WHITE EARTHENWARE from LORRAINE (1755 – C
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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. -
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. -
Willtown an Archaeological and Historical Perspective
willtown an archaeological and historical perspective Archaeological Contributions 27 the Charleston Museum 19 99 Willtown: An Archaeolgocial and Historical Perspective Martha Zierden Suzanne Linder Ronald Anthony with contributions by: Andrew Agha Jennifer Webber Elizabeth Reitz Jean Porter Genevieve Brown James Catto Elizabeth Garrett Hayden Smith Matthew Tankersley Marta Thacker The Charleston Museum Archaeological Contributions 27 May 1999 0c 1999 The South Carolina Department of Archives & History Produced for The Charleston Museum and Hugh C. Lane, Sr. Designer: Judith M. Andrews Assistant: Tim Belshaw ISBN 1-880067-53-6 Table of Contents Acknowledgements .............................................................. xi I. Introduction ...................................................................... 1 Site description ................................................................................................. 2 Previous research ............................................................................................... 2 Comparative data base ....................................................................................... 7 Theoretical basis ............................................................................................... 9 Interpretive issues ........................................................................................... 12 II. The Willtown Community Exploration and settlement of Carolina ....................................................... 15 Protection of the colony................................................................................ -
18TH CENTURY STAFFORDSHIRE EARTHENWARE FIGURES R'
18TH CENTURY STAFFORDSHIRE EARTHENWARE FIGURES by Pat Halfpenny Keeper of Ceramics, City Museum & Art Gallery, Stoke-on-Trent The primary purpose of this paper is to question the wisdom of using generic titles based on potters’ names as a means of classifying Staffordshire earthenware figures. It is generally acknowledged that some kind of classification is necessary and an alternative system bas ed on a technical/visual description will be suggested. The use of a potter’s name for generic grouping is often * : excused on the grounds that everyone knows that t ■ Astbury, Whicldon or Pratt means Astbury-typc, r' : Whieldon-type or Pratt-type. My contention is that any : s*’- * use of a potter’s name carries with it, directly or indirect . & ly, characteristics specifically related to the person whose name is used. For example in Plate 1 if we call the figure on the left Astbury-Whieldon we consciously or subconsciously fur ther classify it - made about 1750, after saltglaze before more sophisticated models. None of these things are true about this piece or necessarily about any other naive figure. A generic title based on a potter’s name also makes us complacent, we don’t have to discover the right name, we don’t have to consider a date as late as 1765 and we have a tidy sequence of figure develop ment from salt-glazed to pearlwarc. The salt-glazed torso on the right in Plate 1 was ex 1 Mid eighteenth century naive figures. Left: small figure cavated at Fenton Low, a potworks owned by Thomas reconstructed from two halves of other figures. -
Rough Notes on Pottery
