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2013 EFP Catalog 19 April
Ephraim Pottery Studio Collection April 2013 Welcome! Dear pottery and tile enthusiasts, As you can see from this catalog, we’ve been busy working on new pottery and tiles over the past several months. While this is an ongo- ing process, we have also been taking a closer look at what we want our pottery to represent. Refocusing on our mission, we have been reminded how important the collaborative work environment is to our studio. When our artists bring their passion for their work to the group and are open to elevating their vision, boundaries seem to drop away. I like to think that our world would be a much better place if a collaborative approach could be emphasized in our homes, schools, and workplaces... in all areas of our lives, in fact. “We are better to- gether” is a motto that is in evidence every day at EFP. Many times in the creative process, we can develop a new concept most of the way quickly. Often, it’s that last 10% that requires work, grit and determination. It can take weeks, months, or even years to bring a new concept to fruition. Such has been the case with frames and stands for our tiles. Until recently, John Raymond was in charge of glaz- ing. As some of you know, John is also a talented woodworker who has been developing a line of quarter-sawn oak frames and stands for our tiles. While we have been able to display some of these at shows and in our galleries over the past year, we would like to make frames and stands available to all our customers. -
An Experiment with Mineral Pigments in a Prepared Frit
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1951 An Experiment With Mineral Pigments in a Prepared Frit Cecelia Long Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Art Education Commons, and the Educational Methods Commons Recommended Citation Long, Cecelia, "An Experiment With Mineral Pigments in a Prepared Frit" (1951). All Master's Theses. 56. https://digitalcommons.cwu.edu/etd/56 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. AN EXPERIMENT WITH MINBi.ALJ:J>IGMENTS IN A PREPARED FRI:r by Cecelia Long A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fiiucation, in the Graduate School of the Central Washington College of Fii.ucation August 1951 i A thesis submitted in partial fulfillment of the requirements for the degree of Master of Education in the Graduate School of the Central Washington College of Education. Approved: Thesis Chairman _____________________________ Dr. Charles W. Saale ___________________________ Mr. Glen Hogue _____________________________ Miss Lillian Bloomer Date:_____________ ii ACKNOWLEDGMENTS Due acknowledgment is made to Dr. Charles W. Saale for assistance with the organization and preparation of the manuscript. My thanks are due to Mr. Glenn Hogue for guidance in preparing and making this experiment. iii TABLE OF CONTENTS CHAPTER PAGE I Introduction •••••••••••••••••••••••••• 1 II Delineation of Materials and Review of Related Experiments.................. -
The Analysis and Reconstruction of Islamic Glass-Frit Ceramics, And
Article: The analysis and reconstruction of Islamic glass-frit ceramics, and comparative methods of desalination Author(s): Richard Barden Source: Objects Specialty Group Postprints, Volume Three, 1995 Pages: 64-69 Compilers: Julie Lauffenburger and Virginia Greene th © 1996 by The American Institute for Conservation of Historic & Artistic Works, 1156 15 Street NW, Suite 320, Washington, DC 20005. (202) 452-9545 www.conservation-us.org Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Objects Specialty Group, Objects Specialty Group Postprints is mainly comprised of papers presented at OSG sessions at AIC Annual Meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Objects Specialty Group Postprints, Volume Three, 1995 have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the OSG or the AIC. The OSG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. THE ANALYSIS AND RECONSTRUCTION OF ISLAMIC GLASS-FRIT CERAMICS, AND COMPARATIVE METHODS OF DESALINATION Richard Barden The Freer Collection The Freer Gallery of Art has a collection of medieval Islamic glazed glass-frit ceramics, from Raqqa, Syria. -
Revisiting the Beginnings of Tin-Opacified Islamic Glazes
