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Phase Evolution of Ancient and Historical Ceramics
EMU Notes in Mineralogy, Vol. 20 (2019), Chapter 6, 233–281 The struggle between thermodynamics and kinetics: Phase evolution of ancient and historical ceramics 1 2 ROBERT B. HEIMANN and MARINO MAGGETTI 1Am Stadtpark 2A, D-02826 Go¨rlitz, Germany [email protected] 2University of Fribourg, Dept. of Geosciences, Earth Sciences, Chemin du Muse´e6, CH-1700 Fribourg, Switzerland [email protected] This contribution is dedicated to the memory of Professor Ursula Martius Franklin, a true pioneer of archaeometric research, who passed away at her home in Toronto on July 22, 2016, at the age of 94. Making ceramics by firing of clay is essentially a reversal of the natural weathering process of rocks. Millennia ago, potters invented simple pyrotechnologies to recombine the chemical compounds once separated by weathering in order to obtain what is more or less a rock-like product shaped and decorated according to need and preference. Whereas Nature reconsolidates clays by long-term diagenetic or metamorphic transformation processes, potters exploit a ‘short-cut’ of these processes that affects the state of equilibrium of the system being transformed thermally. This ‘short-cut’ is thought to be akin to the development of mineral-reaction textures resulting from disequilibria established during rapidly heated pyrometamorphic events (Grapes, 2006) involving contact aureoles or reactions with xenoliths. In contrast to most naturally consolidated clays, the solidified rock-like ceramic material inherits non-equilibrium and statistical states best described as ‘frozen-in’. The more or less high temperatures applied to clays during ceramic firing result in a distinct state of sintering that is dependent on the firing temperature, the duration of firing, the firing atmosphere, and the composition and grain-size distribution of the clay. -
January to March 2018
SOUTHERN CERAMIC GROUP NEWSLETTER www.southernceramicgroup.co.uk/ Email : [email protected] Contents Editorial • Group & Members News Welcome to the January/March edition of the SCG Newsletter. The • What’s On newsletter is published electronically quarterly to members of the South- • Hey Clay ern Ceramic Group and is more widely distributed to associated pottery • Clay Group groups. • AGM • Glaze Group Meeting Notes We always welcome your contributions to the newsletter from events to • Members Profile technical articles to profiles. This edition is a great example of the varied • Demonstrations interests of the group, we hope you enjoy the newsletter and will consider • SCG Committee contributing in the future. Keith Menear Group & Members News New Members A very warm welcome to new members: Gael Emmett from Chichester Francheska Pattisson of Winchester Trish Marshall also from Chichester Nigel Hobbs from Bordon Membership is now 152 Next Committee Meeting. The committee meets every few months or so and our next meeting will be on Next meeting. 5th March 2018, 7.15 pm at Neil’s house. "Hilston House" Hambledon Road, Denmead, Waterlooville, Hampshire PO7 6HB . If you have anything you would like to bring to our attention please contact Sandie Dixon [email protected] or any other member of the committee. 1 SOUTHERN CERAMIC GROUP NEWSLETTER What’s On Su Cloud Ceramics. Workshops January-June 2018. The beginning of a new year and the perfect time to start a new project. Is your garden in need of a focal point? I have some new workshops on offer and some old favourites, which I hope will inspire you to come and create, in my purpose built ceramic studio. -
HO060710 Sale
