied for at the Australian Patents Office.

The design registration application backstamp (1935-61) was added to warn others off.

This also clears up one of the most common misconceptions about this backstamp, which is that the designs were done by Australians, this is not so.

Although there are some designs, Gum Flower #3790, for instance, that were directly aimed at the Australian market, all design work was carried out in England.

Subsequent to the Second World War, the patent was granted, and the backstamp was changed to reflect this as Registered Australian Design. (1935-61)

It seems relevant at this point to mention a word of caution about dating, (and not the Saturday Night type either), all dating is indicative, that is to say, they did not stop using mark at 5pm 30/6/1925, and started a new one next day, some marks have been used throughout. It is therefore useful when trying to attribute some sort of date to also take into account when a pattern was introduced, and also the shape number that appear embossed on many of the pieces, and where it fits in the sequence of events.

Post War the factory undertook a number of expansion programmes and beginning in the 1950's revamped their designs, once again reflecting the mood of the day with simpler styles such as Twin-Tone and Windswept, and in the 1960's with the new Space-Age, leading to designs like Orbit.

Also contemporary with the times was the swallowing up of companies by conglomerates, Carlton Ware did not escape and was taken over by Arthur Woods in 1967, new directives placed Carlton Ware's market firmly overseas and trade expanded to over 75% of the factory output. During this period Fruit and Walking Ware were produced.

Swamping of the Australian and New Zealand markets by the now highly organised Japanese firms, and Britain joining the EC resulted in the abandonment of old Commonwealth ties and subsequent loss of traditional markets for Carlton Ware, then finally a recession in the early 1980's were successive blows that the firm could not recover from, and despite several rescue attempts, Carlton Ware finally ceased in 1992.

It must be added as a note of caution that the moulds were not destroyed, and with the resurgence of interest in the firm copies of Carlton Ware are now appearing on the market, especially in Britain. Collectors must be vigilant, and buy from reputable sources in order not to be taken in by these excellent quality replicas.

Reference: Collecting Carlton Ware, by Francis Joseph, Collecting Carlton Ware, by David Serpell

Carlton Ware - Walking Ware

English Ceramic,
Period 1970's
Manufactured in Stoke-on-Trent, Staffordshire, England.

Designed by Roger Michell and Danka Napiorkowska in the 1970's, it is highly amusing to see with little feet sticking out of cups, teapots cups and jugs!.

First series comprised of feet standing still, later more adventurous with Running, and even Jumping series!

There was also a "Big Feet" series.

The Walking Ware was very popular, but Carlton Ware itself was in its twilight years, and so the production length was not very long.

Charlotte Rhead

Charlotte Rhead. (1889-1947)

One of the "big three" 1930's ceramics designers. The other two being Clarice Cliff & Susie Cooper.

Charlotte Rhead was the daughter of Frederick Rhead, a respected designer in his own right.

He worked at Mintons and Wedgwood, and was then appointed Art Director of Wileman & Co (Shelley) around the turn of the century.

Later after a brief attempt at running his own business with some partners he was given the job as Art Director for Woods & Sons.

He taught Charlotte the art of tube-lining which was then in its infancy, and gave her her first break at Woods & Sons.

Charlotte studied at the Fenton School of Art, and first worked in various factories, when taken on by Woods & Sons in 1913, she designed a number of wares, but the first design with her name on the backstamp was "Lottie Rhead Ware".

In 1920 Woods & Sons purchased the Crown Pottery and set up a "Art Pottery" there, this division was named Bursley Ltd (Bursley Ware) and employed both Frederick and Charlotte as designers.

In 1926 Charlotte thought it was time for a change and went to work for Burgess & Leigh. (Burleigh Ware).
Here she was also busy producing a number of designs.

From there she moved in 1931 to A.G. Richardson (Crown Ducal) where she was to stay for the next 11 years producing such outstanding designs as Persian Rose, Indian Tree, Golden Leaves, Byzantine, Wisteria, and Rhodian.

In 1942 it was back to the fold, returning to Woods, now H.J Wood Ltd, this is when the TL series of patterns was produced accompanied by the familiar Bursley Ware / Charlotte Rhead backstamp.

Although Charlotte died in 1947, her designs continued in production up until 1960.

Hammersley

These are some "Rule of Thumb" notes from a collector on how to age Hammersley, she is refering to this jug in this pattern.

I collect it from a slightly earlier period, 1885-1935.

The early pieces are without any markings on the bottom because they are really early, sometimes identified only by:

Rd nos. 195702 or 150153 or 211089 and sometimes handwritten very small are the following nos. 12668 or 9129 (or 6216 if read upside down).

Sometimes there is an impressed mark or a crown with Hammersley & Co., Longton, England

or, a Crown with Hammersley, Dresden Sprays, England underneath.

We would like to add, any mention of England in the backstamp, dates the item after 1891 (McKinnley Act), any mention of "Made in England" dates the item to after 1900, and the jug to the right dates to the 1940-50's.

Ladies in their Gardens

These we very popular during the 1930's and 40's, and were produced by a variety of English manufacturers.


