DOCSLIB.ORG

March 2007 Volume 8 Issue 1 T RENTON POTTERIES

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
March 2007 Volume 8 Issue 1 T RENTON POTTERIES March 2007 Volume 8 Issue 1 T RENTON POTTERIES Newsletter of the Potteries of Trenton Society Mayer’s Pottery and a Portneuf /Quebec Puzzle Jacqueline Beaudry Dion and Jean-Pierre Dion Spongeware sherds found in the dump site ENT PROCESS/FEB 1st 1887” and deco- of Mayer’s Arsenal Pottery in Trenton, rated with the cut sponge chain motif so New Jersey, revealed the use of several mo- popular in England and Scotland. Many tifs including the chain or rope border that of the sponge decorated ware found in was used later in Beaver Falls, Pennsyl- the Portneuf-Quebec area (and thus vania. Those cut sponge wares, when found called Portneuf wares) were actually in the Quebec area, are dubbed “Portneuf” made in Scotland, especially those de- and generally attributed to the United picting cows and birds. Finlayson Kingdom, in particular to Scotland. The (1972:97) naturally presumed the barrel mystery of the Portneuf chain design iron- had been produced in Scotland, al- stone barrel (Finlayson, 1972:97 ) is no though his research in England and more a puzzle: a final proof of its United Scotland failed to show any record of States origin is provided by a patent such a name or such a patent. “Could granted to J. S. Mayer in 1887. this J. S. Mayer,” he wrote, “have been associated with the John Thomson Ann- he small ironstone china barrel field Pottery [Glasgow, Scotland]? Per- T found in the Province of Quebec haps his process was used in the Thom- and illustrated here (Figure 1), is ap- son Pottery. It is likely that the true ex- proximately 5.5 inches high. It is im- planation of this perplexing puzzle will pressed on the base “J. S. MAYER/ PAT- never be known!” Contents Mayer’s Pottery and a Portneuf/Quebec Puzzle Jacqueline Beaudry Dion and Jean-Pierre Dion..........................1 Eastfield Village Ceramics Workshops ................................4 “Fancy Rockingham” Pottery Exhibit........................................5 The Potteries of Trenton Society is a non-profit organization dedicated to the study and preservation of Trenton’s ceramic past. Officers: President— (Continued on page 2) Patricia Madrigal; Treasurer—Amy Earls; Secretary—Brenda Springsted. Board: Ellen Denker, Richard Hunter, Meta Janowitz, Jay Lewis, Emma Lewis, William Liebeknecht, George Miller, Brenda Springsted, Rebecca White. Figure 1. Ironstone china barrel from Quebec. Decorated with cut sponge chain motif. Newsletter Editor: Patricia Madrigal Impressed on the base with “J. S. MAYER/PATENT PROCESS/FEB 1ST 1887.” Page 2 Trenton Potteries Volume 8 Issue 1 Mayer’s Pottery and Portneuf Figure 2. Patent no. 356,773, awarded to J. S. Mayer, demonstrating a jiggering process that seems to be related to the barrel in Figure 1. The text from the patent describe the objects and the operation of the device. (Continued from page 1) the chain or rope design. Liebeknecht raises the possibility that the Trenton But as is now ascertained, the an- facility “may have ceased production of swer lies on this side of the Atlantic. James spongeware after 1883,” its production and Joseph S. Mayer operated the Arsenal shifting then to the facility in Beaver Pottery, located near the State Arsenal in Falls, Pennsylvania, but the chain or Trenton, New Jersey from 1876 to 1905. Portneuf decorated barrel suggest pro- They produced Rockingham and brown duction of spongeware persisted at stoneware and majolica (Goldberg 1998:44) Trenton until 1887 and likely a short as well as spongeware. Mayer’s Arsenal period longer. Pottery dump, situated along the banks of After much trial and error, we the Delaware River in Trenton was inves- have been able to find not one but three tigated by Hunter Research, Inc. in 1999 patents granted to Joseph Mayer of and thousands of cut sponge-decorated Trenton, in the county of Mercer and ironstone china sherds were recovered State of New Jersey, on February 1st (Liebeknecht 2001: 1-4), some of them with (Continued on page 3) Trenton Potteries Volume 8 Issue 1 Page 3 Mayer’s Pottery and Portneuf tom, where an annular rim is formed as a base of the vessel.” His solution was dif- ferent and maybe more cumbersome: a mold with two vertically divided parts and a third part enclosed within said parts to form a removable bottom, used with a