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‘ELEPHANT’ (Fig. 31) This pattern derives its name from the elephant-shaped rocks to the right of the pattern. The plate has a cobalt wash that is not always present with early versions. (Later versions even have a winged insect which was used also on Swansea Porcelain). The Chinoiserie element is made obvious by the willow trees, flowering shrubs and the small fenced garden. The pattern is again engraved with a two-dimensional feel allowing the pattern to show more clearly. The colour wash does provide some depth of field but this is not achieved by engraving. Fig. 31 52
LONGBRIDGE/WILLOW PRECURSOR (Fig. 32) The weight of this tree and well platter is extremely light. The border on the platter is one known as the ‘Moth’ border. There is another version of the ‘Longbridge’ pattern that is also impressed ‘SWANSEA’ as is the ‘Moth’ border version.. The second version may be by Rothwell but we do not illustrate it. Morton Nance calls the pattern ‘Willow’ hence the title ‘Willow Precursor’. It is believed the pattern continued from 1790-1804, possibly even as late as 1812. Again Grant-Davidson and his fellow experts give the engraving to Rothwell.* Fig. 32 *E.C.C.Transactions Vol. 7, Part I, page 69. 53
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 and 46: The ‘brick walling’ which surro
Page 47 and 48: ‘PRECARIOUS CHINAMAN’ (Fig. 26)
Page 49 and 50: ‘PRECARIOUS CHINAMAN’ (Fig. 28)
Page 51: ‘PRECARIOUS CHINAMAN’ (Fig. 30)
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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