The Shepherd’s Calendar

John Clare (1793 – 1864) was an English poet, the son of a farm labourer, who became known for his celebrations of the English countryside and sorrows at its disruption. His poetry underwent major re-evaluation in the late 20th century: he is now often seen as one of the major 19th-century poets.

This book was published in 1964 with the monthly chapters headed by a wood-engraving by David Gentleman.  

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The poems of Clare have been republished many times over the years with Gentleman’s illustrations but it is interesting to look at the fashions in book-jacket design using the original illustrations.

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Edwin Smith’s Cats

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These drawings are from the 1946 book ‘A Clowder of Cats’ an anthology of literature containing cats. The illustrations are by Edwin Smith. He was famous as a photographer and his almost annual contributions to The Saturday Book. Smith was the husband of Olive Cook, a Cedric Morris pupil and she was one of the founding members of the Fry Gallery in 1987, but together they wrote many books on cottages and stately homes.

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While internationally acclaimed as a photographer, with contributions in some forty books across the world, Smith passionately wished to be recognised as an artist, and engraved, drew or painted every day, but with limited recognition during his lifetime. He was self-taught, his training being as an architect although he hardly practised before being drawn into photography.

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He shared a love of the countryside, and of crafts and traditions within it, and his photography sits comfortably within the neo-romantic tradition, as was demonstrated by his inclusion in the Barbican Art Gallery exhibition on this subject in 1987 after his death in 1971. You can see more of his work here: at the Fry Gallery Page on Smith.

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A Trip To Norfolk

A short post with some of the photos I took on a trip to North Norfolk.

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Roger Nicholson & the W.I.

Here is the book ‘Home Made Wines Syrups and Cordials’ by F. W. Beech for the National Federation of Women’s Institutes. The illustrations are by Roger Nicholson. The drawings on the cover are a wonderful example of lithography on zinc. The black line drawings have a Warhol quality to them. The colours are hand drawn, each colour was painted on a different layer so when they are combined they never quite match up, I always thought it a charming effect. 

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The other illustrations within the book are black and white line drawings of the recipes.

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In 1965, the artist and designer Roger Nicholson was working on a commemorative book to mark the 900th anniversary of Westminster Abbey. An enjoyable commission, it gave Roger  a taste for designing and publishing books. So, in 1966, he produced Nicholson’s London Reference, the first of the many guidebooks that were to bear his name.

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By the early 1970s, the expanding team moved to a loft-style workshop in what is now fashionable Neal’s Yard in Covent Garden. The London Street Finder was to be the most successful title.

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Roger was born in Sydney, Australia, into a large family which had emigrated there at the turn of the last century. But times were hard, and in the 1930s his mother returned to England with Roger and some of his siblings and settled in Kent. After school in Rochester, he became a Medway art school student.

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Then came service in the Royal Army Medical Corps in Cyprus and Egypt, after which he worked as a laboratory technician. But by 1951, an interest in interior and industrial design led him, and his brother Roger to win commissions for design work on the Festival Of Britain exhibition in Edinburgh.

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The brothers’ collaboration continued in London. Their work included designing interiors, carpets and fabrics in the new Shell-Mex building in Waterloo, for the then Carlton Tower Hotel, blanket designs for the British Wool Secretariat, wallpaper designs, and newspaper textile advertisements.

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Later, Roger was to become a professor in textile design at the Royal College of Art, but Roger turned to guidebooks. Yet he was no businessman, and financial and personal problems forced the sale of the company. He was retained for several years as a consultant by the new owners.

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During that creative but stressful time with the guide books, Roger would take a day off a week for a country walk. He had the ability of relaxing, and making companions do likewise. He made friends easily and was very capable of striking up conversations with strangers, leaving them as if they had been long-standing friends. He was knowledgeable of plant and animal life.

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After selling the guides, he explored the less-known parts of Spain, France, Greece and Turkey, where his talent for abstract landscape painting flourished. His other recreations were keeping fit, gardening and swimming.

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Roger felt everyone should have equal opportunities, good value and a fair chance. When an accident put his second wife, Susi, in a coma, he would make the long journey to visit her regularly and give her the special physiotherapy himself which no medical staff could provide. Having lived in various Georgian houses in Kent, the couple moved to Brighton and then Winchelsea.

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From Nudity to Raiment

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These pictures are all from a book by Hilaire Hiler ‘An Introduction To The Study Of Costume’, 1929.