For Sale by Auction to be held at Dowell Street, Honiton Tel 01404 510000 Fax 01404 44165 th Tuesday 6 July 2010 Ceramics, Glass & Oriental, Works of Art, Collectables & Pictures Furniture SALE COMMENCES AT 10.00am yeer Buyers are reminded to check the ‘Saleroom Notice’ for information regarding WITHDRAWN LOTS and EXTRA LOTS SALE REFERENCE HO09 Catalogues £1.50 On View: Order of Sale: Saturday 3rd July 9.00am – 12.00 Ceramics, Glass & Oriental Monday 5th July 9.00am – 7.00pm Lots 1 - 126 Morning of Sale from 9.00am Pictures Lots 131 - 195 Works of Art & Collectables Lots 200 - 361 Carpets, Rugs & Furniture Lots 362 - 508 TUESDAY 6TH JULY 2010 Sale commences at 10am. CERAMICS, GLASS & ORIENTAL 1. A pair of bookend flower vases in Whitefriars style. 2. A bohemian style green and clear glass vase, of trumpet shape, painted with floral sprays and gilt embellishment, 17cm high. 3. A pair of overlaid ruby glass decanters with floral knop stoppers. 4. An amber and milk glass globular vase, probably Stourbridge with vertical fluted decoration, 15cm high. 5. A pair of cut glass decanters with stoppers and one other. 6. A quantity of Carnival and other moulded glassware. 7. A quantity of cut and other glass. 8. A part suite of cut glass to include tumblers and wine glasses. 9. A quantity of various drinking glasses and glass ware. 10. A pair of cut glass decanters, two other decanters and stoppers, six tumblers and five brandy balloons. 11. A collection of twenty five various glass paperweights to include millefiore style paperweights, floral weights, candlestick and others. -
The Two Ages of Poole Pottery with Price Guide by Roland Head
Ceramics The Two Ages of Poole Pottery With Price Guide by Roland Head The company finally succumbed in December 2006, ending a period and both Stablers contributed greatly to a revived interest in ceramic of more than 130 years of production at the quayside in Poole. This sculpture at Poole. They created a wide range of sculptural ceramics demise seems to have had little, if any, effect on the secondary Poole and also several specially-commissioned architectural wares, such market, which remains in good health. Decorative wares produced as the Rugby School War Memorial. Of particular interest are the between 1924 and 1970 are most in demand. Most fall into two sculpted ceramic figures designed by Harold and Phoebe Stabler distinctly different categories. from around 1910 until the early 1930s. Very successful, they were produced in press-moulded form by Poole with some also being Poole Studio Ware made under license by Royal Doulton and Royal Worcester. Today, In 1958, Poole recruited Robert Jefferson as its chief designer. His good examples of these figures are fairly rare and routinely fetch work led to the introduction of new designs and techniques, and in hundreds of pounds each. The subject matter for these figures varies 1961, to the expansion and relaunch of the Poole Studio. Its output widely, with both animals and people popular choices. of boldly-painted and largely-abstract designs was formalised into the Delphis and Aegean ranges. It is the early, pre-Delphis studio Vases and Other Decorative Wares pieces that are most collectable, in particular those pieces by Tony Early decorative wares used a red earthenware body and were Morris, an artist who worked alongside Jefferson in developing the decorated with a hand-painted pattern on clear glaze over white slip. -
The Employment of Matter: Pottery of the Omega Workshops
