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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. -
64997 Frontier Loriann
[ FRESH TAKE ] Thrown for a Loop factory near his Staffordshire hometown, Stoke-on-Trent. Wedgwood married traditional craftsmanship with A RESILIENT POTTERY COMPANY FACES progressive business practices and contemporary design. TRYING TIMES He employed leading artists, including the sculptor John Flaxman, whose Shield of Achilles is in the Huntington by Kimberly Chrisman-Campbell collection, along with his Wedgwood vase depicting Ulysses at the table of Circe. As sturdy as they were beautiful, Wedgwood products made high-quality earthenware available to the middle classes. his past winter, Waterford Wedgwood found itself teetering on the edge of bankruptcy like a ceramic vase poised to topple from its shelf. As the company struggles A mainstay of bridal registries, the distinctive for survival, visitors to The Tearthenware is equally at home in museums around the world, including The Huntington. Now owned by an Irish firm, the once-venerable pottery manufactory was founded Huntington can appreciate by Englishman Josiah Wedgwood in 1759. As the company struggles for survival, visitors to The Huntington can appre - what a great loss its demise ciate what a great loss its demise would be. A look at the firm’s history reveals that the current crisis is just the most recent would be. of several that Wedgwood has overcome in its 250 years. The story of Wedgwood is one of the great personal and Today, Wedgwood is virtually synonymous with professional triumphs of the 18th century. Born in 1730 into Jasperware, an unglazed vitreous stoneware produced from a family of potters, Josiah Wedgwood started working at the barium sulphate. It is usually pale blue, with separately age of nine as a thrower, a craftsman who shaped pottery on molded white reliefs in the neoclassical style. -
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. -
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I LEEDS ARTS CALENDAR MICROFILMED !>t;>rtin>»»ith thr f>rst issue publ>shed >n l947, thc cntin I ii ii) »fili Calindar is now availabl< on mi< ro- film. I'>'rit( I'(>r inl<)rmati<)n <>r scud ord('rs dirc( t t<): I 'nivrrsi< < .'>If< rolilms. Inc., 300:)I /r< h Ro»d, i><nn Arbor, Xfichit,an 4II f06, bhS.A. Leeds Art Collections Fund 'I'h>s >( i>i»tppri>l t(i all 'w'h(l;n'('nt('>'('sll'd it> th< A> ts. 'I'h< I.«ds Art Coll<« >ious Fund is tl>< s<)u>'(( <if''( t uhi> I'undo f()r huff«>» works of'rt Ii)r th< I.r<do (<)ilia ti(in. 0'< >(a>n< ni<ir< subscribing incmbcrs to Siv< / a or upwards ra< h >car. I't'hy not id('n>il'I yours( If with th('>'t (»><if('>') and I cn>f)l(. c'wsan»: '('c('>v('ol«' Ilti Cilli'lliliii''('(', >'<'('<'>>'('nv>tat«)i>s to I'un< Co< er: all ti<ins, privati > i< ws;in<I <irt»;>nis«I visits tu f)lt>('('s of'nt('n Dre)> by f3ill G'ibb, til7B Ilu «ater/i>It deroration im thi s>. In writin>» l<>r an appli( a>i<i>i fi>r»i Io (h(. die» ii hy dli ion Combe, lhe hat by Diane Logan for Bill Hr»n I ii'<i )i(im. l ..II..I inol<l E)»t.. Butt()le)'tii'i't. I i'eili IO 6'i bb, the shoe> by Chelsea Cobbler for Bill Gibb. -
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. -
The Ancestry of William Clowes
The Ancestry of William Clowes Transcription of Sketch in the Primitive Methodist Magazine by A.A. Birchenough Part 2 In his autobiography William Clowes states that he was apprenticed to his uncle, Joseph Wedgwood, whose pottery was near Burslem Churchyard. “In his service I was taught to make small plates, and soon grew expert in my new employment. To encourage diligence, the task of making twenty-one dozen a day was allotted to me, which I performed with ease. Occasionally, however, my fondness for youthful diversions drew me into negligence, and my fear of punishment was such, that when only part of my work was done I entered it as completed, thus making my uncle the dupe of my trick- ery-” The “Churchyard Works” were situated on the North- Eastern side of Burslem Churchyard. In the days of William Clowes there was an open pathway leading through the extensive churchyard, and it was connected with one of the entrances leading direct to the works. In the seventeenth century the historical Churchyard Works were held by one of the cousins of William Clowes’ grandfather. After passing through many changes, they were rented by Mr. Joseph Wedgwood, one of the five brothers of William Clowes’ mother, who made jasper articles and other fine earthenware under the supervision and for the great Josiah Wedgwood. 