Catalogue of English Porcelain, Earthenware Enamels Etc, Vol. 1: Collected by Charles Schreiber, ESA;, M. P., and the Lady Charlotte Elizabeth Schreiber, and Presented to the Museum in 1884 (Classic Reprint)
Catalogue of English Porcelain, Earthenware Enamels Etc, Vol. 1: Collected by Charles Schreiber, ESA;, M. P., and the Lady Charlotte Elizabeth Schreiber, and Presented to the Museum in 1884 (Classic Reprint)
Excerpt from Catalogue of English Porcelain, Earthenware Enamels Etc, Vol. 1: Collected by Charles Schreiber, Esa;, M. P., And the Lady Charlotte Elizabeth Schreiber, and Presented to the Museum in 1884 Painting is the most usual method of decorating English porcelain. The colours are always applied over the glaze, with the important exception of cobalt-blue, which in all but a few instances is used as an underglaze pigment. Printing on porcelain is an English invention adopted most extensively at Worcester, though most of ...
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Excerpt from Catalogue of English Porcelain, Earthenware Enamels Etc, Vol. 1: Collected by Charles Schreiber, Esa;, M. P., And the Lady Charlotte Elizabeth Schreiber, and Presented to the Museum in 1884 Painting is the most usual method of decorating English porcelain. The colours are always applied over the glaze, with the important exception of cobalt-blue, which in all but a few instances is used as an underglaze pigment. Printing on porcelain is an English invention adopted most extensively at Worcester, though most of the early factories appear to have made experiments with this process. The printed designs were applied at first over the glaze in various colours; printing in underglaze blue was introduced at a slightly later date. At Chelsea and Derby statuettes were made in biscuit porcelain, that is, without the addition of glaze or enamelling. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at ... This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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