The book illustrates fashion and costume through history. At just over 300 pages there are many wonderful illustrations, some of them I have pasted below.

Hilaire Harzberg Hiler was an American artist, psychologist, and color theoretician who worked in Europe and United States during the mid-20th century. At home and abroad, Hiler worked as a muralist, jazz musician, costume and set designer, teacher, and author. 

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John Nash in WW2

At the beginning of the Second World War Nash served in the Observer Corps, moving to the Admiralty in 1940 as an official war artist with the rank of Captain in the Royal Marines. He was promoted acting major in 1943, and relinquished his commission in November 1944.

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 John Nash – An Advanced Post, Night, 1918

There is so much written about the paintings John Nash produced for the First World War but little on the Second. In a previous blog-post I noted that John Nash and Eric Ravilious both painted docks together in 1938 and also their letters to each other on both being invited to be war artists.

In a long interview given to the Imperial War Museum on a reel-to-reel tape machine, Nash explains this time:

The First World War paintings were the result of actual vivid experience, Second World War paintings were really more commissioned and hadn’t a very war like aspect at all. 

Questioner: You were sent specifically to do a particular subject in the Second World War?

Yes I was sent to Plymouth to paint objects in the Dock Yard, and of course it’s a very beautiful dockyard and was then full of very handsome figureheads both outside in the grounds and also in some of the buildings. 

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 John Nash – Study of ‘Pump Room’, Plymouth Dock Yards.

But the trouble was there was a spy scare at the time, it was the period of the ‘phoney war’ and I was constantly being asked for my papers and in one case positively  arrested although I was dressed up as a Royal Marine Captain, and after a time this rather got me down. In one case I actually felt afraid to do any drawing and didn’t do it when the ‘Hood’ battleship came in. I thought I must go and have a look and see if anything can be done about the ‘Hood’, I was really in a state of nerves by then that I didn’t do it – I didn’t do anything at all. 

It was largely the fault of spy scares, especially amongst the dockyard ‘maties’ as they called them (men working the dockyard) who report one to the marine police on the slightest provocation. “These’s an officer there making plans” they said, I was drawing in a sketchbook you see. So at Mountbatten – the seaplane base I was arrested and marched around the camp until released by a friendly R.A.F commandant who told the officer who arrested me he got the wrong man. 

But I got rather tired of this and I decided to go on elsewhere and leave Plymouth and I went to Cardiff, where they said they had nothing for me to do and from there to Swansea. I put up in a hotel in Swansea and the Staff Officer of operations there knew something of my work and knew something about me and he came out straight away to see me at the hotel and said “we don’t like you to be in this hotel (I won’t mention it) on account of security reasons, we’ll find you somewhere else to go to” and they installed me in a delightful hotel in Mumbles. But I had a very good time at Swansea because they had a awful lot to do at Swansea and were quite prepared to welcome official War Artists as a sort of additional pleasurable occupation. He kept thinking up things for me to draw and sending cars around to take you here and there, it was really very pleasant.

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 John Nash – HMS Oracle at Anchor

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 John Nash – Study for HMS Oracle at Anchor

I was taken up to draw a very big merchant ship which have been toed up one of the rivers there and split in half by a bomb I think… I drew this thing high and dry on the mud and then went again with the Naval numbers to see her dragged off the mud by seven tugs and then went in a car with them and drew her as she was being toed Triumphantly down the river by one tug by then. 

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John Nash –  Bristol Channel, with Tug Boat in the distance.

When we came back from this trip up and down the Bristol Channel we tied up in the dockyard and everybody got ready to have a (party) changed their clothes and the port was bought out and having a nice sort of evening when there was a ‘Purple Air Alarm’ and we went out on deck to see what was happening and there was a terrific explosion and everybody fell flat on the deck and the bomb landed at the end of the dock. 

After that the number one officer said “I must go out and see what the Captain is doing, I think he’s gone out firefighting” ‘cause fires had started in the dock and I said “well I’ll come too.” And we spent the whole night- up to three o’clock in the morning – firefighting, dragging hoses about and what is really illustrated in that painting there.

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 John Nash – Study for A Dockyard Fire

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 John Nash – A Dockyard Fire.

(I was) drawing in a detached way, but didn’t seem much to be like war, not that I am a fire-eater in any way. It seemed to be rather (like a) peace time occupation in the middle of a war. 