1 There is a tendency on the part of some writers to belittle Josiah Wedgwood’s parentage by speaking of him “as a coarse, ignorant, diseased, impoverished workman, whose father was a poor potter at Burslem, barely able to make a living at his trade.” The father of Josiah was an earthenware manufacturer, and was forty-four years of age at the time of his son’s birth. -
The Art of the Old English Potter, the Tygs, Which Well Deserve a Special Notice and a Few Words of Description
or The OLd&^^U5H ?6vrEK / THE ART OF THE OLD ENGLISH POTTER Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/artofoldenglishpOOsolorich THE ART OF THE OLD ENGLISH POTTER. BY. L M. SOLoC^cr-Cf NIVGRSITY ILLUSTRATED BY THE AUTHOR. NEW YORK: D. APPLETON AND COMPANY, I, 3, AND 5 BOND STREET. 1886. \^t>' tA^ ir ^ PREFACE. N the first edition of this work we thought it necessary to narrate at length how our curiosity and interest were, on our arrival in England, aroused by the discovery of two quaint pieces of Salt-glaze, seen one day on the window-sill of an old cottage in Staffordshire. How we devoted our leisure to the research of speci- mens of the various kinds of pottery made in the district, feeling, at every fresh find, our admiration increase for a ware which, to our astonishment, had so far escaped the notice of the Continental collectors, and how it was that we were drawn into sketching and etching some curious pieces of our collection for our own pleasure, and the gratification of some friends at a distance ; a labour which ultimately led to the publication of the present work. These con- 217006 ; VI PREFACE. ' sideratlons would have been here out of place the text, written principally to accompany and elucidate the etchings, has had to undergo some modification, as the examples with which we illustrate these pages are taken from various sources, instead of being selected from materials in our own possession ; consequently, all that merely referred to these special pieces had to make room for remarks of a more general application. -
Charles Darwin 1809 – 1882
Worship resource material from the GA Worship Panel in collaboration with Rev. Margaret Kirk and York Unitarians recognising the 200th anniversary of the birth of CHARLES DARWIN 1809 – 1882 born at Shrewsbury on 12th February 1809 “No blazoned banner we unfold – One charge alone we give to youth: Against the sceptred myth to hold – The golden heresy of truth.” from George William Russell (1867 –1935) Charles Darwin was a man whose ideas about evolution deeply disturbed and offended Christians. He came from a tradition which valued and encouraged the spirit of free enquiry – one that had risen to the challenge of a new political and industrial age. His grandfather Erasmus Darwin published ideas about evolution 40 years before him and was a self- declared atheist. His grandfather-in-law, Josiah Wedgwood, embraced the Unitarian faith and kept the company of such radical Unitarian thinkers as Joseph Priestley. The Fruits of Heresy INTRODUCTION The 200th anniversary of the birth of Charles Darwin, in February 2009, is a good time to celebrate his life and work. There is a major exhibition at the Natural History Museum in London entirely devoted to the importance of Darwin’s theories and discoveries, and the national media in all its forms will be devoting many programmes to this theme. This worship pack has material for developing and planning your Worship Service. You will find here background material on Darwin. This can be used as readings, with some of it appropriate for antiphonal reading among a number of voices. There are also ‘chalice lighting’ words, prayers and meditations, and some poetry that adds a lighter touch but maintains the theme. -
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.