Julian Stair The Employment of Matter: Pottery of the Omega Workshops Among professional artists there is … a vague idea that a man can still remain a gentleman if he paints bad pictures, but must forfeit the conven- tional right to his Esquire if he makes good pots or serviceable furniture., Pottery design in Britain at the beginning of the twentieth century was consid- ered to be in a perilous state, caught between the tail end of the Arts and Crafts movement – the ‘unornamental “ornaments” with which thoughtless people crowd their living rooms’* – and the unchecked might, or ‘decadence’,- of Stoke-on-Trent.. Christopher Dresser’s striking ceramic designs for Minton and the Linthorpe Art Pottery in the ,//0s had rarely escaped a stifling his- toricism; William de Morgan finally gave up potting to write novels in ,10+; and only a few small independent firms such as the Ruskin Pottery, which specialised in flamboyantly glazed vases in imitation of late Chinese porcelain, continued production (fig. ,., p. */). Despite the success of the Arts and Crafts movement in revitalising handicraft, pottery did not enjoy the success of other disciplines. As Alan Crawford writes, ‘pottery and weaving … before the war had been somehow less spectacular than the movement’s furniture and metalwork’.2 Although capable of embodying the immediacy of handwork, the transformation of the artist-craftsman’s sensibility into clay proved elusive. In this context, why did Roger Fry encourage the Omega Workshops to venture into the unfashionable and technically challenging -
ICRC Bloomsbury in Dorset
Bloomsbury in Dorset: Manufacturing Modernisms at Poole Pottery 1914-1939 James King Abstract This essay evaluates the pursuit by Poole Pottery (the firm was called Carter, Stabler and Adams during most of the time period discussed here) of a variety of modernist aesthetics from 1914 to 1939 and argues that Poole's incorporation of various types of modernist fine art into its wares owes a great deal to its association with the Omega Workshops in the 1910s. Poole's involvement from about 1914 to after 1916 with Roger Fry, Vanessa Bell and Duncan Grant may be well documented1, but this essay speculates that Poole's indebtedness to the Omega Workshops and its adherence to Post- Impressionism is more pervasive and longer lasting than previously argued. More specifically, it also argues, that in the instance of Poole's most celebrated designer, Truda Carter, the Bloomsbury influence was transformative: when she arrived at Poole, she refined the work of James Radley Young, who had worked directly with the Omega Workshops. His geometrically inspired designs did not ultimately suit her, and she achieved her own distinct look by incorporating high modernist and post-impressionist design in her wares. In using the term high modernist, I am referring to pottery that deliberately incorporates borrowings from cubism and vorticism as design elements; I use the term Post-Impressionist to refer to design elements that specifically utilize naturalist elements while at the same time exaggerating them to push them in the direction of abstraction. KEY WORDS: Truda Carter, modernism, Post-Impressionist design, Poole Pottery ‘A More or Less Experiment’ Poole stood apart from its competitors because of its location in Dorset, far removed from the Potteries in Staffordshire. -
DORSET's INDUSTRIAL HERITAGE Ulh 17
