SAN FRANCISCO – Blue-and-white transferware reached its peak in production and popularity in the first half of the 19th century.

Staffordshire potters in central England first developed a successful method for transferring designs onto wares. This involved using hand-engraved copperplates. Designs on wares often featured exotic, distant lands such as India, the Middle East, and China. Several 19 century illustrated books made by European travelers and artists helped fuel the British public’s fascination with foreign locales.

Staffordshire blue underglaze earthenware platter of Sultan Purveiz or Indian Procession pattern, circa 1810-1830, next to the original painting the image is pulled from.
Staffordshire blue underglaze earthenware platter of Sultan Purveiz or Indian Procession pattern, circa 1810-1830, next to the original painting the image is pulled from. © SFO Museum

In an era before photography, over-sized tomes, such as Thomas and William Daniell’s Oriental Scenery (1795-1807), depicted the landscapes and historic architecture of India. Such volumes featured outstanding examples of aquatints. These were produced using a printmaking technique that created tonal gradations resembling ink or watercolor washes. Because effective copyright law did not exist in England before 1842, potters began using images from publications on ceramics as early as 1810. Makers rarely copied scenes faithfully. Instead, they freely adapted imagery – adding, removing, and even reversing sections of prints.