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445:, an Irish engraver then based in Birmingham, petitioned for a patent for “printing, impressing, and reversing upon enamel and china from engraved, etched and mezzotinted plates and from cuttings on wood and metal...” He was primarily concerned with printed decoration on enamels; boxes, plaques, medallions, etc. His patent application failed and he moved from Birmingham to London where he continued to unsuccessfully apply for patents. He was involved in early printing on enamels at
135:, using mixes of special pigments that stand up to firing as the "ink". The transfer is then put pigment-side down onto the piece of pottery, so that the sticky ink transfers to the ceramic surface. Usually, several different transfer sections were needed for each piece if the design covered the whole object (see illustration). The paper is either floated off by soaking the piece in water, or left to burn off during the firing. This can be done over or under the
268:
56:
213:, and this technique was used from early on. The use of multiple transfers, each with a different colour, was introduced quite early when different areas were printed in each colour, for example, a plate with the centre in one colour, and the border in another. It was more difficult to build up a full polychrome image, but this was perfected by Messrs F&R Pratt of Fenton in the 1840s.
438:, which has a transfer-printed design and the "raised anchor" form of the Chelsea mark, indicating a date between 1750 and 1752. A Swiss enamel artist also records seeing printing being done at an unidentified factory near to (but different from) the Chelsea works, during a visit to London that ended in late 1752.
479:
Five years after Brooks's first patent attempt, in 1756, John Sadler (in partnership with Guy Green) claimed in a patent affidavit that they had spent the past seven years perfecting a process for printing on tiles and that they could "print upwards of Twelve hundred
Earthen Ware Tiles of different
166:
By the end of the 18th century, a variant technique giving "bat-printed" wares was introduced. This used "pliable glue bats or slabs" of a rubbery texture instead of the paper. The plate printed glue onto the bat, which was then transferred to the piece, and powdered pigments were then added, which
333:
worlds were already closely related, with large numbers of prints being copied by painters on pottery, especially porcelain, for which prints, including book illustrations, were the main source of images. Early scenes, mostly relatively small and on larger pieces occupying only the centre of the
491:
factory in the 1750s is usually associated with Robert
Hancock, an etcher and engraver, who signed some pieces and had also worked for Bow. Richard and Josiah Holdship, the managers of Worcester, were very supportive and involved with Hancock's work. By the mid-1750s the Worcester factory was
154:
to be done far more cheaply, in the process making large numbers of painters redundant. Initially, it was also mostly used on porcelain, but after a few years it was also used on the new high-quality earthenwares that
English potters had been developing, such as
464:, although the results were not excellent, perhaps as the glaze was "too soft and fusible", giving a tendency to blur the image. The colours of the 1750s were a "purplish or brownish black" or a "beautiful warm brick-red". By around 1760 there was some
503:
introduced a system of registered marks, usually impressed or printed on the underside of pieces. Transfer-printed designs were easily registered by submitting the transfers printed on paper. The technology of transfer printing spread to Asia as well.
206:. Its success was because the colour was attractive, and cobalt kept its colour in firing even at very high porcelain temperatures. Initially cobalt blue, black and brown were probably the only colour options for underglaze transfer printing.
385:, mix printed and painted elements in their decoration. They date to the late 17th century, or possibly the early 18th; four surviving pieces are known. Between about 1749 and 1752, just at the time of the earliest English printeds, the
92:
It was developed in
England from the 1750s on, and in the 19th century became enormously popular in England, though relatively little used in other major pottery-producing countries. The bulk of production was from the dominant
417:
In the 1750s three men made significant advances in the application of printed decoration to ceramic surfaces; it does not seem likely that they were aware of the
Italian precedents. Most early uses were on expensive
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282:
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Transfer-printed
English wares are recorded in New York by 1776, and North America became an important market. By this time transfer-printing on the refined earthenwares such as
219:
150:
Before transfer printing ceramics were hand painted, a laborious and costly process. Transfer printing enabled the high quality of representation that had been developed in
97:
industry. America was a major market for
English transfer-printed wares, whose imagery was adapted to the American market; several makers made this almost exclusively.
