CHAPTER X
TRANSFER-PRINTED WARE
Its origin--Liverpool--Its adoption in Staffordshire--What is Transfer-printing?--Over-glaze printing--Under-glaze printing--The Staffordshire Transfer-printers--Other Transfer-printers--Leeds, Swansea, Sunderland, and Newcastle--The Mission of black Transfer-printed Ware--Types of Blue-printed Ware--The Willow Pattern--Table of Marks--Prices.
Before the year 1756, all ware, whether it be porcelain or delft or earthenware, was painted, or, to follow the term used in popular phraseology, it was "hand painted." It is an essentially English art, and something which stands with salt-glaze and with Wedgwood's jasper ware as being famous throughout Europe.
The subject of transfer-printing is surrounded with a certain amount of conjecture in regard to its invention. Quite a dozen persons were credited with having originated it. Mr. William Turner, in his volume, "Transfer Printing on Enamels, Porcelain, and Pottery," published by Messrs. Chapman and Hall, in 1907, has thoroughly investigated the various claims set up for the discovery of transfer-printing and, with no little research extending over a wide area, has for the first time settled the relative position of the various claimants and factories for which this honour is claimed. It is impossible, covering the same ground as Mr. William Turner, to say anything new on transfer-printing, and we must express our indebtedness to him in making use of his original investigations and embodying them in this chapter on transfer-printed ware.
In regard to over-glaze printing, including copper enamels such as Battersea, porcelain such as Worcester, and earthenware such as Liverpool delft--it was at Battersea where enamels were first printed in 1753; Liverpool, with Sadler and Green's invention, comes second with printed delft tiles in 1756. A year after, in 1757, we have Worcester with transfer-printed porcelain. This Worcester printed ware is well known from the early transfer-printed design known as Hancock's "Tea party" and the "King of Prussia" jugs and mugs.
After Worcester all the other porcelain factories followed with transfer-printed ware. There was Derby in 1764, and Caughley in the same year.
It will be seen that, so far as Liverpool is concerned as representative of the earthenware factories (cream ware being printed here to the order of the Staffordshire potters), earthenware over-glaze printing is slightly ahead of the porcelain factories. But in under-glaze printing porcelain stands easily first. Worcester commenced under-glaze printing in the same year (1757) that over-glaze was employed there, and Derby is the second in the field in under-glaze printing in 1764.
It has already been shown that Liverpool did the printing on the Staffordshire cream ware for the potters who sent it there to be printed, and the same method was followed by Leeds. But there came a time when it was no longer necessary to ask Liverpool to employ a secret process for the decoration of Staffordshire or Leeds work. The secret known at Worcester, and Derby and Battersea, was not many years a secret. The Staffordshire potters undertook to do their own printing, and every pottery soon learned the new process of transfer-printing, and it was not long before improvements were made and newer forms of printing adopted.
=Its adoption in Staffordshire.=--Allusion has been made to the awkward form of the square tile decoration of fable subjects at Liverpool as applied to circular plates. But Staffordshire in its adoption of the new process made the transfer fit the object to be decorated. In the illustration of the salt-glaze Staffordshire plate with the black transfer-printed design of "Hercules and the Waggoner" from _Æsop's Fables_ (p. 319), the engraver has departed from the four corners of his circumscribed tile, and we may put this piece down as of Staffordshire printing.
It is often largely a matter of conjecture as to what was printed at Liverpool and what was printed elsewhere (with the exception of Worcester, where the engraving and printing were more delicate).
The Staffordshire jug showing a full-length portrait of His Royal Highness Frederick, Duke of York, having on the reverse the Dragoon in the uniform of the period, tells its own story as regards date. Frederick was the second son of George III. and was born in 1763 and died in 1827. As this portrait represents him as being advanced into manhood and as at that date--say about 1786--the Liverpool printers had been at work twenty years, the transfer-printing may very reasonably be attributed to Staffordshire.