Journal of Archaeological Science 57 (2015) 80e91 Contents lists available at ScienceDirect Journal of Archaeological Science journal homepage: http://www.elsevier.com/locate/jas Revisiting the beginnings of tin-opacified Islamic glazes * Michael Tite a, , Oliver Watson b, Trinitat Pradell c, Moujan Matin a, Gloria Molina c, Kelly Domoney d, Anne Bouquillon e a Research Laboratory for Archaeology and the History of Art, Dyson Perrins Building, South Parks Road, Oxford OX1 3QY, UK b Khalili Research Centre for the Art and Material Culture of the Middle East, 3, St John Street, Oxford OX1 2LG, UK c Physics Department and Center for Research in Nano-Engineering, Universitat Politecnica de Catalunya, C/Esteve Terrades 8, 08860 Castelldefels, Barcelona, Spain d Centre for Archaeological and Forensic Analysis, Cranfield University, Shrivenham SN6 8LA, UK e C2RMF, Palais du Louvre, 14, quai François Mitterrand, 75001 Paris, France article info abstract Article history: The generally accepted theory is that the demand for Islamic glazed pottery started in Abbasid Iraq in the Received 12 September 2014 9th century AD with the production of a range of glazed wares in response to the import of Chinese Received in revised form stonewares and porcelains. However, Oliver Watson has recently proposed that the demand for Islamic 22 January 2015 glazed pottery first occurred in Egypt and Syria in the 8th century AD resulting in the production of Accepted 3 February 2015 opaque yellow decorated wares. Using a combination of SEM analysis of polished cross-sections, and Available online 14 February 2015 surface analysis using hand-held XRF or PIXE, Coptic Glazed Ware from Egypt, Yellow Glazed Ware from Syria, and comparable wares from Samarra, Kish and Susa have been analysed. -
Vessels of Life: New Evidence for Creative Aspects in Material Remains from Domestic Sites
Originalveröffentlichung in: Bettina Bader, Christian M. Knoblauch and E. Christiana Köhler (Hg.), Vienna 2 – ancient Egyptian ceramics in the 21st century. Proceedings of the international conference held at the University of Vienna, 14th-18th of May, 2012 (Orientalia Lovaniensia analecta 245), Leuven ; Paris ; Bristol, CT 2016, S. 85-102 VESSELS OF LIFE: NEW EVIDENCE FOR CREATIVE ASPECTS IN MATERIAL REMAINS FROM DOMESTIC SITES Julia Budka Introduction Figurative vessels from Ancient Egypt have been studied since the early 20th century, but it was Janine Bourriau who first discussed these vases not as works ol art but as an integral part of the huge corpus of Pharaonic ceramic vessels. The excavated examples of such figure vases were predominately found in tombs, as can be illustrated by one of the sub-groups from the 18th Dynasty, so called representations of wet nurses, deriving in particular from cemeter ies at Sedment and Abydos.12 The funerary context is also predominant for the group of con temporaneous figure vases which is the main focus of the present paper: feminoform vessels with modelled breasts and often plastic arms are well attested in a variety of forms3 and derive primarily from tombs4 dateable to the New Kingdom (Fig. I).5 They have often been labelled as “milk vessels ” and were associated by various authors with the cult of Hathor.6 Such ves sels are also known as metallic variants 7 8or as imitations in glass. The purpose of this paper is to present feminoform vases from domestic contexts that potentially contribute to our understanding of the possible use and function of this type of vessel as the present state of knowledge is mainly derived from funerary records. -
Frit Slurrys!
Here, at Creative Paradise Inc, weFRIT have been playing SLURRYS! around with dierent ways to use frit on glass. We have come up with a cool and unique way to blend frit colors, and all it involves is a splash of water powdered frit! In the following tutorials we will show you how we made all the fun and interesting color patterns and mixes in the samples pictured. It can be a messy process but the unique results speak for them selves! For the rst project, we blended our frit slurry’s on a Materials used: square of Double ick Clear COE96 sheet glass, and COE96 8.5” x 8.5” Double ick Clear Sheet Glass then slumped it on our GM 142 Quad Swoop Slump- All COE96 Frits: all in one ring! F1 Black Opaque F1 Deep Purple Transparent F1 Bronze Transparent F1 Turns Pink Striker Transparent F1 Medium Amber Transparent F1 Transparent Orange Water and a spray bottle of water Paper Towels Paper Cups/ small Mixing bowls Plastic knife, Spoon ZYP/Boron Nitride Glass Separator Spray CPI GM142 Mold Step 1. Cut a 8.25” x 8.25” square out of COE96 Transparent Glass. Clean the square of glass with glass cleaner before you begin to use it. Image 1 Step 2. *Create a Bronze frit slurry. With a How to make the frit slurry mix: Put the desired color spoon, place some of the mixture into the middle *of frit you want into a paper cup (or other mixing of the square. Spread the Bronze slurry to create container)and add a splash of water. -
Bethany Saunders Religious Associations of EC139
