DOCSLIB.ORG

Deaccessioned Objects from the Permanent Collection in Fiscal Year2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 Tancrède Abraham Le Barrage de l'Etang ~ du ~ Merle, 19th century engraving on cream laid paper plate: 24.8 × 16.9 cm (9 3/4 × 6 5/8 in.) sheet: 28.2 × 19.2 cm (11 1/8 × 7 9/16 in.) 1941.18.2 Admiralty Islands Comb, 1940s to 1960s wood with red paint 24.8 cm (9 3/4 in.) 2004.151 Charles Avery Aiken Rhododendrons by the Roadside, early 20th century color plaster block print on cream laid Strathmore paper mounted on board image: 35.3 × 25.2 cm (13 7/8 × 9 15/16 in.) sheet: 48.2 × 31.7 cm (19 × 12 1/2 in.) mount: 56 × 45.6 cm (22 1/16 × 17 15/16 in.) 1927.35 Charles Avery Aiken The Oldest House, early 20th century black plaster block print on cream laid paper mounted on board image: 26.5 × 36 cm (10 7/16 × 14 3/16 in.) sheet: 31.8 × 48.4 cm (12 1/2 × 19 1/16 in.) mount: 45.6 × 56 cm (17 15/16 × 22 1/16 in.) 1927.36 Print Date: 11/28/2016 Page 1 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 James Baylis Allen Gallery of the Louvre, 19th century offset lithograph on cream wove paper image: 11.7 × 8.6 cm (4 5/8 × 3 3/8 in.) sheet: 13.4 × 9.8 cm (5 1/4 × 3 7/8 in.) 1941.17.125 James Baylis Allen St. Germain l'Auxerrois, 19th century offset lithograph on cream wove paper image: 9.1 × 9.1 cm (3 9/16 × 3 9/16 in.) sheet: 12.5 × 9.6 cm (4 15/16 × 3 3/4 in.) 1941.17.126 James Baylis Allen La Madeleine, 19th century offset lithograph on cream wove paper image: 9.8 × 13.8 cm (3 7/8 × 5 7/16 in.) sheet: 10.8 × 15.1 cm (4 1/4 × 5 15/16 in.) 1941.17.127 James Baylis Allen Jerusalem from the Mount of Olives, 19th century offset lithograph on cream wove paper image: 9.4 × 14.1 cm (3 11/16 × 5 9/16 in.) sheet: 15.4 × 18.8 cm (6 1/16 × 7 3/8 in.) 1941.17.271 Print Date: 11/28/2016 Page 2 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 Thomas Allom Arc de l'Etoile, 19th century offset lithograph on cream wove paper image: 6.6 × 8.7 cm (2 5/8 × 3 7/16 in.) sheet: 13.8 × 10.3 cm (5 7/16 × 4 1/16 in.) 1941.17.130 American Fire Bucket, 19th Century painted leather 47.7 × 22.7 cm (18 3/4 × 8 15/16 in.) 1907.170.1 American Fire Bucket, 19th Century painted leather 48.3 × 22.5 cm (19 × 8 7/8 in.) 1907.170.2 American Canvas Bag, 19th Century canvas 127.2 × 67.2 cm (50 1/16 × 26 7/16 in.) 1907.170.3 Print Date: 11/28/2016 Page 3 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Canvas bag, 19th Century canvas 127.2 × 67.2 cm (50 1/16 × 26 7/16 in.) 1907.170.4 American Canvas bag, 19th Century canvas 134 × 66.8 cm (52 3/4 × 26 5/16 in.) 1907.170.5 American Canvas Bag, 19th Century canvas 134 × 66.8 cm (52 3/4 × 26 5/16 in.) 1907.170.6 American Daniel Webster, before 1907 offset lithograph on cream cardboard mount: 16.9 × 12.1 cm (6 5/8 × 4 3/4 in.) 1907.2 Print Date: 11/28/2016 Page 4 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Following the Hounds, about 1902 offset lithograph on cardboard sheet: 23.2 × 16 cm (9 1/8 × 6 5/16 in.) 1907.2.2 American Mallard Ducks, about 1902 offset lithograph on cardboard sheet: 23.4 × 16.3 cm (9 3/16 × 6 7/16 in.) 1907.2.4 American Doll's House, 19th century painted wood 96.5 x 114.3 x 48.3 cm (38 x 45 x 19 in.) 1907.252 American Woman standing before fire place, 20th century gelatin silver print on board 28 x 22 cm (sheet) 1942.60 Print Date: 11/28/2016 Page 5 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Woman at piano, 20th century gelatin silver print on board 28 x 22 cm (sheet) 1942.61 American Fire Screen with Candle Stand, about 1795-1820 Mahogany 1965.132 American Empire Sofa, n.d. wood, fabric 1965.133 American Tri-Partite Mirror, n.d. glass, wood 1965.137 Print Date: 