For almost 100 years Wiltshaw & Robinson— the makers of Carlton Ware—produced an extraordinary range of earthenware and china at the Carlton Works in Copeland Street, Stoke-on-Trent.
Here, I briefly introduce and illustrate most of the main categories, presented roughly in chronological order.
Harvey Pettit
Wiltshaw & Robinson, the makers of Carlton Ware, named this type of ware TINTED FAIENCE— "tinted" referring to the different coloured slips.
A more decorative effect was achieved by applying sprigs of thin, press-moulded shapes —often classical figures—to the surface of the coloured slips.This technique produced what is known as sprigged ware, although it is often mistakenly described as Jasper Ware, as made by Josiah Wedgwood, due to its similar appearance. Many other potteries employed this technique. ❑ © 2024 HP.
Not long after its formation in 1890—or perhaps a little earlier—Wiltshaw & Robinson (W&R) introduced a highly successful range of decorative earthenwares, now known as Blushware. This name aptly describes the delicate pastel-shaded backgrounds to patterns, usually printed and enamelled, and occasionally freehand painted.
The quality of some of these wares is notably high. In the style of the period, W&R employed elaborate shapes, often adorned with sumptuous gilding, including raised gold.❑ © 2024 HP.
White Ground Ware
More unusually, some of the earlier Blushware patterns were applied to a plain white ground, omitting the shaded and tinted, vellum-like backgrounds altogether. Similarly, Blushware patterns were also printed in blue and flow blue against a white ground as shown in the next category. ❑ © 2024 HP.
If you would like to see a range of Blushware patterns named by the Pottery then click here.
As an adjunct to Blush Ware described above, Wiltshaw & Robinson used the same shapes and printed patterns to produce monochrome decorations, such as Blue & White and Flow Blue—often embellished with gilding. ❑ © 2024 HP.
If you would like to see more detail and examples, then click here.
Wiltshaw & Robinson (W&R) was one of the first of many potteries to follow W. H. Goss's lead in the production of Heraldic Souvenir China, emblazoned with heraldic crests. Advertisements suggest that W&R introduced their models in 1902.
Production of this fascinating range of miniatures continued well into the 1920s. Initially, W&R based its models on ancient artefacts found in museums, but within a short time, began offering models of an entertaining and humorous nature.
Suffragettes, modes of transport, latest inventions, seaside themes, and popular songs all served as inspiration to the Pottery.
The 1914–18 war prompted the introduction of many models of a military nature.
To commemorate the centenary of the conflict’s outbreak, I published a series of twelve articles in 2014 on Carlton Heraldic China related to the war—the most comprehensive study of its kind to date. Click or tap on the image on the right to view.
The quality of this Carlton China was high and W&R prided itself on its accuracy of the heraldic devices.
The wide range of shapes—estimated to number close to 1,000—provides a fascinating record of the social history from the earlier part of the twentieth century. ❑ © 2024 HP.
ARMAND LUSTRE WARE was the first of Carlton Ware's lustre decorations. The range was probably introduced in 1913 or during the early part of World War I. It was devised and introduced by the newly appointed Horace Wain, the first known Art Director at the Carlton Works.
ARMAND's main characteristic, aside from its lustre finishes, was a stippled or mottled ground. Unusually, the underside of ware was also stippled and lustred. A distinctive circular, gold-printed backstamp was often used. At its centre, the ARMAND LUSTRE WARE backstamp portrays flying fish leaping above swirling waters, although there are examples bearing the standard crown backstamp.
The range was available plain—without further decoration—or with a gold-printed design, decorated in on-glaze lustres of various colours. ❑ © 2024 HP.
By the end of World War I in 1918, manufacturers of enamels and colours for the pottery industry had developed what became known as commercial lustres in a wide range of colours. Their attractive, iridescent finishes were easy to apply and fire.
Under Enoch Boulton, who succeeded Horace Wain as Art Director, Carlton Ware embraced the availability of these commercial lustres. In the early 1920s, the pottery introduced its LUSTRINE range, which was offered on a wide range of tablewares, especially coffee sets, which had become fashionable.
In 1924, the trade press reported that Carlton Ware’s new range of lustres was offered in no fewer than twelve very smart colours, four of which you can see on the left. ❑ © 2024 HP.
BEST WARE was the name given at the Carlton Works to the more highly decorated wares, typically featuring elaborate gold-printed and enamelled patterns. The skilled techniques required to produce them had already been established with the earlier Blush Ware patterns—the Best Ware of their time.
Often, BEST WARE patterns were underglaze painted, in combination with onglaze enamels and lustres, gold printing, and raised enamelling. Among the most popular were the many Chinoiserie patterns—such as MIKADO, TEMPLE, and the elaborate CHINALAND.
Perhaps, the most extraordinary BEST WARE designs were those of the 1930s, featuring archetypal Art Deco patterns such as FAN, BELL and JAZZ. Such exotic decorations will never be made again, because of the the high cost of production and the loss of expertise. ❑ © 2024 HP.
All was expertly modelled and hand painted in attractive colours. Today, we divide this wide range into Floral Embossed and Fruit Embossed wares, although at the works it was all known as SALAD WARE primarily because the first of these ranges was the very popular LETTUCE & TOMATO versions of which remained in production for more than fifty years.
Other popular designs were APPLE BLOSSOM, FOXGLOVE, BUTTERCUP and WILD ROSE, but there were many more including the earlier TULIP with its unusual silky semi-matt glaze. ❑
© 2024 HP.
W&R introduced this range c.1928, as a response to the fashion for freehand painted decorations.
Around this time, many other British potteries offered modern freehand painted wares, such as Poole Pottery, Gray's Pottery, Susie Cooper and Clarice Cliff. Such was the zeitgeist.
