This flat Chinese style landscape pattern has earned its designated name by what it does not contain. The waterways that define spits of land--the standard terrain of Chinese landscapes--here remain uncrossed by the typical arched bridge. Still these isolated isles boast impressive pagoda structures--whose walls sport a variety of surface patterns. In the half open door of the focal building we see a single standing figure.

The pattern is framed by an appropriate Chinese border that mixes in a few butterflies with its fretwork elements.

"Willow" without the willow tree. Or the bridge. Or the swallows. Or the romantic legend.

What we have is one important potter's high quality response to popular Chinese porcelain imports. It is executed in earthenware, less expensive to produce than porcelain and therefore accessible to the rising middle class. And printing has replaced hand painted decoration--not so much to save costs as to insure a consistent pattern from piece to piece. From this broader tradition of English potters attempting to beat their competition by copying it, the pattern we know as "Standard Willow" eventually emerges.

Originally, based on our reference sources, we attributed this plate to Davenport. However, since posting this entry, a Davenport /Chinoiserie scholar has contacted us noting that this is Minton's version of this pattern.  Among other details, Davenport did not use an inner border in their version.