The young lady’s book: a manual of elegant recreations, exercises, and pursuits
1829

Poonah painting was a style popular in the 19th century in which "thick opaque color is applied without background and with scarcely any shading, to thin paper, producing flowers, birds, etc in imitation of Oriental work" (Websters dictionary, 1913). 

The article from "The young lady’s book: a manual of elegant recreations, exercises, and pursuits" published in 1829 shows the popularity of Poonah painting. 

Introduction of the Poonah pattern:

Capitalising on the popularity of Poonah painting amongst the middle classes Minton first introduced the POONAH pattern in the mid 19th Century, it proved to be popular and was rapidly copied by other manufacturers.

Minton reissued the pattern from around 1900, extending into the 50s. 

Originally Poonah ware had three firings in all, with the thick, top-decorated enamels being applied by hand, just before the third and final firing.

Variation on the pattern:

The original Poonah design incorporates a vase containing flowers.

Other manufacturers produced patterns called POONAH which were not the same as the original but contained certain elements of the design. 

1) Imitation of Indian designs

“Poonah” (now spelled Pune, in India) was a British colonial reference. 

The name was used for transferware or hand-painted patterns inspired by Indian floral and ornamental motifs, often linked with the “Poonah painting” style that Anglo-Indian artists popularized. 

The pottery designs weren’t exact copies, but rather European interpretations of exotic Indian aesthetics.

2) Multiple potteries using the same name

Unlike trademarks today, pattern names weren’t tightly controlled. 

Different Staffordshire potters used the name “Poonah” for different wares, each with their own variant on the style. 

So there are blue transferware from one firm, polychrome hand-painted earthenware from another, all labeled “Poonah.”

3) Pattern evolution within one pottery

Even a single manufacturer might produce “Poonah” in different colour variations (blue, brown, mulberry, polychrome), or alter details over time while keeping the name. 

This was common practice to refresh a design without abandoning its brand recognition.

Minton, who originated the pattern in the mid 19thC, reissued the pattern from around 1900, extending into the 50s.

4) Consumer taste and export markets

“Oriental” and “Indian” designs were in vogue in Britain and America, so potters adapted the “Poonah” style to different shapes (dinner services, tea wares, tiles, etc.) and markets.

That naturally led to variations in how the pattern appeared.

 

So in summary: the variations aren’t accidents, but a mix of cross-cultural inspiration, loose naming conventions, and flexible production practices in the Victorian ceramics industry.

The central vase motif is a defining element of the original design.

These reissues featured updated and simpler design and sometimes altered colours, yet retained the original name for continuity and marketing.

Mintons
Est 1703
England

The pattern name does not appear on the ware - Minton reissued the pattern from around 1900, extending into the 50s.

this globe style mark used c.1912-50

Poonah pattern by Ambrose Bevington  

this pattern is in the aesthetic style

A B & Co
England

the registration number 88386 shows that the pattern was registered on the 1st December 1887  

Poonah pattern by G F Bowers

 
G F B & Co

1842-68

Bowers not only copied the Minton  Poonah pattern ware they reproduced the style of the mark that Minton used.

Competing makers such as Ambrose Bevington (registered 1887), G. F. Bowers (1842–68), Charles Meigh (1835–49), Bates, Walker & Co (registered 1876), and Bishop & Stonier (1891–1939) all produced their own “Poonah” patterns often with unique layouts, colour schemes, or methods (e.g. hand-painted vs. transferware).

The term “Poonah” tapped into Victorian England’s fascination with oriental-style decoration (named, albeit inaccurately, after Pune in India)

This aesthetic appeal meant manufacturers could adapt, simplify, or elaborate upon the design to match contemporary tastes or production techniques without changing the name.

Poonah pattern by cup & saucer G F Bowers

 
G F B & Co

1842-68

Poonah pattern foot bath by Charles Meigh

 
C M

1835-49

The Meigh family (& other potters) added marks similar in style to those used by Chinese porcelain manufacturers to give the impression of the orient to their ware even though it was produced in England.

See other examples of faux marks by Charles Meigh

Poonah pattern plate by Charles Meigh

this plate and the footbath shown above are both in the Poonah pattern - they contain similar elements in the border and the flower / leaf arrangements. The plate has gilt highlights and edging which, presumably, were seen as an unnecessary and costly embellishment on the footbath.  

 
POONAH
C M

Improved Stone China

1835-49

Poonah pattern plate by Bates, Walker & Co and 
continued by their successors Bates, Gildea & Walker 

 
B W & Co 
Bates, Walker & Co

1875-78

the registration diamond gives a date of 5th Sept 1876 for the registration of the pattern

 
B G & W
Bates, Gildea & Walker 

1878-81

covered tureen in blue transferware pattern
a simplified Poonah pattern by Bishop & Stonier 

 
BISTO
ENGLAND 

1891-1939