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‘KING AND CONSTITUTION’ (Fig.3). This mug shows the King George III and Queen Charlotte again in an oval cartouche decorated with a surround of wreaths of leaves and emblems in rococo style. The interior has a squared flower border. The engraving of the portraiture itself is executed in the 18 th century manner used by Rothwell. The close-knit lines which form the background are again typical of his work but one may see quite readily that the heavily close-knit engraving found on the other areas of ‘George III Recovery’ mug have been developed to provide a more open and clear image much more suited to a print for ceramics. Fig. 3 24
‘DUKE OF YORK’ (Fig.4) This pattern reveals an engraving that has been quite deeply cut providing a strong image whilst the engraving accommodates also the textures, shadows and rounded form used by Rothwell on most of his commemorative examples. The exterior border is ‘Fan and Lattice’ whilst the interior border is ‘Honeycomb’. (The handle print on this mug is identical to the handle print on the ‘St Michael’s Mount’ mug). Fig. 4 25
Page 1 and 2: THOMAS ROTHWELL 1740 - 1807 COPPER-
Page 3 and 4: “but like all other attempts they
Page 5 and 6: “In 1790 one of the ‘throwers;
Page 7 and 8: 1792” when he published a series
Page 9 and 10: ear obvious links to him and additi
Page 11 and 12: Thomas Rothwell engravings appear i
Page 13 and 14: Interiors and Architectural The Adm
Page 15 and 16: Others Illustrations from Williams
Page 17 and 18: In order to illustrate the nature o
Page 19 and 20: THOMAS ROTHWELL AT SWANSEA © City
Page 21 and 22: over a Cornfield’ to see how mood
Page 23: ‘SHAKESPEARE COMMEMORATIVE’ (Fi
Page 27 and 28: The jug commemorates the first part
Page 29 and 30: The engraving style is again as des
Page 31 and 32: ‘A NEW PUZZLE OF PORTRAITS’ (Fi
Page 33 and 34: Fig. 12 *A later version of Fig.12
Page 35 and 36: ‘RURAL LOVERS’ (Fig. 14) The mu
Page 37 and 38: ‘RIVERSIDE RURAL LOVERS’ (Fig.
Page 39 and 40: The pattern is illustrated on a gre
Page 41 and 42: Finally, touching the style of engr
Page 43 and 44: Fig. 22 43
Page 45 and 46: The ‘brick walling’ which surro
Page 47 and 48: ‘PRECARIOUS CHINAMAN’ (Fig. 26)
Page 53 and 54: LONGBRIDGE/WILLOW PRECURSOR (Fig. 3
Page 55 and 56: ‘GODDESS KUAN YIN’ (Fig. 34) Wr
Page 57 and 58: A POST-ROTHWELL PATTERN CHANGE A la
Page 59 and 60: Fig. 37 59
Page 61 and 62: CONCLUSION Although we are no exper
Page 63 and 64: BIBLIOGRAPHY BOOKS ADAMS, Brian and

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