81:
plate from which a monochrome print on paper is taken which is then transferred by pressing onto the ceramic piece. Pottery decorated using this technique is known as
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patterns " within a period of 6 hours. Sadler and Green printed in
Liverpool, where their trade included overglaze printing on tin-glazed earthenware, porcelain, and
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29:
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to relatively cheap pottery. In particular, transfer printing brought the price of a matching dinner service low enough for large numbers of people to afford.
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piece, included genteel or pastoral couples or small groups, landscapes, classical ruins, ships and portraits, especially of the military heroes of the
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492:
producing both underglaze prints in blue and overglaze prints, predominately in black. Some printed pieces were in complicated shapes and included
147:
to fix the pattern. With overglaze printing only a low-temperature firing was needed. The process produces fine lines similar to engraved prints.
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143:("underprinting") method gives much more durable decoration. The ceramic is then glazed (if this had not been done already) and fired in a
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A typical platter from the heyday of transferware, 1820–1850; an
American scene ("Fair Mount near Philadelphia") in English earthenware
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Although
England dominated the history of commercial transfer printing, the technique had first been used in Italy. A few
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as the technique used on the copper plates. The process was much more complicated, and little used after about 1820.
267:
17:
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One particularly distinctive type of transferware, with an all-over floral pattern, is called chintz pottery, or
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dated 7 September 1755 mentions a printed Battersea box), and by around 1756 his process was being used on some
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Teapot with scene of a fortune-teller. Printed black outline with manual enamel colours. 1762–82
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111:, and sometimes on wood and textiles. It remains used today, although mostly superseded by
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had become common. Large numbers of designs celebrated the new republic and in particular
183:
955:
The Art of Worcester Porcelain, 1751-1788: Masterpieces from the British Museum Collection
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The process starts with an engraved metal printing plate similar to those used for making
8:
496:, showing that the technique was at this point regarded as suitable for luxury products.
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522:, is the last pottery in the world to still use transfer printing on its ceramics.
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386:
274:
108:
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Miller's: Encyclopedia of British Transfer-Printed Pottery Patterns, 1790 - 1930
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457:
435:
397:, and some pieces mix these techniques. About 50 pieces are known to survive.
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172:
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101:
115:. In the 19th century methods of transfer printing in colour were developed.
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Blowing Soap Bubbles, about 1760-1770, Staffordshire, salt-glaze earthenware.
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stuck to the glue. The technique was associated with the introduction of
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Both these techniques printed a single colour, which was most often the
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wares, in contrast to the 19th century, when it was much more used on
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Transfer printing could be supplemented with colour added by hand, or
100:
The technique was essential for adding complex decoration such as the
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A steel roller for transfer printing with the resulting end product
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of 1756–63. All these came from the existing repertoire of
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Printing on enamel probably began around 1753 (a letter of
144:
735:
Warman's English & continental pottery & porcelain
530:
Major 19th- or 20th-century English manufacturers include
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also used transfer printing. They also experimented with
778:"Overglaze Printing on English Porcelain: the beginnings"
107:
Apart from pottery, the technique was used on metal, and
204:
had been heavily used for painting pottery for centuries
288:
Advertising metal matchbox, British, late 19th century
626:
Transfer printing department of earthenware factory,
738:(4th ed.). Iola, WI: KP Books. pp. 51–52.
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Plate using two transfers, puce and green, c. 1830,
131:
on paper. The plate is used to print the pattern on
1012:
English Transferware: Popular 20th Century Patterns
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300:Modern colour printing – 1937 Coronation mug by
48:tea and coffee service. c. 1775, Staffordshire,
512:and was a type of blue-and-white porcelain.
927:Sotheby's Concise Encyclopedia of Porcelain
660:The Penguin Dictionary of Decorative Arts.
797:Honey, 7, 116–121, 120 quoted; Savage, 30
870:"Handmade Pottery: How We Make Burleigh"
470:
404:
316:
182:
54:
39:
28:
941:Blue and White Transfer-printed Pottery
835:Dawson, 172–192; Honey, 7, 118, 220–224
810:. London: V&A Publications, p. 90.