But it is not always easy to fix the date of the printing, and determine whether by that time Staffordshire had embarked on its own transfer-printing in black; of course, blue transfer-printing is later. The difficulty usually arises in connection with black transfer-printed ware. Liverpool was still engaged in printing for Staffordshire potters as well as printing cream ware of its own potting, and Leeds was producing similar transfer-printed over-glaze ware, so that in unmarked pieces there must always be an uncertainty in coming to a definite conclusion. In all probability the jug (illustrated p. 323) and bearing the inscription "Success to Trade" and having a typical eighteenth century rural subject on the reverse entitled "The Faithless Lover," was actually printed by Sadler and Green at Liverpool.
Another finely decorated printed jug is that illustrated (p. 318), the subject representing _Diana_ on crescent moon driving a pair of goats in her chariot. The date of this piece is about 1780 to 1800, and is strongly suggestive of Wedgwood cream ware. It will be observed that the design is identical with that in the Turner jasper vase (illustrated p. 261).
=What is Transfer-printing?=--A piece of pottery may be plain or undecorated, it may be painted, or it may be printed. The process of printing consists of affixing an engraved print from a copper plate and transferring an impression to the pottery to be decorated. It is this latter process which claims our attention in this chapter. When transfer-printing was first used, subjects such as portraits (King of Prussia), costume subjects (series of actors and actresses on Liverpool delft tiles), fancy or pastoral scenes (such as _Æsop's Fables_, &c.), were produced in black, puce, or reddish brown. These were at first culled from contemporary volumes with engraved copper-plate prints as illustrations. We find Wedgwood in quite early days searching London for suitable prints of views and similar small subjects for decorative purposes. Probably at first the copper plates which had been used in books were bought up by the potters, and did service again for their ware. Later they employed engravers, who no doubt copied or adapted other people's engraved work to suit their purpose, and as the art advanced it gained in originality, and a band of engravers worked for the potters in designing subjects strictly applicable to the limitations in the technique of earthenware.
This process of transfer-printing is roughly as follows. The copper-plate is inked, and a sheet of tough tissue paper, wetted with a mixture of soap, is applied to its surface and printed in a press. The paper is taken off, showing an impression or print, which is carefully laid on the surface of the piece of earthenware to be decorated. The inked design on the paper transfers itself to the earthenware.
=Over-glaze Printing.=--The difference between over-glaze and under-glaze decoration always seems to puzzle the beginner, but the explanation is simple enough. A piece of pottery is produced by the following steps. The clay is "thrown," that is, it is spun into shape on the potter's wheel, or it may be made in a mould. When in this soft state, say in the form of a basin, it could be crushed by the hand into the shapeless mass of clay whence it sprung. It is next put aside to dry sufficiently to allow handling. It may receive some of its decoration at this stage as it is possible to paint on the more or less damp clay, but as a general rule that is left till the next stage.
It is now placed in the "biscuit" oven and receives the most intense heat, and is here stacked in fireproof saggers or boxes to protect it from the flames, and it is fired for about three days before being taken out in the state known as "biscuit." Wedgwood's jasper ware, black basalt, and all unglazed stoneware stop at this biscuit or unglazed stage.
It is next dipped in liquid glaze and goes again to be fired, this time into the "glost" or glaze oven, which is lower in temperature. After coming from this second oven it is no longer "biscuit" in appearance, but is covered with a skin or coating of glass or glaze, which has amalgamated with the body underneath.
It is now ready for painting with enamel colours or for transfer-printing, which obviously is "over-glaze" decoration.
Lastly, after this decoration has been made, it goes to be fired for a third time, and is put into the enamel or "muffle" kiln, which is the lowest temperature of the three.
In effect, then, the "over-glaze" decoration is on top of everything, and obviously, when the piece is scratched in use, this decoration wears away first. This at once gives the reason for another process, known as under-glaze decoration, where the work receives the protection of the glaze.
As a postscript to this description of the three firings, it may be noted in passing that, in true porcelain, such as Chinese, Dresden, and Bristol (all hard pastes), the body and glaze are fired at one operation, the glaze receiving as high a temperature as the body.