jigger and combining an adjust- able knife adapted to the desired shape (see patent no. 282,369, dated July 31, 1883, of the USPO). Mayer obtained a third patent dated February 1, 1887, no. 356,774 (Figure 3). This relates to the manufac- turing of vessels having either handles or ears. The object is to provide a means “whereby the handle or ear and the body of a potter’s vessel can be formed at a simultaneous operation, and a more per- fect union of the two established by mu- tual junction while the plastic clay is at its best working temperature and in much less time than is consumed…by the old method”. It involves hand press- Figure 3. Patent no. 356,774, also awarded to ing, jiggering and uniting the parts in a Mayer, related to the manufacture of vessels continuous operation in the same mold. with handles or ears. The quest about the sponge deco- (Continued from page 2) rated barrel pictured in Finlayson’s book 1887 by the United States Patent Office led us unexpectedly to three patents (USPO). One is about improvements in granted in 1887 to Joseph Mayer of Tren- pottery kilns and is concerned with an ton, solving at the same time a so-called apparatus for the fusion of potters’ Portneuf ware mystery. Patents are im- glaze (patent no. 356,775). Another in- portant traces of potters’ ingenuity and vention, protected by patent no. 356,773 shed more lights on the potter’s craft of (Figure 2) is about a potters’ mold used the 19th century America. in the process of “jiggering ware” and seems to be related to the above barrel. References Mayer claims it is adapted to the forma- Finlayson, R.W. : Portneuf Pottery and Other tion of potters’ vessels having Early Wares. Longman Canada Ltd., Don “contracted necks, expanded lower part Mills, Ont., 1972. or parts, and bases recessed or having an annular base-rim or foot.” Goldberg, David J.: Preliminary Notes on the It is of interest to know that, a Pioneer Potters and Potteries of Trenton, New Jersey. Trenton Museum Society, Trenton, few years before, C. B. Ribon, in the NJ, 1983, revised 1998. State of Bolivar, Columbia, had tackled a similar problem and was granted a Liebeknecht, William B.: “Joseph Mayer’s U.S. patent for a mold “for making Arsenal Pottery Dump, Part 3: Cut Sponge earthenware with concavo-convex sur- Decorated Ironstone China.” Trenton Pot- faces, and especially with recessed bot- teries, Vol.2, Issue 3 / 4, 2001. Page 4 Trenton Potteries Volume 8 Issue 1 Eastfield Village Ceramics Workshops Eastfield Village, in Rensselaer • Josiah Wedgwood, Master Potter County, New York, is offering their and Marketing Genius. From his ex- annual ceramics workshop. This periments to create new bodies and year’s topic is British Ceramics: The glazes, to his ability to secure royal Development of Technical Genius in the contracts for his pottery, Josiah Wedg- British Ceramic Industry 1650-1850. wood was one of England’s most im- The workshop runs from June 22 to portant and influential potters of the June 24 . For more information see 18th century. Nancy Ramage, professor of www.greatamericancraftsmen.org. art history at Ithaca College, author and lecturer on 18th century pottery, especially Lectures and Demonstrations include: Wedgwood. • Beer Shops and Bread Riots. The • The Influence of Chinese Export changes in technology, including the Porcelain on British Ceramics in the (limited) introduction of steam power 18th to early 19th Century. Traces the and the increasing mechanization of use of Chinese designs after the devel- making processes, did not come about opment of porcelain in Britain (1740s), without a huge impact on the way of the role of the East India Company in life of the ordinary working potters – providing Chinese Export porcelain for men, women and children. This lec- the upper class, factories who provided ture looks at some of the changes in matchings and entire tea and dinner the working and home life of the services in the Chinese style to an ever Georgian and early Victorian potters increasing public demand, with an em- including child labor, the rise of the phasis on the prominent role played by unions and food riots. Miranda Josiah Spode. Connie Rogers, General Goodby, Keeper of Ceramics, the Potteries Editor of the “Transferware Collector’s Museum, Stoke on Trent, UK. Club Database of Transfer-printing pat- • From Clay to Glost Oven. This terns c. 1780-1900”; author and lecturer. talk covers