DOCSLIB.ORG

Country Spiritantique Show

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Country Spiritantique Show $1.50 AntiqueWeek T HE W EEKLY A N T IQUE A UC T ION & C OLLEC T ING N E W SP A PER VOL. 53 ISSUE NO. 2682 www.antiqueweek.com MARCH 2, 2021 Pot lids: When lithography met ceramics By Larry LeMasters Right: This pot lid, depicting “Anne Hathaway’s Cot- tage” set a pot lid sales record when it sold for Beginning just after the First Indus- $3,600 at a Historical & Collectable auction held in trial Revolution, which lasted in June 2007. England from approximately 1760– 1840, modern lithography swept Below: TJ & J Mayer pot lid, circa 1850, England and its manufacturing indus- depicting the Grand International Buildings. try. It collided with chemists and other individual inventors who were produc- ing and packaging their own lines of medicine, pharmaceuticals, and house- hold, ladies’ cosmetics. The golden years for these cottage industries were the late-Victorian Era through the early 1900s, approximately 1880 – 1910. These early items were sold in ceram- ic pots with decorated lids. The decora- tions were applied to the lids through the application of a glaze over a transfer print on paper. The process of transfer printing on ceramic wares, which had its origins in the 1750s, was taken to its logical con- clusion in the mid-19th century by George Baxter when, in 1835, he adapt- ed transfer lithography to the ceramics industry. Transfer lithography, or the process of color printing on paper and its transfer to ceramics, employed four different color plates (blue, red, yellow and black) that created polychrome dec- orations and designs that, until the Industrial Revolution, had only been attainable by hand painting. Felix and Richard Pratt, who founded F & R Pratt in Fenton, Stoke-on-Trent, England, in the early 1840s, first applied Baxter’s transfer process to pot lids. The Pratt brothers along with Jesse Austin, Above: Pratt pot lid depicting the funeral of a noted English artist and engraver, the Duke of Wellington. This lid is valued at collaborated to create hundreds of trans- $40. fer designs and artwork. Pratt’s pot lids, merchandise in ceramic pots with lids in collector circles, became known as marked the pots and lids with their own “Pratt types,” and represent some of the advertising and company names. most sought-after pot lids produced. The transfer designs on pot lids often F & R Pratt, along with T. J. & J. listed the manufacturing company’s Mayer (another manufacturer of name and the contents of the pot, such high-quality pot lids) exhibited their as Pegwell Bay (a company that sold unique line of wares at the Great Exhi- potted shrimp). Other companies adver- bition held in London in 1851. The tised different manufactured items, and Great Exhibition was the first in a some lids were simply decorated with series of “World Fairs” that served to artist paintings of British landmarks, celebrate modern industrial technology such as Anne Hathaway’s cottage in and design. It is sometimes difficult to tell which See Pot Lids on page 19 potter made a pot lid since few lids were marked in the ceramic studio. Chemists and other companies that sold their Right: Areca Nut toothpaste pot lid that is valued at $12. Atlanta Expo Centers 3,500 Booths! Ohio Expo Center 800-1,200 Booths! SCOTT ANTIQUE MARKETS Atlanta, GA Columbus, OH ANTIQUE AND DESIGNER ITEMS 2nd Weekend *Dates subject to change (covid19) TM 740.569.2800 www.scottantiquemarkets.com Mar 11 - 14 May 6 - 9 Every Month Nov 27 - 28 2021 America’s Favorite Treasure Hunts! 2021 Apr 8 - 11 Jun 10 - 13 Dec 18 - 19 Masonic Lodge - Downtown Follow us on Facebook Thursday 5-7 pm www.countryspiritshow.com Friday 11 am-2 pm Antique Show Saturday 9 am-3 pm (312) 957-1065 country spirit Arcola Center - Downtown Friday 11 am-2 pm Modifi ed Floorplans, Safe & Socially Distanced, Masks & March 4-6, 2021 Saturday 9 am-3 pm Sanitizer Available, Capacity Best Western Plus - at I-57 Limits & Common Sense Three buildings full of Early Country Antiques Friday 5-8 pm Safety Protocols In Place Arcola, IL Saturday 9 am-3 pm Page 2 WWW.ANTIQUEWEEK.COM March 2, 2021 NEWS Shoppers of the 1960s and ‘70s were stuck on S&H Green stamps By David McCormick Many people Baby Boomers remember going to the grocery store and getting S & H Green stamps along with their change after paying for their groceries. Those stamps would then be taken home and put into booklets. Above: eBay seller mr neverending offers has four “S&H” stands for the Sperry & Hutchin- green stamps books for sale at $12 each. son Co., which Thomas Sperry and Shelley ing single publications in the country. Ac- Byron Hutchison established by in 1896. cording to Greg’s piece nearly 80 percent S&H Green Stamps became the most pop- of American households collected Green ular trading stamps across the United Stamps during the 1960s and 1970s. These States. S&H Green Stamps were