Compiled by Connie Rogers


The First Book of International Willow Ware China
by Veryl M. Jensen, pub. by The Mail Printers, Myrtle Creek, OR,1975. 96 pages. Out of Print.
English, Japanese, American Willow photos and marks as well as a few pieces made in other countries. List of known makers found by the author. 8 color pages. Poor quality photography. No prices. No index.

Willow Pattern China Collectors Guide
by Veryl Marie Worth (formerly Jensen), pub. by Fuller Printing, Inc., Eugene, OR, 1979. 120 pages. Price Guide published separately. Out of Print. Expanded version of The First Book…arranged according to country. A few additional photos and marks. Better quality photography. 8 color pages. Index.

Willow Pattern China Collectors Guide
Third edition by Veryl M. Worth and Louise Loehr, pub. by Fuller Printing Co., Eugene, OR, 1986. 120 pages. Separate price guide. Revised edition, taking out some of the poorer pictures and adding several more companies that made willow. Marks and pictures are matched up better. The color section is all new with 8 pages of lovely pieces of willow. Index.

Spode’s Willow Pattern and other designs after the Chinese
by Robert Copeland, pub. by Rizzoli International Publications, Inc., NY, 1980. 182 pages. No prices. Paperback 2nd edition, 1990. No changes in text. 3rd edition, pub. by Studio Vista, 1999. 214 pages.

Four color pages illustrating the various shades of blue used by Spode. Terminology, References, Bibliography and Indexes. The manufacturing process is well described. There are two main theses of the book. 1) Contrary to the opinion of many collectors and researchers, Copeland set out to document that Josiah Spode I is responsible for the evolution of the standard willow pattern. 2) The willow pattern (and other designs) were copied from the Chinese. A Chinese example is shown for many of the early Chinoiserie patterns discussed in the book. There are helpful charts for patterns such as Two Temples and Long Bridge showing the different treatment of certain elements by other potteries. The first edition of the book covers the Spode period: 1770 to 1833.

The expanded 3rd edition has added coverage of the Copeland period beginning in 1847. There are 16 additional pages in color showing later examples of landscape as well as non-landscape designs. Additional text clarifies some points made in the first edition. Many Appendixes add to the value of this book including Marks, Chinese landscape borders, Articles on Chinoiserie patterns published since 1980 that have relevance to the subject of the book, and the original “Story of the Common Willow Pattern Plate” reprinted from The Family Friend, Vol. I London, 1849.

Blue Willow (An Identification & Value Guide)
by Mary Frank Gaston, pub. by Collector Books, Paducah, KY, 1983. Prices Updated 1986. 160 pages. Out of Print.

303 color photos of willow pieces arranged alphabetically according to function i.e., Advertising coaster to Whiskey decanter. Photography by Jerry Gaston. Three collections are featured: John Macy, Texas, Lois Misiewicz, California and Connie Rogers, Ohio. Marks section, Glossary and Bibliography. No index. Definitions of willow center pattern variants and borders, taken from articles in “The Willow Notebook” newsletter, have many errors that were corrected for the Revised 2nd Edition. Definitions of traditional willow, Mandarin and Two Temples I and II are taken from Robert Copeland’s book.

Blue Willow, Revised 2nd Edition (An Identification and Value Guide)
by Mary Frank Gaston, pub. by Collector Books, Paducah, KY, 1990. Prices Updated 1992 & 1996. 191 pages.

Large 8.5 x 11 format. 520 color photos of willow pieces arranged alphabetically from Ash Tray to Wash Sets. Additional new items and non-ceramic items added. Marks section, Glossary, Bibliography, Index to Objects, Index to Willow Patterns, and Indexes to country of manufacture. A little over 100 photos are carried over from the first book – these can be identified as pieces photographed with a pale yellow background. Gaston solicited photos from collectors all over the country and then chose which ones would appear in the book.

Willow Ware (Ceramics in the Chinese Tradition)
by Leslie Bockol, pub. by Schiffer, Atglen, PA, 1995. 160 pages. Prices.