the processes involved in • The Rise and Fall of Slip. Slip the many phases of pottery produc- decoration on utilitarian earthenwares tion from the raw state to the final rose to extraordinary heights of inven- glaze firing until the late 20th century. tiveness during the 1770-1840 period, It includes a section on the process of then began a long, slow slide into bat and transfer printing. Robert Cope- oblivion. Rickard explores some of the land, author and former historian of the more creative uses in which fluid clay Spode Factory and noted member of the was used to make everyday objects family that ran Spode for over 175 years. visually exciting. Jonathan Rickard, au- • The Development of Lathe Turn- thor, collector and independent scholar spe- ing in the Potteries from the 18th cializing in 18th and 19th century mocha Century to the mid 19th Century.
Load more

Recommended publications
  • The Wilman Collection
    The Wilman Collection Martel Maides Auctions The Wilman Collection Martel Maides Auctions The Wilman Collection Martel Maides Auctions The Wilman Collection Lot 1 Lot 4 1. A Meissen Ornithological part dessert service 4. A Derby botanical plate late 19th / early 20th century, comprising twenty plates c.1790, painted with a central flower specimen within with slightly lobed, ozier moulded rims and three a shaped border and a gilt line rim, painted blue marks square shallow serving dishes with serpentine rims and and inscribed Large Flowerd St. John's Wort, Derby rounded incuse corners, each decorated with a garden mark 141, 8½in. (22cm.) diameter. or exotic bird on a branch, the rims within.ects gilt £150-180 edges, together with a pair of large square bowls, the interiors decorated within.ects and the four sides with 5. Two late 18th century English tea bowls a study of a bird, with underglaze blue crossed swords probably Caughley, c.1780, together with a matching and Pressnumern, the plates 8¼in. (21cm.) diameter, slop bowl, with floral and foliate decoration in the dishes 6½in. (16.5cm.) square and the bowls 10in. underglaze blue, overglaze iron red and gilt, the rims (25cm.) square. (25) with lobed blue rings, gilt lines and iron red pendant £1,000-1,500 arrow decoration, the tea bowls 33/8in. diameter, the slop bowl 2¼in. high. (3) £30-40 Lot 2 2. A set of four English cabinet plates late 19th century, painted centrally with exotic birds in Lot 6 landscapes, within a richly gilded foliate border 6.
    [Show full text]
  • Here to See Ceramics in the U.S
    www.ceramicsmonthly.org Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Renee Fairchild assistant editor Jennifer Poellot publisher Rich Guerrein Advertising/Classifieds [email protected] (614) 794-5809 fax: (614) 891-8960 [email protected] (614) 794-5866 advertising manager Steve Hecker advertising services Debbie Plummer Subscriptions/Circulation customer service: (614) 794-5890 [email protected] marketing manager Susan Enderle Design/Production design Paula John graphics David Houghton Editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri­ can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add 7% GST (registration number R123994618). back issues: When available, back issues are $6 each, plus $3 shipping/ handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4-6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De­ partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual sup­ port (slides, transparencies, etc.) to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081.
    [Show full text]
  • 9. Ceramic Arts
    Profile No.: 38 NIC Code: 23933 CEREMIC ARTS 1. INTRODUCTION: Ceramic art is art made from ceramic materials, including clay. It may take forms including art ware, tile, figurines, sculpture, and tableware. Ceramic art is one of the arts, particularly the visual arts. Of these, it is one of the plastic arts. While some ceramics are considered fine art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artifacts in archaeology. Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery".[1] In a one-person pottery studio, ceramists or potters produce studio pottery. Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made this way. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat. It excludes glass and mosaic made from glass tesserae. There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures. Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics. 2.