found in little green postage-like stamps were dis- many households from the 1930s to the pensed by several retailers to reward for 1980s. But it was during the 1960s and shoppers for their loyalty and draw new ‘70s these stamps reached their peak. customers into the stores. According to Greg Hatala’s 2013 arti- Once the stamps were collected into cle, “Made in Jersey: S&H Green Stamps: booklets, those booklets could be ex- in the sixties, Americans were stuck on changed for things such as china, linens, them.” S&H was printing three times as sporting goods, furniture and more. many stamps as the U.S. Postal Service at the height of its popularity. And their rewards catalog classified among the lead- S&H Green Stamps on Page 4 Below: eBay seller negal1967 offers a lot containing several S&H stamp booklets. The price $19.53. Above: Cover of a S&H Green Stamp booklet. Above: Inner page of booklet. The illustration sug- gests a necklace for a loved one with the correct Above: S&H 1965 Ideabook. eBay seller kdcon- number of books filled with S&H Green stamps. way is asking $16.99. Vintage Style readers share what else? Their vintage style! First there was furniture that was Below: Reader Deward H.’s daughter is hooking a Perry Como’s very Vintage Style considered a bit too rug, using this nostalgic German postcard as inspi- clever jingle, “Let- stodgy for the times. ration. ters, we get letters/ Looking back, I We get stacks and By think that the usual stacks of letters.” A Barbara suspects were vari- few decades later, it Beem ous family leftovers was David Letter- from the 1920s and man’s “Viewer Mail” 1930s that no one (“actual letters from else wanted. But actual viewers”). And here we are, in the leading up to the Bicentennial, we were 2020s, with a sampling of emails from all feeling a bit arts-and-crafts-y, and so “Vintage Style” readers, often a source of this was a logical choice. encouragement, camaraderie, and inspi- Back to the column featuring Jenna. ration. Let’s dig into the virtual mailbag. What caught Reader Candy M.’s eye was Back in August of last year, I chatted the mention of the color “avocado green,” with “Jenna the Millenial” and told the an integral part of our color scheme at story of this Pennsylvania woman who the time, and, as it turns out, with her repurposes otherwise unwanted brown family as well. Candy produced photo- furniture by giving it a coat (or two or graphic evidence that confirmed that three) of spray paint. For the record, it the full-length drapes and rug in their would seem that the brighter the color, living room were, indeed, avocado green. the better, and she’s not afraid of re-coat- The dining room boasted a similarly col- ing what just doesn’t seem right. ored hutch. And the kitchen was very au As I heard her story, I couldn’t help courant with green appliances and coun- but think that this was yet another case tertops, accented by wallpaper that she of “what goes around comes around.” Above: Candy M.’s Uncle Wilbur strikes a pose in this Back in the 1970s, my Mom used multi- See Vintage Style on Page 4 step “antique-it” kits to update brown 1972 photo, where avocado green rules! AntiqueWeek (ISSN 0888-5451) is published Contacts weekly (except Christmas week) by Publisher: Subscriptions/Delivery Advertising representatives: MidCountry Tony Gregory Telephone: 1 800 876 5133 Telephone: 1 800 876 5133 Media, Inc. Telephone: 1 800 876 5133 ext 321 [email protected] Fax: 1 800 695 8153 [email protected] After Hours: 1 800 876 5133 ext. 177 P.O. Box 90 27 N Jefferson St. Knightstown, IN 46148-1242 Managing Editor: Advertising Manager: Jessica Davis Founded in 1968 by Tom and Peggy Mayhill. Connie Swaim Dan Morris Telephone: 1 800 876 5133 ext 133 Telephone: 1 800 876 5133 ext 131 US subscription $42.00 per annum. Telephone: 1 888 342 3232 [email protected] Periodicals postage paid at Knightstown, [email protected] [email protected] Indiana 46148 and additional mailing offices. Fax: 1-850-342-1777 Postmaster: Please send changes of address to P.O. Box 90, Knightstown, IN 46148 March 2, 2021 WWW.ANTIQUEWEEK.COM Page 3 Invitation to Consign | Fine & Decorative Arts Auction | May 22 Mermod Freres Marquetry Cylinder Tiffany Studios Tiffany Studios Music Box “Dragonfly” Table Lamp “Dogwood” Table Lamp SOLD: Mills Novelty Co. Double SOLD: $87,725.00 SOLD: $66,550.00 $30,250.00 Violano-Virtuoso SOLD: $56,870.00 Tiffany Studios Paperweight Vase Pair of Grohé Frères Louis XVI Style Cabinets SOLD: $14,520.00 Tiffany Studios SOLD: $24,800.00 “Oriental Poppy” Chandelier Tiffany Studios “Elizabethan” Table Lamp SOLD: $665,500.00 SOLD: $90,750.00 Platinum, Diamond & Sapphire Bracelet SOLD: $6,655.00 Tiffany Studios Duffner & Kimberly “Spider” Table Lamp Diego Rivera Louis XIII Table Lamp (Mexican, 1886-1957) SOLD: $45,980.00 SOLD: $33,275.00 SOLD: $29,000.00 Murad Cigarettes Flange Advertising Sign SOLD: $7,260.00 Tiffany Studios Black Forest Carved Dog R.J.