=Under-glaze Printing.=--This is printing which is transferred to the ware, either porcelain or earthenware, when in its "biscuit" state _prior to being dipped in glaze_. Blue was the most frequent colour used in under-glaze transfer-printing, as of course it was the earliest colour used in the painted under-glaze decorations at Worcester and Caughley. There are other colours, obtained from metallic compounds, used both on porcelain and earthenware under the glaze, and owing to the temperature required for firing in this manner the range is limited, being usually confined to cobalt blue, green, brown, lilac, black, and a few others. But blue is the chief under-glaze colour to be considered in connection with under-glaze transfer-printing. There was a great demand for deep blue and for a lighter blue, both of which came to the Staffordshire earthenware printers and potters from English porcelain factories such as Caughley, where Thomas Turner, an apprentice at Worcester under Robert Hancock, made in 1780 his famous under-glaze blue "Willow-pattern"; or the idea may have been derived straight from the Chinese blue porcelain under-glaze of Nankin, so much in vogue in middle eighteenth-century days.
=Staffordshire Transfer-printers.=--It has been shown how the Staffordshire potters at first turned to Liverpool, and readily sought the aid of Sadler and Green in the decoration of their salt-glaze and their cream ware, in order to compete with the porcelain factories with Worcester and Caughley at their head. But trade secrets found their way into Staffordshire. The over-glaze printing as practised by Sadler and Green was soon mastered, and later the under-glaze blue printing was imported by workmen from Caughley.
Among the Staffordshire potters the following are the principal pioneers in regard to transfer-printing in its various developments. William Adams, of Cobridge, in 1775 first introduced transfer-printing into Staffordshire. John Turner, of Lane End (not to be confounded with Thomas Turner, of Caughley) was the first to print under-glaze blue in Staffordshire. Josiah Spode, about 1784, introduced his under-glaze blue "willow pattern," a copy of the Caughley pattern. William Adams, of Greengates, in 1787 brought out his under-glaze blue, which in richness and mellowness has never been surpassed; and Josiah Wedgwood, although he never deserted Liverpool for some of his patterns, had a press at work at Etruria, in 1787; and Thomas Minton, now a master potter at Stoke, formerly an apprentice at Caughley with Thomas Turner, designed the celebrated "Broseley Dragon" pattern tea service for porcelain in 1782 (following the willow pattern, 1780), and produced in the late years of the eighteenth century, about 1793, some fine blue-printed ware at Stoke.
These may be termed the earlier exponents of transfer-printing in Staffordshire, but there were others whose blue-printed ware was of great merit in Staffordshire, and Leeds and Swansea, held no insignificant place.
=Other Transfer Printers.=--Staffordshire did not long have the monopoly of under-glaze blue-printed ware. Leeds and Swansea both produced similar work, and in both cases there is a strong attachment to Oriental design. Black transfer-printing was also executed at both these factories, and at Swansea some exceptionally fine engraved work was turned out (see illustration of Swansea plate, p. 397). At Sunderland and Newcastle the black transfer-printed mugs and jugs with the _Wear Bridge_ and with nautical subjects became quite the vogue, and in these two factories the jugs and mugs often had a frog modelled in the interior, and pink lustre decoration was used in combination with the transfer design usually at the borders or at the rims.
=The Mission of Black-printed Ware.=--In the designs and inscriptions of the black transfer-printed ware the Staffordshire potter used his jugs and his mugs as a medium to record events and to ventilate grievances, not in "imperishable verse," but in the fickle body of the clay. This class of ware from 1760 to 1860 stands for a century as typically English in character. It reflects the political, social, and religious events, and in matter-of-fact, humorous, or satirical fashion. The black transfer-printed or earlier period, (though some of this class come down as late as the railway mugs of 1830), may be said to depict events and chronicle popular sentiment in black and white. The blue transfer-printer strove to be decorative, and mainly represented scenery and topography, and much of it was bound down to formal designs of Oriental nature.
At first fable subjects, as on Wedgwood's cream ware, were employed, and it has been seen how the square tile form was discarded by the engraver who made his engraving fit the object to be decorated. This perfect mastery of the technique of transfer-printing is shown very clearly in the old blue Spode service of the "Tower" pattern (illustrated, p. 335). It will be seen how, as the shape of each vessel differed, the engraver has altered his bridge to fit the new circumstances. At one time, on a broad, flat dish, it appears as a wide bridge, and in the circular plate the trees appear at greater height and the viaduct assumes a more circular form. In the jug of the same design the bridge is narrow, as though spanning a deep ravine.