    [Show full text]
  • Oriental & European Ceramics & Glass
    THIRD DAY’S SALE WEDNESDAY 24th JANUARY 2018 ORIENTAL & EUROPEAN CERAMICS & GLASS Commencing at 10.00am Oriental and European Ceramics and Glass will be on view on: Friday 19th January 9.00am to 5.15pm Saturday 20th January 9.00am to 1.00pm Sunday 21st January 2.00pm to 4.00pm Monday 22nd January 9.00am to 5.15pm Tuesday 23rd January 9.00am to 5.15pm Limited viewing on sale day Measurements are approximate guidelines only unless stated to the contrary Enquiries: Andrew Thomas Enquiries: Nic Saintey Tel: 01392 413100 Tel: 01392 413100 Email: [email protected] Email: [email protected] 661 662 A large presentation wine glass and a pair of wine glasses Two late 18th century English wine glasses, one similar the former with bell shaped bowl engraved with the arms of and an early 19th century barrel-shaped tumbler the first Weston, set on a hollow knopped stem and domed fold over two with plain bowls and faceted stems, 13.5 cm; the third foot, 27 cm high, the pair each with rounded funnel shaped engraved with floral sprays and on faceted stem, 14 cm; the bowl engraved with an eagle’s head set on a double knopped tumbler engraved with urns, paterae and swags with the stem and conical foot, 23 cm high. initials ‘GS’,11 cm (4). *£200 - 250 *£120 - 180 663 A George Bacchus close pack glass paperweight set with various multi coloured canes and four Victoria Head silhouettes, circa 1850, 8 cm diameter, [top polished]. *£300 - 500 664 665 A Loetz Phanomen glass vase of A Moser amber crackled glass vase of twelve lobed form with waisted neck shaped globular form, enamelled with and flared rim, decorated overall with a a crab, a lobster and fish swimming trailed and combed wave design, circa amongst seaweed and seagrass, circa 1900-05, unmarked, 19 cm high.
    [Show full text]
  • Stoke on Trent Parish Register, 1754-1812
    1926-27. STOKE-UPON-TRENT. 1754-1812 Staffordshire Staffordshire fldarisb IRegisters Society. E d ito r a n d H o n . S e c r e t a r y : PERCYSample W. CountyL. ADAMS, F.S.A., Woore ‘Manor, via Crewe. Studies D e a n e r y o f S t o k e -u p o n -T r e n t . Stoke Hipon=n*ent pansb IRegtster P A R T IV. P r i v a t e l y p r i n t e d for t h e Staffordshire P a r is h R e g ister s So c i e t y . A ll Comtnu?ticafions respecting the printing and transcription oj Registers and the issue of the parts should be addressed to the Edttor. •% Attention is especially directed to Notices on inside of Cover. Staffordshire The transcription of the Registers of Stoke-upon- Trent was undertaken by the late Rev. Sanford W . Hutchinson, Vicar of Blurton. Before his death in 1919, he completed them down to the year 1797 for Births and Burials, and to 1785 in Marriages, when it was continued by Mr. E. C. SampleMiddleton, of CountyStreetly. The proofs for this Vol. have been corrected for the press by the Rev. Douglas Crick, M .A ., the present Rector of Stoke-upon- Trent. The best thanks are due from the Society to those three gentlemen for their voluntary work. P. W.L.A.Studies i^tnkr flmslj Ulster. Staffordshire Marriages, Apr. 14, 1754, to April 5th, 1796, nearly all signed by J.
