Missing Identity via Haviland & Co Limoges ~ delightful roses !

Hello friends....

I'm having one ... 1 HECK OF A TIME FINDING MY PATTERN... Who can help me successfully identify this weekend Yard Sale beauty????  This Haviland has the lightest of pink roses.... the feel of the plate is a bit heavier than fine bone china/delicates...   It is rounded with grooves.... the littliest of A SINGLE ROSE perfectly centered in the 9" inch plate....

The roses decorate the bottom of the cup... the cup handle is trimmed in gold.    I've googles 20++ 50+++pages and sites and can't get close to identifying the three-piece set!!  I'm too tired to look any further.... SO.. I'll just enjoy ....

I've not yet learned the description... the cup sits low and wide....   the rose with very little greenery lines the inner edges of the tea cup.

 Ahhh-hah.... here is the scalloped edge with raised border...

Here's where my google learning curve has taken me......

What is a Schleiger Number?

Long time collectors of Haviland dinnerware glibly toss about terms such as Schleiger #19 or Schleiger #266G as though they are the names of long time family members. And they are--or at least the china they represent, are!! Here is a "thumbnail sketch" of how the names Schleiger and Haviland china have become so intertwined in the Haviland collector's vocabulary.

In the late 1930's and early 1940's, Arlene Schleiger of Omaha, Nebraska was trying to find pieces to fill in her mother's set of china. Her quest took her to antique shops and used furniture stores. She found that many other people were on the same mission--and Haviland was the china most of them were searching for.

She began to purchase pieces of different Haviland patterns and quickly found that there was a need to have a common means or method to identify these different patterns since most Haviland pieces do not have a pattern name on them. Her good friends, Jack and Louis Drew, encouraged her to create a book or catalogue for identifying Haviland china.

From her searches and experiences in trying to identify the pieces she had collected, Mrs. Schleiger recognized and listed several problems confronting her:

• The same patterns appear on different blanks
• The blanks may or may not have a gold edge.
• The same patterns appear but in different colors.
• Floral arrangements vary--seldom will two plates be exactly alike.
• In many patterns the flowers are difficult to identify. Are they roses? Wild roses? Apple blossoms?

She decided that a book with pen and ink drawings of the most distinguishing feature of the pattern would be the most satisfactory way of depicting the various patterns. Her son, Dick, was a student in the College of Architecture at the University of Nebraska. He drew the sketches of the patterns for Mrs. Schleiger's first book during his last two years in college.

Mrs. Schleiger's first book, Two Hundred Patterns of Haviland China--Book I was published in 1950. She assigned a number to the patterns as she entered them in her book. Thereby, the term Schleiger Number was born. (Each of her books really describe many more than 200 patterns since most of the patterns shown in the books have several variations listed.