Snippets of Salem - 355 Pickard China

Pickard China. 1912 28 pages Secrets of Correct Table Service by The Pickard Studios; 2009 28 pages Full color Brochure of "Pickard China, an American Tradition" reflecting art pieces and hallmarks of the company over the years.

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1912

2009

355 Pickard China 1912 and 2009 FWB 60.pdf

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Valentine

SNIPPETS of SALEM
355- Pickard China

Contents:
1912 28 pages Secrets of Correct Table Service by The Pickard
Studios
2009 28 pages Full color Brochure of "Pickard China, an American
Tradition" reflecting art pieces and hallmarks of the company over the
years

0-70 pages
NOTES:
-Pages within the pamphlets may be out of sequence because of the scanning
process.
-Numbering on these pages may include the date and sequence within each
pamphlet.
The original materials used in this project were from the FWB Fred Wesley
Brown Collection. Some documents were photocopied before they were scanned
into the PDF document and those will be available in print format. The originals
may exist either in the FWB collection or at the Western Kenosha County
Historical Society- depending on family decisions at a later date. These
materials were contributed because the family wished that the history that they
and their families have experienced can be saved for the future generations.
Some "published" documents were dismantled in order to provide a 1:1 scan of
the original item rather tha n a scan of a photocopy. The decision to do this was
made because the INFORMATION was more important than the media that was
used to present the information. Naturally, singu lar ORIGINAL DOCUMENTS
were not destroyed.
Researchers should also refer to the Valentine Digital archives which may at the
SALEM COMMUNITY LIBRARY for more images in this collection or digital
images of items that may relate to this booklet or related to the topic.
Compiled 1/2014 by L S Valentine Copyright©Valentine2014

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CORRECT TABLE SERVICE

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SUGGESTIONS FOR

MENU

MAKING

COMPILED AND WRITTEN BY THE

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SCHOOL OF DOMESTIC
ARTS AND SCIENCE

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ISSUED BY

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THE PICKARD STUDIOS

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CHICAGO

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Copyri2"ht, 1912, by \ V, A . Pickard

PICKARD CHINA
Pickard China must not be confused with ordinary
China. It is a new development that has
been so far advanced that it stands distinctively in a class
by itself. It is a creature of enthusiasm-Pickard China,
a master idea carried to perfection by a · band of artists
whose very heart and soul go into their handiwork.
While each individual is entirely unhampered by "factory
restrictions," he has the full benefit of the combined art~
istic strength of the studios, through the conference school
in which is discussed every shape and every design be~
fore it is accepted.
Hand~painted

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(L To give the highest expression to artistic

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· pulses in decorating porcelain.

(L To avoid all that is ordinary or commonplace

The Pickard Studios are as unique as is Pickard
China-the building itself is made distinctive in its arc hitect~
ural beauty. It is perfect in its interior appointmentsmodern in all its equipment.

in color or design.

(L To give to ·each artist the widest latitude m
originating ideas.

(L To seek inspiration for new motifs from sources
beyond the reach of home decorators.

(L To keep a staff of artists representative of all
the world's best decorative schools.

(L To follow each detail of decorating and firing
with critical precision.

(L To study the relation of the decoration to the
shape with a sense of harmony that makes
for the distinction of Pickard China.

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The artists work in an environment that call forth
their highest endeavors. Every artist is stimulated in the
personal pride he takes in every piece he produces, and
his signature on every piece means more-much more to
him than does the artis( s name on the usual signed piece.
The variety of decorations and designs in Pickard
China affords ample range for any desired selection.
Pickard China comes as a happy suggestion to those seek~
ing distinctive gifts.