    [Show full text]
  • Clubhouse Network Newsletter Issue
    PLEASE Clubhouse Network TAKE ONE Newsletter THEY’RE FREE Hello everyone, this is the sixteenth edition of the Clubhouse Network Newsletter made by volunteers and customers of the Clubhouse Community. Thanks to everyone who made contributions to this issue. We welcome any articles or ideas from Clubhouse customers. Appetite’s Big Feast in Hanley September saw Appetite’s Big Feast return to the streets of Hanley. Giant Jenga from Block of NoFit The Amazing Giant Jenga Fillage State Circus and Motionhouse is almost complete here Fillage performed acrobatics Be amazed by the colourful and circus routines all to a jazz world of Fantabulosa. soundtrack. Museum of the Moon Museum of the Moon, displayed at the King’s Hall, was a spectacular seven-metre-wide, floating moon sculpture. Viewers basked under the Fantabulosa by moonlight of this beautifully lit Ticker Tape Parade installation featuring a stellar The performance featured surround soundtrack which wonderful interactive story time Bingo Lingo lifted you away onto another sessions all whilst dressed in An oversized street bingo act! plane. fabulous outfits. Have fun with this Sudoku Puzzle! Gladstone Museum A Plate Jigger Stacks of Saggers Members visited (The solution is on the Gladstone Clubhouse notice boards) Musuem on The Newsletter Online Heritage The current newsletter and back issues are Weekend which now available online. Scan this QR Code to be saw free entry to taken to the webpage where you can view the many museums newsletters. accros the country. People enjoyed watching the skilled workers then followed up with a cuppa in the café. A Ceramic Flower Maker Use the QR code or type in this URL http://www.brighter-futures.org.uk/clubhouse- network-newsletter Newsletter Availability Photography Group As well as the print edition, the newsletter is Learn to take better photos! The available in other formats.
    [Show full text]
  • Potteries-Appreciation-Vol-2-Master
    1 The Potteries and Surrounding Areas Part 2: Appreciating The Region Barry J Bridgwood and Ingval Maxwell Information Box: Structured Approach Supplementing the COTAC Regional Study The Potteries and Surrounding Areas Part 1: Understanding the Region, the following approach considers key aspects that created The Potteries and sets out to construct a deeper appreciation of them through short statements, Information Boxes and related illustrations, whilst raising some pertinent questions Reading Part 1: Understanding the Region along with this Part 2: Appreciating the Region will provide guidance and information to help suggest answers to the questions Various summary Information Boxes [in grey tinted inserts] are offered in each of the five sections alongside Summary Questions [in coloured inserts], whilst suggested answers are offered as an Annex to the volume Council on Training in Architectural Conservation (COTAC) COTAC originated in 1959 in response to the need for training resources for practitioners so they could properly specify and oversee work involved in repairing and conserving historic buildings and churches. Since its inception the Charity has persistently and influentially worked to lift standards, develop training qualifications and build networks across the UK’s conservation, repair and maintenance (CRM) sector, estimated at over 40% of all construction industry activities. This has involved working partnerships with national agencies, professional and standard setting bodies, educational establishments and training interests. This study is directed towards a general audience and those wishing to increase their knowledge of The Potteries area, and its specific form and type of buildings in addition to assisting in providing a framework for carrying out similar regional studies.
    [Show full text]
  • History and Description of English Porcelain Pdf, Epub, Ebook
    HISTORY AND DESCRIPTION OF ENGLISH PORCELAIN PDF, EPUB, EBOOK William Burton | 277 pages | 01 Jun 1988 | E.P. Publishing | 9780854099023 | English | United Kingdom History and Description of English Porcelain PDF Book Twitchett, John. Ltd : Hanley, , earthenware, ironstone, etc. Mackenzie, Sir Compton. Brears, Peter C. Hughes, G. Blue and White Transfer Ware, A Qing plate depicts Christ being baptized by John—with magnolia trees blossoming in the background. Today, one can still marvel at the strange game of decorative, Orientalist telephone that this development created. King, William. Reprint Philadelphia: Seifer, Both the French and the English porcelain of the 18th century is of the artificial kind using powdered glass - with the frequent addition in England of ash from charred bones, beginning the specifically British tradition of bone china. Pine, Lynda and Nicholas Pine. This level of materialism, after all, is never about necessity. During the 17th century imports of china become much more common, particularly of delicate wares to accomodate Europe's new craze of tea-drinking. Spode logo since London: Chapman and Hall, In general a better substance. John, Willliam D. Crown Derby Porcelain. This is despite it being fired at the same high vitrifying temperature as hard-paste porcelain. A Century of Potting in the City of Worcester from I am doing my best to raise the phoenix from the ashes with my ongoing company making English bone china figurines. Another patent was applied for by Frye on 17 November , and the specification was enrolled 17 March Since the site had been a 'potworks' and at the time of the Spode purchase it was described as including: ' potworks potovens pothouses workhouses warehouses compting house… '.