1. In an Olde World Garden Scene of lady carrying a basket of flowers in an garden with an arched bridge to the left, and an limestone fence in the background with an opening. Manufacturer in this instance: Landcaster & Sandland (L&S), Tunstall
2. Lady in Pink Dress Theme of lady in a pink dress, Manufacturer in this instance: Hollinshead & Kirkham (H&K), Tunstall
3. Lady in Blue Dress Theme of lady in a blue dress, Manufacturer in this instance: Empire Ware, England
4. Crinoline Lady Theme of a Lady in a yellow dress, often confused with "In an Old World Garden" Manufacturer in this instance: Colclough, England
Manufacturer in this instance: Empire Ware, England
Manufacturer in this instance: Sadler, England
5. Lavender Lady Theme of a Lady in a purple dress Manufacturer in this instance: Lord Nelson, England	Sorry about the quality

Maling

English Ceramic,
Period c1792-1963
Manufactured in Newcastle-upon-Tyne, England.

Maling (C.T.Maling & Sons)

First established near Sunderland, England in 1792, in 1815 moved to Newcastle-upon-Tyne and successfully manufactured earthenware pottery for nearly 200 years.

Made their money in supply of cheap earthenware food containers for preserves, fish pastes, cream, etc etc.

This base enabled the prestige items to be produced, mainly to show like Henry Doulton, with his sewer pipes, that they had some culture. A Victorian nouveau-riche thing.

All Lustre pieces underwent four firings; (1) biscuite, (2) hardening-on of print and underglaze colours, (3) glost firing after dipping, and a final (4) firing for lustre and gilt.

This always made them expensive to produce, quality standards were set very high.

By 1900 glass was becoming the predominant food container, by 1930 all food container production ceased with exception of contract for supply of Tea Caddy's for Rington's, these were produced right up to 1962.

Most designs we deal with now were by father/son both named Lucien Boullemier. Lucien senior who had first worked for Minton's was at Maling from early 1920's to 1936 when the position was taken over by his son who worked through until the closure of Maling in 1963.

Exports accounted for 50% of "fancy" production, U.S., Canada, South Africa, Australia and New Zealand were major markets.

Strong competition from Japanese in 1950's accounted for the loss of successive markets until final blow with the loss of Australia & New Zealand in 1961. Factory closed 1963.

The "swirl" in most patterns is commonly referred to as "Thumb-Print", eg pink thumbprint, blue thumbprint, but correct term is "waved".

Good pattern records enable solid date attribution. New patterns coming out right to the end, although in less numbers. Major break in date at 6523 designed 1936, and 6524 designed 1950. (WW2 and post-war rationing main culprit).

Recommended Reading: Introduction to Maling Ware, by Douglas K.Gray

Radford

English Ceramic,
Period c1930's, Handcrafted
Manufactured in Burslem, Staffordshire, England.

Edward Radford, following in his fathers footsteps, initially worked at the Pilkington Pottery,
After WW1 he joined H.J. Wood Ltd. By 1930 he had left Wood's and soon started his own business at Burslem, Staffordshire, the Radford Handcraft Pottery.
Subjects were mainly floral in soft tonings achieved by fusing the colours into a thin glaze.
Production continued until about WW2.

Royal Albert

English Bone China,
Period c1894-present day,
Manufactured in T.C. Wild & Sons Limited, Crown China Works, High Street, (later St Marys Works) Longton, Staffordshire, England.

Royal Albert was the trading name of the firm founded by Thomas Clark Wild, founded about 1894. The firm has always been known for its fine quality bone china, the first backstamp used their initials and was phased out around 1905.

The second backstamp incorporates for the first time the Royal Albert name, the third backstamp was introduced in 1907.

The firm became " & Sons" in 1917, possibly explaining the change to the Post WW1 mark first used around 1917, this had officially dropped the TCW connection, but these initials can still supposedly be found on wares made up to 1925.

Patterns such as "Old English Roses" started about this time.

The brain-teaser about the Post WW1 mark shown is, the Registration number which dates this pattern to 1931 !.

The mark was again revamped in 1927. It is interesting to note the connection with Lawleys, a firm still in existence today, and operating in much the same manner offering exclusive patterns.

Royal Albert also produced a range of floral backstamps, examples of these are Old English Roses and American Beauty

The firm became incorporated as a Limited Company in 1933.

Although we can chart the general progression of backstamps there are quite often subtle variations to be noted.

In 1935 the backstamp changed again, 1935 backstamp, here all reference to the Crown China works had ceased, and instead the Bone China theme was taken up.
This may have also coincided with a change of premises to the St Mary's Works.

The registration mark dates this pattern to 1945, this suggesting it took some time for the firm to attend to such matters.

The Post WW2 mark saw a change in the backstamp, once again with variations to the theme.

Backstamps can provide one indicator to age, pattern and registered numbers can also provide another.

