Topic: Walsh / Tudor traditional cut pattern A5227

[Bernard C]

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This pattern is one of the half dozen or so best known Walsh traditional cut patterns, known in clear crystal and in the full range of harlequin colours, see Reynolds pl.23.   It is known to me marked WALSH / ENGLAND (WE), MADE IN / Tudor / ENGLAND (TE), and unmarked (u).   The examples illustrated above are marked WE, WE, u (with a 1950–74 Birmingham hallmark on the collar), WE.   It comprises two or three interlocking rows of diamonds with long vertical cuts either rising from the upper points or falling from the lower points.   Decanters are flake cut on the shoulders.

The pattern is shown as a decanter in the A pattern book at A5227, just four short of the classic Waterlily & Iris pattern at A5231–2 (Reynolds fig.307), which must date to the very early 1930s.   Unfortunately that's the only example I've found in the pattern books so far.   This is not surprising as many patterns appear only once and must have been specified as blank X cut to pattern Y, as, without this system, the pattern books would have become unmanageable.

The pattern seems to be a major upgrade of the simpler diamond cut shown at A5170 (fig.304).   I believe it also shows the increasing influence of their in-house designer, Clyne Farquharson, who had joined Walsh in 1924, in providing designs that would compete more effectively in a rapidly changing market.   This is some two or three years before the launch of Clyne Farquharson's signature ranges in 1933.   The pattern had considerable success as it survived Walsh's closure twenty years later in 1951 and travelled with the cutting team to Tudor Crystal.

Any comments?   Have you found any other examples of this pattern in the pattern books shown in Reynolds?   Have you seen any other examples?   Do you know either Walsh's or Tudor's name for the pattern?

Thanks for your interest,

Bernard C.  

[flying free]

Bernard I was looking for a wine glass and came across this thread.  Bearing in mind I have only just received my Reynolds book and I'm struggling to work through the patterns, could there be a similar cut design  on page 143 Reynolds, fig 343 A6080?  There seem to be three lidded pots there with a similar pattern. And on page 142 6028 and 6029 - they do appear to have a cut rim as well but the pattern round the body seemed similar to what you described.
I'm probably wrong, but just thought I'd mention it just in case  
m

[Bernard C]

Glad you're now equipped with Reynolds.   It's a fantastic reference, but hard to learn.

Yes, thanks for the information, and I agree with your assessment of patterns A6028–33 as being more examples of the earlier A5227.   What's interesting is that the tall vase A6028 seems to have much in common with my blue cocktail shaker.   I gave Andy McConnell the cut pattern number A5227 when he photographed the cocktail shaker and glass for his new book, and this is still correct as it is always the earliest pattern number that should be used unless the actual item is shown.

Post on the GMB or drop me an email if there are any puzzles you find in Reynolds which you wish to discuss.

Bernard C. 

ps — may I ask a Moderator to correct A6080 to A6030?

[flying free]

Well, apart from the number (so sorry, I can't believe I didn't pick up that it must be a 3 not an 8 especially given the sequencing - brain awol at the time) I'm glad they are same.  The book has a huge amount of information but I need one of those whole page magnifying glass type things really to read it 
m

[flying free]

There are two more references in Reynolds
page 127
A5331 cocktail glass and A5333 wine glass?
m

[flying free]

Bernard did you ever get a name for this pattern at all?
m

[flying free]

my cocktail glass marked Walsh - uranium cut but full uranium bowl not cased over clear.