Teacup - 2.75 x 2.625 inches, Saucer - 5.875 inches diameter. Blue transfer. Printed maker's mark for Ridgway, Sparks & Ridgway. The registry diamond indicates a pattern registration date of 17 April 1878. This pattern is repeated on both the teacup and the saucer. It features two Asian figures, a man and a boy in a floating outdoor landscape. The man is seated on a rounded apparatus reading a list and the boy is behind him leaning on the apparatus. Behind the two figures is a leaning pole topped with two rings, a small bird perched in the left-side ring. The landscape is framed on the bottom left and top right with exotic foliage and a wooden trellis with leafy trailing vines. The teacup handle, the inside rim, and the inside bottom are decorated with slender, leafy vines.

The Ridgway family was one of the important dynasties manufacturing Staffordshire pottery, with a large number of family members and business names, over a period from the 1790s to the late 20th century. In their heyday in the mid-19th century there were several different potteries run by different branches of the family. Most of their wares were earthenware, often of very high quality, but stoneware and bone china were also made. Many earlier pieces were unmarked and identifying them is difficult or impossible. Typically for Staffordshire, the various businesses, initially set up as partnerships, changed their official names rather frequently, and often used different trading names, so there are a variety of names that can be found. The various Ridgway companies made a huge range of wares, carefully following market demand. They can generally be described as serving the middle and upper parts of the market, avoiding the cheapest popular wares. As with other factories, a great amount of good quality earthenware was transfer-printed with heavily elaborate designs, mostly in a durable underglaze cobalt blue. Much of this went to the American market. From 1808, porcelain, that is to say bone china, was produced, in a great profusion of patterns, for which many of the pattern books survive. The styles are typical for the period, with many flowers, landscapes, and some modified Neoclassical and Chinoiserie treatments. Wedgwood jasperware effects were rendered in glazed porcelain. Much of the porcelain was also transfer-printed, or combined this and china painting by hand. In later periods, the many branches of the family businesses maintained a similar position in the market, and followed design trends at a rather safe distance.