DOCSLIB.ORG

CERAMICS MONTHLY a Letter from the Editor

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CERAMICS MONTHLY a Letter from the Editor lili.~o;.; ...... "~,~ I~,~.'il;:---.-::::~ ! 1 ~li~'. " " " -"-- :" ' " " ~ ''~: P #~" ...................... ~.c .~ ~7',.~,c-" =---.......... ,.,_,. ~-,~ !,' .......... i."' "~"" ~' ...... !I "'" ~ r~P.tfi.~. ......"-~ .............~:- - -~-~:==-.- .,,,~4~i t,_,i..... ,; ................... ~,~ ,~.i~'~ ..... -. ~,'...;;,. :,,,~.... ..... , , . ,¶~ ~'~ .... ...... i.,>-- ,,~ ........... ., ~ ~...... ~. ~' i .,.... .i .. - i .,.it ....... ~-i ;~ "~" o.., I llili'i~'lii llilillli'l " "" ............... i ill '~l It qL[~ ,, ,q ...... ..... .i~! 'l • IN ~, L'.,.-~':';" ............. ........ 'i'.~'~ ......... ~':',q. ~....~ • ~.,i ................... dl ..... i~,%,...;,, ......................... Ill ltj'llll 1". ........ : ...... " - "- ~1 ~,~.,.--..• ~:I,'.s ...... .................... I' '#~'~ .......................... ~; ~"" .. • .,:,.. _., I;.~P~,,,,...-...,,,.,l.,. ........,..._ .~ -.. ,,~l."'~ ........ ,~ ~,~'~'i '.. .................. ....... -,- l'..~ .......... .,.,.,,........... r4" ...." ' ~'~'"" -'- ~i i~,~'- ~>'- i ill. ....................... ,'., i,'; "" " ........ " • . it, 1 ~,:. i ~1' ~ ~'$~'~-,~,s',il~.;;;:.;' - " ~!'~~!" "4"' '~ "~'" "" I I~i', ~l~ I,J ..v ~,J ,.,, ,., i o. ~.. pj~ ~. ....... yit .~,,. .......... :,~ ,,~ t; .... ~ | I ~li~,. ,~ i'..~.. ~.. .... I TL-8, Ins Economical Chamber TOP-LOADING $14715 high f.o. bus, cra ELECTRIKILNS py .... ter Save your time . cut power costs! These ElectriKilns are de- signed for the special needs of hobbyist and teacher. Fast-firing up to 2300 ° F .... heat-saving . low power input. Heating elements scientifically arranged to assure uniform heat distribu- tion and long life. TOP-LOADERS capacities from 4860 cu. in. to 786 cu. in. D • • Multi-Purpose SIDE-LOADING ELECTRIKILNS Particularly suited to school- room and studio, as well as to hobbyist needs. Rugged con- struction, built with wide safety factor . models firing up to 2,000 ° F., 2175 ° F., 2500 ° F., 2700 ° F. Open type heating ele- ments for longer life . placed under hearth and on sides to in- sure even heat distribution. SIDE-LOADERS bench and floor models with capacities from 9680 cu. in. to 216 cu. in. Model 819, Inside F|rl high, 2000 ° F. $577.50 f.o.b. Columbus, cratlng $2,5, pryometer included. Reliable HARROP SUPPLIES Just brush on HARROP Series B Liquid Underglaze colors . solve most any problem in slip painting green or bisque ware. Smooth, even coverage.., intense colors in a pleasing range . concen- trated, may be thinned with water. |OfflO,°. "~ Hobbyist ~ Art Studio Owner -~ Public School Teacher Private Class Teacher All types Colors and Finishes, Clays and ~ Occupational Plasters, Pottery Tools, Kiln Furniture and Therapist Supplies, Painting and Air-Brush Equip- ment, Sericrafters water-mount Decals, Etch- all Cream for removing fired gold and china paint, Ceram-Ink, Craftool power wheel, Ceramic Nets and Laces. street city __zone--.-----..~tote_ ~J FILL IN AND MAIL THIS COUPON TODAY! Melody in Metal by John Martin TABLES, TRIVETS and TRAYS In the Modern Beauty of Black Steel Works of art in the mood indigo, destined for ultimate greatness with the touch of your hand . to tile. PRICES -- without titles 12 A. TABLEm6 tiles 18" long, 12" wide, 18" B-1. $1.00 ea. .75 ea. .70 ea. S4.50 (6) $8.40 (12) high. Sh. Wf. 7 Ibs. each a-2. $1.20 ea. .90 ea. .84 ea. $5.40 (6) $10.08 (12) EXPRESS COLLECT C. $1.00 ea. .75 ea. .70 ea. lm$8.25 ea. $4.S0 (6) 58.40 (12) 2mS7.50 ea.