THE

PICKARD

STUDIOS

4853 E. RA YENS WOOD PARK
CHICAGO

~~~~~~~~~
Secrets of Correct Table Service

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AUTHORITY SCHOOL OF DOMESTIC
ARTS AND SCIENCE
CHICAGO

HE refinement of a home is revealed in nothing
more clearly than in the appointments of the table
and the manner of serving food, whether this be
done in simple or most elaborate fashion-good taste
being equally possible to both. While eating is a necessity which human beings share with animals, we sink
below their level when, in ministering to our physical
needs, we do not at the same time feed our higher natures.
We should gratify our eyes by a symmetrical arrangement of china, silver and linen ; our ears by restfully
quiet handling of the same; our minds by cheerful conversation, which a lack of methodical service precludes; and
our hearts by looking to the comfort of each person at
the table, especially of the guest, in whose honor we
should set forth the best our means afford, without
ostentation if it be elegant, without self-consciousness
if it be simple even to meagerness.

Setting the T able
If the room contains a hanging light the center of the
table should be directly under it. A" silence cloth " should
always be used under a tablecloth to protect the surface of the table and to lessen noise.
T he tablecloth should be laid smoothly and evenly on the table.
Doilies instead of a cloth rnay be
used for breakfast, luncheon,
supper or the informal family
dinner. Twenty- five to thirty
inches is allowed from
plate to plate.
No . I -

Pa~e

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Punch Bowl and Glasses.

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An individual "cover" consists of plates, glasses, silver
and napkin to be used by one person and is laid within
this space.
An ornamental plate, called a "service
may or may not be used. Upon this JS
first the plate containing the hors
d'oeuvre, canapes, cocktail glass
for fruit, oysters or other fish
cocktail, and in the next
course the soup plate. To ~~~
the right of this plate or
space are laid the knives,
with sharp edges turned
to the left, the spoons,
with the bowls turned up,
and, sometimes the oyster
fork. To the left are the forks, the tines turned up, ar,
ranged in the order in which they are to be used, the first
being farthest from the plate. The water,glass stands at
the point of the knife, the bread and butter plate, if used,
at the top and slightly to the left of the forks; the napkin
lies at the left of the silver with the fold at the top, the
open edges at the right and toward the edge of the table.

The Waitress
Whether the meal be served by the person who has
prepared it or by a special maid, her hair, collar, apron
and hands must be neat, trim and clean and her move,
ments quiet and deft. When she has no kitchen duties,
special watchfulness of every person's needs in the dining,
No. 2-Cover for breakfast. P-...eady for servmg cereal and coffee.
Compound service, showing place of hostess . Cereal served, Rus.sian style, and coffee, English style.
On the tray are three pitchers- the smallest fo r
cream ; next in size for hot milk; and the large
pitcher for hot water, provided to heat the cups,
the w ater is poured into each cup; after being 1:CS~~~:..;
heated it is emptied into the bowl, which is also
on the tray before the coffee is served.
No. 3 - Cover for luncheon, for the serving of
the meat course. Also showing the position of
the coffee cup, which is to be placed after the
remainder of the course has been served,

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No . 2

room is expected of her. In either case she is responsible
for the proper temperature of dishes, which should be
warmed for hot foods, cooled in the ice-box for salads
or frozen dishes.
A folded napkin on the palm of the left hand is preferred to a tray for passing dishes, except
where two or more small articles, as sugar
bowl and cream pitcher, are passed
together.
The waitress stands at
the left of the person being
served, whether she is pass- -.._

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down or removing a plate, unless the article belongs to
the right of the plate, as a cup, glass or spoon.

Forms of Service
There are three recognized methods of serving a
meal. known as the English, the Russian a nd the C ompromise Service. Of these three the English is best
adapted to households where the help employed from
outside is limited, though it is by no means confined to
this limitation.
The Russian is the most formal. The Compromise,
with points taken from both these, combines informality
with elegance.

English Service
All the food belonging to one course or all that is to
be served at a simple meal is placed on the table in
platters and other suitable dishes before the host, hostess
or some member of the family. The
number of plates necessary for the
persons seated may be in a pile, before
No.4-0rder of forks to be changed, the longest fork
should be in the middle.

The outer fork in picture

should be next the plate and the middle fork in the
picture on the outside.

No . 5-lce Cream Service , showing the place of the
hostess set for serving dessert, English Style. The ser..
vice may be used for other cold desserts; also for
o;hort cakes and similar deserts.

Page 8

No. 4

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the carver, or taken, one by one, from the side-table and
set before him. As each plate receives its portion, the
w~itress carries it either to the person serving another
article of food, such as vegetables, or sets it directly before
the person for whom it is intended.
At the last course of an English
Service. when finger bowls are used,
a plate upon which are the bowl
and doily should be set in
front of each person. The
waitress should have an
extra plate in her hand to
set before the hostess as
soon as she takes up the
-.,.
one ready to be passed. ~-.. .., ·
Each person having re- ~-~
moved the finger bowl
~ :=and doily from the plate,
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the exchange of empty plate for the filled one is quietly
and quickly made.

Russian Service
As this serving is done from the serving-table or
pantry, no food appears on the table, with the exception of candy, nuts and relishes.
Each plate may be brought from the pantry with a
portion of the main dish of the course, and perhaps one
accessory upon it, all other dishes being passed; or the
plates are set down empty, and all food
passed on well-arranged platters from which
each person serves himself.
As the waitress removes each
plate, with the right hand, she
No.6- Nut Set. Bowl and individual
dishes of same design .
No. 7 -Chocolate Service. Cream or
hot milk may be served in the pitcher, as
well as whipped cream in the bowl .

Page IQ

Page II

No. 6

SUGGESTIONS FOR. MENU MAKING
AUTHORITY SCHOOL OF DOMESTIC
ARTS AND SCIENCE
CHICAGO

In planning menus some of the points to be considered are: food value, money value, and esthetic value.
Foods differ in composition, and furnish the materials
needed by the body for development, for replacing the
tissues used up by activity, and for supplying the heat
and energy necessary to maintain the body at its proper
temperature and enable it to do its work.
Food values have been considered tn the combinations of the following menus, and materials which
are easily procured have been chosen. By thus utilizing
that which is to be found in ordinary markets, we are
assured of materials in good condition.
Foods which are plentiful and in season are always
found to be cheap, in good condition, and of fine flavor,
if carefully selected by the purchaser.
When considering the esthetic value in planning
menus, simplicity is of the greatest mportance.
A few courses made up of a limited number of food
materials, which have been selected with care, well
prepared, and daintily served, give the most satisfactory
result.

Points to be Remembered
I. To alternate light and brown, or soft and crisp
effects.
Example:
do not serve croquettes, fried
potatoes, and pastry in one menu.
2. Avoid repetition of food materials in a menu.
3. Dry foods, such as croquettes, should be served
with sauces or with another food which has a sauce
accompanying it.
