Quite simply, one is unlikely to find a higher quality version of the ubiquitous "Asiatic...

Quite simply, one is unlikely to find a higher quality version of the ubiquitous "Asiatic Pheasants" pattern than this version by Ralph Hall. Executed in crisp brown transfer printing against a clear open ground, it reveals the origin of the pattern in the sophisticated 18th century style florals of rococo revival transferware.

The center design presents a loose, informally gathered summer bouquet. Adding to this sense of spontaneity, two pheasants hover on each side, both eying a butterfly which has lit on a central blossom.

Complementing the easy looseness of the center, individual nosegays and passion flower blossoms form the border, linked only by printed beadwork at the edge.

According to Coysh and Henrywood in The Dictionary of Blue and White Printed Pottery 1780-...

According to Coysh and Henrywood in The Dictionary of Blue and White Printed Pottery 1780-1880, "Asiatic Pheasants" was surpassed only by standard "Willow" in popularity in the second half of the nineteenth century--usually appearing in a pale blue transfer of sadly indifferent quality. They list no fewer than thirty four potters who offered the pattern prior to 1880 (p.29).

Even without the knowledge that Hall's production ceased in 1849, the superior print and ceramic quality of this example would clearly place it in the first half of the century. It should not be faulted for the fact that its successors did not live up to this earlier standard of quality.