A cluster of European style buildings, dominated by a variety of towers, rises above a broad riverfront stretching across the length of this boat-shaped creamer. One end of the panorama turns more rural with a tree shaded villa and washerwomen at work on the bank. 

The border, printed in red in contrast to the green transfer scene, consists of roses and small scenes with buildings, seen in its most complete form inside the spout of the creamer.

The plump curves and dominate scalloped handle leave no doubt over its rococo inspiration.

The attribution of the unmarked creamer to Wood--strongly suggested by its shape and similarity to the potter's other bi-color patterns--was confirmed by Petra Williams and Marguerite Weber in Staffordshire: Romantic Transfer Patterns, Vol. II (pg.676). Williams included images of the creamer and a saucer in the earlier volume; here she reports the discovery of a piece bearing an impressed "WOOD" mark.