4. Sauces should not be highly seasoned, except in
special instances, as when they are served with an
insipid, or flavorless food, or for variety.
Page 17

Paae 12

Garnishing

Too great an amount of seasoning, regularly used,

will overcome the power of discrimination in taste, by

The cultivation of good taste is especially adapted
to the table. The possibilities are numberless; from
the selection of the best materials, and most immaculate
conditions possible, as a fit setting for the foods, to the
careful preparation of the food materials, and the dainty
serving of them.
Food, which is pleasing to the eye has an added dietetic value, as the flow of the digestive fluids is
increased by the inviting appearance of food.

overshadowing the delicate flavors of foods and by dulling
the sense of taste. Further, there will follow a disturbance of digestion, caused by an overstimulation of the
flow of digestive juices.
5. Acid in some form is an especially enjoyable addition to an insipid food, such as fish; or to fats, such as
pork. Sweets, jellies, or sweet pickles form good combinations of flavors with delicate me3.ts, such as chicken,
etc. But both sweets and acids should not form an accompaniment at one time, as one will counteract the
effect of the other. Sometimes the error is even greater,
and one sees not only both sweet and acid accessories at
the same time, but salt olives as well.

Some Points to be Considered in Garnishing.

6. Variety should be planned for different meals,
rather than a large number of food~ at any one time.
The body can more easily digest and assimilate the
simpler diet.
7. When planning menus, omitting a course will
give variety just as surely as will the addition of courses.
For instance, a menu may end with a salad course. If
one is not accustomed to serving a salad in place of
dessert, as a last course, it is well to begin to follow the
idea by using a fruit salad.
8. An ice may be served with the meat course, as
a relish.
9. Accessories, such as nuts, raisins, and cheese, are
incorrect, unless they are considered with the remainder of
the menu.
They are foods which, when taken in addition to a meal, will overload the digestive tract, and
produce disturbances of digestion.
These foods should be used either as a part of the
meal, instead of accessories; or the menu should be
planned with a consideration of their food value, cutting
down the other foods in quantity or in number.
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I. The arrangement of foods, will often form a
garnish: for example, asparagus timbales arranged on
a platter in a sauce, with ends of asparagus around the
dish, forming a border; chops in the center of a platter,
with buttered peas or cubes of carrots surrounding them;
or several vegetables on one serving dish may be made
very pleasing by a tasteful arrangement.
2. If materials are added as a garnish, they should
be in small amounts, and few at one time.
3. All lines of any decoration, should be simple.
4. A garnish which is either too large in quantity,
or too intricate in design, gives a heavy appearance, is not in
good taste, and is as much to be avoided as the other extreme, which takes no account of the appearance of
a dish.

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Page 19

Some Suggestive Menus

Description of Menus
MENU No. I

LUNCHEONS

Cream of Asparo.gus Soup
Chicken Fillets
Sauce Allemande
~ice Croquettes
Tomato Poinsetta Salad
French Dressing
Frozen Pudding
Macaroons

Frozen Pudding
Ice cream, made of rich custard with ra1sms and
nuts, cut fine. Plain or whipped cream may be used.

Macaroons

II
Eggs Italian Style
Tomato Sauce
Buttered R.ice and Cheese in Ramekins
Macedoine Salad
Cooked Oil Dressing
Almond Souffle
Currant Jelly Sauce

Ill
Codfish Souffle

Olive or Horseradish Sandwishes
Peppers, Stuffed w ith Cabbage Salad
C ooked Salad Dressing
Individual C herry Pies

Almond paste for making macaroons at home is for
sale in cans.

Cream of Asparagus Soup
Made without stock, because of sauce allemande
in which chicken stock is used, is in the same menu.

Chicken Fillets

DINNERS
IV
Clear Tomato Soup
Planked Fish
Potato Bord.-r
Hollandiase Sauce
Spinach Timbals
Charlotte R.usse and Strawberries
[or other fruit in Season]

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Raw Scalloped Potatoes
Dinner R.olls
French Dressing
Spcnge Drops

Veal O lives
Stuffed Peppers
Lettuce Salad
Mixed Fruit lee
VI
Huntington Soup
Broiled Boned Club Steak
Asparagu s

Potatoes O'Brian
M:1i :re d'Hotel Butter
Frui t Sabd

T he breasts of a chicken can be divided into two
large and two small fillets. The two small fillets may be
skewered together, to form one individual serving of meat.
T he fillets may be sauted in a small amount of olive
oil or butter or they may be baked.
To remove the breasts of a chicken, cut the skin
w ith a small, sharp knife, and remo\4e the meat from
the bone cutting close to the breast bone along its whole
length; then lift and carefully cut the meat from the bone
on which it lies. The remainder of the chicken may be
cut into pieces, cooked, and served in any of the ordinary
way; or it may be cooked, the meat removed from the
bones, and used in one of the numerous "made dishes."

VII
Frc;it Cocktail

Sauce Allemande

R.oast Duck
Potato Stuffing
Currant jelly sauce
Jardiniere, [Cauliflower, Beans, Carrots.]
Bombe Glace, [Apricot lee and Charlotte Russe.]

Made of white stock and milk or cream, thickened
with a small amount of flour and egg yolks.

Page 20

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Rice Croquettes

Cooked Oil Dressing

Croquettes, when of soft texture, of uniform size
and shape, carefully breaded and fried a delicate brown
color, form an attractive dish, which is satisfactory to the
hostess who prepares her own food, as each st.:p but the
last, the frying, may be done some hours before serving
time, thus aiding in the final preparation of the meal.

Is mixed with each vegetable separately, after the
French dressing has been drained from it, and before
it is arranged on the platter.

Almond Souffle
Baked or steamed pudding, made of beaten egg
whites, sugar, and blanched and chopped almonds.

Tomato Poinsetta Salad

Currant Jelly Sauce

Tomatoes, cut in sections, three-quarters of the way
down, beginning at the top, with the slices folded back to
resemble the petals of a flower. Centers may be filled
with cream cheese, put through a ricer.
The salad is
served on lettuce or cress, and chopped chives may be
sprinkled over it.

Whipped cream mixed with currant jelly, which
has been melted and cooled.
MENU No.3

Codfish Souffle

MENU No.2

Rice, steamed with milk, eggs well beaten, seasonings, and shredded codfish.
Baked and served with
melted butter or sauce.

Eggs Italian Style
Hard cooked eggs, cut in two lengthwise, are stuffed
with the highly seasoned yolks.
Halves are skewered
together, rolled in crumbs, egg, and crumbs. and fried in
deep fat. Skewers should be removed before servmg.

Olive Sandwiches
Butter creamed, chopped olives added.

Horseradish Sandwiches

Rice and Cheese in Ramekins
R.ice, we!! cooked and seasoned, is put into the
individual dishes called ramekins, covered with grated
cheese, put into the oven until the cheese ts melted, and
served immediately.

Butter creamed, horseradish and lemon juice added.

Individual Cherry Pies
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Macedoine Salad
Combination of vegetables, which may be celery,
carrots, peas, cauliflower.
The vegetables are cut into small pieces, cubes or
balls, cooked. placed in separate bowls, and marinated
in French dressing; then arranged on a platter, covered
.vith lettuce. The celery is placed in the center, surrounded by a circle of carrots, then one of peas, with
the flowerets of the cauliflower separated, and arranged
as a border.
l'age

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St,nall pie tins with tops four inches in diameter are
used for these small pies, which are served one to each
person. The serving of individual pies gives an attractive
variation of the large pie, cut in pieces for serving.
MENU No.4

Clear Tomato Soup
Tomatoes, thoroughly cooked and seasoned, are
strained, and the juice is added to white stock.
The
mixture is cleared with white of egg; result is a clear,