11/28/2016 Page 6 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Music Stand, n.d. wood 1965.138 American High Chair, n.d. wood 1965.139 American Mirror with Gilded Frame, n.d. glass, wood 1965.140 American Drop-leaf Table, n.d. wood 1965.141 Print Date: 11/28/2016 Page 7 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Dining table of Timothy Paine, n.d. wood 1965.144.1 American End Section of Dining Table, n.d. wood 1965.144.2 American End Section of Dining Table, n.d. wood 1965.144.3 American Washstand, n.d. wood 1965.148 Print Date: 11/28/2016 Page 8 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Towel Horse, n.d. wood 1965.150 American Shaving Mirror with Drawer, n.d. wood, glass 1965.152 American Shaving Mirror with Two Drawers, n.d. wood, glass 1965.164 American Drop-Leaf Table, n.d. wood 1965.165 Print Date: 11/28/2016 Page 9 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Hanging Lamp, n.d. glass 1965.166 American Wine Goblet, 19th century glass 13.5 x 6.6 cm (5 5/16 x 2 5/8 in.) 1965.168.1 American Wine Glass, 19th century glass 1965.168.10 American Wine Glass, 19th century glass 1965.168.11 Print Date: 11/28/2016 Page 10 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Wine Glass, 19th century glass 8.5 x 4.6 cm (3 3/8 x 1 13/16 in.) 1965.168.12 American Wine Glass, 19th century glass 1965.168.13 American Wine Glass, 19th century glass 1965.168.14 Print Date: 11/28/2016 Page 11 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Cordial Glass, 19th century glass 8.5 x 4.6 cm (3 3/8 x 1 13/16 in.) 1965.168.15 American Cordial Glass, 19th century glass 8.5 x 4.6 cm (3 3/8 x 1 13/16 in.) 1965.168.16 American Cordial Glass, 19th century glass 8.5 x 4.6 cm (3 3/8 x 1 13/16 in.) 1965.168.18 American Wine Goblet, 19th century glass 13.5 x 6.6 cm (5 5/16 x 2 5/8 in.) 1965.168.2 Print Date: 11/28/2016 Page 12 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Wine Goblet, 19th century glass 13.5 x 6.6 cm (5 5/16 x 2 5/8 in.) 1965.168.3 American Wine Goblet, 19th century glass 13.5 x 6.6 cm (5 5/16 x 2 5/8 in.) 1965.168.4 American Wine Goblet, 19th century glass 13.5 x 6.6 cm (5 5/16 x 2 5/8 in.) 1965.168.5 American Wine Goblet, 19th century glass 13.5 x 6.6 cm (5 5/16 x 2 5/8 in.) 1965.168.6 Print Date: 11/28/2016 Page 13 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Wine Goblet, 19th century glass 13.5 x 6.6 cm (5 5/16 x 2 5/8 in.) 1965.168.7 American Wine Goblet, 19th century glass 13.5 x 6.6 cm (5 5/16 x 2 5/8 in.) 1965.168.8 American Wine Goblet, 19th century glass 13.5 x 6.6 cm (5 5/16 x 2 5/8 in.) 1965.168.9 Print Date: 11/28/2016 Page 14 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Goblet, 19th century glass 14.3 x 6.8 cm (5 5/8 x 2 11/16 in.) 1965.169.1 American Goblet, 19th century glass 14.3 x 6.8 cm (5 5/8 x 2 11/16 in.) 1965.169.2 American Goblet, 19th Century glass 14.3 x 6.8 cm (5 5/8 x 2 11/16 in.) 1965.169.3 Print Date: 11/28/2016 Page 15 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Wine Glass, 19th century glass 12.5 x 6.5 cm (4 15/16 x 2 9/16 in.) 1965.170.1 American Wine Glass, 19th century glass 12.5 x 6.5 cm (4 15/16 x 2 9/16 in.) 1965.170.2 American Wine Glass, 19th century glass 12.5 x 6.5 cm (4 15/16 x 2 9/16 in.) 1965.170.3 Print Date: 11/28/2016 Page 16 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Wine Glass, 19th Century glass 12.5 x 6.5 cm (4 15/16 x 2 9/16 in.) 1965.170.4 American Wine Glass, 19th Century glass 12.5 x 6.5 cm (4 15/16 x 2 9/16 in.) 1965.170.5 American Wine Glass, 19th Century glass 12.5 x 6.5 cm (4 15/16 x 2 9/16 in.) 1965.170.6 Print Date: 11/28/2016 Page 17 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 American Egg Cup, n.d.
