Again, thanks for all of your detailed comments - this is VERY helpful. One thing that occurs to me though is why wouldn't more potters have taken advantage of Sculpture Copyright Act to protect their designs? Out of over a hundred 1820s / 1830s designs that I've looked at, I've only encountered one that used it ("Giraffe"). Also, is there any particular reason why my sample of "Rustic Scenery" by Joseph Clementson has the maker's mark but not the diamond registry mark that was included in every other piece I've seen in that pattern?
Thanks again - I really do appreciate your time and effort to elaborate on my questions. Quite frankly, I've had a number of questions that have erupted from my studies of mid 19th century transferware over the past several years and it is quite a relief to finally get some expert clarification on these.
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