To enumerate the classes of ware with black transfer-printing is to make a catalogue of the principal events which stirred the heart of the people. It must be borne in mind that this school was working side by side with the makers of fine stoneware and of jasper ware with classic subjects, but it is, after all, to the black-printed ware that one turns most lovingly as being more human.
It will suffice, perhaps, if we quote a few examples and stir the enthusiasm of the reader to pursue the collection of these really historic records which have something more endearing in them than the relics of Napoleon or the shoestrings of some of the Stuart monarchs.
There is a fine flavour of patriotism, of conviviality, and of homely sentiment in some of the following:--
On a bowl, salt-glazed ware, with Admiral Vernon and his fleet is inscribed "The British Glory revived by Admiral Vernon. He took Porto Bello with Six Ships only. Nov. ye 22 1739." A cream-ware jug printed, with medallion portrait of Earl Howe, is inscribed "LONG LIVE EARL HOWE, Commander-in-Chief of the Victorious BRITISH FLEET. In the ever memorable engagement on the Glorious First of June, 1794." On a cream-ware jug about 1800 with a view of Greenwich Hospital, and entitled "The Sailor's Adieu," the following lines are inscribed: "What should tear me from the arms of my Dearest Polly but the undeniable calls of my country in whose cause I have engag'd my Honour and my Life." This in date is the last year of the eighteenth century.
"The Sailor's Farewell and Return" are rather frequent, and Charles Dibdin's verses appear on some of these jugs and mugs. There is one interesting jug in the form of a sailor seated on a chest, coloured earthenware about 1770, with a breezy inscription, "Hullo, Brother Briton, whoever Thou be, Sit down on that chest of Hard Dollars by me, and drink a health to all sailors bold."
Another cream-ware jug, partly printed and touched by colour representing a man-of-war towing a frigate, has the inscription:
"A sailor's life's a pleasant life; He freely roams from shore to shore, In every port he finds a wife, What can a sailor wish for more?"
A red earthenware mug with white slip may be mentioned here as having a characteristic motto:
"From rocks and sands and barren lands Good Fortune sets me free; And from great Guns and Women's tongues, Good Lord, deliver me."
A Staffordshire blue-printed jug, made in 1793, shows the execution of Louis XVI. At the beginning of the nineteenth century there was quite a burst of Napoleonic jugs and mugs and busts, and some of Gillray's caricatures find themselves on earthenware. There is one lustre earthenware jug printed and coloured with caricatures entitled "Jack Frost attacking 'Bony' in Russia" and "Little 'Bony' sneaking into Paris with a white feather in his tail." This is in date about 1813.
A cover of an earthenware jar has the inscription printed in violet within a wreath, "Peace! May its duration equal the years of War."
The relations between England and America received attention at the Staffordshire potters' hands. There are cream-ware mugs and jugs and plates with portraits of Washington in date from 1785 to 1790. On one the inscription runs, "Success to the United States, America."
Prize-fighting, bear-baiting, cock-fighting, racing, coaching, all received their records on the earthenware of the late eighteenth century. Stag hunting, fox hunting, coursing, come as ready subjects to the transfer-printer. Cricket is recorded in earthenware on a printed mug representing the "Grand Cricket Match played in Lord's Ground, Mary-le-bone, June 20 and following day between the Earls of Winchester and Darnley for 1,000 guineas." The date of this is 1790. Even the velocipede and the balloon are not disregarded.
This list is but a rough outline of the mission of the transfer-printer in recording current events on his earthenware, for the pleasure of his own contemporaries and for the information and delectation of succeeding generations of collectors who may be something other than connoisseurs of pastes and bodies, and have learned to read aright the story of the china-shelf and enjoy to the full the secret pleasures in the byeways of collecting.
=Types of Blue-printed Ware.=--The black over-glaze transfer-printing came into Staffordshire in imitation of the transfer-printed delft tiles of Liverpool. But it rapidly acquired a strength and originality of its own. It lacked the delicacy of the transfer-printed black porcelain of Worcester, but its virility more than made up for its artistic defects.