Load more

Recommended publications
  • Leeds Pottery
    Leeds Art Library Research Guide Leeds Pottery Our Art Research Guides list some of the most unique and interesting items at Leeds Central Library, including items from our Special Collections, reference materials and books available for loan. Other items are listed in our online catalogues. Call: 0113 378 7017 Email: [email protected] Visit: www.leeds.gov.uk/libraries leedslibraries leedslibraries Pottery in Leeds - a brief introduction Leeds has a long association with pottery production. The 18th and 19th centuries are often regarded as the creative zenith of the industry, with potteries producing many superb quality pieces to rival the country’s finest. The foremost manufacturer in this period was the Leeds Pottery Company, established around 1770 in Hunslet. The company are best known for their creamware made from Cornish clay and given a translucent glaze. Although other potteries in the country made creamware, the Leeds product was of such a high quality that all creamware became popularly known as ‘Leedsware’. The company’s other products included blackware and drabware. The Leeds Pottery was perhaps the largest pottery in Yorkshire. In the early 1800s it used over 9000 tonnes of coal a year and exported to places such as Russia and Brazil. Business suffered in the later 1800s due to increased competition and the company closed in 1881. Production was restarted in 1888 by a ‘revivalist’ company which used old Leeds Pottery designs and labelled their products ‘Leeds Pottery’. The revivalist company closed in 1957. Another key manufacturer was Burmantofts Pottery, established around 1845 in the Burmantofts district of Leeds.
    [Show full text]
  • Philippa H Deeley Ltd Catalogue 17 Oct 2015
    Philippa H Deeley Ltd Catalogue 17 Oct 2015 1 A Pinxton porcelain teapot decorated in gilt with yellow cartouches with gilt decoration and hand hand painted landscapes of castle ruins within a painted botanical studies of pink roses, numbered square border, unmarked, pattern number 300, 3824 in gilt, and three other porcelain teacups and illustrated in Michael Bertould and Philip Miller's saucers from the same factory; Etruscan shape 'An Anthology of British Teapots', page 184, plate with serpent handle, hand painted with pink roses 1102, 17.5cm high x 26cm across - Part of a and gilt decoration, the saucer numbered 3785 in private owner collection £80.00 - £120.00 gilt, old English shape, decorated in cobalt blue 2 A Pinxton porcelain teacup and saucer, each with hand painted panels depicting birds with floral decorated with floral sprigs and hand painted gilt decoration and borders, numbered 4037 in gilt landscapes with in ornate gilt surround, unmarked, and second bell shape, decorated with a cobalt pattern no. 221, teacup 6cm high, saucer 14.7cm blue ground, gilt detail and hand painted diameter - Part of a private owner collection £30.00 landscape panels - Part of a private owner - £40.00 collection £20.00 - £30.00 3 A porcelain teapot and cream jug, possibly by 8A Three volumes by Michael Berthoud FRICS FSVA: Ridgway, with ornate gilding, cobalt blue body and 'H & R Daniel 1822-1846', 'A Copendium of British cartouches containing hand painted floral sparys, Teacups' and 'An Anthology of British Teapots' co 26cm long, 15cm high -
    [Show full text]
  • NEWSLETTER Cardiff------Branch - Thoughts of Chairman Norm
    No.7 October 2017 NEWSLETTER Cardiff------------------------------------------ Branch www.nhsrfcardiff.org - Thoughts of Chairman Norm It would appear that this year we have experienced a decrease in membership of approximately 15% (subject to final confirmation). We have sent out questionnaires in the past to members that have allowed their membership to lapse, without any positive response. The main reason on this occasion may of course be due to the necessary increase in membership fee to accommodate the substantial increase in capitation fee. Our only means of advertising our existence is via information included in a retirement letter given to NHS retirees (in theory), “word of mouth” and a shortly to be re-introduced publicity poster to be distributed to identifiable sources. We have 1. Membership Fee *If you pay tax, we are able to limited 2. Visitor Fees reclaim 25% of your membership fee. Gift Aid declaration forms are income 3. Book Sales available at all meetings (You only streams: 4. Gift Aid Return* need to complete the form once.) Raffle prizes are funded from within; any donations received in the past and hopefully in the future, will help reduce the expenditure on prizes. Trust support has been withheld since June 2012 (despite numerous attempts to have it re instated). So, despite these constraints, I hope we continue to offer value for money. As the nights draw in your Committee meet behind closed curtains to discuss the possible speakers and events to be included in the programme for 2018 – 2019. If you have any suggestions for future events or details of a Speaker/ talk that you have heard please get in touch with the relevant committee member, contact details on Page 4.