~$15.00 (2) D. $1.95 ea. $1.21 ea. • $1.07 ea. 3mS6.75 ea.mS20.25 (3) $7.26 (6) $12.84 (12) 6~$6.00 ea.~$36.00 (6) S. $2.95 ea. $2.21 ea. $2.07 ea. $13.26 (6) $24.84 (12) F. $3.25 ea. $2.45 ea. $2.25 ea. ALL HAVE PERMANENT $14.70 (6) $27.00 (12) BLACK FINISH. CANNOT G. $4.50 ea. $3.38 ea. $3.15 ea. SCRATCH, CHIP, OR $20.28 (6) $37.80 (12) WEAR. Over 12, Write for Quantity Price 8-1 TRIVET--1 tile 6" square B-2~" square MOLD TO FIT $6.00 POSTPAID J with instructions for pouring. D. TRAY--2 tiles 12" long, 6" wide E. TRAY--3 tiles 18" long, 6" wide C. TRIVET--Round--1 tile 6" long, 6" wide TRIVETS AND TRAYSSHIPPED FREE F. TRAY~ tiles 12" long, 12" wide G. TRAY~ tiles 18" long, 12" wide ANYWHERE IN THE UNITED STATES, YOU PAY NO POSTAGEGHARGES, (tables, trivets, and trays are all furnished without tiles) Small addt'l, fee outside U, S, You must have this.I New John Martin Decal Cata- log Listlngmover 100 designs JOHN MARTIN, Treasures a n d application instructions ..o. .......... o ........ 3S¢ Sample kif of Decals. including Brush, Sponge. and Varnish $4S Valley Road, Upper Montclair, N.J. ..................... $1.00 Dept. CM 3 ORDER BOTH TODAY MARCH 1954 I A Complete Ceramic Service for Schools Let us help you set up a ceramic course in your, school or community. Our ten years experience teaching and supplying schools with ceramic materials has taught us the right ma- terials and techniques to use. We carry a complete line of supplies and equip- ment. Craftool Potters Wheels • B & I Potters Wheels • Amaco Products • Drakenfeld Products • Rogers Kilns • Cress Kilns • L & L Kilns • Holland Molds • Atlas Sprayers • Sericrafters Decals • Books & Periodicals • We can help you with your courses of study, lesson topics, or project ideas. Our catalogue contains lists for beginning and advanced classes. CATALOGUE FREE ON REQUEST 30 BRILLIANT CERAMIC COLORS See/eys Ce,.amlc Se,.vlce • . Ready for instant use! 7 ELM STREET ONEONTA, NEW YORK No fuss! No muss! Just dab a brush into any of the 15 Liquid Overglaze or 15 Liquid Underglaze Colors and apply directly to your ware• Each set con- tains strong, deep colors. Easy to mix for intermediate shades or with white for pastels. The Underglaze Colors can be used for Engobes or Slip Stains- work equally well on raw or bisque ii neWc'F*°°L ware, in either one or two fires. There's one full ounce TREADLE WHEEL in each jar. tandi buy for schools, hobbyists, The Overglaze Colors are the finest obtainable, all and professional ceramists? milled superfine to make china painting a real pleas- ure. Included are three costly colors: Pink A-1644; • . No other Kick Wheel offers oil the Maroon A-1645 and Purple A-1649, which contains ~atures of this ruggedly constructed,self- gold compounds. Each jar contains about 1/10 pound contained, and highly sensitive floor model at this low price! of color. Each set is attractively boxed with two multi-purpose brushes and instructions. Order today! i~ ii iii iii ii iii iii m m m m m m iLm m iii ii Illlll Ill U m H U U U I U M U H m m m m m mi • I B. F. Drakenfeld & Co., Inc. CM lI I 45-47 Park Place, New York 7, N.Y. I g I Gentlemen: Attached is my check for • . i| lw [] Liquid Overglaze Set.......................................... $10.00 I w [] Liquid Underglaze Set ...................................... 