{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O1807226"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O1807226/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2025PH3795/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2025PH3795/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2025PH3795","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O1807226/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O1807226","accessionNumber":"E.608:4-2024","objectType":"Pattern book","titles":[{"title":"Biscuit Painting Patterns","type":"assigned by artist"}],"summaryDescription":"","physicalDescription":"A page of biscuit painting patterns depicting a rural landscape and house in blue, and a floral motif separated by brown and green stripes. Bound in brown leather with metal clasps and marbled endpaper.","artistMakerPerson":[],"artistMakerOrganisations":[{"name":{"text":"Rockingham Ceramic Factory","id":"A9205"},"association":{"text":"","id":""},"note":""},{"name":{"text":"Brameld & Co.","id":"A19040"},"association":{"text":"","id":""},"note":""}],"artistMakerPeople":[],"materials":[{"text":"paper (fiber product)","id":"AAT14109"},{"text":"Pen and ink","id":"x30618"},{"text":"Watercolour","id":"AAT15045"}],"techniques":[{"text":"Drawing (image-making)","id":"AAT54196"},{"text":"Watercolour painting","id":"THES250889"}],"materialsAndTechniques":"Watercolour, pen and ink on paper","categories":[],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2025PH3795"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLE","id":"THES49657"},"free":"","case":"SB5","shelf":"SH6","box":""}],"partTypes":[[{"text":"Pattern book","id":"AAT26131"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"South Yorkshire","id":"x29442"},"association":{"text":"","id":""},"note":""}],"productionDates":[{"date":{"text":"ca.1825-1830","earliest":"1820-01-01","latest":"1830-12-31"},"association":{"text":"","id":""},"note":""}],"associatedObjects":[],"creditLine":"Donated by Dr. Angela R.C. Pack MNZM, in memory of her mother Mary Bower Pack (née Creighton) and in honour of their forebears who manufactured Rockingham  China until 1942.","dimensions":[{"dimension":"Height","value":"242","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"Dimension of volume","note":""},{"dimension":"Width","value":"180","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"Dimension of volume","note":""},{"dimension":"Height","value":"230","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"160","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[{"content":"No. 8, No. 9.","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"Handwritten in ink"}],"objectHistory":"The album was owned by the  family of Isaac Baguley (c.  1794-1859), a former artist at  the Works","historicalContext":"Although the design is simple, the execution of it on a plate or saucer would have required skill, as the unusual and evenly spaced lines would have been challenging to hand paint. The bottom design depicts a European-style house framed by trees and flying birds. What makes this design unique is the strong similarity to Chinese and Dutch-inspired English delftware designs, such as those found in early Caughley. This design shows a similar handling of the paint, which is characterized by simple strokes in a naïve style. The technique used to depict ground or water is also similar, with the horizontal strokes that grow narrower and more triangular. The fact that it is on soft-paste porcelain creates a blurred edge to the design which sets it apart from the Leeds’s pearlware designs that influenced Rockingham. With Rockingham’s close relationship to Leeds, it makes sense that this design would have been mimicked along with others, as can be seen in the remains of shards that were excavated from the Rockingham factory site dated 1790-1795.\r\n\r\nThough strongly related to the blue landscapes from Chinese porcelain, this design is unusual in its amalgamation of subjects that have yet to be found on any extant wares definitively attributed to Rockingham. In particular, the combination of a European-style building with the “tall, round-topped door” and “umbrella-like” trees, dubbed the “Cottage and Sponged Trees” design by Alwyn and Angela Cox. Even in comparable designs such as those found at Caughley or Leeds, they are more in line with the traditional Chinese and Dutch Asian-inspired scenes with pagodas and location-accurate environments. These designs are well-known and have been produced since the 17th century and experienced a surge of popularity in England after the East India Company discontinued the import of Chinese porcelain tableware in 1791.\r\n\r\nA close comparison to the style of building in this Rockingham design is an example of a Qing dynasty miniature vase currently in the Frick Pittsburgh. Although the rendering of the environment and foliage is much more detailed than the Rockingham design, the building is very similar, with the circular window, triangular roof, and plain, flat front. Porcelain wares that were exported from Asia to the West did adapt some of their designs to better entice Western customers, so it is possible that this Qing dynasty vase was using a more European-inspired building as a way to cater to that particular customer base. Rockingham, like many other English factories at the time, was likely imitating the popular Chinoiserie and blue delft designs that originated in China and remained popular with the Western audience for many years. This continued popularity resulted in Chinese porcelain influenced by the Western market, and hence influenced factories like Rockingham, creating an odd blend of Western and Asian motifs.\r\n\r\nStella Koslowski","briefDescription":"A page of biscuit painting patterns depicting a rural landscape and house, as well as floral motifs, bound within a pattern book containing designs for Brameld painted earthenware c.1810-30 and Rockingham Porcelain Tea and  Dessert Ware c. 1825-30, watercolour, pen and ink on paper, Great Britain.","bibliographicReferences":[{"reference":{"text":"Koslowski, Stella. Creativity, Innovation and Patronage: A Catalog of Rockingham Designs at the Victoria and Albert Museum. London: Sotheby’s Institute of Art, 2025.","id":"AUTH411724"},"details":"pp. 49-50. ","free":""}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["E.608:4-2024"],"accessionNumberNum":"608","accessionNumberPrefix":"E","accessionYear":2024,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2026-02-11","recordCreationDate":"2025-07-31","availableToBook":false}}