Under-glaze blue-printed ware was an imitation from the porcelain printed at Caughley. Here again it may be said to have outstripped by new departures and broader effects the under-glaze blue-printing of the early china factories. In common with them its inspiration was from the Chinese. We illustrate (p. 327) four examples of Chinese porcelain plates, which are types of the Oriental china designs which served as models both for the English porcelain makers and for the earthenware of Staffordshire.
The lower left-hand plate is evidently the Chinese design from which the English potters derived the well-known and favourite "willow pattern." After Thomas Turner, of Caughley, had printed it on china in 1780, and Josiah Spode in 1784 had employed it on his earthenware in Staffordshire, all the other potters commenced to make the same design with slightly different details, mainly in the fret border. The other plate on the right hand is the well-known "aster" pattern, so frequently adopted by English potters in blue-printed cream ware. The two upper octagonal plates show the two styles of dark blue and light blue under-glaze painting employed by the Chinese; and the Staffordshire potter, true to his models, followed in his under-glaze blue-printing these tones. The period when the rich deep dark-blue-printed ware was in vogue is from the early nineteenth century to about 1825. Light blue printing was employed from 1790 till the deep blue supplanted it, and when the craze for deep blue had spent itself the light blue again became fashionable until printing in colour in the middle period of the nineteenth century came to be largely practised.
In the treatment of the border in the Oriental example we illustrate, it will be noticed how Josiah Spode and others, including the fine school at Leeds, who were printing in under-glaze blue in 1790, and the potters at Swansea, followed this decorative treatment. Spode in particular had a great fondness for Chinese subjects. We illustrate (p. 345) a blue-printed dish by him, where, as was his wont, he introduced, quite incongruously, a Gothic castle. The fine, rich colouring of this dish is most noticeable.
In the Spode earthenware _Jug_ and _Plate_ illustrated (p. 331), it will be seen that the plate, known as the "Bridge" pattern, closely follows the design of the Chinese porcelain plate (p. 327), and the jug is decorated with the familiar "Willow" pattern. Another variation of the "Willow" design is found on the _Turner Cream-ware Dish_, illustrated, having a band of embossed wickerwork and a pierced border. This piece has the impressed mark TURNER.
A similar Oriental influence is seen in the dark blue transfer-printed dish by William Adams, of Greengates (see illustration, p. 341). The inclination here is towards figure subjects, and the decorative use of the exotic bird, as shown in the centre panel of this dish, finds a place on some of Mason's early blue-printed dishes. Of the colour of the dishes of William Adams, of Greengates, it may be remarked that for richness of tone in the under-glaze blue he introduced in 1787 they have never been surpassed.
=What is the Willow pattern?=--The name "willow-pattern" has been so frequently mentioned in connection with the subject of old English earthenware and china that it will be of service to state something of the details of the history of this particular pattern, which seems to have unaccountably seized hold of popular imagination.
By the courtesy of Mr. Percy W. L. Adams.
From "_William Adams. An Old English Potter._"
The Caughley pattern, which some authorities believe was engraved by Minton when he was an apprentice there, was closely followed by Spode, Adams, Wedgwood, Davenport, Clews, Leeds, the Don Pottery, and Swansea. The differences are slight mainly in the treatment of the fretted border, either a lattice-work or conventional butterfly being used, and details of the fence in the foreground differing.
The term "Willow" is applied in a general way to many of the copies of the blue-and-white Oriental porcelain imported from China during the last half the eighteenth century.
But the "willow pattern," to which a story is attached, is of the same design as the Chinese plate illustrated (p. 327), which Caughley copied. This popular adaptation appears as a decoration on the covers of this volume.
Whether the story was invented by some ingenious person to fit the plate we do not know; but there is strong probability that this is so. On Chinese plates the _dramatis personæ_ are missing. The willow has ever been a sad tree, whereof such as have lost their love make their mourning garlands. "I offered him my company to a willow-tree ... to make him a garland, as being forsaken," says Benedick in _Much Ado about Nothing_.
