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‘PRINCE OF WALES’THREE FEATHERS’ (Fig. 25) This pattern is engraved using a lighter style whilst shadow and depth are created using shading to give a rounded impression in some areas. This method is also used on the ‘musical trophies’ of the ‘Elephant and Howdah’ pattern. There is a deep ‘Corn and Husk’ border on the rim of this large punchbowl. We considered the border to be unique to Swansea as did Grant-Davidson, and Peter Pryce and Stanley Williams. It has been proffered that the Bovey Tracey Pottery also did this border but research has proved this to be wrong. Fig. 25 46
‘PRECARIOUS CHINAMAN’ (Fig. 26) This pattern is found on Side A of the punchbowl. The ‘Precarious Chinaman’ here shows one of the attendants wearing a hat of the same style as the precarious Chinaman himself. There are various differences to be found in the execution of this pattern done over a lengthy period of time. The pattern is taken from ‘The Ladies’Amusement’ (1793). It is possible that this may be the first interpretation of the pattern. For a fuller account of this pattern see Tanner’s Book I pages 125-132. Fig. 26 47
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 and 24: ‘SHAKESPEARE COMMEMORATIVE’ (Fi
Page 25 and 26: ‘DUKE OF YORK’ (Fig.4) This pat
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: The ‘brick walling’ which surro
Page 49 and 50: ‘PRECARIOUS CHINAMAN’ (Fig. 28)
Page 51 and 52: ‘PRECARIOUS CHINAMAN’ (Fig. 30)
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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