0- A Lasting Pleasure * one of JOHN MADD0CK& SONS, ud. j & Royal Vitreous & Dinner, Tea or Toilet Sets They cost just a little more than the ordinary kinds, but all better things do Beautiful Shapes * «fe Tasty, Modern, Up-to-date Decorations Novel, Attractive Colors For sale by all First-Class Dealers in Pottery who will substantiate every claim we have advanced & ^ Look at this Stamp The Potters' Art can produce Thej' are made by JOHN MADDOCK & SONS, Ltd., BURSLEM, ENGLAND. CAUTION. Be sure in buying that the name Maddock and England are BOTH on the stamp as our mark has been extensively copied. For Hotels, Boarding-houses, etc., we make goods of special strength for their require- ments. Inquire about Maddock' s goods at your nearest China Store. — CONTENTS. Page. BY WAY OF PREFACE 6 THE ANTIQUITY OF POTTERY 7 AN ICONOCLAST 8 EARLY ENGLISH POTTERY g-J2 Dwight Stoneware—The Elers— Salt Glaze John Astbury's Discovery of Flint- Ralph Shaw—Whieldon—Cookworthy— The New Hall China- Liverpool— Leeds- Rockingham Ware. JOSIAH WEDGWOOD AND HIS SUCCESSORS 13-17 MINTONS 18-22 SPODE—COPELAND—PARIAN 23-25 DAVENPORTS 25 CAULDON (BROWN-WESTHEAD MOORE & CO.) 25 AMERICAN HISTORICAL EARTHENWARE 27-31 FOR THE AMERICAN MARKET 32-33 T. & R. Boote — The Old Hall Earthenware Co.— Geo. Jones & Sons—Johnson Bros.—J. & G. Meakin—Furnivals— Burton Factories - Burmantofts Luca della Robbia Pottery. JOHN MADDOCK & SONS 34-35 CHELSEA 36 BOW 37 DERBY 38 CAUGHLEY—COALPORT 39-41 WORCESTER 42-43 G. GRAINGER & CO 43 LOWESTOFT 44 DOULTON 44-46 BELLEEK—W. -
Technological Aspects of an Early 19Th C. English and French White Earthenware Assemblage from Bern (Switzerland)
Periodico di Mineralogia (2015), Special Issue, 84, 1, 139-168 DOI: 10.2451/2015PM0009 An International Journal of PERIODICO di MINERALOGIA MINERALOGY, CRYSTALLOGRAPHY, GEOCHEMISTRY, established in 1930 ORE DEPOSITS, PETROLOGY, VOLCANOLOGY and applied topics on Environment, Archaeometry and Cultural Heritage Technological aspects of an early 19th c. English and French white earthenware assemblage from Bern (Switzerland) Marino Maggetti1,*, Andreas Heege2 and Vincent Serneels1 1 Department of Geosciences, Geology, Ch. du Musée 6, CH-1700 Fribourg, Switzerland 2 Im Roetel 3, CH-6300 Zug, Switzerland * Corresponding author: [email protected] Abstract Ceramic material from the Brunngasshalde town-waste-dump of Berne, the capital of Switzerland (infilling 1787-1832) encompasses 1% white earthenwares with impressed stamps of English, French and Swiss manufactures. All stamped English (WEDGWOOD, n = 3) and French (CREIL, n = 2; NIDERVILLER n = 1) material was analyzed by XRF, XRD, SEM-BSE and SEM-EDS. The Wedgwood pottery is rich in coarse SiO2 grains, interpreted as crushed flint fragments, with abundant signs of a high temperature treatment. They lay in a finely grained siliceous-aluminous matrix, in one specimen together with grog. The Creil material is very similar, but lacks grog. The English white earthenware differs chemically from Creil in its SiO2, K2O and Ba. Both bodies must be classified as siliceous-aluminous white earthenware. The CaO-rich (17 wt%) Niderviller fragment pertains to the calcareous white earthenware group. A comparison with 19 already published calcareous bodies from Lorraine shows similarities (grains of crushed sand or quartz pebbles and lead frit in a siliceous aluminous matrix), but its chemical composition differs from the published analysis of an object stylistically attributed to Niderviller. -
The Potter Thomas Whieldon the Potter Thomas Whieldon
The Potter Thomas Whieldon Ulrich Alster Klug, 2009, [email protected] Thomas Whieldon was baptized Sep. 9th. 1719 in the church in Stoke-on-Trent, Staffordshire, England as the son of Joseph Whieldon and wife Alcia (Alice), see . The trade of his father is unknown, but it is most likely that Joseph Whieldon was a potter of mayby had work connected with the potting industry. Joseph died in 1731, when Thomas was 11 years old. His mother had already died in 1726. Figur 1: Minature of Ths. Figur 2: The Whieldon Whieldon, which was sold at coat of arms, with the auction by the widow of his It is unknown to whom Thomas