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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. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TASTE AND CHOICE IN EARLY PORTSMOUTH, NEW HAMPSHIRE AS SEEN THROUGH CERAMIC ARCHAEOLOGICAL EVIDENCE, 1700-1860 by Suzanne Rae Findlen A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in Early American Culture Summer 2001 Copyright 2001 Suzanne Rae Findlen All Rights Reserved Reproduced with permission of the copyright owner. -
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. -
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. -
10700887.Pdf
Business structure, busines culture, and the industrial district : The Potteries, c. 1850- 1900. POPP, Andrew Derek Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/3099/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/3099/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. agfBCSMSS lX 585 586 5 Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE ProQuest Number: 10700887 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10700887 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 BUSINESS STRUCTURE, BUSINESS CULTURE. AND THE INDUSTRIAL DISTRICT: THE POTTERIES, c.1850-1900. -
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. -
China Paint & Overglaze Ebook
CHINA PAINT & OVERGLAZE PDF, EPUB, EBOOK Paul Lewing | 238 pages | 01 Mar 2007 | American Ceramic Society | 9781574982695 | English | none China Paint & Overglaze PDF Book Not for use with dry grounding materials The ferrule brushes generally dont need conditioning Southwell, Sheila. In his company began to make a fine hard-paste porcelain in small quantities. A light violet may turn into a dark blue, and a pale pink into a brown-crimson. On the other hand, using a thick viscous medium can hold substantially more powder and thus result in a heavy layer of paint on the glazed surface. Kakiemon dish, Arita, porcelain with overglaze enamels c. Continuing a family tradition of the finest in china painting. Chinese University Press. Help Learn to edit Community portal Recent changes Upload file. Also, lead can significantly alter the color of some yellows, reds, browns and greens. Consider using a ceramic tile as your palette. Ended: 04 Dec, GMT. The acrylics dry to a hard finish and are difficult to remove once they dry. The J. Learn about Hispano-Philippine ivories on Wed. Do what I laughingly call the "kitty-butt wiggle" Related sponsored items Feedback on our suggestions - Related sponsored items. Outline drawn in water-based OHP pen. A factory for white tin-glazed soft porcelain was founded at Chantilly around A fairly long bristle of about an inch or so is prefered over a short detail brush. An image is drawn with a greasy crayon on a smooth stone or zinc surface, which is then wetted. The Great Artists of China Decoration. -
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. -
Sneyds of Keele Hall, Staffordshire
SPECIAL COLLECTIONS AND ARCHIVES TEL: 01782 733237 EMAIL: [email protected] LIBRARY Ref code: GB 172 S Sneyds of Keele Hall, Staffordshire Uncalendared family papers Household, personal, public and legal Household management 289-291 Household fabric, ornaments etc. 291-294 Books and manuscripts 294-296 Sale catalogues, exhibition catalogues etc. 296-298 Personal: correspondence 298-302 Personal: general 302-307 Political 308-310 Private, public office 310-317 Semi-public 317-321 Legal 321-335 Probate and administration 335-339 Trustee and executorship 339-343 Loans and family settlements 343-347 Extraneous 347-351 Miscellaneous 352-353 Non-archive 353-361 Librarian: Paul Reynolds Library Telephone: (01782) 733232 Fax: (01782) 734502 Keele University, Staffordshire, ST5 5BG, United Kingdom Tel: +44(0)1782 732000 http://www.keele.ac.uk This l i s t supersedes the summary l i s t of the Sneyd Papers issued by the John Rylands Library, Manchester, in November 1950. It classifies the material and allots a permanent reference number to each item. The Sneyd Papers were at Keele Hall after the Second World War, when they were purchased by Mr Raymond Richards, of Gawswcrth, from Cci« Balph Sneyd (1863-1949), the family’ s last direct descendant. After adding the rescued papers to his collection Mr Richards placed the bulk of it in the John Rylands Library, on deposit. The University of Keele (then the University College of North Staffordshire) purchased most of the collection in 1957 and the Sneyd Papers therefore returned to Keele, where they are now housed in the University Library.