For instance pattern number 4534 was used in 1925 and 4788, was in use by around 1930. And a registered number can be traced to a year of registration in either of Geoffrey Goddens excellent reference books "Encyclopedia of British Porcelain Manufacturers" or "Encyclopedia of British Pottery & Porcelain Marks" under Registered Designs.

In the 1960's the Pearson Group acquired Royal Albert and added them to their portfolio of ceramics interests (Allied English Potteries) which at that time also included other brands like Paragon.

In 1970, all connection to the founders T.C. Wild & Sons was dropped with the renaming the company as Royal Albert Limited.

In 1972, the Pearson Group acquired Royal Doulton, which was then a listed company, and merged it with Allied English Potteries. That merger brought Royal Crown Derby, Royal Albert, Paragon and the Lawleys chain of shops into Royal Doulton (which already owned the Royal Doulton, Minton, John Beswick and Webb Corbett brands).

Patterns such as "Old English Roses" ceased shortly after this, we are informed about 1977, but have seen nothing definite on this date. "Serena" is another pattern that enjoyed enormous success that ceased about this time. We also believe "American Beauty" has ceased production.

In 1991, Royal Doulton briefly dabbled with the Royal Albert name on their hugely successful Beswick Beatrix Potter range of figurines (which were made under license from Frederick Warne), but following adverse collector reaction, quickly saw sense and changed back.

The Royal Doulton Group was "demerged" from the Pearson Group of companies in 1993, and subsequently listed on the Stock Exchange (NB: Doulton was only earning a 5% return, whereas other companies in the Pearson Group were earning 10%).
Looking back this was the "beginning of the end" for Royal Albert, Beswick and may indeed be for Royal Doulton itself.

The Royal Albert name has always been associated with tablewares of the highest quality with patterns like "Old Country Roses" (designed by Harold Holdcroft in 1962), and the more recent very popular "Moonlight Rose" pattern. (Note: The yellow/orange colourway is called the Pacific Rose).

20th December 2002, Royal Doulton ceased Royal Albert production in England and moved manufacture to "their state-of-the-art factory" in Indonesia.
This move has not been well received by collectors and consumers alike who definitely see Royal Albert as English and enjoy owning Real English Fine Bone China, consequentially we are already seeing a preference for "Made in England" items. (NB: All the items on our site are Made in England.)

Royal Albert has produced a myriad of patterns over its century of production, and will provide anyone collecting them a very appealing selection of quite fetching patterns to choose from, at, for the moment, a quite modest outlay.

We think Royal Albert is an area of collecting many people have overlooked, due mostly to the lack of a good reference book on Royal Albert itself.

References: With thanks to Ms Deborah Bates, Head of Legal Services at Royal Doulton for help with the company time-lines and other information.

Notes on Royal Albert Series:

British Traditional Songs (6 in Series)
(in alphabetical order)

Bonnie Banks of Loch Lomond, John Peel, Land of Hope and Glory, Londonderry Air, Men of Harlech, Road To The Isles.

The Trio, (Cup, Saucer & Plate)

The idea of a Trio is an English one, the Cup was used for one's Tea, the Saucer was to stop drips and spills, and to act a partial insulation should someone happen to put it down on a polished wood surface.

The Tea [Side] Plate, usually around 7" in diameter was used for the bite-size cucumber sandwiches, biscuit or cake.
The plate also enables one to catch the crumbs when eating without having to juggle a cup of hot tea at the same time or indeed the crumbs ending up in the Tea, which is never very satisfactory, or elegant.

Today, the side plate is most often used to go besides the dinner or luncheon plate for bread & butter, bread roll, side salads & the like.

For some reason the American market was developed without the Side Plate, and indeed most modern sets Worldwide are now sold without a Side Plate, these being seen as an "extra".

NB: Confusingly the term "Trio" is also used to describe a set where there is a Tea Cup, Coffee Cup/Can, and a Saucer, these sets usually date from the 18th and early 19th Century, being essentially two cups & one saucer, once seen, these cannot be mistaken for what has been described above.

Wedgwood Jasperware

English Stoneware,
Period c1774 - today, Slip moulded and turned body
Manufactured in Eturia & Barlaston, England.

Jasperware Colours


BLACK	DIP	1778-1854 with reduced quantities thereafter
	SOLID	for bas-relief work, and for small ornamental pieces in the 20th century. [My Note; beware of confusion between Black Jasperware and Basalts, although they are both "Dry-Bodies", they are two different things, having two entirely different body compositions, periods of manufacture etc etc]
CRIMSON	DIP ONLY	1910 and 1925-32, discontinued due to colour bleeding
GREEN	DIP	Sage Green 1778-1854, Dark Olive Green, 1920-30
	SOLID	Sage Green 1775-78, reintroduced 1957
LILAC	DIP	1778-1854
	SOLID	originally only for bas-relief work, full production 1960-62
PRIMROSE YELLOW	SOLID	introduced 1976
TERRACOTTA	SOLID	for bas-relief work from 1775, full production 1957-59
TURQUOISE	DIP	1875 to c1885
YELLOW-BUFF	DIP	yellow from 1778 in small quantities
	SOLID	with black, bas-relief work 1929-33