as apprenticed, but it is Staffordshire Lion, the grand-son, John Bill parrott and pears. - As Whieldon, in 1908, London. possible that he was raised by a family member who used by G. Whieldon of was a potter and therefore apprenticed to him. Springfield House. The master potter - only 21 years old In 1740, only 21 years old, he is mentioned as a master potter in Fenton Low. He was the partner of John Astbury, a leading potter of this time. In 1747 he leased new premises at Fenton Vivian, bought this property in 1748 and the following year acquired Fenton Hall. By this time he is known to have had 19 employees. He worked though out his entire active period, which lasted until 1780, with both different clays and glazes. He is known for his agate ware, his tortoise-shell glazes and colourful figures. He made almost every possible item in pottery, both handles for knives and forks, tea pots, punch pots, cups, plates, saucers, cream cows, figures i.e. -
Josiah Wedgwood, Master-Potter
JOSIAH WEDGWOOD FIG. I. PORTLAND VASE. WHITE ON DARK SLATE COLOUR. JOSIAH WEDGWOOD MASTER-POTTER BY A. H. CHURCH, F.R.S. PROFESSOR OF CHEMISTRY IN THE ROYAL ACADEMY OF ARTS AUTHOR OF “ THE CHEMISTRY OF PAINTS,” “ ENGLISH EARTHENWARE,” &C., &C. NEW REVISED EDITION LONDON SEELEY AND CO. LIMITED 38 Great Russell Street 1908 THE MINIATURE PORTFOLIO MONOGRAPHS Small to with gilt top in Cloth or Leather. 4 . , , “A triumph of masterly editing.”— The Times. Ready and in preparation. THE EARLY WORK OF RAPHAEL - By Julia Cartwright. THE NEW FOREST - By C. J. Cornish. RAPHAEL IN ROME - By Julia Cartwright. GAINSBOROUGH - - By Sir W. Armstrong. FAIR WOMEN - By William Sharp. ANTOINE WATTEAU - By Claude Phillips. GEORGE MORLAND - By J. T. Nettleship. - THE ISLE OF WIGHT By C. J. Cornish. JOSIAH WEDGWOOD - By A. H. Church, F.R.S ROSSETTI - - By F. G. Stephens. These dainty Volumes are all fully illustrated, and may be had either in Cloth or Leather. SEELEY <5^ COMPANY LIMITED — CONTENTS CHAPTER I HIS PRECURSORS PAGE Elers of Bradwell—John and Thomas Astbury—Ralph Shaw — Thomas and John Wedgwood — Enoch Booth and Ralph Daniel 13 CHAPTER II HIS EARLY YEARS Birth—Education—Traditions of childhood—Appren- ticeship—Partnership with John Harrison and Thomas Whieldon 22 CHAPTER III AS MASTER- POTTER The Ivy House Works—Increase of business—Division of labour introduced — Finish versus vitality Public spirit and generosity 32 v — Contents CHAPTER IV HIS CERAMIC IMPROVEMENTS PAGE Queen’s ware—Black basalt ware and encaustic paint- ing—White semiporcelain—Agate -
Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106
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The Earthenware Collector Uniform with This Volume
THE EARTHENWARE COLLECTOR UNIFORM WITH THIS VOLUME THE FURNITURE COLLECTOR THE GLASS COLLECTOR THE CHINA COLLECTOR THE STAMP COLLECTOR THE SILVER AND SHEFFIELD PLATE COLLECTOR " I, WiNCANTON Jug. Nathaniel Ireson, 1748." Glaisher Collection, THE EARTHENWARE COLLECTOR BY G. WOOLLISCROFT RHEAD WITH SIXTY ILLUSTRATIONS IN HALF-TONE AND NUMEROUS MARKS NEW YORK DODD, MEAD & COMPANY 1920 Printed in Great Britain by Butler & Tanner, Frome and London ; FOREWORD BY THE EDITOR. old as civilisation itself, the art of the potter AS presents a kaleidoscope of alluring charm. To paraphrase the word of Alexandre Brongniart, no branch of industry, viewed in reference either to its history or its theory, or its practice, offers more that is interesting and fascinating, regarding alike its economic appUcation and its artistic aspect, than does the fictile art ; nor exhibits products more simple, "more varied, and their frailty notwithstanding, more desirable. Of course the crude vessels of ancient times, as well as the more serviceable and scientifically more beauti- ful articles of to-day, exist primarily for one and the same object—the use