    [Show full text]
  • Born 1979, Kent UK
    Kate Haywood Education 2013 – 2014 Cardiff School of Art, Wales. MA Ceramics 2004 - 2007 Camberwell College of Arts, London. BA (hons) Ceramics 1998 - 2001 Central Saint Martins College of Art and Design, London. BA (hons) Jewellery Design Professional Experience 2017 National Glass Centre Residency, University of Sunderland Crafts Council Hothouse Programme 2016 Project Network Residency, Guldagergaard, Denmark Future Lights Residency, Staffordshire University 2015 - 2016 Artist in Residence, Cardiff School of Art 2014 - 2015 Fireworks Studios Residency, Cardiff 2011 - 2012 East Street Arts Studio Holder, Leeds, West Yorkshire 2010 - 2012 Ceramics Technician, Camberwell College of Art, London 2010 - 2011 Artist in Residence, Huddersfield University, West Yorkshire 2008 - 2010 Artist in Residence, Giggleswick School, North Yorkshire 2007 - 2008 Ceramics Technician, City Lit, London 2004 - 2005 Assistant, Shozo Michikawa, Cumbria 2003 - 2008 Assistant, Lisa Hammond, Maze Hill, London 2001 - 2003 Studio Jeweller, London Exhibitions 2017 Hoard, York Art Gallery Project Space, Yorkshire, UK Gyeonggi International Ceramic Biennale, Korea Jewellery: Wearable Glass, National Glass Centre, UK The Mission Gallery, Maker in Focus, Swansea, Wales 2016 Craft Emergency, Aspex Gallery, Portsmouth Making in Colour, Ruthin Craft Centre, Wales One Year On, Llantarnam Grange, Wales Drawing Inspirations, Craft in the Bay, Cardiff, Wales Lle Celf, The National Eisteddfod of Wales, Abergavenny, Wales Weave, Craft in the Bay, Cardiff, Wales New Designers, One
    [Show full text]
  • AIM Bulletin February 2021
    www.aim-museums.co.uk FEBRUARY 2021 Spring into action? Staying positive as challenging times continue 3 Business 8 Art Happens – 17 Join the Rates – the From going to Cultural Café fight goes on giving revolution! Comment AIM news As I write this, I am in the depths of a Tier Emma Chaplin stepping down as AIM Director. Four lockdown so the prospect of Spring just around the corner is very appealing! This time of year is usually incredibly busy as we all start to get ready for a new season. Farewell Emma! Setting up new displays and exhibitions, welcoming back volunteers and stocking up mma Chaplin will be stepping down from experience, candour, the shop are normal activities but normal her role as AIM Director at the end of approach, determination and good humour. has changed now. So how are we all dealing EMarch 2021. An AIM Council member I wish Emma every possible good fortune with these challenging times, changing rules from 2003 to 2014, Emma took up the role in with what I know will continue to be a full and the prospect of another, potentially 2018, going on to oversee a period of rapid and rewarding life. Thank you.” development for the organisation including a hard, season ahead? Acting Director of Arts, Heritage and Tourism team restructure, bringing in staff from both Well, it seems light is at the end of the at DCMS, Helen Whitehouse said within and outside the sector, initiating a tunnel with more of the population being range of dynamic new partnerships and “On behalf of all of us in DCMS who have vaccinated so, perhaps, the summer will see worked with Emma over the last three years, I the welcome return of our visitors.