    [Show full text]
  • Staffordshire Pottery and Its History
    Digitized by the Internet Archive in 2012 with funding from University of Toronto http://archive.org/details/staffordshirepotOOwedg STAFFORDSHIRE POTTERY AND ITS HISTORY STAFFORDSHIRE POTTERY AND ITS HISTORY By JOSIAH C. WEDGWOOD, M.P., C.C. Hon. Sec. of the William Salt Archaeological Society. LONDON SAMPSON LOW, MARSTON & CO. LTD. kon Si 710620 DEDICATED TO MY CONSTITUENTS, WHO DO THE WORK CONTENTS Chapter I. The Creation of the Potteries. II. A Peasant Industry. III. Elersand Art. IV. The Salt Glaze Potters. V. The Beginning of the Factory. VI. Wedgwood and Cream Colour. VII. The End of the Eighteenth Century. VIII. Spode and Blue Printing. IX. Methodism and the Capitalists. X. Steam Power and Strikes. XI. Minton Tiles and China. XII. Modern Men and Methods. vy PREFACE THIS account of the potting industry in North Staffordshire will be of interest chiefly to the people of North Stafford- shire. They and their fathers before them have grown up with, lived with, made and developed the English pottery trade. The pot-bank and the shard ruck are, to them, as familiar, and as full of old associations, as the cowshed to the countryman or the nets along the links to the fishing popula- tion. To them any history of the development of their industry will be welcome. But potting is such a specialized industry, so confined to and associated with North Stafford- shire, that it is possible to study very clearly in the case of this industry the cause of its localization, and its gradual change from a home to a factory business.
    [Show full text]
  • Ashmolean Papers Ashmolean Papers
    ASHMOLEAN PAPERS ASHMOLEAN PAPERS 2017 1 Preface 2 Introduction: Obsolescence and Industrial Culture Tim Strangleman 10 Topographies of the Obsolete: Exploring the Site Specific and Associated Histories of Post Industry Neil Brownsword and Anne Helen Mydland 18 Deindustrialisation and Heritage in Three Crockery Capitals Maris Gillette 50 Industrial Ruination and Shared Experiences: A Brief Encounter with Stoke-on-Trent Alice Mah 58 Maintenance, Ruination and the Urban Landscape of Stoke-on-Trent Tim Edensor 72 Image Management Systems: A Model for Archiving Stoke-on-Trent’s Post-Industrial Heritage Jake Kaner 82 Margins, Wastes and the Urban Imaginary Malcolm Miles 98 Biographies Topographies of the Obsolete: Ashmolean Papers Preface First published by Topographies of the Obsolete Publications 2017. ISBN 978-82-690937 In The Natural History of Staffordshire,1 Dr Robert Plot, the first keeper of the Unless otherwise specified the Copyright © for text and artwork: Ashmolean Museum describes an early account of the county’s pre-industrial Tim Strangleman, Neil Brownsword, Anne Helen Mydland, Maris Gillette, Alice Mah, pottery manufacturing during the late 17th century. Apart from documenting Tim Edensor, Jake Kaner, Malcolm Miles potters practices and processes, Plot details the regions natural clays that were once fundamental to its rise as a world renowned industrial centre for ceramics. Edited by Neil Brownsword and Anne Helen Mydland Designed by Phil Rawle, Wren Park Creative Consultants, UK Yet in recent decades the factories and communities of labour that developed Printed by The Printing House, UK around these natural resources have been subject to significant transition. Global economics have resulted in much of the regions ceramic industry outsourcing Designed and published in Stoke-on-Trent to low-cost overseas production.