The possible religious associations of EC139 by Bethany Saunders EC139 is a dark blue faience fragment from the rim of a lotus bowl, which would have been originally measured as 18cm in diameter. The morphology of the bowl is believed to have been carinated, shown from the clear curvature of the sherd (starting at 50.7mm) which shows the vessel to have been a shallow, open bowl. The inside of the sherd is significantly darker blue than the outside but there are areas with lighter pigment showing an inconsistency within the colouring. Various black lines can be seen on the inside, which join at the tip and extend outward as they move away from the rim. The lines are rounded at the bottom and meet with one another to create a U shape. The presence and placement of additional pointed tips reveal this black design to be a typical lotus flower, as commonly seen in representations of the blue lotus in ancient Egyptian art. The main flower is clearly visible but the rest of the decoration is visually limited due to damage that removed glaze and potential oxidation. The remnant of a similar faded petal lies next to it, which is shown on similar marsh bowls that follow the pattern of an open lotus covering the base. The Egypt Centre has dated EC139 to the 18th Dynasty, New Kingdom. Parallel bowls can be used in conjunction, such as EA4790 (BM), and 22.3.73 (MMA), and are also dated to the New Kingdom, commonly being found in Thebes, Upper Egypt.1 These pieces are useful comparisons within relative A full view of the inside of EA4790, depicting dating to establish a typology, as they share the similar iconography. -
Architectural Tiles: Conservation and Restoration Lesl-Fm.Qxd 11/10/04 10:16 AM Page Ii
Lesl-Fm.qxd 11/10/04 10:16 AM Page i Architectural Tiles: Conservation and Restoration Lesl-Fm.qxd 11/10/04 10:16 AM Page ii Butterworth-Heinemann Series in Conservation and Museology Series Editors: Arts and Archaeology Andrew Oddy British Museum, London Architecture Derek Linstrum Formerly Institute of Advanced Architectural Studies, University of York US Executive Editor: Norbert S. Baer New York University, Conservation Center of the Institute of Fine Arts Consultants: Sir Bernard Feilden Page Ayres Cowley, Conservation Architect, New York David Bomford National Gallery, London John Fidler English Heritage, London C.V. Horie Manchester Museum, University of Manchester Sarah Staniforth National Trust, London Jeanne Marie Teutonico The Getty Conservation Institute, Los Angeles Published titles: Care and Conservation of Geological Material (Howie) Chemical Principles of Textile Conservation (Timár-Balázsy, Eastop) Conservation and Restoration of Ceramics (Buys, Oakley) Conservation and Restoration of Glass (Davison) Conservation of Building and Decorative Stone (Ashurst, Dimes) Conservation of Earth Structures (Warren) Conservation of Furniture (Rivers, Umney) Conservation of Historic Buildings (Feilden) Conservation of Historic Timber Structures (Larsen, Marstein) Historic Floors: Their History and Conservation (Fawcett) A History of Architectural Conservation ( Jokilehto) Lacquer: Technology and Conservation (Webb) The Museum Environment, 2nd Edition (Thomson) The Organic Chemistry of Museum Objects, 2nd Edition (Mills, White) The Textile -
Islamic Ceramics, Indelible Creations: Assessing and Preserving the Scripps Collection Josephine Ren
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2019 Islamic Ceramics, Indelible Creations: Assessing and Preserving the Scripps Collection Josephine Ren Recommended Citation Ren, Josephine, "Islamic Ceramics, Indelible Creations: Assessing and Preserving the Scripps Collection" (2019). Scripps Senior Theses. 1353. https://scholarship.claremont.edu/scripps_theses/1353 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Ren 1 TABLE OF CONTENTS Acknowledgements……………………………………………...………………………2 Introduction……………………………………………………………………………...3 Chapter 1. Surveying the Scripps Islamic Ceramics…………………………………….9 Condition Reports, Formal Analyses, and Contextual Backgrounds Appendix 1……………………………………………………………………………...39 Figures Chapter 2. Ethics, Problems, and Proposals for Future Collections Care……………...64 Preventive Conservation and Prioritization of Certain Wares Appendix 2……………………………………………………………………………...80 Figures Conclusion……………………………………………………………………………....87 Bibliography…………………………………………………………………………….90 Ren 2 ACKNOWLEDGEMENTS I wish to begin by thanking my readers for all their time, mental energy, and support in overseeing this project. These colleges are fortunate to have you and your expertise. Professor Blessing has been key -
Analyzing Ancient Egyptian Faience