This is the love-story that is told concerning the "willow" plate. Chang, the secretary of a mandarin whose house is on the right of the plate, dared to love his master's daughter, Li-chi. But the mandarin had other designs, and his daughter was promised to an old but wealthy suitor. In order to prevent the lovers from meeting, the mandarin imprisoned his daughter in a room in his house overlooking the water. A correspondence ensued, so the story goes, between the lovers, and the lady sent a poetical message, in a cocoa-nut shell, floating down the river, that she expected Chang when the willow-leaf commenced to fall. By the connivance of a gardener, who apparently lived in the small cottage on the left, overshadowed by a fir-tree, the lovers escaped, and are depicted as fleeing over the bridge--the mandarin behind with a whip in his hand, the lady in front, and Chang in the middle carrying her jewel-box! The individual in the junk, higher up, is intended to denote that they fled to the island in the north-west of the plate. They lived happy until Fate, in the shape of the wealthy lover, overtook them and burned their house to ashes. But the gods changed them into two doves, which, of course, figure prominently in the design.
This tragic story of disastrous love has clung to the willow-pattern plates, and nobody can shake the belief of owners of indifferent specimens of middle-nineteenth century days that these plates are of great value. As a matter of fact, apart from the eighteenth-century examples, anything else is not worth the attention of the serious collector.
We have alluded to the historic character of the black transfer-printed ware, but sometimes similar subjects were attempted in the blue ware. We illustrate a dish known as the "Chesapeake and Shannon" dish, depicting the famous naval encounter between these two vessels.
At a time when the school of landscape engravers dearly loved a classic ruin or the broken arch of a temple in the composition of the scene, it is only natural to find this class of subject on the printed ware. We illustrate a typical under-glaze blue-printed dish with fine contrasts showing very accurately what excellent decoration was employed in this engraved work. The school of Claude landscapes found its votaries, and some strong engraving by Brookes and others was done for this old blue earthenware. It is pictorial, and betrays an attempt to break new ground and get away from the conventions of Oriental design, but the border in the dish we illustrate (p. 345) shows the strong Japanese spirit which had inspired Spode, and this touch of incongruity makes it more than probable that this dish is of Spode origin.
There are many other phases of printed ware that can only be alluded to in passing. The transfer printing in outline, the colour being added by hand, was the beginning of the establishment of all the modern methods for china and earthenware as commonly in use. Something, too, should be said of "bat" printing. This was the use of a block of glue instead of transfer-paper to receive the inked impression from the copper plate and transfer it to the body of the earthenware. William Adams, of Cobridge, in 1775 first introduced "bat" printing into Staffordshire. Of the various types of engraving, such as line, and stipple, and aquatint, and, later, lithography, there is no space to deal. But enough has been said in connection with the various types of printed ware to show that when pursued in a special manner it may be found to be of exceptional interest to the collector.
MARKS.
Transfer-printed Earthenware.
Many printed examples are unmarked, both of the early transfer-printing in black over the glaze, and of the latter under-glaze blue-printed ware, but over a wide period the following names are found as marks upon various transfer-printed specimens.
It will be observed that in addition many of these potters made stoneware, following the Wedgwood influence.[5]
[Note: 5 Compare this with the List of Marks of the School of Wedgwood, pp. 279-282.]
William Adams 1787-1805 Blue-printed under-glaze (marked (of Greengates) Adams).
Benjamin Adams 1805-1820 Blue-printed under-glaze (marked (of Greengates) B. Adams).
William Adams 1804-1835 Dark blue-printed under-glaze and & Sons (of Stoke) black over-glaze (marked Adams). (Marked "Close & Co., late William Adams & Sons, Stoke on Trent"--after 1843.)
William Adams 1830-1840 Black over-glazed printing. & Sons (of Burslem)
Wedgwood 1795-1845 Blue-printed ware introduced (of Etruria) (The second shortly after the death of Josiah Wedgwood Wedgwood in 1795. Black period) transfer-printed views after 1830.
Wedgwood & Co 1790-1796 Ralph Wedgwood. Black (of Burslem) transfer-printing over-glaze.
Josiah Spode the 1798-1827 Blue under-glaze printing of great Second (of Stoke) variety.
Thomas Minton 1790-1836 Blue under-glaze printing, Oriental (of Stoke) and other patterns.
John Davenport 1793-1834 Under-glaze blue-printing (marked (of Longport) Davenport, Longport).