Colored photographs throughout the book. Quality of blue is excellent, but the red and other colors appear “washed out”. Excellent historical content in the introduction and chapter on the Chinese Connection. Well-written and illustrated development of the English willow pattern showing many early blue and white patterns. The Story and Legend is well-treated with poems and stories used by many different pottery companies and focusing on the Doulton story plates. The “Making of Willow” chapter has excellent coverage on the various clay bodies and methods of decorating. Bockol writes well. The principal willow collections featured in the book are from Phillip Sullivan, Massachusetts (Buffalo), Peter and Susan Steelman, Connecticut, Louise’s Old Things, Pennsylvania, and Rita Entmacher Cohen, New Jersey. Rita also provided guidance in the historical and background information on the evolution of the willow pattern.

“The Variants” chapter presents problems for willow collectors who use the pattern variants as defined in Gaston’s books. Bockol considers any color other than blue a variant even if it is the traditional pattern. Blue traditional pattern is considered a variant if it appears on a paper item, metal, glass or ceramic tile. Over half of the book is devoted to the makers of willow (84 pages). There is much useful information here but also a large number of errors. If you own the book and want a corrected copy, a list of additions and corrections can be found at the end of this list of books for willow collectors. No attempt was made to correct information given if there is no willow illustrated for that company.

Willow Ware Made in the U.S.A. (An Identification Guide)
by Connie Rogers, self-published, 1995. Updates 1996 and 2000. 192 pages. Price guide in 2000 Update.

54 different potteries, 14 glass companies and tin, plastic and linen producers with brief history, marks and willow pictured. 4 colored pages. Sections on pattern definitions, and methods of decoration as well as border treatments. Bibliography.

Willow! (Solving the Mystery of our 200-year Love Affair with the Willow Pattern)
by David Richard Quintner, pub. by General Store Publishing House, Ontario, Canada, 1997. 220 pages. No prices.

This intriguing book is not an identification guide although there are 6 color pages and many photos and drawings of willow in its multitude of forms. Quintner explores Chinese history relating to the rise and fall of ceramic art as well as the trade routes between China and the rest of the world presenting the possibility that the Chinese copied English patterns as often as English copied the Chinese. He presents illustrations of “flat-art” drawings of Chinese landscapes by European Jesuits who settled in China as possible origins of Caughley’s willow pattern. Quintner is a fascinating writer who keeps you engrossed, quickly turning pages to follow the lead of his lively imagination.

Chapters with interesting titles include the thesis that the willow pattern was created from the events and ideas of its age as well as a dozen or more elements of the pattern traced back through English and Chinese history; many forms of the “legend” including critics and supporters of the pattern; relationship between willow and Two Temples or Broseley pattern. A special feature of the book is a reprint of Charles Dickens’ 1852 magazine article on a visit to a pottery and his opinion of the Willow Pattern.

Willow Ware (A Collector’s Guide)
by Jennifer A. Lindbeck, pub. by Schiffer, Atglen, PA, 2000, 2000. 159 pages. Prices
Full color throughout, the photography is exceptionally fine. Linbeck continues the definitions for willow variants used in Gaston’s 2nd Revised Blue Willow. The book is organized into an Introduction and chapters titled: Plates (divided into countries, variants and glass), Serving Pieces, Coffee & Tea, Pitchers & Jugs, Condiment Sets, Bed, Bath & More and Miscellany. There is no index, so it is sometimes difficult to find specific pieces. The book features collections of Tim & Kim Allen, Dennis Crosby, and Joyce and Bill Keenan, all from Richmond, Virginia. The book is rich in variants and color. The cover alone has 30 different plates.

Collecting Blue Willow (Identification & Value Guide)
by M. A. Harman, pub. by Collector Books, Paducah, KY 42002-3009, 2001. 221 pages. 548 color photos. Prices.

This book is the result of a life-long love and interest in collecting willow pattern by Missy Harman and her family, reflected by the many photos of family-owned pieces. She also solicited pictures from willow collectors all over the country in order that the book would be representative of the willow that is being collected. She succeeded in showing a wide range of pieces ranging from paper placemats and stationery to a rare English bedpan and fish platter. The “Photo Gallery” is in alphabetical order.