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENTS OF MATERIALS SCIENCE AND ENGINEERING AND ART HISTORY EXPLORING ANCIENT EGYPTIAN FAIENCE WITH NANOTECHNOLOGY: COMPOSITIONAL MAPPINGS, MICROSTRUCTURE ANALYSIS, AND MODERN APPLICATIONS ELYSSA IRIS OKKELBERG Summer 2011 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Materials Science and Engineering and Art History with interdisciplinary honors in Materials Science and Engineering and Art History Reviewed and approved∗ by the following: Paul Howell Professor of Metallurgy Thesis Supervisor Honors Advisor Elizabeth Walters Associate Professor of Art History Honors Advisor Digby MacDonald Distinguished Professor of Materials Science and Engineering Faculty Reader ∗Signatures are on file in the Schreyer Honors College. Abstract This thesis investigated Egyptian faience, an ancient ceramic material that consists of granular quartz or sand coated with an alkali-based glaze. Of interest is the pro- duction process of faience, in particular the raw materials and the glazing method. Previous investigations examined the production process using compositional and microstructural data from ancient and replicate faience. This study confirmed prior results by investigating faience beads produced in Abydos, Egypt during the 22nd Dynasty (c. 940–720 BC). Furthermore, this investigation improved upon earlier works by creating compositional mappings and analyzing previously over- looked parts of faience. Moreover, modern applications for faience technology were explored. i Table of Contents Abstract i List of Figures iv List of Tables vi Acknowledgments vii Chapter 1 Egyptian Faience 1 1.1 Background ............................... 1 1.2 Production ............................... 3 1.2.1 Rawmaterials.......................... 4 1.2.2 Shaping ............................. 7 1.2.3 GlazingMethod......................... 8 1.2.4 Firing ............................. -
The Earliest Maiolica Ceramic Dishes in the Old Town in Vilnius
THE EARLIEST MAIOLICA CERAMIC DISHES IN THE OLD TOWN IN VILNIUS MIGLĖ URBONAITĖ-UBĖ BALTICA 21–22 BALTICA Abstract The paper analyses maiolica ceramic dishes from the late 16th and early 17th centuries found in Vilnius’ Old Town. The items in question were the first imported maiolica dishes in the town. They are classified and their production sites are identified on the basis of their technical and stylistic characteristics, and in accordance with foreign analogies. Thus, five plates are as- signed to the Antwerp production centre, while the stylistic and manufacturing characteristics of another plate are found to be ARCHAEOLOGIA similar to the Haarlem and Antwerp maiolica production centres. One small bowl with religious inscriptions is assigned to the Faenza production centre in Italy. A fragment of a berrettino-type plate is associated with the Liguria region or Venice. The paper attempts to assess the significance of the first maiolica dishes in daily life in Vilnius in the late 16thand early 17th cen- turies. The relationship between the find spots and historical data suggests that four dishes could be associated with Catholic monasteries. During the period in question, maiolica ceramics were a rarity: they performed both an aesthetic and a luxury function; on three pieces of bottoms of plates, holes were found for hanging the plate on the wall. The information presented in the paper provides an opportunity to deepen our knowledge about maiolica dishes in Vilnius’ Old Town, which have not been investigated much, and to identify the prospects for further research. Key words: Vilnius’ Old Town, ceramic dishes, maiolica, Antwerp, Faenza, Liguria. -
FINE EUROPEAN CERAMICS Wednesday 14 June 2017
FINE EUROPEAN CERAMICS Wednesday 14 June 2017 SPECIALIST AND AUCTION ENQUIRIES EUROPEAN CERAMICS Sebastian Kuhn Nette Megens Sophie von der Goltz FINE EUROPEAN CERAMICS Wednesday 14 June 2017 at 2pm New Bond Street, London VIEWING ENQUIRIES CUSTOMER SERVICES PHYSICAL CONDITION OF Sunday 11 June Nette Megens Monday to Friday 8.30am LOTS IN THIS AUCTION 11am - 3pm Head of Department to 6pm PLEASE NOTE THAT ANY Monday 12 June +44 (0) 20 7468 8348 +44 (0) 20 7447 7447 REFERENCE IN THIS 9am - 4.30pm [email protected] CATALOGUE TO THE PHYSICAL Tuesday 13 June Please see page 2 for bidder CONDITION OF ANY LOT IS FOR 9am - 4.30pm Sebastian Kuhn information including after-sale GENERAL GUIDANCE ONLY. +44 (0) 20 7468 8384 collection and shipment INTENDING BIDDERS MUST SALE NUMBER [email protected] SATISFY THEMSELVES AS TO 24223 THE CONDITION OF ANY LOT Sophie von der Goltz AS SPECIFIED IN CLAUSE 14 OF CATALOGUE +44 (0) 20 7468 8349 THE NOTICE TO BIDDERS [email protected] CONTAINED AT THE END OF £25.00 THIS CATALOGUE. International Director BIDS As a courtesy to intending +44 (0) 20 7447 7447 European Ceramics & Glass bidders, Bonhams will provide a +44 (0) 20 7447 7401 fax John Sandon written indication of the physical To bid via the internet please +44 (0) 20 7468 8244 condition of lots in this sale if a visit bonhams.com [email protected] request is received up to 24 hours before the auction starts. This Please note that bids should be written Indication is issued submitted no later than 4pm on subject to Clause 3 of the Notice the day prior to the sale.