Most significant for Carlton Ware was its introduction of matt glazes, which distinguishes much of this important range and presenting a luxurious, silky appearance. ❑ © 2024 HP.
COLOURED WARE was the name Carlton Ware gave to a range of novelty wares first introduced in the mid-1920s. Many models were executed with a great sense of humour.
Novelties were to become another hallmark of Carlton Ware. It was widely acknowledged throughout the pottery industry that Carlton excelled in their production.
Carlton Ware produced so many different models that there was always something new for a customer. COLOURED WARE complimented the vast array of SALAD WARE and like it, offered items to suit all pockets, as well as raising a smile. ❑
© 2024 HP.
In 1928, as a means of expanding its already extensive range of wares, Wiltshaw & Robinson bought the nearby Vine Pottery, previously the china works of Birks Rawlins & Co.
Carlton Ware had already established itself as makers of fine earthenware tea and coffee sets, so the diversification to china versions was a natural progression for the forward-looking pottery.
Initially, Carlton Ware continued to fulfill orders for Birks Rawlins patterns, most of which were of a traditional nature, but within a short time many new and modern designs were introduced.
In 1931, somewhat erroneously, W&R's bank, forced the sale of the Vine Pottery. During its four or so years of production, astonishing numbers of new patterns were introduced. ❑
© 2024 HP.
Other brewers and distillers took advantage of the skills at Copeland Street, most notably Arthur Guinness, Son & Co., especially with a range or bar ornaments. These were based on animals and the zoo keeper that John Gilroy had created for Guinness advertisments. Alas, Master moulds for these charming figures have ended up in the hands of the unscrupulous and fakes abound. See our Guinness fakes pages to see these and more.
Of similar distinction are the models of vintage cars made for the British Motor Corporation and British Leyland. Cadbury's, Harrods and even Singapore Airlines were amongst many other customers. Like Heineken, another client, Carlton Ware reaches the parts that other potteries cannot reach! ❑ © 2024 HP.
During the post war period many pottery designers looked towards Scandinavia for inspiration and Carlton Ware was no exception.
Fluid and freeform shapes were the order of the day. WINDSWEPT, a large range of tea, coffee and table ware, is a good example. The TRIFORM and SHELF ranges are others employing the fashionable fluid shapes of the time.
Even Salad Ware was given the treatment with ranges such as CONVOLVULOUS, MAGNOLIA and ORCHID, all of which were popular and used new background colours.
This era of Carlton Ware's production is underappreciated at the moment, but its day is coming.❑ © 2024 HP.
New Salad ware lines were introduced in the form of CANTERBURY, NEW BUTTERCUP, with its variant SOMERSET. The new owners also looked to the past for inspiration with the resulting remodelling of APPLE BLOSSOM, to give us NEW APPLE BLOSSOM, and an uninspiring range of flow blue decorations on traditional shapes.
Emphasis was given to the less expensive wares, many of which were of a practical nature, especially coffee sets in fashionable plain colours, but gift ware continued to play an important part. The mood of the time was caught by many of these items, especially a range of money boxes with psychedelic lithographic decorations. ❑ © 2024 HP.
The popularity of WALKING WARE stimulated the introduction of many other amusing ranges by Carlton Ware's in-house designer Pam Souch and a large number of more original and quirky designs entered production.
These wonderful wares were to be the swan-song for an extraordinary pottery, which had survived for almost 100 years in an industry that had always been precarious. In 1987 the Carlton Works in Copeland Street was sold to a holding company. ❑
© 2024 HP.
Eventually, Paul Thompson, one of the directors of Kent, Carlton and County Potteries, was disqualified from running any company. The loss of so many jobs was a tragedy for both Potteries and their many employees, who had dedicated their working lives to James Kent and Carlton Ware.
During County Potteries mismanagement, little new ware was introduced.
Carlton Ware, however, did rise again, though production ceased at Copeland Street when, during liquidation, the works was sold to a property developer and turned into student accommodation. After 125 years as a pottery, the building, at least, was saved. ❑ © 2024 HP.
The voluntary receivership meant that all Carlton Ware's assets had to be sold and in 1989 John McCluskey, a manufacturer of ceramic door furniture, bought the pattern and shape records, along with the goodwill and master moulds. Most importantly he bought the registered trademark that Cuthbert Wiltshaw had devised and registered in 1926. Since it is in Cuthbert's hand, it is what we know as and call the Script backstamp.
Mr McCluskey's aim, initially, was to concentrate on more expensive lines and with an eye to introduce high quality dinnerware. A limited range of ruby lustre ware would be available and all to be made at his industrial unit in nearby Stone.
Within a short time, Mr McCluskey introduced a range of novelty teapots, all of which were modelled with great precision. His new venture, however, was short lived and production ceased about 1992. ❑ © 2024 HP.
In 1997, after several years of dormancy, Mr McCluskey sold the Carlton Ware registered trademark to Francis Joseph Salmon.
The trademark in question is commonly referred to as the Script backstamp, originally registered by Cuthbert Wiltshaw in 1926.
Mr Salmon’s trademarked branded ware was aimed at the so-called “collectibles” and “investment” market, with each piece produced in small limited editions and a multitude of colour combinations.
Numerous trials, colour trials, studio trials, samples, prototypes, artist’s proofs, show specials, and limited editions were created as part of a deliberate strategy to foster perceived rarity among collectors. Consequently, these items were marketed at higher prices. By 2015, however, the technique may have run its course, as production of Mr Salmon’s trademarked branded ware had ceased.
You can read much more about Mr Salmon's trademarked branded ware by clicking or tapping on the button below.
This concludes this brief guide to Carlton Ware's Types of Ware page.
I hope you have found it useful.
Harvey Pettit ❑ © 2025 HP.