The Introduction is well-written and full of enthusiasm. Unfortunately, much of the text presented under “Willow Patterns” and “Assessing the Age of Willow Ware” is confusing and full of incorrect information. It is better to ignore those pages of the book. The marks section is strange in that it has up to 5 different versions of the same mark. For instance, we only need to see one example of Bourne and Leigh’s Royal Arms mark. It would be good for readers to take Missy’s advice and consult Geoffrey Godden’s Encyclopedia of British Pottery and Porcelain Marks if they are interested in more information about marks on English willow and Lois Lehner’s comprehensive book for American marks information.

Blue Willow, Revised 3rd Edition (An Identification and Value Guide)
by Mary Frank Gaston, pub. by Collector Books, Paducah, KY, 2004. 272 pages. Prices.

A history of the Blue Willow pattern begins the book with descriptions of the many border and center patterns of this china. Dating Blue Willow and collecting Blue Willow are discussed, and all known marks are illustrated. Over 650 color photographs of bowls, ashtrays, plates, pitchers, vases, platters, sugar bowls, and much more are included. A special feature in this edition highlights the variations in the Willow pattern, which are often mixed in with the traditional Willow patterns and confuse collectors. Gaston makes identification easy, separating not only pattern variations but Willow produced in other colors. There are also several helpful indexes provided: objects, patterns, English manufacturers, Japanese items, American manufacturers, and origins other than England, Japan, and the United States.

This book highlights a selection of pieces featured in the author's previous two editions on Blue Willow, and also includes many new examples never before seen. The legend of Blue Willow is presented, along with information on manufacturers, marks nad reproductions.

The Illustrated Encyclopedia of British Willow Ware
by Connie Rogers, pub. by Schiffer, Atglen, PA 19310, 2004. 392 pages, 1200 color photos. Prices.

The Origin of the Willow Pattern is traced carefully. References to statements by Dr. Geoffrey Godden, Geoffrey Priestman and Robert Copeland add authority to Connie’s account which adds new information on a recently found Chinese Export porcelain plate that has a very close resemblance to the Standard Willow Pattern design. The name “willow pattern” has been rather loosely used over the years. Connie distinguishes between the various different designs – Standard Willow, Mandarin, Two Temples I & II, Booth’s Real Old Willow, Canton and several others. There is a Table of Manufacturers which links the type of patterns and colors to each maker.

There is a section listing Retailers and Importers with special backstamps (marks), and another dealing with wares with unattributed marks. An Index of Potters’ Initials on Marks identifies the company using the initials. The book also includes a Glossary of Terms, Shape Index and a schedule of different pattern names for Willow patterns used by the manufacturers and/or researchers as well as a comprehensive Bibliography.

The major part of the book is the catalog of over 400 manufacturers with marks, photos, reprints of ads from “The Pottery Gazette”, brief histories and type of willow made. This will be of great value not only to collectors of the Willow Pattern but to all collectors, dealers and students of British ceramics. It is a treasure house of information and an indispensable book of reference.

“Of all the books on the Willow Pattern Connie Rogers’ Illustrated Encyclopedia of British Willow Ware is destined to the THE definitive work.” -- Robert Copeland, January, 2004


IWC News, Official Newsletter of the International Willow Collectors
Published and edited by Newsletter Committee: Jeff Siptak, Nancee Rogers, Edie Cronk and Connie Rogers. Published three times each year. Sent to all IWC members. Black and white issues with color inserts. News from regional willow groups, educational articles and general information on collecting. Photos and prices of willow seen on the Internet are also featured.

International Willow Collector’s Convention Catalog
1993, 1994, 1995, 1996. Photos by Scot Rogers; Text: Connie Rogers, Layout & Design: Connie Rogers and Mary Lina Berndt, Editing & Typesetting: Mary Lina Berndt.
102 to 129 photos of willow seen at annual conventions (different each year). 15 or 16 pages in color. Organized according to Willow Variant with marks and descriptions. Prices given from 1994 on realized at auction and asked at convention sale. Index in 1995 for three years.

International Willow Collector’s Convention Catalog
1997-2001. Photos by Scot Rogers; Text, layout, design and preparation for printing: Connie Rogers. Loose-leaf format. Index in 1998 for three years. Sent to all IWC members. 118 to 158 photos. 9 to 16 pages in color.

