English blue and white earthenware pottery represents one of the most enduring and beloved
Ceramic traditions in Western decorative arts.
The fascinating evolution of its manufacturing techniques and patterns.
Origins and Early Development
The story of English blue and white earthenware begins with attempts to emulate the highly
prized Chinese porcelain that had been imported into Europe since the 17th century.
While the ultimate origin of blue glazes can be traced back to Iraq, where craftsmen sought to imitate
imported white Chinese stoneware. the specific English tradition emerged in the late 18th century.
The first earthenware to be transfer-printed in blue and then glazed was created in 1780 by
Thomas Turner at Caughley in Shropshire. This innovation marked a significant turning point in
ceramic decoration, enabling potters to produce consistent, detailed decoration on a commercial
scale.
By 1783-84, blue transfer printing on earthenware was established in England, though it’s
worth noting that earlier forms of blue printing had developed in Italy a century before.
Josiah Spode is widely acknowledged as the first Staffordshire potter to introduce underglaze
blue printed earthenware commercially, beginning production around 1784. Spode’s
pioneering work was soon emulated by other potters in the Staffordshire district, eager to
capitalise on this lucrative new market. The earliest English patterns were predominantly Asian
inspired scenes and designs, many directly based on original Chinese patterns.
Originating in the late 18th century as an
affordable alternative to expensive Chinese porcelain imports, these distinctive wares quickly
gained popularity for their attractive appearance and practicality.
The development of transfer printing techniques revolutionised pottery decoration, allowing intricate designs to be mass-produced with consistent quality.
From its origins with pioneering potters like Thomas Turner and Josiah Spode to its golden age in the early 19th century, blue and white transferware has maintained its appeal to collectors worldwide due to its historical significance, artistic merit.
Chinese Influence and Early Patterns
The earliest blue transfer-printed patterns produced in Staffordshire featured distinctive
characteristics that reflected their Chinese inspiration. These patterns were often coarsely
engraved and printed in a dark, inky blue.
The landscapes typically followed traditional
Chinese perspective, with the bottom of the scene representing the foreground, the middle
distance in the centre, and the far distance at the top, sometimes resulting in pagodas and trees
appearing to float on clouds above the main design.
Many of these Chinese-inspired patterns included weeping trees, which is likely why early blue
transfer patterns were generally known as “willow” patterns during the eighteenth and early
nineteenth century.
It wasn’t until the Victorian period that one specific “willow” pattern was
singled out, with the romantic tale of tragic lovers first written in 1849 to explain certain features
of the pattern.
