The Brownfields were potters in Cobridge, Stoke-on-Trent, North Staffordshire from about 1836 to the end of the 1890s. 

William Brownfield began as a junior partner in the firm of Robinson, Wood & Brownfield and eventually William Brownfield became the sole owner. 

The factory produced a range of quality earthenware and porcelain  ware. In the International Exhibition of 1862 they were awarded a medal for "printed earthenware". Entries at other International exhibitions followed. In 1871 William Etches Brownfield entered the business and it became William Brownfield & Son. William Sr. died in 1873 and William Jr. continued and his brother Edward Arthur Brownfield joined the firm. 

Their output ranged from simple printed earthenware for everyday household use to richly decorated porcelain and ornamental wares. Transfer-printed table and dessert services often featured elaborate borders, chinoiserie scenes, or narrative designs, sometimes enhanced with hand colouring, enamelling, and gilding. 

The firm also made distinctive moulded jugs, Parian figures, and colourful majolica pieces with bold glazes. At the higher end they produced artistic exhibition wares and special designs for retailers such as Tiffany & Co., demonstrating both commercial versatility and notable artistic ambition.

They were heavily involved in producing patterns in the aesthetic style "art for art's sake"

Around 1890 the business failed, in part to Edward Arthur's lack "of staying power" The company’s last swansong was an unusual venture fostered by Arthur Edward Brownfield, who in 1892 created a Potter’s Guild based on John Ruskin’s principles. But this "cooperative" was unfortunately destined to failure and the company was wound up in 1900.

Production of the Puck patterns by W. T. Copeland

In the early 1890s, when the Brownfield business was in financial difficulty, the right to some of the Puck designs was sold to W.T. Copeland & Sons

Copeland appears to have produced six of the designs during the 1894-1910 period. 

the registration diamond shows that the design "PUCK" was registered on the 24 January 1877

1. Mischief Begins (the introduction of Puck-like behaviour)

These plates introduce the playful chaos associated with the fairy Puck.

Interpretation:

The sprites begin interfering with normal activities—delivering messages, interrupting events, or causing confusion. This reflects the traditional folklore role of Puck / Robin Goodfellow as a prankster spirit.

2. Social Chaos (conflict and comedy)

Here the fairy antics affect relationships and social behaviour.

Interpretation:

These scenes show the consequences of mischief: arguments, embarrassment, or people scrambling to escape trouble.
Victorian comic art frequently used contrasting personalities (pride vs cheek, dignity vs impertinence) as a humorous device.

3. Playful Interludes (fairy recreation)

The middle part of the cycle shows sprites behaving like mischievous children.

Interpretation:

The fairies turn everyday objects into games. This reinforces the Victorian idea that fairy life mirrors human life but in miniature.

4. Adventure and fantasy

These plates move the action into more imaginative settings.

Interpretation:

Communication under water and romantic encounters add a sense of fantastical exploration.

5. The Feast / Conclusion

The final images connect directly with the dessert course.

Interpretation:

These scenes involve food, celebration, and festivity, which makes them a fitting conclusion for a dessert service used during social gatherings.

this example was produced by W.T. Copeland around the 1894-1910 period 

produced by Copeland

produced by Copeland

"The painted pattern number 2/4865 indicates it comes from the "2" series of "E" (earthenware) patterns produced between 1874 and 1933. 

Steven Smith in "Spode & Copeland. Over 200 Years of Fine China and Porcelain," 2005, the author shows an example of Copeland's treatment of this pattern and states it was produced c. 1902." 

'Dignity & Impudence' is decorated with a fantasy image of elves and fairies submerged in the water giving the wise bird varying degrees of attention.

Two characters contrast personalities — one formal and dignified, the other mischievous and cheeky. Victorian titles often emphasised moral contrasts for humour.

Impressed maker's mark for 
William Brownfield & Sons.

Sauve Qui Peut 
(Every Man for Himself)

Impressed maker's mark for 
William Brownfield & Sons.

the impressed 3/79 is the month/year of manufacture
in this case March 1879

"This pattern features a scene of a nude fairy holding up a wand with a star, riding on the back of a swan swimming in the shallow water. An elf (Puck) is standing in the water near a large cattail plant, looking at the fairy."

Impressed maker's mark for William Brownfield & Sons.

Impressed "8/79" indicates a manufacture date of August 1879.

"In English Folklore, Puck is a mythological fairy or sprite of mischievous nature. Puck is also a generalized personification of land spirits. In this pattern, a fairy or sprite in a flower hat appears to be rolling an apple with his feet while another sprite leans his back against it to help push. Presumably the apple is the dessert they are bringing home to share with the other sprites."

Tiny sprites struggle to carry an oversized fruit. The joke is the reversal of scale — what is a normal dessert for humans becomes a huge burden for fairies.

impressed Copeland mark

Bringing Home Dessert

Sprites sing or celebrate around a festive scene. The pseudo-medieval spelling “Ye” was fashionable in Victorian decorative titles.