amber-colored soup, with tomato flavor.
Page 23

Planked Fish

Individual moulds, garnished with berries and leaves
are especially dainty for a luncheon.
Fruit may be moulded in the pudding; or crushed
with sugar, it may be used as a sauce.

White fish, trout, or shad is selected. The fish is
cleaned, boned, and arranged skin side down, on a heat~
~d hardwood plank. The exposed surface of the plank
ts then covered thickly with salt, moistened with sufficient
water to hold it together, and the fish is broiled.
When the fish is partly cooked the salt is removed
from the plank, and a border or mashed potato is put
around the fish.
The plank is then placed in the oven to finish the
process of cooking the fish, and to reheat the potato.
The potato border may be put through a pastry bag or
arranged with a spoon.
Halves of slices of lemon, one side or which has
been dipped in parsley cut fine, are placed on the fish at
regular intervals and near the border.
A small piece of parsley is placed in the center of
the fish, or several very small sprigs are added to the
garnish, if desired.

MENU No.5

Veal Olives
Veal cutlets, sometimes called steaks, are cut into
strips about three inches long, and one and one-half inches
wide; stuffed with soft bread crumbs, which have been
seasoned with salt, pepper, parsley, butter, and onion;
rolled, skewered or tied, and sauted in bacon or pork
fat until brown. The meat is then covered with stock
or water, and cooked slowly, tightly covered, until it is
tender. A casserole may be used, and the meat cooked
in the oven.

Stuffed Peppers
Tops of peppers are cut off, seeds removed and
discarded, and the peppers are stuffed with a tomato
mixture, then covered with buttered soft bread crumbs,
and baked until softened. The peppers may be parboiled
before being stuffed.

Spinach Timbals
A spinach timbal is a baked or steamed custard,
with the flavoring and sweetening omitted, and season~
ings and either fresh cooked, or canned spinach added
before the custard is cooked.
Timbals may also be
made of other vegetables, fish, chicken, or meat.

Hollandaise Sauce
This sauce and the lemon on the fish furnish the
acid accompaniment to the fish, which would otherwise
be provided by a salad. Thus the menu is simplifiied
and a variety is the result.

Charlotte Russe and Fruit
This dessert may be moulded in a ring with berries
in the center of the serving dish and a garnish of the
leaves of the berries, or of berries surrounding the pudding.
Pa11e 24

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Tomato Mixture

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Freshly stewed, or canned tomatoes are cooked with
a slice of onion. The onion is removed and the tomato,
either strained or unstrained, is seasoned, and thickened
with a mixture of melted butter and flour. The filling
should be of the consistency of a thick sauce.

Mixed Fruit Ice

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A mixture of oranges, lemons, bananas, and apricots,
is put through a sieve, added to a syrup made of sugar
and water, and frozen. Other combinations of fruits
may be used. The banana will turn dark if used without
acid and allowed to stand.
Page 25

MENU No.6

Roast Duck

Huntington Soup

A young, fat duck, with the webbing of the feet soft,
should be selected. The duck is dressed, stuffed with
potato stuffing, and trussed, as a chicken, for roasting.

Stock, tomatoes and corn.
Vegetables are cooked
with the stock and served in the soup.

Potato Stuffing

Broiled Boned Club Steak

Hot, mashed potatoes, well seasoned with salt, pepper, onion juice, chopped parsley, and butter. One or
two eggs may be added to give richness and hold the
mixture together.

Remove bones from two club steaks, one and onefourth to one and one- half inches thick.
Serve the steak, with skewers removed, on a hot
platter, garnished with potatoes. Place these at either end
of the platter if a long platter is used; or in a circle around
the meat, if the platter is round.

Currant Jelly Sauce
To a brown sauce foundation, from which onion
has been omitted, add currant jelly, which has been
melted over hot water.

Potatoes O'Brian
Potatoes cut in balls or cubes, fried in deep fat, then
sauted with chopped onions and pimentoes.

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Fruit Salad

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Lettuce on round platter, two small heads cut in
quarters, arranged with cut sides up, in radiating lines
from the center. This forms sections on the platter
which are filled with white cherries, the green of the
lettuce showing between the sections of cherries. In the
center of the platter in placed a mound of red cherries
and over the whole is poured French dressing, in which
is used a combination of fruit juice and vinegar, instead
of all vinegar.
The cherries are stoned, and may or may not be
filled with nuts, preferably hazel nuts, as desired.

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Cocktail

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A variety of fruit in season may be used, two or
three sorts give the most satisfactory results. ·The fruit is
cut into small pieces, and served in a dainty glass cup;
the juice is strained, added to the cup, and the whole is
sweetened slightly, by pouring over it a sugar and water
syrup, which has been boiled and cooled. Serve very
cold.
Page 26

Cauliflower, beans, carrots.
Cook the vegetables separately, season each with
butter, pepper, and salt. Arrange with cauliflower in
the center of a platter, the carrot cubes at each end, and
the green, string beans on either side of the platter. The
platter should be passed, and each person allowed to serve
himself to the sort and amount of vegetables desired.

Apricot Ice and Bombe Glace

MENU No.7

Fruit

Jardiniere

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A mould with a cover is lined with a fruit ice, and the
center is filled with plain ice cream the whole may be
covered with the ice, if color is desired surrounding the
center of white. The mould is tightly covered, to prevent salt from entering; a strip of cloth, dipped in melted
paraffin, or lard is often placed around the joining of the
mould and cover; or paraffin paper may be used to cover
the contents before putting on the lid.
The mould is packed in equal parts of salt and ice
for tw9 to three hours' time, depending upon the shape
and size of mould.
For variation, the mould may be lined with any of
the fruit ices or ice creams, and the center may be filled
with charlotte russe or any of the various ice creams or
frozen puddings.
The different combinations make a
very great variety of desserts possible.
Pase 27

General Suggestions
Different salad dressings may be chosen for the
salads by those who do not care for olive oil, but the oil
is a nutritious article of food, and adds much to the
delicacy of a salad.
If the taste for olive oil is an ac,
quired one, it is well to cultivate it.

Breads and Rolls
Breads and rolls may be varied to suit the idea of
the hostess, and in planning menus, if use is made of the
different sorts, and forms, which are possible, they will
be correspondingly improved. Even the baking powder
biscuit may be made into a variety of shapes and sorts.
It may be rolled thin and cut into dainty rounds or oblong
pieces, baked a delicate brown, and served with a salad;
or cheese may be added to it, which gives it a greater
food value.
The cream puff mixture may be baked in various
sizes and shapes, and these may be used as cases for
creamed meats, or they may be filled with a cold mixture
and used in place of sandwiches.
Even the potato lends itself to many methods of
preparation.

Beverages
Beverages should be decided upon by the hostess,
and served according to her own idea.
The serving of coffee, in the living room or library,
on the porch or lawn, after a luncheon or dinner, adds
to the pleasure of the company, and is a custom that is
becoming universal.
' For luncheon, especially, fruit juices are often made
intc a cold drink, and served or a mixture of iced tea
and fruit juices is used.
·. ', ·

Page 28
The Commonwealth Press, Chicago ·

Vielead ?!J!'una
AN AMERICAN TRADITION

Front Cover: Pickard artist Franz Vobomik. Inset: Dinner Service plate. Floral center