International Willow Collector’s Convention Catalog
2002-2005. Photos by Scot Rogers; Text, layout, design and preparation for printing: Scot and Nancee Rogers. Loose-leaf format. Sent to all IWC members. 100-105 photos – all in color. 39-55 pages.

International Willow Collector’s Convention Catalog
2006 to Present. Photos by Scot Rogers; Text: Connie Rogers; Layout & Design: Jeff Siptak; Coordination: Nancee Rogers. Loose-leaf format. Sent to all IWC members with August newsletter. 40-50 photos. Black & White. Approximately 20 pages.

The Willow Review (The newsletter for Willow enthusiasts around the World) -- No Longer Published
publisher and editor: Jeff Siptak, P.O. Box 41312, Nashville, TN 37204.

The Willow Word -- No Longer Published
publisher and editor: Mary Lina Berndt


Encyclopaedia of British Pottery and Porcelain Marks
by Geoffrey A. Godden, pub. by Bonanza Books, NY, c. 1964. 765 pages.

Very complete book of British Potteries and their marks. Not all marks found on willow are illustrated in the book, but information is given regarding the makers. Representative marks are shown. Copies are often offered on Ebay. Search: Godden.

The Handbook of British Pottery & Porcelain Marks, by Geoffrey A. Godden, pub. by Praeger, NY and Washington, 1968. New Handbook, pub. by Barrie & Jenkins, London, 1999. 254 pages.
5” x 7 _”. Contains Pictorial Glossary, information on marks of manufacturers most commonly found; comprehensive list of potters’ initial marks; Registered designs 1839-1883 and registration numbers 1884-1999; list of collector clubs, selected bibliography and index.

Encyclopedia of Marks (on American, English and European Earthenware, Ironstone, and Stoneware 1780-1980)
by Arnold and Dorothy Kowalsky, pub. by Schiffer, 2000. 688 pages.

The most complete reference you will find on the subject. Many marks not found in Godden although Godden’s numbers are given on the marks that are also there. Almost half of the book is devoted to lists such as Patterns by potters, as well as Appendices B1-B15. B1 is Alphabetical listing: Primary Potters by initials and name. B7 is Cross Reference: Back Markings and Potters.

Lehner’s Encyclopedia of U.S. Marks on Pottery, Porcelain & Clay
by Lois Lehner, pub. by Collector Books, Paducah, KY, 1988. 634 pages.

The most complete reference you will find on the subject. Includes Definitions, Companies listed by location, Miscellaneous lists of various types of manufacturers, Railroad letters symbols, electrical porcelain insulator markings, large Bibliography and Index.

Additions and Corrections to Willow Ware, Ceramics in the Chinese Tradition:

p. 10. Correction: Two tea canisters not caddies. A tea caddy is a box.
p. 14. Addition: The Chinese export round dish is hard paste porcelain. The small
English platter is line-engraved pearlware c. 1800.
p. 17. Addition: The unmarked puzzle jug is pearlware c. 1810. Long Bridge pattern. Swansea, Wales.
p. 21. Correction: Bottom right is another tea canister – not tea caddy.
p. 23. Addition: The giraffe and camel cheese platter was made by Minton.
The Spode cup and saucer is bone china. The pattern number refers to the gold trim.
p. 27. Correction: The captions for the right-hand plates are reversed.
p. 37. Addition: The Semi China mark for F.Crook retailer came from the two-handled dish on page 45.
p. 45. Correction: The two-handled dish is not pearlware.
p. 38. Correction: The Spode drainer is earthenware – not Spode’s New Stone line.
p. 44. Addition: The light blue bowl is porcelain.
p. 45. Addition: The teapot is porcelain.
p. 46. Addition: The cheese cradle made to hold a cheese wheel is pearlware, c. 1820.
p. 50. Correction: The sauce boat is earthenware.
p. 51. Correction: The covered square dish is earthenware.
p. 52. Addition: The unmarked teapot stand is artificial porcelain made by NewHall.
The five-egg stand is pearlware by Job Ridgway, c. 1802-8.
The Boy on a Buffalo pattern is all line-engraved pearlware, c. 1790- 1800.
p. 58. Addition: The fluted red tea set is Chelsea shape by Copeland.
p. 59. Correction: The pink demitasse cups and saucers are bone china by Copeland – not teacups and saucers by Swinnerton.
p. 60. Correction: Polychrome tea canister – not tea caddy.
Polychrome salad bowl was made in Hanley – not Hawley by Lancaster & Sons. Information on the company is on p. 111.
p. 61. Correction: The same Hanley – Lancaster & Sons information as p. 60. Also, it is a jam pot – not a lambpot.
Correction: The two brown pitchers were made of brown-bodied earthenware with a clear glaze c. 1805. “Portobello-type” should be deleted.
Addition: The black transfer-printing on the cup and saucer is all line-engraved.
p. 62. Correction: Another tea canister – not caddy.
Addition: The mark on the polychrome pitcher is Gater, Hall & Co.
p. 69. Addition: The small dish, lower left is pearlware.
p. 77. Correction: Another tea canister.
p. 93. Correction: Carter Hall Co. should be Gater, Hall & Co.
Addition: The small plate, lower right is pearlware.
p. 94. Correction: The two cups are porcelain.
The Cauldon Ware bowl has an orange (red) background – not border.
p. 95. Correction: John Rose is the correct spelling. All pieces on the page are porcelain
p. 97. Correction: The photo at the bottom of the page is a sponge dish with drainer that is part of a wash set. It is traditional willow pattern – not “Forest” pattern.
p. 98. Correction: The platter is ”Forest Landscape” by Spode.
p. 100. Addition: The oval box is a toothbrush box in pearlware.
The open salt is porcelain
p. 101: Correction: Double Phoenix is not the name of a company in Japan. It is a mark used by the Nihon Koshitsu Toki Company (NKT) in Japan.
p. 102. Correction: The cup and saucer are marked Double Phoenix – not made by Double Phoenix.
p. 104. Correction: ASTEP should read ASTER.
p. 106. Correction: The red piece by Edge Malkin is a plate – not a saucer.
p. 110. Correction: Hawkes (no information available). An example of Hawkes glass decorated willow is shown on page 56.
Correction: The serving bowl shown as made by George Jones is a Japanese bowl, perhaps with an NKT mark The impressed mark shown is a George Jones mark.
p. 111. Correction: Homer Laughlin is not produce willow “primarily for restaurant and hotel use”. HLC began making willow pattern in 1938 but did not produce hotel ware until 1960.
p. 113. Correction: “Mandarin Blue” is the name of the pattern. MARUTA is the name of the company that made it.
Correction: The description is incorrect for the blue variant pattern pitcher. The dish described is on the next page.
p. 115. Correction: The Mayer China Co. is NOT “still active”. It was purchased by Syracuse China Co. in 1985.
p. 116. Correction: The “grille” plate was NOT made by Ideal. “IDEAL” is a descriptive term used in the mark.
p. 120. Correction: “Mopiyama” is one of the mis-spellings found for the Moriyama Co. in Japan.
p. 121. Correction: Paden City Pottery was located in Paden City, WV – not Sisterville.
p. 122. Correction: The tall vase shown is earthenware – not pearlware.
Correction: “Prestonpans is the name of the town – not the name of the pottery in Scotland that made the condiment figures with willow border decoration. The pieces are unmarked.
p. 123. Correction: The vinegar server and pepper shaker are also unmarked.
Disregard the information on Thomas Rathbone & Co.
p. 126. Correction: The Royal China Co. closed in 1986.
p. 127. Addition: The Sadler red willow pitcher was made by James Sadler & Sons, Burslem c. 1947+. The Sadler & Green firm mentioned was a printing firm – not a manufacturer.
Correction: Shenango China Co. did not “become” Anchor Hocking in 1979. It was taken over by Anchor Hocking. In the late 1980’s, Syracuse China purchased Shenango. In the 1990’s Pfaltzgraff Co. bought Syracuse including Shenango.
p. 128. Correction: The Toby Jug was made by Sampson Smith – not Samson.
p. 132. Correction: Another tea canister.
p. 136. Correction: The bone china coffee pot was made by Crown Staffordshire Porcelain Co., Ltd. --not the Crown Pottery.
p. 137. Correction: Change all the references to “Crown Pottery” and “Crown Ware” to Crown Staffordshire Porcelain Co., Ltd. The piece at the top right is a salt shaker – not an egg cup.
p. 139. Correction: “Tremblese Godley” should be changed to BODLEY. The type of cup and saucer shown is a “tremblese” which means it has a deep recessed place for the cup to sit so it will not fall if the holder “trembles” while holding it. The set is porcelain with gold trim and has an impressed BODLEY mark.
p. 140. Correction: Walker China Co. was sold to Mayer in 1980. No Walker mark was used after that date.
p. 141. Correction: Bockol has confused Wedgwood & Co. Ltd. (Tunstall) with Wedgwood, founded by Josiah Wedgwood in Burslem in 1759. “& Co.” was not used by the Josiah Wedgwood firm – just WEDGWOOD. Etruria and Barlaston, locations of the factory, are often included in the mark. Pieces on pages 141-143, the bottom of 144, p. 145-147 top are all made by the Josiah Wedgwood factory. The mark at the bottom of p. 146 is not a WEDGWOOD mark. The plate and mark at the top of p. 144 were made by Wedgwood & Co., Tunstall. Bockol has used the word “Etruria” to depict a Wedgwood line on pages 142,144, and 146. It was the location of the factory from 1769 to 1939.
p. 143. Addition: This mark is used on bone china of the second period.