Henry and William Davenport 1835-1869
John Turner 1762-1786 Oriental patterns, under-glaze (of Lane End) blue (impressed mark, Turner).
William & John 1786-1803 Turner (sons of above)
John Aynsley 1790-1826 Masonic plates printed in outline (of Lane End) over-glaze and coloured.
T. Fletcher & Co 1786-1810 Black transfer-printed sporting (of Shelton) subjects, sometimes _under-glaze_.
Shorthose & Co 1783-1802 Red over-glaze printed fancy (of Hanley) subjects.
Andrew Stevenson 1810-1818 Black over-glaze printing tinted (of Cobridge) in colours (marked A. Stevenson, with crown in circle).
Joseph Stubbs 1798-1829 Dark blue under-glaze printing (of Longport) (marked Joseph Stubbs in circle. Longport impressed).
James Clews 1814-1836 Black under-glaze after 1825. (of Cobridge) American views of Hudson River, &c.
John and Richard 1820-1827 Blue under-glaze printing. Riley (of Burslem) Picturesque views.
Miles Mason 1813-1851 Rich blue under-glaze printing; (of Lane Delph) Oriental subjects and birds.
Enoch Wood & Sons 1820-1846 Deep blue under-glaze printing. (of Burslem)
R. & J. Baddeley 1780-1806 } (of Shelton) } } J. & E. Baddeley } Transfer printing from the Hicks & Meigh 1806-1820 } earliest date, both over-glaze and (of Shelton) } under-glaze. } Hicks, Meigh & 1820-1836 } Marked I. E. B., or full names, Johnson (of Shelton) } or R. M. W. & Co. } John and William 1824-1836 } Deep dark blue under-glaze Ridgway } printing. "Beauties of America," (of Shelton) } and other views. } Ridgway, Morley, 1836-1854 } Wear & Co. (of Shelton) }
Leeds 1790-1878 Over-glaze black printing (little practised), under-glaze blue, Oriental subjects (marked Leeds Pottery).
Don Pottery 1790-1834 Under-glaze blue, Oriental subjects (near Doncaster) (marked _Don Pottery_ or _Barker_--the latter after 1834).
Liverpool 1796-1841 Deep under-glaze blue-printed; (Herculaneum) Oriental subjects (marked Herculaneum).
Swansea 1802-1870 Under-glaze blue-printing and (Cambrian Pottery) over-glaze, black and brown printing (marked Dillwyn & Co.) (See group illustrated, p. 397.)
Derby 1780-1785 Over-glaze black printing of (Cockpit Hill figure subjects (marked Derby Pot Factory) Works).
Caughley 1780-1799 Under the management of Thomas (Salopian) Turner. Dark blue under-glaze printing; Oriental subjects (marked in blue +C+).
Sunderland and 1790-1850 Black transfer-printed mugs and Newcastle jugs of crude decoration. Various firms.
_Sunderland._--Scott Brothers, Brunton & Co., Moore & Co. (1803), Phillips.
_Newcastle._--Dixon, Austin, & Co., Dawson & Co., Fell & Co. (1817), marked with +F+ and anchor, Sewells & Donkin.
Middlesborough 1831-1850 Blue-printed ware (marked with Pottery impressed anchor and _Middlesbro' (Yorkshire) Pottery_, or with the word _London_ and anchor, about 1848, or M.P. Co).
PRICES--TRANSFER-PRINTED WARE.
£ s. d. Transfer-printed Jug with ship on one side and mariner's compass on reverse; another Jug with Sailor and his Lass. Sotheby, November, 1904 1 18 0
Transfer-printed Jug with portrait of Lord Nelson on one side, and plan of Battle of Trafalgar on reverse. Sotheby, November, 1904 3 15 0
Transfer-printed Jug with "Britannia weeping over the ashes of Her Matchless Hero, Lord Nelson," and a sailing ship on reverse, with motto "Success to Trade." Sotheby, November, 1904 3 8 0
Transfer-printed Jug with Subject relating to the Independence of America; _rare._ Sotheby, November, 1904 3 3 0
Twelve Plates, transfer-printed, with farmyard scenes in blue, and large dish similar. Sotheby, May, 1907 1 10 0
XI
STAFFORDSHIRE
FIGURES