ABSTRACT Eighteenth-century ceramic and enamelware manufacturers recognized that printing provided an efficient means of applying identical decoration to three-dimensional surfaces, which thereby speeded up production. The process, transfer printing, used a flexible paper carrier to ‘transfer’ wet ink from a flat engraved copper plate to the irregular surface of an object. Whilst the ceramics industry is writ large within the grand narrative of the eighteenth-century transfer printing, the methods used by the enamelling trade are little known. Using craftsmanship-framed analysis of printed enamel boxes in Wolverhampton Art Gallery, this article considers their printed surfaces in order to understand the technical and tacit skills developed by the eighteenth-century midland printers and decorators. Analysis of these artefacts provides, for the first time, a more comprehensive understanding of the modes of making the prints, their application, and the problems encountered.

中文翻译：

---

不完美的印刷珐琅表面：诠释十八世纪米德兰工艺的标志

摘要 18 世纪的陶瓷和搪瓷器皿制造商认识到，印刷提供了一种将相同装饰应用于 3 维表面的有效手段，从而加快了生产速度。转移印刷过程使用柔性纸载体将湿油墨从平面雕刻的铜板上“转移”到物体的不规则表面。虽然陶瓷工业在 18 世纪转移印刷的宏大叙事中占有重要地位，但珐琅行业使用的方法却鲜为人知。本文通过对伍尔弗汉普顿美术馆中印刷搪瓷盒的工艺框架分析，考虑它们的印刷表面，以了解 18 世纪米德兰印刷商和装饰师开发的技术和默会技能。对这些文物的分析表明，