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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thoseonly who have appeared in this inquiry, and during theeighteenth century exploration. The first batch givenabove are those who have been recorded in one orother of the dictionaries of Artists or Engravers. As to the engravers at potting establishments,during the nineteenth century, that is another matter.A valued friend sends me a letter which touches thatpoint. The following is a short extract:— The storyof the engraving for the Potteries and the men ofseventy to eighty years ago and later on who did thiswork, and their characteristics, would in itself form amost interesting volume. Some of them left thePotteries and became eminent as engravers in Londonand elsewhere. Others migrated to Lancashire andhelped to develop the early calico printing. Altogetherthis branch of our potting industry probably showedas much genius as any branch did then or since. It isanother instance of the almost endless interest andramifications of our potting industry, and some day 114 Plate No. XLVI.
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Fig. D 21 -1 .JUG, EARTHENWARE, YELLOW PRINT. PORTOBELLO. Fig. D 21 -2.MUG, EARTHENWARE, YELLOW PRINT PORTOBELLO. After the Masters. should receive its due share of historical note.= Thesejust and pointed sentiments must commend themselvesto every sincere student of our great ceramic industries.But there were hundreds of these engravers whoare never heard of by name. Many of them weretalented—perhaps amounting to genius—but theirstory has vanished into thin air. Their work remains,beautiful and admired, but we know not the creatorsof that beauty owing to the absurd idea, whichprevailed in the good old times, that every nameand every talent must be merged into the reputationof the factory. Anyone reading Ballantines Lifeand Work of Robert Hancock must feel this pointstrongly. The refinement of his line, and theimmense output of first-class work—not alone inceramics—fully entitled him, as Mr. Ballantine says,to rank high amongst our English sons of genius.With such a man what do

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