    [Show full text]
  • DAACS Cataloging Manual: Ceramics
    DAACS Cataloging Manual: Ceramics by Jennifer Aultman, Nick Bon-Harper, Leslie Cooper, Jillian Galle, Kate Grillo, and Karen Smith OCTOBER 2003 LAST UPDATED OCTOBER 2014 INTRODUCTION .......................................................................................................... 6 1. CERAMIC ARTIFACT ENTRY ...................................................................................... 7 1.1 COUNT ......................................................................................................................... 7 1.2 WARE .......................................................................................................................... 8 1.3 MATERIAL ..................................................................................................................... 8 1.4 MANUFACTURING TECHNIQUE .......................................................................................... 9 1.5 VESSEL CATEGORY .......................................................................................................... 9 1.6 FORM ......................................................................................................................... 10 1.6.1 Teaware ............................................................................................................ 10 1.6.2 Tableware ......................................................................................................... 11 1.6.3 Utilitarian .........................................................................................................
    [Show full text]
  • Cycling-SE-Wales-Heritage-Trail.Pdf
    Whether it’s a leisurely urban ride, If you love or a more rural country challenge, some of the most cycling you’ll interesting historic buildings and monuments in S E Wales can easily love SE Wales. Town Clock - Tredegar be reached by bike. Saddle up and discover the rich heritage of South East Wales by bike. With so many Castles. dedicated cycle trails to choose from, our We have lots of them ! Step back in time beautiful region is perfect for cyclists of all and admire the ages and abilities to get around safely. craftsmanship of the stonemasons who built To give you a head start, we have chosen a these wonderous small selection of interesting places to visit in structures on a this leaflet, and there are many, many more to monumental scale. Caerphilly Castle - Caerphilly be discovered for yourself. To help you plan your next adventure, we have Experience the created an online interactive map that will coal-mining heritage make it even easier to explore our region of South East Wales at Big Pit National Coal by bike. Look out for the NCN (National Cycle Museum in Blaenavon Network) symbols that accompany most sites - and the Rhondda they make extremely useful navigational tools. Heritage Museum near Pontypridd. Big Pit National Coal Museum - Blaenavon Plan your next cycling adventure with our online Interactive Map Our online Interactive Map for use on desktop PC’s is the must-see guide for anyone planning to explore South East Wales on two wheels. Eat & Drink See Stay Toilets Repairs Click on the icon to launch the map or The Interactive Map is a mine full of information.
    [Show full text]
  • Jongjin Park - Cv
    JONGJIN PARK - CV 1982 Born in Korea Lives and works in Korea Education 2015- Present Phd. | Ceramics, Kookmin University / Seoul, Korea 2013- 2014 MA | Ceramics, Distinction, Cardiff Metropolitan University (UWIC) / Cardiff, Wales, UK 2007- 2009 MFA | Ceramics, Kookmin University / Seoul, Korea. Thesis | A Study on Formative Art applied Joining technique 2000-2007 BFA | Ceramics, Kookmin University / Seoul, Korea Solo exhibitions 2018 The 2nd Solo exhibition ‘TIMELINE’, ooojh Gallery, Korea Ceramic Art London, Central Saint Martins, London, UK 2017 Ceramic Art London, Central Saint Martins, London, UK 2016 Ceramic Art London, Central Saint Martins, London, UK 2015 The 1st Solo exhibition 'Artistic Stratum', KCDF Gallery, Korea Ceramic Art London, Royal College of Art, London, UK Two Person exhibitions 2017 Wouter Dam & Jongjin Park, Puls Contemporary Ceramics, Brussels, ​ Belgium 2013 Jongjin Park & KyungWoo Lee, Haegang Ceramic Museum, Icheon, Korea ​ 2012 Harin Lee & Jongjin Park, Tongin Gallery, Seoul, Korea ​ 2011 Beyond the Time / Jongjin Park & Kiwook Lee, Yido Gallery, Seoul, Korea ​ Selected group exhibitions 