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Thomas Garrett was for 14 years a partner of William Taylor Copeland’s and wares manufactured between 18 bore the “Copeland and Garrett” mark.Very little is known about him and he seems to have made little mark on the company. A Copeland and Garrett mark appears on one of the copper plates. It is a series of scenes depicting events in the military career of the Duke of Wellington. There are as well smaller floral arrangements which were probably included as secondary designs on large objects such as soup tureens. A notation regarding it was made in January 1872 in a factory pattern book, (Illustration from factory pattern book.) The designs at the top, right and bottom are not part of the pattern.219 7663 (ca. The name of a month or season usually appears on the vase. Excavated examples were made by Copeland and Garrett. The narrow borders are the same as those on Statice. The border is part of a Spode pattern that was used over many years. It was registered in 1884 and, under the name "Bertha," in 1894. It was reregistered in the 20th century under the name "Lady Anne."227 Star (pre-1867? Copeland and Sons' 1882 catalogue and seems to have been reserved for toiletware.
One of two in the Museum’s collection, this broken one is able to show the interior of the mill, with gold residues still visible on its surface.The vehemence with which his name has been obliterated might be suggestive.Above an early set of leather bound volumes of Curtis’s Botanical Magazine, first published in 1797. About 1825 the central design of Union was redesigned as a border and called Union Wreath (Whiter 194).
It is still manufactured by Spode Limited.236 Union (ca. Its border is the same as that on Spode's Girl at Well.
In the mill, the amalgam was ground in water with a heavy pestle for two weeks then dried. The Trust has photographs of the grinding process with Tom Brough, foreman gilder, at work in the 1950s.