    [Show full text]
  • Topographies of the Obsolete
    TOPOGRAPHIES OF THE OBSOLETE PHASE TWO: RHIZOMATIC TRAJECTORIES 1 PHASE TWO: RHIZOMATIC TRAJECTORIES Preface 1 Introduction 2 Re-activating Britain’s Ceramic Manufacturing Heritage University of Bergen, Staffordshire University, Bucks New University Introduction: The Salvage Business Laura Breen 10 Re-apprenticed Neil Brownsword 20 Watching the Hands (and Other Unregulated Movements in Real-Time) Ezra Shales 22 Factory Neil Brownsword 30 Obsolescence and Renewal Neil Brownsword 32 Nostalgia for a Lost Work Tim Strangleman 34 Distancing and Nearness Tan-dem 40 Pattern Book Neil Brownsword 50 Externalising the Archive Neil Brownsword 54 The Displacement of the Real Arild Våge Berge 56 The Digital Void Richard Harper 58 Is it on a List? Vicki McGarvey 60 Returns Nottingham Trent University, Sheffield Hallam University Introduction: A Series of Returns 66 Material Transcendence Andrew Brown 70 In the Midst and In-between Joanne Lee 72 Looping Back Danica Maier 74 On the Non-Verbal Transmission of Knowledge Christine Stevens 76 Soft Rebellions Sheffield Hallam University Introduction: The Soft Rebellions Chloë Brown 80 The following texts are by Grace Higgins Brown From Alfred Street to Temple Street 82 Dancing in the Street 83 The Detroit Dinner Service 84 A Toast to Detroit 85 The Clapping Piece 86 A Soft Rebellion in Paradise 87 Langenthal Project HEAD – Genève, Geneva School of Art and Design Introduction: Ghost Factory Magdalena Gerber, Katharina Hohmann 90 Flying Saucers and Falling Plates Eva-Maria Knüsel 94 Biographies 102 2 Topographies of the Obsolete: Phase Two: Rhizomatic Trajectories Preface First published by Topographies of the Obsolete Publications 2020 ISBN 978-82-93801-01-6 Topographies of the Obsolete is an artistic research project conceived in 2012 by Unless otherwise specified the Copyright © for text and artwork: University of Bergen Professors Neil Brownsword and Anne Helen Mydland, Laura Breen, Ezra Shales, Neil Brownsword, Tim Strangleman, Tan-dem, Arild Våge Berge, in collaboration with six European HEI’s1 and the British Ceramics Biennial.
    [Show full text]
  • Rockingham 1745-1842 Datasheet
    TITLE INFORMATION Tel: +1 212 645 1111 Email: [email protected] Web: https://www.accartbooks.com/us Rockingham 1745-1842 Alwyn Cox Angela Cox ISBN 9781851493722 Publisher ACC Art Books Binding Hardback Territory USA & Canada Size 8.5 in x 10.98 in Pages 432 Pages Illustrations 146 color, 453 b&w Price $89.50 A new, detailed, comprehensive and fully illustrated account of the Rockingham Pottery's history and wares Illustrates the entire range of products, both pottery and porcelain, emphasising shapes, types of decoration and means of identification Many pieces shown for the first time, mainly from private collections Written by acknowledged authorities on the subject This new, comprehensive and well-illustrated account of the Rockingham Pottery, one of England's major nineteenth century porcelain manufactories, traces its unusual development and diverse wares from 1745, when it was founded, to its closure almost a century later. Archaeological evidence has been used to identify eighteenth century slip-decorated pottery, fine unmarked creamware, pearlware and the early products of the following century. Characteristic shapes and types of decoration are illustrated, including the complete range of transfer-printed designs on pottery. In porcelain, for which the Rockingham Works is justly renowned, its tea and dessert services, including those made for royalty and nobility, are described and illustrated, as are figures and the many ornamental items. All known factory marks are shown and guidance is given to help collectors avoid spurious wares. Many of the pieces illustrated are in private collections. They vary from items of extraordinary beauty and richness to more everyday wares.
    [Show full text]