The pictures that come from the Second World War were observational documents much in the style of the Recording Britain project. During WW1 Nash was a young man but by the time of WW2 he was in his late forties and the army were less interested in giving him an active brief and they refused him opportunities to serve with the troops overseas. It maybe that the pictures Nash did for the Second World War became detached and stylishly posed but have little might or drama to interest the museums and thus also the public too.

I gave it up. I got tired of the whole thing and gave it up. I asked the Royal Marines Office to get me a job which was not an artist’s job, and so I was sent to Rosyth. It was an absolute change of life and I didn’t do any painting, really, for four years. 

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 John Nash – Study for ‘Destroyer in Dry Dock’

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 John Nash – Destroyer in Dry Dock’

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 John Nash – Study for ‘Scrap’

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 John Nash – Scrap

 John Nash – French Submarine “La Creole” in Swansea Dock, 1940

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 John Nash – Convoy Scene

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 John Nash – Study for ‘Small Vessel in Dry Dock’

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 John Nash – Study for ‘From the Wheelhouse’

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 John Nash – Study for ‘Timber’

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 John Nash – Study for Arming a Merchantman

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John Nash would be able to return to his war work in 1947 when making an illustration for the Handbook of Printing by W S Cowell. He was illustrating The Harbours of England by John Ruskin. The figure head from the ship is clearly taken from Study of ‘Pump Room’, Plymouth Dock Yards.

IWM –  Nash, John Northcote (Oral history)
Ronald Blythe – John Nash at Wormingford p12
W S Cowell – Handbook of Printing, 1947

Bawden at Audley End

In the past two weeks I have posted about Edward Bawden and his home in the twilight of his life. This is the third and last of these posts.

The artists of Great Bardfield all reacted to their surroundings by making paintings or prints of the area that they lived, so when Edward Bawden moved to Saffron Walden in 1970, he naturally used local places in his artworks, from Bridge End Garden’s to the church.

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 Exhibition list from The Fine Art Society Ltd show 20/ii/1978 – 10/iii/1978.

One of the biggest tourist attractions to Saffron Walden and one of the most prominent buildings in East Anglia is Audley End house and its gardens. It also was very convenient being twenty minuets walk from Bawden’s house, even for an older man.

In 1973 Bawden made a large lino cut of Audley End, a complex task to complete, with the regimented architecture of the building it is one of the more technical linocuts Bawden completed.

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 Edward Bawden – Audley End House, 1973

The watercolours Bawden completed where many but show off the wonderful and complex landscape of the Audley End Park, it’s follies and the trees.

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 Edward Bawden – The Temple of Concord, Audley End, 1975

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 Edward Bawden – Audley End Park III, 1975.

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 Edward Bawden – The Adam Temple, Audley End, 1978

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 Edward Bawden – Ringwood, Audley End, 1975

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 Edward Bawden – Ringwood, Audley End, 1975

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 Edward Bawden – Ringwood, Audley End, 1975

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 Edward Bawden – Ringwood, Audley End, 1975

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 Edward Bawden – In Audley End Park, 1978

 Edward Bawden – Audley End, 1978

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 Edward Bawden – Ringwood V, Audley End, 1975

The Art in Bawden’s Home

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The art that Edward Bawden filled his home with were mostly the pictures of the friends he made during his life; from Paul Nash to his son Richard.

Some of these works can be seen from the photographs taken when Bawden died, but also from the many watercolours of his house in Saffron Walden as seen in last week’s post.

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 The Living Room, 2 Park Lane, Saffron Walden, 1985

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This is a picture of the corridor and a cupboard full of glasses and pottery. Bawden’s wife Charlotte Epton studied pottery with the Leach’s in Cornwall so it is likely it is part of her collection. To the right there is a print of Kew by Bawden.

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 Edward Bawden – The Palmhouse, Kew Gardens, 1950

It was said Bawden’s wife Charlotte had a flair for decoration at Brick House but with his move to Saffron Walden after her death the house on Park Lane was decorated to his own tastes. Bawden used his reserve of Wallpaper stock to decorate many of the rooms in 2 Park Lane, Saffron Walden.

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As shown with the various views of the sitting room in the photos and watercolours, the walls were lined with shelves of studio pottery and framed pictures.

