Thanks for the interesting link. I've learned to distrust my image search results, since there are so many erroneous attributions out there.
It's interesting to trace the links between firms and designers, as you've done in your comment. For example, I can see a certain continuity (I must not say 'copying'

) between my few pieces of Monart, Strathearn and Caithness, referring esp.to the 'Tempest' range of the latter, and also the range where they used aventurine over blue or green.
You mention the opaque celadon green that was (over)used when pigmented enamels were in short supply in the 30s and 40s. The colour is ubiquitous in Nazeing of that period, so I've been trying to find some in the more unusual colours I
know they used, because they were described in the company leaflets re-published in the Hajdamach book. It's obvious that several different manufacturers eked out their supplies at that time by adding cheaper white enamels, possibly titanium dioxide, a pigment I try to avoid using when painting, because it opacifies and makes colour look so chalky.