5.00 iI l I I will pay shipping charges. 1 I I w NAME. •I I • I I ADDRESS I I l I I CITY/ZONE .STATE I I I I Send me the Drakenfeld catalog of prepared i i [] glazes, clay bodies, electric kilns and other i ceramic supplies. I RmJ~ ~mmllJmmlmmmlnmmmmRmmmmmlmlmm~m~lmlmm ra/ enlre]j " "@ DEPT. CM 401 BROADWAY NEW YORK 13, N. Y. CERAMICS MONTHLY a letter from the editor He that publishes a boo k runs a very great hazard, since nothing Volume 2, Number 3 MARCH • 19S4 can be more impossible than to compose one that may secure the S0 cenfs per copy approbation of every reader. --Cervantes cover story We have often requested your comments and Throwing Upside Down ........... ]. Sheldon Carey 15 suggestions to aid us in planning our editorial course. Your response has been really gratifying, articles and you have been most helpful. In-Glaze Decoration ................ Thomas Sellers 11 The new feature, "Ceramic Counsel," which Porcelain for the Studio Potter ...Dorothy W. Perkins 13 starts in this issue, grew from the many letters which Press Molds .......................... ]ohn Kenny 22 asked for the "why" in addition to the "how" of ceramics. Certainly a healthy sign---and we asked How to Mix and Pour Plaster ........... John Kenny 24 our Edgar Littlefield to prepare a series of monthly items covering, from a theoretical point of view, the shows most often asked questions. Buffalo Museum Ceramics Section .................. 32 In April, another new monthly feature will be introduced, in response to those whose primary regular reading ceramic interest is in overglaze decorating. This "department" will be handled by Zena Hoist of Advertisers Index ...... 33 Itinerary .............. 8 Salt Lake City who has studied and taught decorat- Answers to Questions ... 21 Letters ............... 4 ing and design for almost forty years, and Carlton Ceramic Counsel ....... 26 New N Useful ......... 6 Atherton who is professor of Fine Arts at Ohio State Suggestions ................. 29 University. We're convinced they know all the answers. ADVISORY EDITORS Enamellsts, too, will be served soon with fre- EDITOR J. Sheldon Carey quent instructive and general interest articles. Louis G. Farber John B. Kenny (We've been scolded too many times for seemin~ to Edgar Littlefield overlook this important section of the ceramic family.) ASSOCIATE EDITOR CONTRIBUTING EDITORS Mary E]liott Henry Bellman Ralph Waldo Emerson said that "by necessity, Karl Martz by proclivity, and by delight, we all quote," which BUSINESS MANAGER Dorothy W. Perkins prompts me to quote him: Spencer L. Davis Thomas Sellers Kenneth E. Smith A man builds a fine house; and now he has a master, and a tas k COVER by Gordon Keith for life; he is to furnish, watch, show it, and keep it in repair the rest of his days. --Emerson Ceramics Monthly is published each month at the Lawhead Press, Inc., Athens, Ohio, by Professional Publications, Inc., We are happy to bow to the master and ac- 3494 N. High St., Columbus 14, Ohio. Spencer L. Davis, Presi- cept the task for life--if you will continue to help dent and Treasurer; Louis G.
