| -- End Ad Box ---> | | | | heated to allow the colour to run deeper into the |
| The invention of transfer printing on porcelain and | | | | copper plate engravings, the excess ink then wiped |
| pottery was, without doubt, one of the most | | | | away with a palette knife. The copper plate, after |
| important innovations in the development of the | | | | being cleaned off with a cloth was then covered with |
| ceramic industry. | | | | a sheet of tissue which was dampened and pressed |
| The honor of this development goes to the English | | | | onto the plate. Next, the tissue was gently lifted |
| engraver, Robert Hancock, born in Birmingham | | | | from the plate and set carefully onto the shape to |
| (1730-1817). We first meet Robert, recorded as a | | | | be printed. As the tissue was deftly lifted away, the |
| copper plate engraver at York House, at Battersea's | | | | design was left behind. This early printing style left |
| enamel works in London. | | | | the print on top of the glazed item, which was then |
| Here, beautiful little copper boxes were made for the | | | | fired to finally set the print onto the glazed surface. |
| English 18th century luxury market and quite costly | | | | As the 18th century turned into the early 19th |
| objects of vertu, the so-called bijouterie, scent | | | | century, new ceramic printing techniques were |
| bottles, little snuff boxes and practical wares, such as | | | | developed, to not only improve the technique, but |
| boxes to contain sewing implements, toothpicks, | | | | make it faster, time is money! The great name at |
| trays to hold pens, canisters for tea and sugar and | | | | this point is Josiah Spode who is credited with the |
| even candlesticks, designed to imitated expensive | | | | introduction of under glaze blue transfer printing into |
| silver pieces. | | | | Staffordshire, during 1781-84. |
| In 1756 the Battersea factory closed and we next | | | | During the early 1800's, the tissue was replaced by a |
| find Robert at the Worcester porcelain factory in the | | | | sheet of paper, or sometimes fabric. With a layer of |
| same year. Robert Hancock had obviously taken his | | | | glue applied, this could easily be cut and shaped to fit |
| knowledge and expertise to the factory | | | | around curved objects such as dishes and teapots. |
| management, under the direction of Dr John Wall. | | | | This is known as the "bat" print and gives the |
| The management was highly impressed with the idea | | | | process its alternative name "bat printing". |
| of this rapid decoration technique! | | | | The inked bat was then placed on the ceramic |
| Since the opening of the factory in 1751, porcelain | | | | object and an impression left, leaving the print |
| painting had been a laborious and expensive process, | | | | adhering to the shape. The item was then dipped into |
| undertaken by painters with coloured powdered | | | | the glaze and returned to the kiln for the glost, or, |
| enamels, mixed with lavender oil and brushes. | | | | low firing. The glue bats were reusable, plus they |
| Robert was able to teach his printing skills and the | | | | conformed better to curved surfaces. Cobalt blue, |
| process was soon mastered with the first, famous, | | | | under glaze transfer printing became a standard of |
| copper plate engraved, black transfer print being | | | | the Staffordshire pottery industry. |
| produced in 1757. The subject being Frederick the | | | | Men like Josiah Spode, Wedgwood, Thomas Minton |
| Great, King of Prussia, ally and hero of the seven | | | | and others, were all entrepreneurial types and leading |
| years war. | | | | figures of the great Staffordshire ceramic industry. |
| Transfer printing as developed at Battersea, began | | | | While sharing amicable business relationships, each |
| with the unique skill of the copper plate engraver, | | | | kept an eye on the market! It was at this time that |
| who deeply engraved, with a fine sharp steel, the | | | | large export markets were opening or expanding in |
| desired design. The design was engraved in reverse!, | | | | North America, Europe, and India where consumers |
| allowing the final print to appear "right way around". | | | | sought elegant, matched sets of wares. |
| Pigment was then added, often mixed with oil and | | | | |