medallion, gold scrolling, green band, gold etching. (Unsigned). TM date: 1925-1930.
Back cover: .(left) VENICE Jug. TWIN TULIP. Signed: Schoner (Schoner, Otto). TM
date: 1905-1910. (right) Plate and mug. SPRING TULIP. American Classics Collection.
Production date: 2004.

Punch bowl set. DESERTED GARDEN. Signed: Yeschek
(Yeschek, Joseph). TM date: 1912-1918.

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© 2009 The Pickard Collectors Club, Ltd.

All rights reserved. No part of this publication may be reproduced in any form or by any
electronic or mechanical means, including information storage or retrieval systems,
without permission in writing from the copyright holder.

Text by Tim Ingram and Harry Poulos
Photographs and Design by James Henderson
Printed by Graphic Edge Printing, Hubertus, Wisconsin
April2009

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INTROD UCTION
Joy Luke founded the Pickard Collectors Club in 1992. Among its pursuits is
educating the public about this fine American hand-painted porcelain. This booklet,
released in conjunction with the Pickard China exhibit at the Lake County Discovery
Museum in Wauconda, Illinois, is a part of that continuing effort.
Pickard China has a long and storied history. From its birth in 1893 in Edgerton,
Wisconsin, to its modern facility in Antioch, Illinois, Pickard has attained and maintained
producing fine porcelain of the highest quality. It has stayed true to its founder's quest for
beauty and elegance. Today, Pickard is the oldest surviving china company producing its
wares in the United States.
The Pickard Collectors Club would like to recognize two men whose passion for
Pickard have been instrumental in both the success of the china itself, and the collecting
of its prized early treasures. Eben C. Morgan, Jr. was President of Pickard, Inc. from 1994
until shortly before his death in 2008. Under his leadership, the company transitioned
successfully into its second century of production.
Alan B. Reed, author of Collector's Encyclopedia of Pickard China, brought the
history of Pickard to life. His scholarship on the subject contributed to the education of
thousands of Pickard collectors. Though he died in 1998, his book continues to be the
standard upon which avid collectors measure their knowledge.
The Museum Committee of the Pickard Collectors Club wishes to thank Pickard,
Inc., for their contributions to this booklet. We also thank Dr. James Henderson for the
photography and layout of the booklet.
We encourage all to share their appreciation and passion for Pickard China. Please
visit www.pickardchina.com or www.pickardchinacollectors.org for more information .

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THE STORY OF P ICKAR D CHINA
Wilder A. Pickard was born in Sun Prairie, Wisconsin in 1857 and moved to
Chicago in 1881 where he worked as a salesman, gaining both sales and management
experience. In the late 1880s he was appointed the Midwest sales representative of
Pauline Pottery of Edgerton, Wisconsin, by its founder Oscar Jacobus (who had named it
after his wife).
Pauline Pottery failed after
its founder's death in 1893, leaving
Mr. Pickard to find other sources to
supply the clients he had cultivated
(although Pauline would reestablish the business in 1901 ). In
addition to continuing to distribute
other lines of art and glassware, he
began a china decorating business.
From his Chicago home, he would
supply artists (including at least
one Edgerton artist) with white
china blanks to paint. He would
then fire them in a kiln at his
Pauline Pottery located in Edgerton, Wisconsin. The top
home, from where he shipped the
of the bottle-shaped kiln projects through the roof of the
smaller building. Summer 1893. Courtesy of the Rock
finished items. His wife Minnie
County Historical Society, Janesville, WI.
(also a china decorator) and inlaws all helped with the enterprise.
He labeled his pieces with a paper label bearing the words "Pickard, Edgerton, Hand
Painted." These are quite rare, as the labels would fall off when the pieces were washed.
The business prospered and Pickard would eventually devote his time exclusively
to it. He engaged professional decorators trained at Europe's premiere glassworks and
potteries, which were among the tide of immigrants arriving in Chicago. He would later
recruit decorators from American studios, including Trenton, Roseville and Pairpoint. By
1898, Pickard adopted a Chicago trademark permanently fired onto his pieces.

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From the beginning, Pickard
emphasized quality, not only in decoration,
but also in the selection of porcelain blanks,
generous use of gold, and use of paper
transfers and decals for trademarks (rather
than rubber stamps). The business outgrew the
Pickard home, and after initially renting a
number of horse barns, he acquired a much
larger carriage barn, enabling him to have a
dedicated studio for his artists. A new
trademark marked the move.
Pickard's designs followed
contemporary trends-initially naturalistic, and
later including conventionalized and Art
Nouveau designs. Chicago's status as the
nation's railroad hub facilitated marketing and
distribution, and the business again required
more space. To accommodate this, Pickard

Pickard Studio at North Ravenswood, Chicago,
Illinois. Circa 1920.

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Jardiniere on separate footed pedestal, rose
cluster on green ground. Signed: Loba
(Loba, F) TM 1894-1897. Photo courtesy of
Lake County Discovery Museum. Mark
Widhalm, photographer.

built his own studio at 4853 North
Ravenswood, which was then at the
sparsely populated far north end of
Chicago. Its 1905 opening was again
heralded with a new mark. This building
included space to receive, wash, store,
etch, decorate, and fire the pieces, after
which they were shipped to customers.
The top two floors were dedicated to
studio space for the artists, and included
a library with a piano. Artists would
develop designs, and paint their pieces

[I]

from start to finish, individually signing
them. Some patterns were even named
after their creators (i.e. CHALLINOR
GERANIUMS, YESCHEK CURRANTS
AND PASTE). All of this served to create
a stimulating work environment.

Punch Bowl. YESCHEK CURRANTS AND
PAS TE. Signed: Yeschek (Yeschek, Joseph).
TM date: 1905-1910.

Vase. Vellum: FLORIDA LAGOON. Signed:
E. Challinor (Challinor, Edward Stafford).
TM date: 1912-1918.

[I]

Pickard flourished in a very
competitive environment. By 1910 many
cities had commercial studios, including 44
listed in Chicago. Some of these had been
started by former Pickard artists (i.e. Donath,
Brauer). While Pickard's emphasis remained
fine hand-painted china, he would move into
complete dinner settings, including
monogrammed sets. Simpler and stylized
patterns and vellum scenes were introduced to
accommodate contemporary tastes.
In 1911, Pickard introduced etched
china, using a technique that lent itself to
mass-production. The process involved
covering all portions of the china blank that
were to remain smooth with an asphalt-like
compound. The piece was then dipped in

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hydrofluoric acid that dissolved the exposed areas of glaze, leaving them slightly
depressed and dull. The piece was then removed from the acid bath and the asphalt
removed with a hot kerosene bath, followed by three hot suds baths and a clear water
bath. Thereafter, two coats of gold were applied to achieve the desired effect.
The etching process was labor-intensive, and to adapt it to make groups of items
such as service plates and
dinner sets, Pickard used
asphalt-printed transfers. This
process involved engraving
designs on steel plates and
using these masters to transfer
the asphalt designs to china
pieces. The cover photograph
shows Franz Vobornik
engraving designs from
drawings onto a steel plate.
After applying asphalt to the
plate and filling the
indentations, transfer paper
would be applied and
compressed with a press. The
paper with asphalt patterns was Frank Yeschek placing china in an acid bath, circa 1920.
then applied to the piece and
the paper removed. The piece would then be immersed in the acid bath, etching the