768:, Printed British Pottery and Porcelain
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14:
1053:
725:
645:
487:Transfer printing on porcelain at the
346:the most popular literary references.
321:Staffordshire plate with a scene from
614:Paper print of transfers, Dutch, 1859
986:, 1977 (3rd edn.), Faber and Faber,
24:
1004:
25:
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586:Wooden matchbox, British, c. 1900
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943:, 2000, Shire Publications Ltd,
766:"Early Italian Ceramic Printing"
732:Bagdade, Susan & Al (2004).
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426:. Initially, all pieces were
411:Venus Begging Arms From Vulcan
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957:, 2009, British Museum/UPNE,
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381:pieces, probably from around
1046:Transferware Collectors Club
501:United Kingdom Patent Office
245:, c. 1780, the green painted
70:or other materials using an
50:Victoria & Albert Museum
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1071:Types of pottery decoration
1010:Joe Keller and Mark Gibbs,
574:Sadler and Green tile, 1760
10:
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1028:. Mitchell Beazley 2005,
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118:
66:is a method of decorating
273:Polychrome teapot, 1896,
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998:Pottery Through the Ages
929:, 1990, Conran Octopus,
806:Hildyard, Robin. (1999)
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598:Practical printing on a
548:Alfred Meakin (Tunstall)
449:in London, and probably
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711:"Bat-Printed Porcelain"
520:Burslem, Stoke-on-Trent
193:Wheeling, West Virginia
682:Honey, 6–7; Savage, 30
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434:plate survives in the
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984:Old English Porcelain
536:Enoch Wood & Sons
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152:painting on porcelain
95:Staffordshire pottery
58:
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35:Staffordshire pottery
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1066:Printing terminology
788:Honey, 7; Savage, 30
540:Royal Staffordshire
489:Worcester porcelain
430:printed. A single
342:, with scenes from
275:Burgess & Leigh
191:, c. 1890, made in
44:A transfer-printed
968:Godden, Geoffrey,
939:Copeland, Robert,
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468:printing in blue.
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409:Battersea enamel,
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196:
61:
53:
38:
858:, "Ceramic Marks"
808:European Ceramics
628:Societe Ceramique
453:near Birmingham.
432:Chelsea porcelain
355:George Washington
187:Tile designed by
64:Transfer printing
16:(Redirected from
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996:Savage, George,
953:Dawson, Aileen,
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1061:Ceramic art
904:28 December
879:28 December
844:Dawson, 186
691:Battie, 117
656:Hugh Honour
532:Crown Ducal
506:Kawana ware
443:John Brooks
331:printmaking
113:lithography
1055:Categories
992:0571049028
978:0091583004
963:1584657529
949:0747804494
935:1850292515
917:References
816:1851772596
722:Godden, 44
709:Honey, 7;
700:Godden, 44
672:0713909412
666:, p. 800.
664:Allen Lane
632:Maastricht
518:, made in
510:Edo period
466:underglaze
362:chintzware
259:Enoch Wood
237:Tile with
202:blue that
141:underglaze
139:, but the
125:engravings
658:. (1977)
600:stoneware
482:creamware
447:Battersea
428:overglaze
420:porcelain
413:, 1753-56
351:creamware
325:, c. 1760
261:& Co.
169:stippling
161:pearlware
157:creamware
662:London:
516:Burleigh
441:In 1751
395:stencils
391:Florence
379:maiolica
306:Wedgwood
129:etchings
72:engraved
46:Wedgwood
925:, ed.,
560:Germany
494:gilding
451:Bilston
401:England
368:History
239:Orpheus
211:gilding
119:Process
68:pottery
1032:
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895:"FAQs"
814:
751:6 June
742:
670:
654:&
243:Apollo
200:cobalt
179:Colour
75:copper
639:Notes
552:Spode
383:Turin
373:Italy
344:Aesop
323:Aesop
79:steel
1030:ISBN
1016:ISBN
988:ISBN
974:ISBN
959:ISBN
945:ISBN
931:ISBN
906:2021
881:2021
812:ISBN
753:2014
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