Load more

Recommended publications
  • Ceramics Handling Collection
    Ceramics handling collection . Ceramics handling collection Teachers notes Welcome to the National Museum of Scotland. Our ceramics handling collection contains 17 pieces from our collection and we encourage everyone to enjoy looking at and touching the objects to find out all about them. These notes include: • Background information on ceramics. • Details about each piece. • Ideas for questions, things to think about and to discuss with your group. NMS Good handling guide The collection is used by lots of different groups so we’d like your help to keep the collection in good condition. Please follow these guidelines for working with the objects and talk them through with your group. 1 Always wear gloves when handling the objects (provided) 2 Always hold objects over a table and hold them in two hands 3 Don’t touch or point at objects with pencils, pens or other sharp objects 4 Check the objects at the start and the end of your session 5 Please report any missing or broken items using the enclosed form National Museum of Scotland Teachers’ Resource Pack Ceramics handling collection What are ceramics? • Ceramics are objects made from clay mixed with water and then fired in a kiln. • There are three types of ceramics: porcelain, stoneware and earthenware (pottery). • Ceramics have been made for thousands of years. The oldest known ceramics are animal and human figures that date to around 24,000BC. • Ceramics are used for many purposes - vases, tiles and sculptures. One of the most common uses is for tableware - plates, bowls, cups etc. • Ceramics can be for practical or decorative purposes – or both at the same time! • Ceramics can be made by one person or in a factory, where groups of people design, make and decorate the objects.
    [Show full text]
  • “Wanted - Blue Willow in Any Color” Blue and White, Blue Willow, Flow Blue and Asiatic Pheasants China
    “Wanted - Blue Willow in any Color” Blue and White, Blue Willow, Flow Blue and Asiatic Pheasants China away in Etruria, Josiah Wedgwood had created a fine new white earthenware, known as pearl ware, which had a lovely smooth surface, ideal to print on. By 1784 Spode was using his improved printing process to create lovely designs on this new pearl ware. For the first time a potter was making quality earthenware with beautiful designs, which would not wear off or fade from use, as they were under the glaze. It was tableware that was both durable and affordable and a mass market was born. y Transfer Printing rust.) Conceptually, transfer printing is simple, but to be suc- y potter T cessful it depends on the skill of execution. First select your design and ask your highly skilled engraver to care- fully engrave the design on a copper printing plate. After 6 to 8 weeks of painstaking work the engraver has finished one printing plate, which will be used to decorate the din- ner plate. He now starts to engrave the next copper plate to be used for the lunch plate and so his work goes on. tesy of Spode Museum Taking the freshly engraved plate, you hand it to your s working in a 19th Centur equally skilled printer, who covers the printing plate with er warm printing ink mixed with cobalt, wipes off the excess err awing cour ink leaving just the engraved lines and hatchings full of ansf r (Dr T ink, then prints an exact image onto fine, but strong tissue paper.