Load more

Recommended publications
  • Art 198 Supplemental Reading List
    Art 198 Supplemental Reading List http://seco.glendale.edu/ceramics/198readinglist.html ART 198 HISTORY OF WORLD CERAMICS SUPPLEMENTAL READING LIST General Reference: -10,000 Years of Pottery, Emmanuel Cooper, 4th Edition, 2000, University of Pennsylvania Press, Philadelphia, PA -World Ceramics, An Illustrated History, edited by Robert J. Charleston, 1976, Chartwell Books, Seacaucus, NJ -World Ceramics, From Prehistory to Modern Times, by Hugo and Marjorie Munsterberg, 1998, Penguin Putnam Publishers, NY -Techniques of the World's Great Masters of Pottery and Ceramics, by Hugo Morley-Fletcher, 1984, Chartwell Books, Seacaucus, NJ -Ceramics of the World, From 4000 BC to the Present, Lorenzo Camusso and Sandra Bortone, editors, 1992, Harry N. Abrams, publisher, New York -Pottery in the Making: World Ceramic Traditions, edited by Jan Freestone and David Gaimster, 1997, Smithsonian Institution Press, Washington, D. C. -Art History, Marilyn Stokstad, 1995, Prentice Hall, Inc., Upper Saddle River, NJ -Art Through the Ages, Horst de la Croix and Richard C. Tinsley, Harcourt, Brace and World, Inc., NY -The Craft and Art of Clay, by Susan Peterson, 3rd edition, 1999, Prentice-Hall, New York -Ceramics, A Potter's Handbook, 6th Edition, 2000, by Glenn Nelson, Holt, Rinehart and Winston, NY -Clay and Glazes for the Potter, by Daniel Rhodes, Chilton Books The Ancient World: -The Emergence of Pottery, Technology and Innovation in Ancient 1 of 6 2/8/2009 4:10 PM Art 198 Supplemental Reading List http://seco.glendale.edu/ceramics/198readinglist.html Societies, by William K.Barnett and John W. Hoopes, 1995, Simthsonian Institution Press, 1995, Washington, DC -Cycladic Art: The N.
    [Show full text]
  • Antiques-February-1990-Victorian-Majolica.Pdf
    if It1ud!!&/ ';"(* ./J1!11L. /,0t£~ltldtiJlR~~~rf;t;t r{/'~dff;z, f!71/#/~i' 4 . !(Jf~f{ltiJ(/dwc.e. dJ /¥ C\-Cit!Ja? /Hc a4 ~- t1 . I. le/. {./ ,...."".. //,; J.(f)':J{"&Tf ,4.~'.£1//,/1;"~._L~ • ~. ~~f tn.~! .....•. ... PL IL Baseball and Soccer pitcher made by Griffen, Smith and Company, PllOeni;'Cville,Pennsylvania. c.1884. Impressed "GSH "in nlOnogram on the bottom. Height 8 inches. The Wedgwood pattern book illustration of the same design is shown in PL Ila. Karmason/Stacke collection; White photograph. PL /la. Design from one of the pattern books of Josiah Wedgwood and Sons, Barlaston, Stoke-on-Trent, England. Wedgwood Museum, Barlaston, Stoke-on-Trent, England. and Company, Josiah Wedgwood and Sons, and majolica.! New designs for majolica ceased to be made George Jones and Sons. From these books one be• in the early 1890's, and production of majolica ceased comes familiar with the style of the maker and comes early in this century. to appreciate the deliberate choice of details that gives The Minton shape books are valuable not only be• each piece its unity. cause they help date the first production of a piece but By 1836 Herbert Minton (1792- 1858) had succeed• also because they show the development of the eclectic ed his father, Thomas (1765-1836), the founder of the and revivalist styles used by Minton artists. The earli• prestigious Minton firm. In 1848 Joseph Leon Fran• est style used by the firm was inspired by Renaissance ~ois Arnoux (1816-1902) became Minton's art direc• majolica wares.Z Large cache pots, urns, and platters tor, chief chemist, and Herbert Minton's close col• were decorated with flower festoons, oak leaves, car• league.