In the photo above on the wall above the table in the centre is a large print by John Norris Wood ‘Country Garden Butterflies’ of a poise of flowers with butterflies around it. It turns out that within Edward’s lifetime there was a Eric Ravilious on the wall of a Harlequin but on his death Edward left it to Anne Ullman, Eric Ravilious’s daughter who later sold it to the Fry Gallery. ♠ When Bawden died and the Harlequin removed it was replaced with the John Norris Wood that Bawden much have also owned.

 Eric Ravilious – Harlequin, 1928

This Ravilious watercolour was part of the preparatory work for the commission of a mural for the Refectory at Morley College, London.

To the left of that image at the top is a set of four framed wood engravings by Paul Nash from the Nonesuch Press book ‘Genesis’, 1924, printed at the Curwen Press. How Bawden came to own them is quoted below:

The Curwen Press used Bawden’s patterns for wallpapers and were the earliest designs printed from linocuts by Edward Bawden. Paul Nash offered him support at the Royal College and exchanged five of his engravings for five of Bawden’s wallpaper patterns.

Below the four ‘Genesis’ wood engravings and an engraving of ‘The Bay’, 1923. Through the archway and the Hoya Carnosa, hanging below the light and above the chair is a print by Edward’s son Richard, of the Aldeburgh Martello Tower.

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 Paul Nash – The Bay, 1923

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 Paul Nash – Let the earth bring forth the creatures, 1924

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 John Norris Wood – Country Garden Butterflies

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 Richard Bawden – The Martello Tower, Aldeburgh

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In the photograph above, framed on the wall is Edward’s large print of ‘The Pagoda, Kew Gardens’ looking bold with it’s bloody red roof is provides a strong colour scheme for the room and the Persian red carpets and would be opposite the print of ‘The Palmhouse’, as pictured above.

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 Edward Bawden – The Pagoda, Kew Gardens, 1963

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Here in this room the walls are lined with the wallpaper Edward Bawden worked with John Aldridge on called ‘Grid and Cross / Waffle (Green)’, printed by Cole and Son Ltd.

The framed pictures are wood engravings by Eric Ravilious. These where for the 1933 Golden Houses Press publication of ‘The Famous Tragedy of the Rich Jew of Malta’ by Christopher Marlowe.

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 Eric Ravilious – Barabas in his Counting-house, 1933

This wood engraving was shown and for sale at the Society of Wood Engravers 14th show where the catalogue lists the print as ‘Wealthy Moore’.

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 Eric Ravilious – A charge, The cable cut, A cauldron discovered, 1933.

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 Edward Bawden – Grid and Cross & Waffle (Green), 1938 

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 Edward Bawden – Cat among Pigeons, 1986

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Pictured at the end of ‘Cat among Pigeons’ is the door to the bathroom and the stairwell to the ground floor. The pictures on the wall are a lithograph by Chagall and again, one of Bawden’s own prints. A small print of St Peter’s Basilica is in the bottom right corner of the photo. The wallpaper is ‘Wood Pigeon’ one of the Plaistow Wallpapers that was later printed by Cole and Son Ltd.

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 Marc Chagall – Donkey & the Eiffel Tower, 1954

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 Edward Bawden – Albert Bridge, 1966

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 Edward Bawden – Wood Pigeon, 1927

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In the bedroom is the portrait of Edward Bawden that his friend Phyllis Dodd painted in 1929. Dodd would marry one of Bawden’s many biographers, Douglas Percy Bliss.

In 1929 she painted a likeness of Bawden sitting stiffly in his best suit and then she made portraits of Ravilious and later still his wife. 

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 Phyllis Dodd – Edward Bawden, 1929

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In this room upon a large Victorian chest of drawers there are two oil lamps and a set of Staffordshire figurines, behind them is one of the rarer Bawden prints of ‘Grasses in a Jug’. The wallpaper is by Bawden, ‘Riviera’ from 1929.

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 Edward Bawden – Grasses in a Jug, 1967

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 Edward Bawden – Riviera, 1929

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In this room with the Chest of Drawers of the photo above to the right we can see two more of Bawden’s own prints and to the right a Mary Fedden picture that looks like a nocturnal view of her print ‘The Lamp, 1972′.

In the centre the door is opening on to Bawden’s studio.

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 Edward Bawden – Kew Palace, London, 1983

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 Edward Bawden – The Royal Pavilion, Brighton, 1956

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Here is a side view of the studio with picture racks and large artwork boards and tables to work from.