AfarsWs\?l ) •O ITNDUSTRIALONDUS TR I AL • 7/ 'rl/ f / 71 TO l) / vlJI/ b 1-/ |, / -] ) I ) ll ,, ' I ilittu It ,rtlll r ffi I ll I E l! ll l[! ll il- c t!H I I I H ltI --'t li . PETER. STANIER' SeIISIIOG IDVIIUIH IDVIIUIH DORSET'SIVIUISNONI INDUSTRIAL HERITAGE Jeled Peter Stanier JaruEls I r \ • r IT, LaS \-z'- rnol rnol 'r.pJV 'r.pJV lllPno lllPno Lano'ss,our1 Arch, Tout Quarry. INTRODUCTIONNOII)NCOU1NI lHt lINnol lINnol ,o ,o ;er'r1snpu| ]asJoc ]asJoc eql eql qlrr' qlrr' sr sr pa!.raluo) pa!.raluo) lSoloaeq:.re lSoloaeq:.re dn dn e e uorsr^ THE COUNTY of Dorset summonssuouJLLrns up a Industrial archaeology is concerned with the vision 1o lP.rn.r lP.rn.r ]sed ]sed re] plaleru sr;er )llllpr )llllpr ruorl ruorl lllpoedsa pa^ouJar pa^ouJar ue:,futsnpur, 'seqr^rpe s,ueul s,ueul puPl puPl far removed from)pq) 'industry': an idyllic rural land- material relics of man's past activities, especially lnq lnq op op u aq] u aq1 ur qlrM'edels pepoo^ pepoo^ su,^ su,^ qtuaalaLr qtuaalaLr Suruur8aq 'lrnluer 'lrnluer -rale^^ -rale^^ 'selP^ 'selP^ scape, with chalk downs, wooded vales, water- in the nineteenth century, but beginning in1o the aqt aqt ue ue Lnlua: Lnlua: d d aql aql anbsarnp anbsarnp sa8ell^ oppau] pouad pouad e8eur e8eur prur s,^ s,^ qluaatq8ra qluaatq8ra meadows andpLre picturesque villages — an image mid-eighteenth century — the period of the le-r]snpu lq lq jo jo eqt eqt se se euros euros qrns Ll)nLu seu.roqf seu.roqf s8uqr.r,,rl s8uqr.r,,rl pa)uequa pa)uequa 'serrlsnpllr 'serrlsnpllr much enhanced by the writings of Thomas Industrial -
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. -
Sevres Porcelain MAKERS and MARKS of the EIGHTEENTH CENTURY
Sevres Porcelain MAKERS AND MARKS OF THE EIGHTEENTH CENTURY Carl Christian Dauterman THE METROPOLITAN MUSEUM OF ART New York 1986 Sevres Porcelain MAKERS AND MARKS OF THE EIGHTEENTH CENTURY 45-t TABLEAU OES ~IAf\Qt:ES ET )IO~OGnA)lliES COXi\1iS, DES PEI~Tf\ES, DECORATEURS ET DOREURS DE LA MANUFACTURE ROYALE n~; POHCELAINE DE S~VRES, ch1>uis l':um(oc I 7:i3, ju•qu'itl't1>oque aclueUe (i), 1•• Jli::RIODE DE i7t33 A iSOO. Oi~r·:w,, DoutLLAT. Fleurs, pa)S(lgea. ~ :\ nni~D- Jknt·~, I'IC. -y. J'orh·ait•, minia- Bouquets deta- ,_/!),. ou.- A ASSBLCi. turc,;, Nc:. Ob .. BoutANGIDl· ches. DouquNs Mta· Bouquets deta· BAn. DULlDON. 05 cite~. OS-n~. ch.<$. BU:XBL PI·••), Gnirln ndt-s, Bouqnet6 dcta· , lJAnnAT. 'l11/. Docc,M.B nee !Jonquets. ches. ~ 1\I.uo" Bun.DJC . Orn i' menr~ , Fleur~, auri- DUT£UX p~re . BAt'DOUI~. frL•c~, etc. 612: y nul$ 1 CIC. Bouqou·t!l tl~Ut· Bonqoclll cleta- BenTnA.-;n. Bun;ux .GJ.s :Unc.! 6: cht~ _9. ch•~. elc. Sujets pnstoraux, Dt:T£UX lils BrE~F..uT. Ounm•. cofanta, etc. • 8 jcuoe. Friscs diverscs. Br,ST. fiOili[IICI• fllota• C.u>nL£. T. d>t.... A. Dt\ET (Mm•), Guitl;uul••, Bouquets cleta- C. \liDIN. cites. rJC; Jt{"t' hUilCJl.ld,, cp SoPuLB CUANou. Pn~·~.1gc, ligure Pnr~~agr, cha~. Bot·cU£'1'. CASTEL- 9 l'l fJrUt'IIICUll!. o. oiscaux. \ II) C!' tahll'an 'I"~ nou~ nwn• poi• •(lin •lr rrmlrr lo plu• comrlH pM~ihlc, poor co qui cooccrnc lr.! pit'rca falrrirJII<',.•• Nitre 11o1 l'l I Kiln. -
Potteries Auctions Catalogue 11 Feb 2017
Potteries Auctions Catalogue 11 Feb 2017 1 Royal Doulton Bunnykins figure Olympic DB28 £100.00 boxed. £25.00 - £50.00 20 Royal Doulton Bunnykins figure Cincinnati college 2 Royal Doulton Bunnykins figure of The Clown Touchdown DB98 black, white and red colourway, DB128, UKI Ceramics limited edition of 750 limited edition of 200 boxed. £50.00 - £100.00 boxed. £40.00 - £80.00 21 Royal Doulton Bunnykins figure Bedtime DB79, 3 Royal Doulton Bunnykins figure Out for a Duck special colour way boxed. £30.00 - £60.00 DB160, limited edition boxed. £25.00 - £50.00 22 Royal Doulton Bunnykins Figure Irishman DB178 4 Royal Doulton Bunnykins Figure Guardsman limited edition for UKI Ceramics boxed with cert. DB127 limited edition for UKI Ceramics boxed. £20.00 - £40.00 £25.00 - £50.00 23 Royal Doulton Bunnykins figure Juggler DB164, 5 Royal Doulton Bunnykins John Bull DB134 limited UKI Ceramics limited edition boxed with cert. edition for UKI Ceramics (boxed). £50.00 - £100.00 £25.00 - £50.00 6 Royal Doulton Bunnykins figure Scotsman DB180, 24 Royal Doulton Bunnykins Federation DB224 limited edition boxed with certificate. £25.00 - Limited edition for Dalbry Antiques Melbourne £50.00 Australia (boxed with cert). £25.00 - £50.00 7 Royal Doulton Bunnykins Wizard DB168 limited 25 Royal Doulton Bunnykins Figure England Athlete edition for UKI Ceramics (boxed with cert). £35.00 - DB216 limited edition for UKI Ceramics boxed with £70.00 certificate. £25.00 - £50.00 8 Royal Doulton Bunnykins figure Bowler DB145, 26 Royal Doulton Bunnykins Trick or Treat DB162 UKI Ceramics backstamp limited edition, boxed. -