and convenience of man. The story of the potter and his technique has been told repeatedly, sometimes as a general survey and some- times as a specialised branch of a widely extended subject, but notwithstanding the numerous books devoted to it there is always something new to be recorded, fresh pieces to describe, new points to advance and discuss. In these respects The Earthenware Collector will serve the twofold purpose of explaining clearly and concisely the various English wares and how to identify them FOREWORD and of relating the potter's life and the manifold difficulties that he has constantly to overcome ; for some of these men, with little knowledge of their craft, were yet adventurers, as the Elizabethan voyagersr were, saiHng into unknown seas in quest of discovery and fortune ! Mr. -
New Zealand Potter Volume 8 Number 2 February 1966
Vol. 8 No. 2 Feb. 1966 New Zealand POTTER FIVE SHILLINGS NEW ZEALAND POTTER Vol. 8 No. 2 February I966 Contents EDITORIAL 9TH NEW ZEALAND POTTERS' EXHIBITION CERAMICS AT FAENZA STABILITY OF CERAMICS — Roy Cowan ENGLISH POTTERY—A. R. Mountford POTTERY IN KUCHING — Ray Rose 25 POTS BY LEN CASTLE 29 QUEEN ELIZABETH || ARTS COUNCIL AWARDS — LEN CASTLE —— Terry Barrow 35 ROY COWAN —W. Easterbrook-Smith 37 THE ARTS COUNCIL AND EDUCATION——D. BIumhardt 39 NEW VISION 41 ELIZABETH LISSAMAN — Margaret MIIne 42 POTTERS 43 EXHIBITIONS 47 JOHN CHAPPELL 54 A SMALL KILN—Peter Stichbury 56 EDITORIAL The scale of the 9th New Zealand Potters' Exhibition and the vigor with which it was mounted is an indication of the force of the pottery movement in this country. It also demonstrated one of the secrets of the potters — the ability to pool knowledge and work together as a team. Could it be that the emphasis of the exhibition is changing? In the past the most important aim has been the guardianship of standards but with the excellence of the many one-man shows now being held, perhaps the main function of the annual national exhibition is now to bring together the work that is being done throughout the country, and to provide a meeting point for potters. The opportunity for younger potters to meet and be accepted NINTH NEW ZEALAND PUTTERS EXHIBITION by the older ones, the discussions that arise from knowledgeable criticism of the directions that potters are taking, the general swapping of knowledge, all these are of increasing value as time goes on and traditions are built. -
University Microfilms, Inc., Ann Arbor, Michigan
HISTORICAL ARCHAEOLOGY IN THE AMERICAN SOUTHWEST Item Type text; Dissertation-Reproduction (electronic) Authors Berge, Dale L. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 01:45:25 Link to Item http://hdl.handle.net/10150/284999 This dissertation has been microfilmed exactly as received g 8-14,507 BERGE, Dale LeRoy, 1934- fflSTOMCAL ARCHAEOLOGY IN THE AMERICAN SOUTHWEST. University of Arizona, Ph.D.t 1968 Anthropology University Microfilms, Inc., Ann Arbor, Michigan •£J COPYRIGHTED BY DALE LEROY BERGE 1968 iii HISTORICAL ARCHAEOLOGY IN THE AMERICAN SOUTHWEST by Dale L. Berge A Dissertation Submitted to the Faculty of the DEPARTMENT OF ANTHROPOLOGY In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 1968 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE I hereby recommend that this dissertation prepared under my direction by Dale L. Berge entitled Historical Archaeology jn the American Southwest be accepted as fulfilling the dissertation requirement of the degree of Doctor of Philosophy Hi t ff Dissertation Director Date After inspection of the dissertation, the following members of the Final Examination Committee concur in its approval and recommend its acceptance:* If AfM IW? _ % A p<tLl9£f *This approval and acceptance is contingent on the candidate's adequate performance and defense of this dissertation at the final oral examination.