In this pattern, a banner or Japanese obi has been folded in three sections revealing an Asian fret pattern on one face and a Japanesque landscape study on the reverse -- all executed in remarkable, minute detail. Mention must be made of the subtle way in which the scattered elements of rocks and foliage suggest a complete landscape setting for the soaring birds, an example of another lesson Europeans learned from the East. The banner rests on a prunus ground pattern which covers the balance of the surface.

While aeshetic period butter pats tend to be a bit heavy and utilitarian, these little guys are finely potted.  The design is executed in a reddish brown transfer on an ivory body without enamel enhancement.

Pinder, Bourne, which was responsible for a number of terrific Japanese designs, had already been acquired by Doulton when it registered this pattern in 1880. Doulton  used the P. B. & Co. name until 1882. Doulton continued to produce this pattern, sometimes in striking polychrome variants, after the takeover. 

Interestingly, the two faces of the obi reflect two aspects of the Japanese influence on British designers: the use of abstract, stylized pattern versus the informal depiction of natural subjects, such as the birds and foliage. In this case, the ground pattern tips the balance toward the nature.

Personally, we can sympathize with the British in their naturalistic vs. stylized design dilemma.  For us, the effect of looking at a Morris "Willow" pattern paper every morning at breakfast -- of which we never tire  -- is a mighty powerful force.