    [Show full text]
  • General Condition Terms for Ceramics the Purpose of This Glossary Is To
    General Condition terms for Ceramics The purpose of this glossary is to provide you with a common language for the condition of ceramic items. Hardness the hardness of a ceramic is dependent on the type of clay used, its porosity and firing temperature. The following are simples classifications. Greenware Unfired clay articles. Earthenware- A glazed porous ceramic created by low temperature firing. Majolica or maiolica is tin glazed earthenware and overpainted with oxides developed in Majorca. Similar pottery is known in France as Faience and the UK as Deftware. Porcelain- Kaolin based ceramic body that has been fired between 1200oC- 1400°C vitrifying the composition becoming non porous Bisque-unglazed porcelain Flaws Flaws are defects, visible marks or inclusions made during the manufacturing process that should be included in the description. Damage Damage describes defects made through use, handling, cleaning or storage. Damage includes nicks, cracks, scratches, paint wear and crazing. Abrasion – Scuff marks or areas of concentrated scratches, generally caused by rubbing against another item over time. Accretions-build up or deposit of a foreign materials on a surface Efflorescence-white powdery or hard salt deposits that are located on the surface of the ceramic Spalling- loss from the separation of the ceramic layers due salts migrating through the body and glaze Flaking –lifting and separation of the glazing from the ceramic body without complete loss of the insecure area Light scratches - Scratches which do not score the surface of the item. Can be seen but not felt. Deep scratches - Scratches which score the surface of the item and can be felt with a fingernail.
    [Show full text]
  • Majolica Matters Majolicasociety.Com February 2021
    The Publication of the Majolica International Society Majolica Matters MajolicaSociety.com February 2021 Majolica Fever 32 Years by Robert Lambert Celebrating Robert Lambert is a new MIS Member: Author, artist and renown maker of fine Victorian Majolica! preserves, and a new majolica convert. www.robertlambert.com Inside this issue: A hundred and forty years ago in a fragrant grove on the Cote d’Azur, potter • Majolica Fever - by Robert Lambert Eugene Perret-Gentil plucked Seville oranges and cast them, forever, in plaster • Fly vs Bee, “The FINAL Word” – by to make a mold. In a day they would have spoiled, turned to mush, but their ripe Duane Matthes • It is Always Good to “Check In” - by imprint endures in the pottery he created to grasp that fleeting life. For 20 years Duane Matthes I, too, have sought to secure this ephemeral fruit’s essence against the forces of • Let’s Use IT! - by Dick Haul & Duane decay. Preserving, as Monsieur Perret-Gentil knew, is the art of buying time. Matthes • “Marilyn Karmason Library” – by Deborah English • Burmantofts Faience, England by Duane Matthes • Majolica Collectors Community Group – Now on Facebook Visit, Like, and Follow these MIS Rsources: majolicasociety.com kl.majolicasociety.com www.pinterest.com/deborah2317 majolicainternationalsociety/ majolicainternationalsocietyofficialpage www.facebook.com/groups/ 3079646915476952/ - New Collector Group Wall plate with Seville oranges and blossoms, Perret-Gentil Menton, 1880 In the glass case before me was something I had never seen before. This was 25 years ago, and charged with choosing props for chef Hubert Keller’s first cookbook, I had cruised every antique and upscale dinnerware store in San Francisco.