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 Edward Bawden – Roses and Rue, 1987

One of the most telling paintings is ‘Roses and Rue’. Bawden had no TV as he was profoundly deaf so most of his news came from copies of The Guardian. Painted in his studio it shows a tray of paints in the top left corner.

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† David McKitterick – Wallpapers by Edward Bawden, 1989.
Malcolm Yorke – Edward Bawden and his Circle, 2005
Bawden House Photographs c/o The Fry Gallery and Weeping Ash
♠ Art Fund – Harlequin by Eric Ravilious

Edward Bawden at Home

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 Edward Bawden – Press and Books, 1979

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 The Print Room – 2 Park Lane, Saffron Walden, 1989

Edward Bawden is best known as one of the Great Bardfield artists in the 1950s, but as the artists either divorced or moved away to other villages and towns, Edward and his wife Charlotte were the only important artists left in the village in the late 1960s, (other than John Aldridge). With health problems and old age, Bawden and his wife decided to move to Saffron Walden. Charlotte sadly died just before moving into 2 Park Lane, Saffron Walden, but Edward honoured the sale and moved alone in 1970.

With the blank canvas of a new house, Bawden set to work decorating the rooms with his own wallpapers and setting up the possessions brought from Brick House into this new home. A studio was built on the back of the property with large windows and a trap door for large works to enter the studio without going through the house.  After ten years living at the property Bawden’s health became worse with old age.

For most of the year he was more house-bound than he had ever been and this forced him into new subject areas. In 1986 he began a series of watercolours which depicted his own rooms, his studio, his plants, his glowing oriental carpets, his gas fire, his cat Emma Nelson, and, eventually, this most private of men made his own face the subject of his art.

This focus on home and the cat was becoming obvious when one looks at the exhibition picture list for ‘The Private World of Edward Bawden’ by the Fine Art Society in 1987.

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 Works list at ‘The Private World of Edward Bawden’ Exhibition, 1987. 

The Tate now possess two of the pictures from this show, “Emma Nelson by the Fire” and “Roses and Rue”, both pictures with the cat in. In the magazine ‘House and Garden’ (December 1987) Edward Bawden gave an interview about his cat:

No cat will suffer from being lifted up and dropped into an empty space intended for her to occupy; that procedure led inevitably to Emma, tail up, walking away at once, so I had to wait patiently until Emma had enjoyed a good meal of Coley and was ready to choose her daily sleeping place, wherever it might be. I would then spring into action with a colour and colour. 

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 Edward Bawden – Emma Nelson by the Fire, 1987

When the Tate wrote to Richard Bawden for more information on the painting they had acquired (Emma Nelson by the Fire) in 1991 he responded with this letter:

Although the house is covered with his early wallpapers, yellowed by nineteen years of nicotine, his studio being an extension was painted brick and not alas the wallpaper known as Rustication [1938–9] … The nasty tartan fur lined cat ‘basket’ came from the local charity shop … The rug on the floor used to be in the bathroom at Brick House, Gt. Bardfield, bought by my mother on a trip to Portugal or elsewhere. The curtain draped over the armchair hung in the spare room at Gt. Bardfield, and I am fairly sure must have been designed by Marianne Straub who lived in the cottage directly across the road and who at the time, I mean the late fifties, was chief designer at Warners. The cushion, at a guess because there is not much showing, was probably covered by a piece of hand blocked cotton by Barron & Larcher who had a studio in Painswick until the outbreak of war. The gas fire I cannot help you with, only I think Edward has improved its design. 

The letter illustrates a lifetime of collecting and friendships in the possessions Bawden owned. In next week’s post I will elaborate more on this theme but I will leave you with some of the many images Bawden painted of his home and of his cat.

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 Edward Bawden: Cat and an Orchid, 1987

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 The Living Print Room – 2 Park Lane, Saffron Walden, 1989

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 Edward Bawden – Cat on Cushions. 1985

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Edward Bawden – The Living Room, 1985 (Featured in the R.A. ‘85 Summer Exhibition) 

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 The Living Room – 2 Park Lane, Saffron Walden, 1989

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 Edward Bawden – Cat on the Carpet, 1987

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 Edward Bawden – Bamboos and Garden Seat, 1979

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 Edward Bawden – Cat and Greenhouse, 1986

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 Edward Bawden – Cat Among Pigeons, 1986.