2018 Korean Connection, Scottish Gallery, Edinburgh, UK 1000 Vases, Espace Commines, Paris, France Ceramics at Doddingtonhall, London, UK The Aesthetics of Repetition, The Craft on the Hill, Seoul, Korea ​ 2017 Claytime, Side Gallery, Barcelona, Spain ​ Made in Korea, Slademore Gallery, London, UK ​ Made in Korea, Ceramic House, Brighton, UK ​ CrossOver, Milal Galley, Seoul, Korea ​ ​ 2016 Summer Show, The Cynthia Corbett Gallery, Royal Opera Arcade Gallery, ​ Pall Mall, London Stunning Edge, NTCRI, Taiwan ​ A la Recherche du Sublime, alongside work by Ashraf Hanna and Nicholas ​ Lees, Le don du Fel, France KOREA and JAPAN Ceramics, BeakPaSun Gallery, Kyushu, Japan ​ 2015 Designer Crafts at the Mall 2015, Mall Gallery, London The Graduate Show, Bevere Gallery, Worcester 2014 Young Masters, The Cynthia Corbett Gallery, Sphinx Fine Art, London, UK ​ Young Masters, The Cynthia Corbett Gallery, Lloyds Club, London, U.K.
    [Show full text]
  • CREAMWARE: ITS ORIGINS and DEVELOPMENT by Pat Halfpenny
    CREAMWARE: ITS ORIGINS AND DEVELOPMENT by Pat Halfpenny Keeper of Centimes, City Museum & Art Gallery, Hanley, Stoke-on-Trent Crcamwarc, cream coloured earthenware, Queen’s Figure l. Interior of creamware bowl with underglazc painted decoration inscribed ‘W G’ and ‘1743’, possibly made to ware — are all names for a species of pottery made commemorate the Battle of Dettingen in June 1743, tenta­ from clays, which, when fired, burn to a white tively attributed to Enoch Booth, made in Staffordshire 1743, colour. The pots may be made by throwing on a this example and the bowl in the British Museum represent wheel or by the use of moulds, they are dried and the earliest recorded dated creaimvare. Diameter 2S5 mm. then fired to about 1100-1150°C. When removed City Museum Art Gallery, Stoke-on-Trent 117.P. 19S9. from the oven the pots are white, brittle and porous rather like a biscuit or cookie — hence once fired, cream, ranging from a deep butter colour to a pale unglazed ware is known as - biscuit. At this stage the primrose. The story of creamware is the story of the piece may be decorated or left plain, it then receives struggle to remove the iron contamination achieving a glaze and is fired in an oven at a lower temperature a clear untinted glaze thus producing white ware. of about 1050-1100°C. The first published reference to creamware is that The main ingredient of the glaze is lead, a well found in A Description of the Cotintr}' front Thirty to known glass forming material.
    [Show full text]
  • Early 19Th to Mid-20Th Century Ceramics in Texas
    Early 19th to Mid 20th Century Ceramics in Texas Becky Shelton, TASN Training Fort Worth, July 18th 2015 Adapted from: Sandra and Johnney Pollan and John Clark Texas Archeological Stewardship Network 2006 Workshop Presentations Ceramics generally fall into two categories: High temperatures Low temperatures Vitreous Nonvitreous 1. Stoneware Earthenware 2. Porcelain 1. Creamware 2. Pearlware 3. Whiteware 4. Red earthenware OET Porcelain Compact and grainy in cross-section with glassy edges. Used all decorating techniques to make decorative as well as useful wares. England developed two kinds of porcelain – hard-paste and soft-paste. Soft-paste porcelain is fritted with crushed glass. Bone China, or bone ash porcelain (fritted with glass and animal bone ash), became the standard English porcelain body throughout the 19th Century. It is more translucent than hard-paste porcelain. Its broken edges will discolor, and the overglaze decoration often wears away with use. Soft-paste porcelain: very Bone China: ivory, white, vitreous vitreous Earthenware • Fired at low temperatures • Coarse, porous clay bodies • Non-vitreous; require interior surface coating to prevent leakage • Opaque body; transmits no light • Includes “red wares, yellow wares, and white wares” Earthenware-Red • Coarse, porous body that is fragile and must be glazed to prevent leakage. • Pinkish buff to red to brown body • Wheel-thrown and drape-molded most common • Pre-1830: bulbous, ovoid shapes • Post-1830: Straight-sided cylindrical vessels • Decor: Slip-trailing, Manganese glaze, and simple Lead glaze Earthenware-Red, cont. Tooling marks Manganese glaze mostly pre-1850 Slip-trailed and coggled pie plate Milk pan with simple interior glaze Majolica - Early 20th Century Earthenware - Yellow • Coarse, porous body that is finer and more durable than redware, but less vitreous than stoneware.