    [Show full text]
  • MAJOLICA RENAISSANCE In-Glaze Painting on Ceramic Surfaces by Diana Faris
    Lesson Plan #61 MAJOLICA RENAISSANCE In-Glaze Painting on Ceramic Surfaces by Diana Faris “Majolica” is the historical term used to describe a decorative ceramic technique of painting with glaze materials on top of an opaque, tin-based white glaze. It is a process that was first developed in the Middle East to imitate Chinese Porcelain. It was brought across Gibraltar into Spain by the Moors. Spanish potters then began making Muslim-inspired works in this method. Italians imported this ware from the Spanish port of Majorca, calling it “maiolica” ware. When the French imported it from the Italian city of Faenza, they called it “faience.” Delft pottery also employs the same technique as Majolica (Maiolica), and is most often represented by blue brushwork on a white background. Traditionally, the Majolica process involved completely coating terra cotta clay, or red-ware in an opaque white glaze, then painting on top of that unfired glaze with decorative stains and oxides. AMACO’s low-fire Teacher‘s Palette and Teacher‘s Choice glazes allow you to mimic this historic technique with ease and success in the classroom over any low-fire earthenware clay. Lesson Plan Goals and Objectives l Students will study the influence of the trade industry on pottery, and how this ultimately affected Italian ceramics during the Renaissance. They will learn about the Moorish influence in Spain and eventually Italy from the early 8th to mid 15th century. l Students will learn how to replicate the historic ceramic decorating technique of “Majolica” using AMACO® TP and TC low-fire Gloss Glazes.
    [Show full text]
  • Ceramic Glazing Techniques
    ceramic artsdaily.org four great ceramic glazing techniques how to formulate successful crystalline glazes, add depth through slip trailing and color washes, and glaze in the majolica style This special report is brought to you with the support of Vallauris Institute of Arts. www.ceramicartsdaily.org | Copyright © 2010, Ceramic Publications Company | Three Great Ceramic Glazing Techniques | i Four Great Ceramic Glazing Techniques How to Formulate Successful Crystalline Glazes, Add Depth Through Slip Trailing and Color Washes, and Glaze in the Majolica (Maiolica) Style Trying out new glazing techniques is always exciting because you don’t know quite where you’ll end up -- even a mistake could hold a pleasant surprise! If you’d like to try something new, then one or all of these great glazing techniques may be just what you need. These three glazing techniques are as varied as their origins. Majolica (also spelled maiolica) originates from the Mediterra- nean and is the techniques of applying color on top of a glaze; Lisa Bare Culp brings us up to date with contemporary com- mercial glazing techniques; and crystalline glazes originated in Europe and require specific glazes and firing conditions. Whether you’re looking for a fresh look or looking to see what you can do with a new glazing technique, you’ll find your answers in these three great approaches. The Colorful World of Majolica (Maiolica) by Linda Arbuckle Majolica (or maiolica) is a white, opaque, glossy glaze that is very viscous to the point that it doesn’t move during firing. This allows the line quality and bright colors applied to the raw glaze surface to be maintained faithfully through the firing.
    [Show full text]
  • Majolica Matters December 2015
    The Quarterly Publication of the Majolica International Society Majolica Matters www.MajolicaSociety.com December 2015 Introducing New MIS Co-Presidents by Wanda Matthes In October, 2016, the MIS Executive Board selected Wanda and Duane Matthes to assume the role of Co-Presidents of the MIS. Laurie Wirth, who has served the Society so well since 2010 will now become an Ex-Officio. All other officers on the board of the MIS will remain the same. REGISTER NOW FOR We want to thank all of the MIS Board members for their constant efforts and CONVENTION 2016 staying “in place”, allowing the business of the MIS to remain stable as we go BALTIMORE, MARYLAND through these changes. Inside this issue: Wanda and Duane have been members of the MIS since 1996, attending their • Introducing New MIS Co-Presidents first convention, the eighth for the MIS, at King of Prussia, Pennsylvania in • BARD 2016 will be May 4, 2016. April of that year. At that meeting, they met Marilyn Karmason, Joan Stake, • Prometheus—Found! • Reviewing Society’s Mailing Addresses Nicholas Dawes, Helen Cunningham and Marshall Katz, all authors of • Majolica Masterpieces Buck the Trend wonderful books on majolica! Both Wanda and Duane have held active leadership and creative roles in the Society. Duane created the first web site for the Majolica International Society and keeps the Society connected with his Majolica Mail. Wanda assumed the role of Editor and Chief of our quarterly newsletter, Majolica Matters in 2004 and continues in that role at present. Duane is the publisher