desired design. Patterns were engraved to accommodate different sized plates, facilitating
the production of etched dinnerware sets. Frank Yeschek headed Pickard's etching
department for many years , having learned the technique from Carl Kouba, who was
initially contracted to do Pickard etching.

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Early etched Pickard pieces included pieces
decorated with fruits by Seidel and Coufall, where
etched borders of leaves complemented the central
areas of fruit. Etched lines outlined the areas of
decoration of matte patterns such as CRAB APPLES IN
GOLD ON MATTE GREEN, or etched monograms. To
create a stippled effect, a sponge could be used to apply
the asphalt. Because of this successful process, Pickard
introduced the all-over-gold (AOG) etched pieces.
Etching and gilding pieces would hide faults in the
lower quality blanks that were the only ones available
because of the outbreak of World War I. Some handpainted pieces were done on completely etched (i.e. silk
moire) blanks, and others were etched and gilded save

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Jug, 7"h. CRAB APPLES IN
GOLD ON MATTE GREEN.
Signed: Coufal/ (Coufal/, John
Anton). TM date: 1905-1910.

for a central hand-painted medallion or
hand-painted border.
The etching process had its hazards,
Ill!
claiming the life of decorator Anton
Beutlich who died when a batch of asphalt
caught fire and spilled on him as he tried to
ROMA Jug. PURPLE GRAPES AND ETCHED throw it out a window.
GOLD BORDER. Signed: Coufal/ (Coufal/,
John Anton). TM date: 1903- 1905. Photo
courtesy of Lake County Discovery Museum.
Mark Widhalm photographer.

[I]

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With the outbreak of WWI, Pickard
had to adapt to circumstances, and attempted
to venture into etched and hand-painted
glass. However, the glass pieces did not wear
well, and this venture was short-lived.

Vase, Open handle. ETCHED PEACOCK
AND GOLD TRACERY OVER GREEN.
(Unsigned) TM date: 1925--1930.

(Left) Glass confection jar. POPPIES. Signed:
Ross (Roessler, Carl). TM date: 1916-1917.

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As a result of the china supply interruptions during World War I, Pickard explored
the possibilities of manufacturing his own porcelain, including buying a pottery in
France. Eventually, he purchased a formula from a failed pottery in East Liverpool, Ohio,
modified it, and eventually produced premium porcelain bisque in 1932. By 1935, he had
developed a formula for glaze, and Pickard had the tools to manufacture his own blanks.
However, the Ravenswood Studio could not accommodate a china manufacturing
operation, necessitating still another move. After searching for an outlying location with
better air quality to reduce contamination, he settled on the site of the former Corona pen
factory in Antioch, Illinois and in 1938, the company received its first order from
Marshall Field's for china entirely made in Antioch. A new trademark again marked this
transition. W. A. Pickard died in 1939 and was succeeded as President by his son Henry
Austin Pickard. In 1941, Pickard sold the old Ravenswood building, beginning exclusive
operations from its new facilities in Antioch.
World War II again forced the
company to adapt, and its successful bid
on a U.S. Navy contract for gravy boats
helped the company survive. While this
military ware was a far cry from the
artistic china that characterized the
company, the war material contract
qualified the company for a fuel oil
allotment, which kept the kilns going.
Many artists did not make the move
Gravy boat produced for the U.S. Navy during
to Antioch, but Edward Challinor
WW/1.
remained with the company as artistic
director, and his signed pieces include those in the FIRST EDITION FLORAL series and
the BOTANY series. Joseph Simek also followed the company to Antioch, signing many
pieces in the CHINESE SEASONS and gold floral patterns. Edward Challinor died in
1952, and was eventually succeeded by John Eustice, whom Pickard recruited from an
east coast pottery. He is the third Antioch artist whose signature has been found on
Pickard hand-painted pieces. Pickard is now the only company that produces china
entirely within the United States, and has remained in the family since its inception.

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Bread plate. "Camilla" part of BOTANY series
dinnerware. Signed: E. Challinor (Challinor,
Edward Stafford).
TM date: 1938-present.

Luncheon plate. "Poppy" part of BOTANY
series dinnerware. Signed: E. Challinor
(Challinor, Edward Stafford).
TM date: 1938-present.

Henry A. "Pete" Pickard Jr. succeeded his father in 1966, and his brother-in-law Eben C.
Morgan, Jr. took over when he retired in 1994. Eben Morgan died in 2008, and his son
Andrew Pickard Morgan is now President.
Following World War II the trend from hand-painted pieces to fine dinnerware in
more sophisticated patterns and shapes continued. For environmental and workplace
safety reasons, Pickard moved from etched to raised relief patterns for its gilded borders.
The elaborate signed hand-painted pieces would eventually disappear, but the need for
skilled artists did not. Although pieces are now unsigned, the steady hands of artists still
line and decorate these creations.
Pickard China's offerings are comprehensive, appearing at the company's website:
http://www.pickardchina.com. Products include limited edition, retail, food service,
custom commercial, and award and giftware. Its limited edition plates date back to the late
1940s (American Legendary Plates), and they subsequently commissioned James Lockhart

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to produce a series of designs in the 1970s. Commercial clients include Marriott, Sheraton,
and Hilton hotels. The government division is very active and Pickard has produced
services for states including Illinois, Iowa, Louisiana, and South Carolina, and overseas for
Queen Elizabeth II of England and the King of Saudi Arabia. They also produce china for
U. S. embassies around the world, the U. S. military (Navy, Air Force), the china services
for Air Force One, Blair House, Camp David, as well as a set commissioned by Barbara
Bush for the White House, and
commemorative pieces for Barack
Obama's inauguration.
Today Pickard ranks among the
finest china made anywhere in the
world. The same painstaking
craftsmanship and skilled handwork
necessary to produce top quality ware
has not changed through four
generations. Each piece of china
produced in the Pickard factory passes
through a minimum of 21 stages and

three 100% inspections, and is handled by
Pickard employees averaging 18 years on
the job. The Pickard factory is a rarity in
that it is a small family business
manufacturing high quality chinaware in
(Above) Plate and mug. American Classics
Collection, LEMON TREE. Production date:
2004. (Left) Plate and lidded condensed milk
holder. ORANGE TREE CONVENTIONAL.
Signed: E. To/pin (To/pin, Emil E.). TM date:
1910-1912.

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an era of huge companies merging and acquiring, becoming larger than ever. Pickard's
size is an advantage in today's market because of the care and attention that is paid to
each piece. All patterns are decorated with 24K gold (never anything less), pure platinum
and brilliant cobalt with a style that caters to a niche of clientele looking for elegant,
timeless upscale dinnerware.
As we move into the twenty-first century, Wilder Pickard would be proud that his
dream is still alive and flourishing. Most recently, the company has introduced a new line
of white body fine china called the NEW TRADITIONS COLLECTION. While Pickard
continues to adapt and innovate for the future, its commitment to maintaining the quality
that has made Pickard "America's Finest China" has not been compromised. This
tradition is recognized and appreciated in markets around the world.

DESIGNS AND DECORATIONS OF PICIURD CHINA
Pickard's recognition of changing tastes and designs and adapting to these changes
was a major factor in the success of the business. During the early years (1890s), these
designs were more naturalistic, in keeping with
the Victorian view of the world. But there were
transitions in thoughts and designs taking place.