    [Show full text]
  • Polka Dot Antiques
    S-10 — Antiques and The Arts Weekly — January 10, 2020 SPECIAL SHOW The New York Antique Ceramics Fair • January -, SECTION The Bohemian National Hall, East rd St., rd Floor, NYC The New York Antique Ceramics Fair Returns January 23-26 NEW YORK CITY — The New York Antique Ceramics Fair, a New York exclusive boutique antiques exhibition and sales event of the year, will be conducted Thursday through Sunday, January 23-26 at the Bohemian National Hall. MARIA & PETER WARREN ANTIQUES, Monroe, Conn. Previously known as the New York Ceramics — A pair of English Staffordshire Disraeli spaniels, circa and Glass Fair, the show was rebranded in 1860. January 2019 to focus on antique ceramics. The Bohemian National Hall, at 321 East 73rd Street on the Upper East Side, is a short walk or cab ride from The Art, Design and Antiques Show, The Winter Show, Sotheby’s and Chris- tie’s, and the many events and exhibitions of Winter Antiques Week. Admission to the fair is complimentary. The small, beautifully appointed set of rooms at the Bohemia National Hall, provides the opportunity for collectors, curators, dec- orators and those who love fine objects a shopping experience unique to the city, with the finest material available in an intimate and elegant, yet laid back, setting. Top col- CIRCA1775, Wallingford, Penn. — A Wedgwood jasper circa 1790, lectors and designers, as well as representa- likely of the form presented to the tives from the Metropolitan Museum, Winter- Qianlong emperor of China in thur Museum, The Chipstone Foundation, 1793. The reaction by the Chinese and Colonial Williamsburg were sighted at court: “All eyes were fixed on the the 2019 fair, where sales were brisk.
    [Show full text]
  • John Bartlam's Porcelain at Cain Hoy, 1765-1770 Stanley South University of South Carolina - Columbia, [email protected]
    University of South Carolina Scholar Commons Archaeology and Anthropology, South Carolina Faculty & Staff ubP lications Institute of 2007 John Bartlam's Porcelain at Cain Hoy, 1765-1770 Stanley South University of South Carolina - Columbia, [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/sciaa_staffpub Part of the Anthropology Commons Publication Info Published in Ceramics in America 2007, ed. Robert Hunter, 2007, pages 196-202. http://www.chipstone.org/ © 2007 by the Chipstone Foundation This Book Chapter is brought to you by the Archaeology and Anthropology, South Carolina Institute of at Scholar Commons. It has been accepted for inclusion in Faculty & Staff ubP lications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Industry;' in Ceramics inAmerica, edited by Robert Hunter (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 2004.), pp. 60--77- 4. Stanley South, John Bartlam: Staffordshire in Carolina, South Carolina Institute of Archaeology and Anthropology Research Manuscript Series 23I (Columbia: University of South Carolina, W04); Bradford L. Rauschenberg, "John Bartlam, Who Established 'new Pottworks in South Carolina' and Became the First Successful Creamware Potter in America;' Journal ofEarly Southern Decorative Arts I7, no. 2 (I99I): I-66. 5. Stanley South, The Search for John Bartiam at Cain Hoy: American's First Creamware Potter, South Carolina Institute of Archaeology and Anthropology Research Manuscript Series 2I9 (Columbia: University of South Carolina, 1993). 6. South,fohn Bartlam, pp. 27-30. 7. Ibid., p. 157· • 8. Alfred Coxe Prime, comp., TheArts and Craft; in Philadelphia, Maryland and South Caro­ lina, I72I-I78S: Gleanings frrim Newspapers ([Topsfield, Mass.]: Walpole Society, I929), p.
    [Show full text]