Walter Crane Nursery Rhyme Tile
  • Style/technique: Pictorial print
  • Manufacturer: Maw & Co
  • Dimensions: 6" x 6"
  • Date: circa 1880


A super pictorial tile by Maw & Co in an unusual but super maroon print on ivory clay from a series of Nursery Rhymes designed by Walter Crane one of the most respected victorian artists in 1874 or 75*. Noted for his quality of line the detail and expression he achieved purely by the line and with the absolute minimum of shading is superb and this is a great example. His technique was very well suited to the medium of tiles, the designs are clear and bear appreciation both close to and at some distance.

Walter Crane monogram lower right side. There is some identification on the print where it has adhered to the bottom edge, indistinct script style writing the only word decipherable being Broseley where Maw's factory was until 1884.

*From an interview with Crane for the Art Journal's the 1898 Easter Art Annual.

Also worthy of note is that according to the same interview this series and the contemporary series he designed for Maw & Co are the only designs for tile that he created.


Little Boy Blue, come blow your horn.
The sheep's in the meadow, the cow's in the corn.
Where is the boy that looks after the sheep?
"He's under the haycock, fast asleep."
Will you wake him? "No, not I;
For if I do, he'll be sure to cry."


Condition: Near perfect
Price: £260 (approx $530)
Ref: 02437

The very minutest of chips to the edges, surface is mint, verso has a little surface loss of clay from removing from furniture glue. Very clean and bright.

UK Special Delivery £268

US and World Airsure £275

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The image is full size at 72 dpi (about 430 pixels wide) in maximum quality JPEG format. A larger 120 dpi image also in maximum quality JPEG format can be forwarded by email if required.

The image is a little oversize rather than cropped close to the edges so that the edges can easily be seen and any chips etc can be quickly spotted. Surface marks described are usually not visible at all when the tile is viewed straight as one normally sees it and can only be seen with a critical eye when the tile is tilted to catch imperfections in reflected light. For more details of how we describe marks see Condition.

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