Download the Fully Illustrated Catalogue
Cheltenham Modern Living 7th March 2019 covers.qxp_Layout 1 26/02/2019 11:42 Page 1 MALLAMS Mallams 1788 Modern Living MODERN LIVING THURSDAY 7TH MARCH 2019 CHELTENHAM THURSDAY 7th March 2019 www.mallams.co.uk CHELTENHAM Cheltenham Modern Living 7th March 2019 covers.qxp_Layout 1 26/02/2019 11:42 Page 2 Cheltenham Modern Living 7th March 2019 pages.qxp_Layout 1 26/02/2019 11:38 Page 1 Mallams 1788 Modern Living Thursday Viewing 7th March 2019 Tuesday 5th March 9am - 7pm at 11am Wednesday 6th March 9am - 5pm Auction Enquiries Mallams Condition Reports & Images Grosvenor Galleries [email protected] 26 Grosvenor Street Cheltenham GL52 2SG Conditions of sale This auction is subject to Important Contact Notices, Conditions of Sale and Darren Ball Reserves. [email protected] Condition Reports Bids Please note that there are no condition 01242 235712 reports printed in the catalogue or on any 01242 241943 (Fax) website listing. To bid via the internet please go to They are available on request from the www.the-saleroom.com office or by email Or to view the catalogue online go to [email protected] www.mallams.co.uk Cheltenham Modern Living 7th March 2019 pages.qxp_Layout 1 26/02/2019 11:38 Page 2 Droite de Suite Important Notices: and in addition to the buyer’s premium. The Changes to the Droite de Suite or Artist’s Artist’s Resale right is not subject to VAT. The Resale Rights charge for Works of Art sold at or above 1000 Euros and below 50,000 Euros is 4%. -
East Bristol Auctions
East Bristol Auctions Two Day Antiques & Collectables Sale - Worldwide 1 Hanham Business Park Postage, Packing & Delivery Available On All Items, see Memorial Road www.eastbristol.co.uk Bristol BS15 3JE United Kingdom Viewing Wednesday 5th August 9am - 7pm Started 06 Aug 2015 10:30 BST Lot Description A Carn Studio pottery vase ( Nancledra ) of abstract bulbous form together with a Legras style art glass solifleur and a 1970's retro egg 1 timer shaped German red art glass vase. Largest H36cm A Royal Crown Derby cabinet plate ( Old Avebury ) together with a Royal Crown Derby figurine of a blue tit, a Minton boxed dish and a 2 19th century Cantonese plate. Bird H15cm A Royal Doulton Stoneware jug together with a 19th century Faience jug, 3 graduating Burgess & Co Imari jugs, unusual condiment set 3 and matching creamer and Royal Doulton Bunnykins Ware. Largest H19cm 5 A vintage style ceramic china phrenology head H29cm 6 A collection of four tea pots to include Johnson Ltd Burslem with its stand, Japanese and others with creamer by Shelly H20cm A collection of studio art glass to include a Murano style dog, a large heavy glass coloured duck, a horse and a control bubble 7 paperweight . Largest H33cm 8 A pair of MDina studio glass paperweights in the form of sea horses, each signed to base H17cm A large Royal Doulton saltglaze stoneware stick stand decorated in the ' Autumn Leaves ' 1452 pattern bearing impressed marks to the 9 base. H56cm 10 A collection of glass decanters dating from the 20th century all with stoppers ( see illustration ) H27cm A late 20th century large German porcelain part dinner service comprising, dinner plates, side plates etc.