John Ruskin and William Morris had
begun to alter design attitudes in England. The
Aesthetic Movement suggested subtle changes
to the naturalistic style. Owen Jones and his
book, The Grammar of Ornament, was getting
a fresh look more than four decades after its
initial publication in 1856, bringing designs
from the ancient worlds and civilizations to a
new audience. Pickard produced a historical
series that was likely inspired by Jones' book
that included ARABIAN, PERSIAN,
EGYPTIAN and CELTIC, among others.
Pitcher. ARABIAN. (Unsigned).
TM date: 1903-05.

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A further transitioning to the Art
Nouveau and Art Deco styles continued to
popularize these alterations for the public at
large, along with the artists, both professional
and nonprofessional. Patterns became
conventionalized, or more geometric in
nature. Soon Pickard's catalog pages were
filled with the conventionalized designs.

Burl bowl, footed, 4"h. EGYPTIAN DESIGN.
(Unsigned). TM date: 1903-1905.

Wilder Pickard did not appreciate
others copying his designs and in 1904 he
attempted to patent some of the patterns the
studio had created. He was initially
successful in this task, but soon it became
clear that if a competitor altered the design
ever so slightly, it was not a patent
infringement. After the first six pattern
patents, Pickard discontinued the practice.
Many patterns, like the POPPY AND
DAISY, ENCRUSTED LINEAR, DAHLIA
RUBRA, and several ALL-OVER-GOLD,
patterns were duplicated by numerous
studios, both local and worldwide.
JUNO Vase, 8.5"h. CORNFLOWER
CONVENTIONAL. (Unsigned). TM date:
1903- 1905.

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During the early years a
number of Pickard artists would leave
to start their own studios. Some of the
other artists joined their friends who
had left. Among those who started their
own studio were Julius Brauer, Edward
Donath, Carl Koenig, Frank Yeschek,
and Waclaw Kalita. Others left to join
other studios, including Stouffer,
Osborne, and White's Art Company.
This too, made it difficult to keep a
pattern exclusive to a specific studio.
Some would return to Pickard; others
would move on to yet another studio.
The periodicals The Art
Amateur, The China Decorator, and
perhaps most importantly, Keramic
Studio assisted the china painters by
Chocolate pot, creamer and sugar. ENCRUSTED
publishing studies of designs for the
LINEAR ROSE AND DAISY AOG. Signed: Hess
artists. Mainstream women's magazines (Hessler, Robert). TM date: 1905-1910.
like The Ladies Home Journal would
devote pages for the china painters. China Painting clubs had formed in dozens of cities and
towns. Chicago had the Atlan Club and the Chicago Ceramic Art Association.
Exhibitions were held on an annual basis for these clubs. In addition, the Burley
Exhibition (sponsored by a wholesaler of China blanks and supplies) held annual
competitions. Edward Challinor won first prize for a scenic vellum bowl in the 1915
competition. SCENIC VELLUMS were a specialty of Challinor and a handful of other
Pickard artists. These vellums became popular in the teens at Pickard, and were a
response to Rookwood Pottery's vellums.
Pickard encouraged his employee artists to come to him with possible designs that
might be produced. He also occasionally purchased pieces decorated by others to use as
an example for his artists to copy. A savvy businessman, Pickard wanted to appeal to as

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many consumers as he could. While some patterns
fell out of favor quickly, others were produced for
many years. Popular patterns such as DESERTED
GARDEN, POPPY AND DAISY, and AURA
ARGENTA LINEAR were produced and decorated by
up to a dozen different artists. Aura Argenta Linear, a
design in gold and platinum was borrowed from an
Art Nouveau style Villeroy & Boch (Germany)
pattern. Many artists decorated from memory or
sketches they had seen and done years earlier. Arthur
Cummings' rendition of RUSSELL'S MILLS BRIDGE
in Massachusetts is a good example of this.

Vase, 12. 75"h. Vellum: NORTH
WOODS FOREST. Signed: E.
Cha/linor (Challinor, Edward
Stafford). TM date: 1912-1918.

Coffee pot, creamer and sugar, square. AURA
ARGENTA LINEAR. Signed Hess (Hessler, Robert).
TM date: 1905-1910.

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Other designs were also "borrowed" from the periodicals of the day. Florence James'
DUTCH DECORATION appeared in Keramic Studio in 1910, by F. Dalrymple. ORIENTAL
PEACOCK and ORANGE TREE CONVENTIONAL first appeared in the pages of Keramic
Studio designed by a Chicago artist and teacher, Mabel C. Dibble. METALLIC GRAPES was
a color supplement to the November 1903 Keramic Studio, by Sara Wood-Safford, previous
to its introduction into the Pickard line. Still other designs from books by Dominick
Campana, an early Pickard artist who left Pickard to teach, design, and supply materials to a
growing number of china painters, appear on Pickard pieces.
Today, Pickard China continues to be
recognized as one of the finest manufacturer
and decorator of high-end ceramic dinnerware
and giftware in the world. The company often
uses high quality ceramic lithographs (also
known as decals), which are produced from a
small handful of printers. However, the
majority of edge and well gilding in precious
metal is still hand brushed onto Pickard ware
by master artisans who rank among the finest
gilders in the world. The company was
honored to be selected by First Lady Laura
Bush to produce an official White House
China service in 2008 and the Pickard line
continues to be sold to the general public by
the finest tabletop retail stores in the country.

Compote. METALLIC GRAPES.
Signed: Hessler (Hessler, Robert).
TM date: 1903-1905.

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THE ARTISTS
"The present standard of quality of Pickard Hand Painted China-which we believe is the
highest that can be attained in this art of hand decoration-is the result of years of
selection from the work of artists who have received their training in the best art centers
of Europe and America. These artists have developed their native talent by this thorough
technical education; studying in turn, drawing, designing, color harmony, and relative
values." .. . Pickard brochure circa 1905
W. A. Pickard emphasized quality and strove to recruit the most talented artists to
decorate the items he sold. In 1900, Chicago was one of America's most rapidly growing
cities and received many immigrants from all over Europe- including some of Europe's
most important porcelain and glass manufacturing areas. Artists immigrated from
Bohemia (Nessy, Podlaha, Vokral); Germany (Koenig, Hessler); Austria (Jelinek, Kiefus,
Falatek); and Poland (Kalita). Other artists came from the potteries of England (Challinor,
Rhodes, Rawlins, Keates).
In addition to recruiting artists from the Chicago immigrants, Pickard also
recruited artists from many studios, with many European artists coming to Pickard after
having worked in another American studio. Joseph Yeschek, John Fuchs, N. R. Gifford,
and Arthur Cummings all came via New Bedford, Massachusetts-home to the renowned
Mount Washington/Pairpoint studios. A Pickard plate entitled RUSSELL'S MILLS
BRIDGE, South Dartmouth, Mass. decorated by Arthur Cummings depicts a spot where
many Pairpoint artists took their families on weekends. The artists were versatile in other
media and Mr. Cummings gave Frank and Sue Yeschek an oil painting of this scene for
their wedding. Pickard recruited artists from other studios, including Zanesville and East
Liverpool, Ohio, and Trenton, New Jersey.
Competing with other studios for talent, Pickard attempted to create a desirable
work and social environment to attract the best artists possible:

"In addition to the fitness of the physical and natural surroundings, the social conditions
existing within the organization of the business are almost ideal, and go far toward
distinguishing the Pickard studio as a model workshop. A brief reference to these
conditions will demonstrate why the quality of Pickard china is not equaled.

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Curtis H. Marker [1 905-1 930] decorating
scenic vellum vases and plates.

Joseph T Yeschek [1903-1925] with other
