In an effort to appeal to the American market or simply to conjure up yet another faraway place in the minds of British consumers, T. & R Boote references the American West naming this pattern "New Yosemite." The scenic portion of the design, however, is more reminiscent of small town views found everywhere from Pennsylvania through Kansas. Moreover, the arrangement pays homage to current Japanese trends with the lone flowering hawthorne, reaching up to the end of the platter and arching over the scene. This element finishes this supposed American vignette with a grace note of Japanism. 

Typical of patterns at the time, "Yosemite" is executed in charcoal brown printing on Boote's ivory body. The more unexpected decision to turn the platter design ninety degrees to create a vertical composition can also be observed in other contemporary patterns. Typical of these, the scenic view is confined to about two thirds of the surface. The remaining lower field, lobbed off diagonally, is filled with ornamental patterns juxtaposed in a Japanese style patchwork.

At the Birmingham (Alabama) Museum of Art, one inevitably navigates the galleries from a central point where Albert Bierstadt's massive 1865 view of Yosemite Valley hangs.  Looking at that painting, one starts to understand the magic the term "Yosemite" must have held in the mind of the American public, and Boote's effort to identify his "Yosemite" pattern with this amazing American vista--though in truth his view is barely hilly.