Theme & Variation: British Pottery 1640-1840
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'A Mind to Copy': Inspired by Meissen
‘A Mind to Copy’: Inspired by Meissen Anton Gabszewicz Independent Ceramic Historian, London Figure 1. Sir Charles Hanbury Williams by John Giles Eccardt. 1746 (National Portrait Gallery, London.) 20 he association between Nicholas Sprimont, part owner of the Chelsea Porcelain Manufactory, Sir Everard Fawkener, private sec- retary to William Augustus, Duke of Cumberland, the second son of King George II, and Sir Charles Hanbury Williams, diplomat and Tsometime British Envoy to the Saxon Court at Dresden was one that had far-reaching effects on the development and history of the ceramic industry in England. The well-known and oft cited letter of 9th June 1751 from Han- bury Williams (fig. 1) to his friend Henry Fox at Holland House, Kensington, where his china was stored, sets the scene. Fawkener had asked Hanbury Williams ‘…to send over models for different Pieces from hence, in order to furnish the Undertakers with good designs... But I thought it better and cheaper for the manufacturers to give them leave to take away any of my china from Holland House, and to copy what they like.’ Thus allowing Fawkener ‘… and anybody He brings with him, to see my China & to take away such pieces as they have a mind to Copy.’ The result of this exchange of correspondence and Hanbury Williams’ generous offer led to an almost instant influx of Meissen designs at Chelsea, a tremendous impetus to the nascent porcelain industry that was to influ- ence the course of events across the industry in England. Just in taking a ca- sual look through the products of most English porcelain factories during Figure 2. -
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. -
Signature Redacted for Privacy. Abstract Approved: David Brauner
A1' ABSTRACT OF THE THESIS OF Jeffrey Max LaLande for the degree of Master of Arts in Interdisciplinary Studies in Archaeo1ogy/History/ArChi- tectural History presented on March 18, 1981 Title: Sojourners in the Oregon Siskiyous: Adaptation and Acculturation of the Chinese Miners in the Applegate Valley, Ca. 1855-1900. Signature redacted for privacy. Abstract approved: David Brauner The study examines the acculturation and environmental adaptation of nineteenth century Chinese miners in a por- tion of southwestern Oregon. The problem concerns the varieties of culture change whichresultedwhen this ethnic group found itself required to subsist in a newsocial and physical environment. The study focuses on the archaeo- logical data recovered from several Chinese sites in south- western Oregon as well as the records of Chinese purchases from a local Euro-American mercantile establishment. Through the use of ethnographic, archaeological and archival evidence, three Chinese behavioral patterns are investigated. The subsistence pattern includes dietary habits, wearing apparel, personal grooming and drug use. The settlement pattern includes characteristic locations of Chinese habitation sites as well as their architecture. The technological pattern involves the economic activities of the Chinese, in this case hy6raulic placer mining. The subsistence pattern of the Chinese sojourners exhibits little acculturation in food habits, personal grooming or drug use, but substantial adoption of Euro- American clothing and footwear. Environmental adaptations include the utilization of wild plants and animal foods on a limited basis. Generally, the day-to-day subsistence activities of the Chinese showed very little acculturative behavior. The settlement pattern shows a willingness to adapt some Euro-American construction techniques. -
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. -
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. -
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. -
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. -
How to Identify Old Chinese Porcelain
mmmKimmmmmmKmi^:^ lOW-TO-IDENTIFY OLD -CHINESE - PORCELAIN - j?s> -ii-?.aaig3)g'ggg5y.jgafE>j*iAjeE5egasgsKgy3Si CORNELL UNIVERSITY LIBRARY THE WASON CHINESE COLLECTION DATE DUE 1*-^'" """"^*^ NK 4565!h69" "-ibrary 3 1924 023 569 514 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924023569514 'a4^(A<-^^ %//3 HOW TO IDENTIFY OLD CHINESE PORCELAIN PLATE r WHITE PORCELAIN "BLANC-DE-CHINE" PAIR OF BOWLS of pierced fret-work divided by five circular panels or medallions of raised figures in relief, supposed 10 represent the Pa-Sien or eight Immortals and the God of Longevity. Height, if in. Diameter, sfin. SEAL in the form of a cube surmounted by the figure of a lion Height, i^in. INCENSE BURNER, eight sided and ornamented by moulding in relief with eight feet and four handles. The sides have three bands enclosing scrolls in ancient bronze designs. At each angle of the cover is a knob; it is ornamented with iris and prunus, and by pierced spaces. The stand has eight feet and a knob at each angle ; in the centre is a flower surrounded by detached impressed scrolls, round the outside are similar panels to those on the bowl. Height, 4|in. Diameter of stand, 6f in. THE FIGURE OF A CRAB on a lotus leaf, the stem of which terminales in a flower. Length, 6| in. From Sir PV. fraiik^s Collection at the BritisJi Museum. S3 HOW TO IDENTIFY OLD CHINESE PORCELAIN BY MRS. -
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… '. -
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. -
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. -
Nature, Porcelain and the Age of the Enlightenment
Nature, Porcelain and the Age of the Enlightenment. A Natural History of Early English Porcelain and its place in the eighteenth century home. Paul Crane 92 The Age of Enlightenment in eighteenth century Europe established rules and rationalism in science and nature which swept aside the former superstitions and old medieval orders to highlight reality and learning within the educated classes. This in turn led to a fantasy of playful imagination that was to be the playground where Rococo design and form could firmly take root. Therefore just as Porcelain was a new European product and invention of the Enlightenment, it also became a substance with which modellers and designers, inspired by and developing the Rococo style, could play and entice. Europe in the mid eighteenth century was riveted by an insatiable appetite for knowledge, exploration and discovery. This forged a new scientific approach, which was to spearhead the Age of the Enlightenment. Through new eminent publications, science and nature became the pinnacle of taste and fashion amongst the aristocracy, who decorated their homes with this organic natural force of life. It is important to understand that the development of porcelain in England is directly inspired by a natural yearning to question and learn from the scientific breakthroughs and new understandings, which categorise this period of learning and discovery. the 5th March 1745 the Daily Advertiser stated that Exploration and science, both essentially funded by the ‘Chelsea China is arrived to such perfection, as to equal ruling classes now began to go hand in hand with new if not surpass the finest old Japan’1.