Additions and Corrections to The Illustrated Encyclopedia of British Willow Ware:

I. Manufacturers listed alphabetically with marks and photographs
H. Aynsley & Co., p. 29. Dates are 1873-1932 – not 1982.
John Aynsley & Sons, p. 30. Mark 2 is upside down.
Beardmore & Dawson, p. 38. Date under mark should be 1863.
Under Brief History:“Newton” should be changed to “Newbon”.
Belle-Vue Pottery, p. 40. Mark 2 is probably a retailer for Dudson. Photo has Mark 2 –not Mark 1. It was not made by Belle-Vue Pottery. See also page 120.
W. T. Copeland, p. 95. Dates should be 1847-1870 – not 1970.
p. 97. Small sugar in bottom left photo has Mark 6 but no pattern number.
Crown Staffordshire, p. 104. Black plate has Mark 2
Doulton & Co., p. 115. The jug with no border has Mark 18 – not 17.
Jones, George, p. 180. SING AN condiment jar has Mark 3.
George Thomas Mountford, p. 219. Change “Stoke-up-Trent” to “Stoke-on-Trent”.
Wedgwood & Co., p. 291. The lidded jug has Mark 4. No mark is given.
Thomas C. Wild, p. 300. Polychrome pieces belong to Sykes – not Gilbert.
Wood & Sons, p. 313. Correct caption. Add: Mark 9, Courtesy Joette Hightower, $45-75.

Higgins & Leiter. p. 337. Should be Higgins & Seiter, New York City.
Ringtons Ltd. P. 346. Correct dates for Mark 4: 1928-29 – not 1828.

p. 357. Attribution has been confirmed as Elsmore, Foster & Co. by R. K. Henrywood: Staffordshire Potters 1781-1900, p. 123.
p. 369. The upper left hand green-printed plate with rust clobbering and orange luster has been found with “SARREGUEMINES FRANCE” under the cartouche.

Appendix I. Table of Manufacturers and Willow Patterns
Empire Porcelain Co., p. 376. Add FB to Mandarin.
Wedgwood, Josiah, p. 382. Add BkC to Standard. BrC under 2T2 – not BnC.
Wilkinson, A. J., p. 382. Erase Br under Standard.
Worcester Royal Porcelain Co., p. 382. Move B from 2T1 to 2T2.

Appendix II. Pattern Names for Willow Patterns
SING AN, p. 383 was made by George Jones not Cauldon.

Martin, Trevor, p. 388. The correct name is Markin.

Index of Potters’ Initials on Mark
Add: C. P. Co. Ltd., Campbellfield Pottery Co. Ltd., p. 73.
M. W. & H., Malkin, Walker & Hulse, p. 197
N & B, Newbon & Beardmore, p. 222

All corrections have been noted and provided by readers.


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