File:Transfer printing on enamels, porcelain and pottery - its origin and development in the United Kingdom (1907) (14773596891).jpg

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Identifier: transferprinting00turn (find matches)
Title: Transfer printing on enamels, porcelain and pottery : its origin and development in the United Kingdom
Year: 1907 (1900s)
Authors: Turner, William, -1643
Subjects: Transfer-printing Pottery Enameled ware
Publisher: London : Chapman and Hall New York : Keramic Studio Pub. Co.
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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the transfer print neverfound a congenial home on the Continent. Onedesign, illustrative of the popular feeling at thetime, was a figure of Liberty, having an inscriptionthus : Voor Vryheid en Vaderland —for Liberty andFatherland. With regard to the underglaze colours Messrs.Kidson say (p. 96): An underglaze colour was agreat desideratum. The Leeds Pottery did not makeblue printed ware before 1790, but it became the stapleproduct at the end of the first quarter of the 19thcentury. That would be when the gaudy colours underglaze, came in. A lighter blue was used andother colours, such as green, brown, lilac and anunderglaze black. The early blue printed ware wasof a strong, dark blue tint, and was almost as fineas the best quality of Nankin china. It is rather a singular circumstance regarding theLeeds wares that nearly every piece of the willowpattern was marked. This is the more singular whenit is remembered that very little Leeds ware generallyis marked at all. 70 Plate No. XXIV.
Text Appearing After Image:
Fig. B 1 6.MUG, PORCELAIN, BLACK PRINTWorcester. Fig. B 1 7.VASE, PORCELAIN, BLACK PRINT. Worcester. Development in the 18th Century. SWANSEA. In the case of Swansea a very extensive businesswas at one time done in printed ware, especially forexport to the West Indian Islands. Large quantitiesof copper ore were imported from Cuba and, as manyvessels sailed back again with limited cargoes, therewas a good opportunity to export pottery wares at asmall rate of freight. When the factory closed, in theyear 1870, the copperplates were sold at auction.Some were bought by a Bristol firm and the rest wentto Llanelly potworks. There were both over andunderglaze patterns. One of them was the favouriteWillow. Others were named the Cuba, the Grape, the Tower, the Goojerat, etc. A mostinteresting design was called Bird-nest china. Itwas kept for porcelain alone. There were variousshades of blue for underglaze; also black, brown, anda favourite pink overglaze for porcelain, in imitation ofa Chinese

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Author Turner, William, -1643
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Flickr tags
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  • bookid:transferprinting00turn
  • bookyear:1907
  • bookdecade:1900
  • bookcentury:1900
  • bookauthor:Turner__William___1643
  • booksubject:Transfer_printing
  • booksubject:Pottery
  • booksubject:Enameled_ware
  • bookpublisher:London___Chapman_and_Hall_
  • bookpublisher:_New_York___Keramic_Studio_Pub__Co_
  • bookcontributor:Getty_Research_Institute
  • booksponsor:Getty_Research_Institute
  • bookleafnumber:140
  • bookcollection:getty
  • bookcollection:americana
Flickr posted date
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29 July 2014

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