    [Show full text]
  • THE INFLUENCE of EARLY JAPANESE EXPORT PORCELAIN on DUTCH DELFTWARE, 1660-1680 by Drs
    THE INFLUENCE OF EARLY JAPANESE EXPORT PORCELAIN ON DUTCH DELFTWARE, 1660-1680 by Drs. Frits Scholten Head of Department of Applied Arts, Haags Gemeenlemuseum, The Hague, Holland In 1634 Hendrik Hagenaer, an employee of the Dutch East India Company in Japan, reported to his superiors in Batavia that in his opinion there were good prospects to find a Japanese market for Dutch pottery. He especially recommended Dclftware with a marbled decoration.1 This report did not have much effect on the import of Dutch ceramics into Japan however. The company authorities in Batavia probably expected little profit from Hagenaer’s plan. Moreover, after 1668 a sumptuary law came into being in Japan, including a complete ban on the importation of foreign earthenware. Any speculations about the development of Japanese ceramics, had the Dutch been able to bring large quantities of Delftwarc into the country, must therefore remain academic. After all, history took the opposite course; in the end it was Japan, who managed to exert a tremendous influence on the development of European ceramics since the middle of the 17th Century, as a result of their own large-scale exports. The production of Dutch Delftwarc in particular shows in the period from 1660 to 1680 early traces of such Dutch majolica dish, circa 1630-1650, diam. c. 28cm., Japanese influence. It is this aspect of the Dutch- Haags Gcmecntemuscum, The Hague. Japancse relations I intend to clarify here. A brief description of the genesis of Japanese export porcelain understandable that the importation of porcelain on such and of the exact role of the Dutch in this development a massive scale caused important shifts in the Dutch is essential for a thorough understanding of this cultural market for luxury ceramics.
    [Show full text]
  • Chemical Characterization of Tin-Lead Glazed Pottery from the Iberian Peninsula and the Canary Islands
    Archaeometry 51, 4 (2009) 546–567 doi: 10.1111/j.1475-4754.2008.00431.x Tin-leadJ.BlackwellOxford,ARCHArchaeometry0003-813X1475-4754©XXX*ReceivedORIGINAL G.University Iñañez UK glazed Publishing6 etNovember ofARTICLE al. Oxford, pottery Ltd 2007;2008 from accepted the Iberian 28 May peninsula2008 andCHEMICAL the Canary Islands CHARACTERIZATION OF TIN-LEAD GLAZED POTTERY FROM THE IBERIAN PENINSULA AND THE CANARY ISLANDS: INITIAL STEPS TOWARD A BETTER UNDERSTANDING OF SPANISH COLONIAL POTTERY IN THE AMERICAS* J. G. IÑAÑEZ,1,2 R. J. SPEAKMAN,1 J. BUXEDA i GARRIGÓS2 and M. D. GLASCOCK3 1Museum Conservation Institute, Smithsonian Institution, Suitland, MD 20746-2863, USA 2Cultura Material i Arqueometria Universitat de Barcelona (ARQUB), Facultat de Geografia i Història, Universitat de Barcelona, c/ Montalegre, 6-8, 08001, Barcelona, Catalonia, Spain 3Research Reactor Center, University of Missouri, Columbia, MO 65211, USA Majolica pottery was the most characteristic tableware produced in Europe during the Medieval and Renaissance periods. Because of the prestige and importance attributed to this ware, Spanish majolica was imported in vast quantities into the Americas during the Spanish Colonial period. A study of Spanish majolica was conducted on a set of 186 samples from the 10 primary majolica production centres on the Iberian Peninsula and 22 sherds from two early colonial archaeological sites on the Canary Islands. The samples were analysed by neutron activation analysis (NAA), and the resulting data were interpreted using an array of multivariate
    [Show full text]
  • The Introduction of Delftware Tiles to North America and Their Enduring Legacy in Charleston, South Carolina
