Creamware printers to Josiah Wedgwood by 1763, for example. By 1760 creamware was often enamelled for decoration, using a technique adopted from the early porcelain industry. This consisted of painting overglaze on the ware with pigments made from finely powdered coloured glass and then firing again to fuse the enamel to the ware. The varied enamel colours did not fuse at the same temperature so several firings were generally needed, adding to the expense. There were approximately 130 potteries in North Staffordshire during the 1750s, rising to around 150 by 1763 and employing up to 7,000 people – a large number
Jasperware exhibited in London in that year, with the initial showing restricted to 1,900 tickets, which soon sold out. Wedgwood's careful copies proved extremely useful when the vase was smashed in the British Museum in 1845, and then reconstructed by the restorer John Doubleday. The original edition was of 50 copies; in 1838 a further edition was cast in one piece, with the background then painted. Wedgwood jasperware can often be dated by the style of potter's marks, although there are exceptions to the rules: Jasperware was widely copied in England and elsewhere from its introduction, especially by other makers of