Similar to the Coffee pot mentioned earlier, these two small saucer plates were also commissioned by Rebecca Brandon, a Jewish businesswoman who expanded her family's enterprise—a shop named “Fancy Warehouse” in Kingston, Jamaica—during the mid to late nineteenth century. The shop was situated near the waterfront by Kingston Harbor. According to the National Museum of Jamaica, Mrs. Brandon introduced a new line of ceramics, incorporating stencil designs with distinct Jamaican colors and inscriptions in Jamaican Creole. She sent these designs to England, where they were applied to fine white crockery and china, and then sold the finished products in Jamaica’s emerging post-emancipation wage economy.

These local designs are considered precursors to later tourist souvenirs, though they often depicted stereotyped representations of Jamaicans as the “happy native,” reflecting the racial hierarchies perceived by the British elite. The plate on the left features the same male image and "Quaco Sam" verse that appears on the British Museum’s coffee pot, indicating that Brandon produced these objects on a large scale by using the same stencil across different artifacts. This colored version accentuates the floral background, with a topless figure holding a rod and sack over his shoulder and a container in his hand, presenting a genial appearance.

The saucer on the right depicts two Black male figures in conversation. As explained by the verse, the man on the left, dressed only in blue pants, asks “Cousin Cuba” (a female in the coffee pot version) about the new pair of shoes and “dandy hat” he bought, inquiring about their cost. It appears that the cousin has come into some money, perhaps through salaried work, which has allowed him to afford shoes, a finer hat, and a large, beaded necklace. Just as Rebecca Brandon, he appears to be an active participant in the new wage economy.