    Clemson University TigerPrints All Theses Theses 5-2010 Piecing It Together: The nI troduction of Delftware Tiles to North America and Their ndurE ing Legacy in Charleston, South Carolina Josslyn Kay Stiner Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Historic Preservation and Conservation Commons Recommended Citation Stiner, Josslyn Kay, "Piecing It Together: The nI troduction of Delftware Tiles to North America and Their ndurE ing Legacy in Charleston, South Carolina" (2010). All Theses. 828. https://tigerprints.clemson.edu/all_theses/828 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. PIECING IT TOGETHER: THE INTRODUCTION OF DELFTWARE TILES TO NORTH AMERICA AND THEIR ENDURING LEGACY IN CHARLESTON, SOUTH CAROLINA A Thesis Presented to the Graduate Schools of Clemson University and the College of Charleston In Partial Fulfillment of the Requirements for the Degree Master of Science Historic Preservation by Josslyn Kay Stiner May 2010 Accepted by: Robert Russell, Ph.D., Committee Chair Frances H. Ford Elizabeth Garrett Ryan Ashley Robbins-Wilson, AIA and ASID ABSTRACT The economic and social history of delftware tiles in North America has not yet been synthesized and the use of delftware tiles south of Virginia is even less documented. In fact, even though Charleston, South Carolina exhibits numerous examples of this decorative art, there has been very little research conducted on this topic regarding the southern city.
    [Show full text]
  • Burmantofts Faience - an Art Pottery Coming up in the World
    Ceramics Burmantofts Faience - an Art Pottery coming up in the World. With Price Guide by Jason Wigglesworth If you were to visit Burmantofts today you will notice the building many from one original. Some of these originals can still be found sites where new offices are being constructed and an academy that today and usually have potters marks on them, tend not to be is replacing the old school. This is the third regeneration of this area numbered and are highly sought after. in three decades. Back in 1968 the landscape was equally as Other styles developed which not only included grotesques but also different as it was at the beginning of the regeneration of the slums. progressed to arts and crafts motifs that were popular at the time. This was the last time the local residents would have to look on the Other designs that were not so popular were mere Victorian Burmantofts pottery site that had been left derelict since 1957. If pastiche and soon lost favour. At best though, items were produced you were to go further back in time to 1842 then the district was of that rivalled all other potteries and equally matched designers such a lunar landscape in appearance with vast quarries and drift mines. as Christopher Dresser with Burmantofts Anglo-Persian wares not This was the beginning of the Wilcox Brickworks that would far behind in quality to the De Morgan’s studios. These are the most eventually become the Burmantofts Pottery. desirable and expensive of all the Burmantofts wares. In 1880 the owner of the brickworks, John Holroyd brought in his The pottery is either marked Burmantofts Faience or has the BF son James as manager.
    [Show full text]
  • Ceramic Glazing Techniques
    ceramic artsdaily.org five great ceramic glazing techniques from crystals to majolica, a guide to creating beautiful glaze surfaces Five Great Ceramic Glazing Techniques From crystals to majolica, a guide to creating beautiful glaze surfaces. Trying out new glazing techniques is always exciting because you don’t know quite where you’ll end up -- even a mistake could hold a pleasant surprise! If you’d like to try something new, then one or all of these great glazing techniques may be just what you need. These three glazing techniques are as varied as their origins. Majolica (also spelled maiolica) originates from the Mediterra- nean and is the technique of applying color on top of a glaze; Lisa Bare Culp brings us up to date with contemporary com- mercial glazing techniques; and crystalline glazes originated in Europe and require specific glazes and firing conditions. Whether you’re looking for a fresh look or looking to see what you can do with a new glazing technique, you’ll find your answers in these three great approaches. The Colorful World of Majolica (Maiolica) by Linda Arbuckle Majolica (or maiolica) is a white, opaque, glossy glaze that is very viscous to the point that it doesn’t move during firing. This allows the line quality and bright colors applied to the raw glaze surface to be maintained faithfully through the firing. Arbuckle is the authority when it comes to this glazing technique, and she will help you through both the technical aspects as well as the creative approach necessary to gain success with your work.
    [Show full text]