 Edward Bawden – Two Chairs and a Cat, 1986

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 Edward Bawden – Rose and Shaving Mirror, 1987

Edward Bawden – Cat on A Pile of Blankets, 1985

 

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 Edward Bawden – Four Chairs and a Cat, 1987

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 Edward Bawden – Roses and Rue, 1987

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 Edward Bawden – Cat with Everlastings, 1987

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 Edward Bawden – Play With Me, 1983

The linocut on the table when finished and editioned was also called Play with Me, now famous for being a Cushion from the Fry Gallery.

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 Edward Bawden – Cap and Base, 1983

Bawden printed these designs onto ceramic tiles, presumably for himself.

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 Edward Bawden – Self-Portrait, 1986

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Jorge Lewinski – Edward Bawden in his Studio, 1978.

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 Edward Bawden – Cat on a settee, 1987

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  Edward Bawden – Daffodils, 1988

Below is one of the last watercolours Bawden painted and left unfinished and the linocut also unfinished.

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 Edward Bawden – Daffodils, Unfinished, 1989

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 Edward Bawden – Poseidon Linocut, Unfinished 1989

Bawden was working on this linocut on November 21st 1989 before attending for lunch, where he died at table. 

Fine Art Society, The Private World of Edward Bawden’ Exhibition Booklet, 6-30 April, 1987
House and Garden’ (December 1987) Edward Bawden
♠ Tate Gallery: Illustrated Catalogue of Acquisitions 1986-88, London 1996.
Malcolm Yorke – Edward Bawden and his Circle.
♥ Fry Gallery Label 2018

Edward Bawden – His Master’s Room, 1984

The Ravilious Plate

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One of the items I own is an original engraving plate for Wedgwood by Eric Ravilious. I bought it as I like the social history of printed china, not only of Wedgwood, but when artists would design domestic tableware. Being a printing plate it is as close to the original drawings by the artist, but very few have survived (maybe ten) and most of them were melted down after the production ended.

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 Metal engraved plate with the Ravilous design for ‘Garden’. From my collection.

Below is a printing taken from the plate, printed in black on to white paper.

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‘Garden’, the most elaborate of the designs (comprising a border, then vignettes and many smaller details from these), appears in the Wedgwood estimate books between November 1938 and May 1939. ‘Speaking for myself,’ Tom Wedgwood wrote acknowledging the receipt of some drawings, ‘I am delighted with them, particularly the Garden pattern; you must have put in a tremendous lot of work on these patterns since you were down here, and I do think you are to be congratulated on the result. 

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 Detail: A collage of pieces making the finished plate by Ravilious.

The garden series had various vignette designs for the china pieces. Ravilious would paint them in with watercolour, pen and pencil.

Below I have put more information from the Wedgwood guide to how the factory produced, printed and made the ceramics with the metal plates. ‡

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The Engraver:
A pattern which is designed for reproduction by printing is first drawn to fit the curves of the various pieces of ware (china) to the width it will be applied. It is then engraved either on a flat copper plate or on a copper cylinder. This is done with a sharp pointed tool called a “graver”. Light and shade effects are obtained by minutely graduated punched dots. This craftsmanship calls for the highest degree of skill which can only be acquired after many years of experience.

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The Printer:
Prints can be taken of flat copper plates by hand. The heat softened colour is rubbed into the engraved lines and the print is taken off on to specially prepared tissue paper by dressing the copper plate with the tissue paper between two flannel covered rollers. Nowadays, power operated printing machines are employed. The engraved copper cylinder prints the pattern on a continuous roll of paper. The colour mixed with oil is fed to the cylinder which is heated by an electric element in its centre.

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The Transferrer:
All superfluous tissue paper having been cut away the transferrer applies the paper print. It is vigorously rubbed on to the ware first with a flannel and then with a hard brush to ensure that it adheres firmly and evenly. Afterwards the paper is washed off leaving the pattern transferred to the ware. This is then passed through an electric kiln to harden on the colour of patterns printed on biscuit or to fuse the colour to the glaze in the case of those printed on the glaze.

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The Enameller:
Printed patterns can be enriched by the addition of ceramic colours, the painting of which calls for great skill.

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Ravilious & Wedgwood: The Complete Wedgwood Designs of Eric Ravilious by Eric Ravilious and Robert Harling, 1995.
 The Making of Wedgwood at Barlaston, Stoke on Trent.