artists decorating china.

Florence M. James [1 903- 1922] decorating
a teapot.

Young women decorators working on an
ORIENTAL BIRD design. Left to right: Ester
Samuelson [1919-1938], lngeborg Klein
[1919-1930], and (possibly) Bessie Nichols
[1919- 1922].

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Christmas party at Pickard Studo. W A.
Pickard is seated at the end of the table in the
right foreground. December 1908.

Pickard sponsored a decorating camp for his
artists in 1911.

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(Above) Pickard artists Otto Pod/aha, Antol
Schoenig, Albert Wagner and Frank Yeschek
on an outing in 1910. (Right) Wedding letter
sent by Pickard artists to Frank and Susan
Yeschek in 1912.

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In the first place, the business is conducted on a profit-sharing basis with all the workers,
a fact which goes a great way in establishing that feeling of goodwill which is so essential
to the success of any organization where the commercial and artistic features are closely
allied. In the Pickard workshop there has also been instituted a mutual benefit
association, whose object it is to assist members in sickness and to promote a spirit of
good fellowship and fraternity. The results have been such that this workshop is coming
to be a kind of home and a centre for a certain amount of intellectual and social life. A
piano has been provided for daily use. The workers gather in families frequently for an
evening's entertainment of music or dancing, or a lecture."
His diverse work force included artists from nations that were frequently at odds
with each other, and he did his best to ameliorate these differences. In addition to holding
social events at the studio, there were picnics at local forest preserves and at least one
"decorator camp" retreat in 1911. The camaraderie among the artists is reflected in a letter
sent to Frank and Susan Yeschek on their
marriage in which the decorators identified
themselves by their artistic specialties"Poppy John" Loh and "Nuts artist" Jerry
Vokral. Curtis Marker, who had married
fellow decorator Madeline Keates earlier that
year, signed himself as "Victim 1."
At the time, most professional
porcelain artists were male, but decorating
china was a popular hobby among American
women. Unlike many studios, Pickard
recruited talented women artists, including
his wife Minnie, and artists Florence James,
Ester Samuelson, Madeline Keates Marker,
Edith Arno, Ingeborg Klein, Bertha Moore,
Zuie McCorkle and Ruth Alexander.
Plate, square with pierced corners. TRUMPET
Pickard artists also worked in other
FLOWERS AND TRELLIS. Signed: Z.M.
media including watercolors oil painting
(McCorkle, Zuie). TM date: 1905-1910.

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and even hand-painted
postcards, and spent parts of
their careers in other fields of
art. Otto Goess managed the
catalog advertising at
Montgomery Ward. Arturo
Passoni spent part of his career
as a painter and copper etcher
for Regensteiner Colortype
Company. Philip Wight
Creamer and lidded sugar. ORIENTAL PEACOCK. Signed:
eventually became a display
Klein
(Klein, lngeborg) . TM date: 1919-1922.
artist for Abbott Laboratories
in Lake County, Illinois. Julius
Brauer eventually painted signs in New Jersey.
The membership of the Pickard Collectors Club includes many descendants of
various Pickard decorators who have contributed to this exhibit.

Plate. BLUEBELLS ON GOLD. Signed: Arno
(Arno, Edith). TM date: 1910-1912.

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Plate. VIOLETS. Signed: Moore (Moore,
Bertha L.). TM date: 1910-1912.

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A PICKARD SAMPLER

VENICE Jug. Roses. Signed: Challinor
(Challinor, Edward Stafford).
TM date: 1898- 1903.

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Vase. ROSELAND. Signed: C. Marker
(Marker, Curtis H). TM date: 1912-1918.

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Mug. SCOTCH. Signed: Passany
(Passany, Arthur).
TM date: 1910--1912.

Cake plate. POINSETTIAS AND
MARGUERITES. Signed: p.g. (Gasper,
Paul P). TM date: 1905-1910.

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Mug. VENICE. Signed: A. Camyn (Cromyn,
Arthur). TM Date: 1905-1910.

Plate. ORANGES AND ROCOCO
GOLD PASTE. Signed: Schaner
(Schaner, Otto). TM date: 1905-1910.

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TRADEMARI(S USED BY PICKARD STUDIOS 1894-PRESENT

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Mark 1. 1894-1897
13/32" dia. red paper
label used in Edgerton,
Wisconsin in 1894, and
in Chicago in 18951897. Extremely rare.

Mark 1.1. ca.1898ca.1903
7/16" dia. dark brown
stamp. Possibly an "outof-stock" expedient or
the original Chicago
startup mark. Very rare.

Mark 2. 1898-1903
5/8" dia. maroon to pale
brown decal. Used at
LaSalle Street studio.

Mark 3. 1903
9116" dia. red stamp. An
interim mark during the
expansion into the
carriage barn studio.
Infrequently found.

Mark 4. 1903- 1905
9/16" dia. light brown
to very dark reddish
brown decal. Used at
the carriage barn studio.

Mark 5. 1905-1910
13/32" dia. brown
decal. The first mark
used at the Ravenswood
studio.

Mark 6. 1910- 1912
13/32" dia. red decal
over gold square. Also
used without gold square
when underside of piece
is all gold or platinum or
when no blank mark is
present. Do not confuse
with Mark 5.

Mark 7. 1912-ca.1 918
13/32" dia. red (early)
or black (later) decal
over gold maple leaf.
Covers blank mark
(early) or beside blank
mark (later). Other
dias.: 1/4", 21/64", 3/8"
and 25/64".

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Mark 8. ca.191 8-1919
25/64" dia. black decal
only. Do not confuse
with Mark 5.

Mark 8.1. ca.1918ca.1919
11116" wide black decal
used on a small number
of pieces at end of
World War I.
Infrequently found.

Mark 9. 1919- 1922
11116" wide black
decal, also hand stamp.
Used on both etched
and non-etched china.

Mark 10. 1912-1922,
1922-1925
19/32" dia. etched gold
coin. Used 1912-1922
for etched dinnerware,
1922-1925 for all
china.

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Mark 11. 1925- 1930
Etched gold or platinum
coat of arms. The first
registered trademark of
Pickard Studios, Inc.
First used September 1,
1925.

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Mark 13. 1928- 1938
Green or gold stamp.
Registered July 24,
1947, first used in late
1928. Used only on
seconds.

Mark 12. 1925-1930
Small etched gold or
platinum escutcheon
used on smaller items.

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Mark 14. 1930-1938
Gold stamp.

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Mark 14.1. 1930-1938
X-painted trademarks
were a means of
identifying factoryvended seconds.

Mark 15. 1930-1938
Small gold decal
escutcheon used on
salts and other small
pieces.

Mark 16. 1931-ca.
1938, blue stamp. First
used on December 15,
1931, it was applied to
stock decal items.

Mark 17. 1933-1934
Gold stamp used on
Chicago's Century of
Progress World's Fair
souvenir plates.

Mark 18. 1938-present
Gold stamp, first used
in 1938. A registered
trademark of Pickard,
Inc.

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Mark 18.1. 1938present
Scored trademarks were
a means of identifying
factory-vended seconds.

Mark 19. 1938-ca.l949
Edgerton gold stamp.
Same as mark 13, but
indicating U.S.A.
manufacture. Revived
in the 1960's for factory
sales.

Mark 20. 1916 or 1917
1/4" h. Hand painted in
gold. Used in handpainted glass only.

Mark 21. 1917- 1918
13/32" dia. Clear etch
into glass. Used on
etched glass only.

Mark 22. 1938 to
present
Current pattern
trademark including
name of pattern.

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Mark 23. 1994 to
present
Flag trademark used on
dinner and service
plates along with
regular Pickard
trademark identifying
the pattern.

Mark 24. 1994 to
present
Pickard trademark
superimposed on top of
the American flag used
on giftware and
specialty items.

Compiled by Alan Reed from The Collector's Encyclopedia of Pickard China.
Paducah, KY: Collector Books, 1995.

Pickard has produced this official Air Force One dinnerware
since 1988. Photo courtesy of Lake County Discovery
Museum. Mark Widhalm photographer.

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