    [Show full text]
  • Gallery Guide Marx-Lambert Collection Compton Verney
    Gallery Guide Marx-Lambert Collection Compton Verney Please return to the gallery after use 1 Marx-Lambert Collection Gallery Guide Marx-Lambert Collection Compton Verney The Marx-Lambert Collection Gallery Guide and re-display was Written and compiled by made possible by funding from: Dr Steven Parissien, Director and Penelope Sexton, Curator The DCMS/Wolfson Museums and Galleries Improvement Fund Compton Verney and With support from The Estate of Enid Marx Gallery guide: Designed by Anne Odling-Smee and Ana Gomes, O-SB Design, London Marx-Lambert Galleries: Curated by Penelope Sexton, Compton Verney Designed by O-SB Design, London and Jeremy Akerman All works by Enid Marx © The Estate of Enid Marx Photographs by Harminder Judge All other works © Compton Verney Photographs by Harminder Judge Photograph of Enid Marx © University of Brighton Design Archives Introduction 7 Biography 8 Collection Introduction 9 Cooking Utensils and Decorative Containers 10 Eating and Drinking 14 Furniture 28 Ornaments 32 Pictures 42 Textiles 48 Toys and Miscellanea 52 Introduction Enid Crystal Dorothy Marx (1902–1998) was one of the brightest stars to emerge from the Design School of London’s Royal College of Art (RCA) during the interwar years. Her generation at the RCA – an outstanding cohort which artist and RCA tutor Paul Nash (1889–1946) subsequently hymned as ‘an outbreak of talent’ – included her close friends Eric Ravilious (1903–1942) and Edward Bawden (1903–1989), as well as future giants of British painting such as John Piper (1902–1992). Marx’s own artistic talents were prodigious: she excelled as a textile designer, an author, designer and illustrator of children’s books, a printmaker and a painter.
    [Show full text]
  • 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… '.
    [Show full text]
  • China Paint & Overglaze Ebook
    CHINA PAINT & OVERGLAZE PDF, EPUB, EBOOK Paul Lewing | 238 pages | 01 Mar 2007 | American Ceramic Society | 9781574982695 | English | none China Paint & Overglaze PDF Book Not for use with dry grounding materials The ferrule brushes generally dont need conditioning Southwell, Sheila. In his company began to make a fine hard-paste porcelain in small quantities. A light violet may turn into a dark blue, and a pale pink into a brown-crimson. On the other hand, using a thick viscous medium can hold substantially more powder and thus result in a heavy layer of paint on the glazed surface. Kakiemon dish, Arita, porcelain with overglaze enamels c. Continuing a family tradition of the finest in china painting. Chinese University Press. Help Learn to edit Community portal Recent changes Upload file. Also, lead can significantly alter the color of some yellows, reds, browns and greens. Consider using a ceramic tile as your palette. Ended: 04 Dec, GMT. The acrylics dry to a hard finish and are difficult to remove once they dry. The J. Learn about Hispano-Philippine ivories on Wed. Do what I laughingly call the "kitty-butt wiggle" Related sponsored items Feedback on our suggestions - Related sponsored items. Outline drawn in water-based OHP pen. A factory for white tin-glazed soft porcelain was founded at Chantilly around A fairly long bristle of about an inch or so is prefered over a short detail brush. An image is drawn with a greasy crayon on a smooth stone or zinc surface, which is then wetted. The Great Artists of China Decoration.
    [Show full text]
  • A Brief History of Transfer Printed Tiles by Wendy Harvey
    A Brief History of Transfer Printed Tiles By Wendy Harvey ass produced or a glue bat. The im- Mtransfer printed age could then be fired tiles trace their history at a relatively low tem- to the tiles first pro- perature for a very brief duced by printer John time (15 minutes). This Sadler and his partner method had the obvi- Guy Green in the year ous advantage of has- 1756. On a sworn af- tening production both fidavit Sadler states in decoration and fir- “without the aid or as- ing. However, since the sistance of any person decoration was placed or persons, did, within atop the tin glaze it was the space of six hours, subsequently much less to wit, betwixt the hours durable and subject to of nine in the morning wear. and three in the after- noon of the same day, The first decorations print upwards of twelve that Sadler and Green Fireplace Surround w/ Sadler & Green Tiles. hundred earthenware produced were reminis- tiles of different patterns, at Liverpoole [sic] aforesaid, and cent of Dutch tiles. Since there was huge demand for blue which as these depondents have heard and believe, were painted Dutch tiles originating from Liverpool as well as more in number and better and neater, than one hundred from Holland, it is easy to see that this was an obvious skillful pot painters could have painted in the like space of attempt to compete in a well established marketplace. In time in the common and usual way.” (Van Lemmon p.127) fact, a certificate by Thomas Shaw and Samuel Gilbody, at- tached to the Sadler affidavit, states, “We are also assured Using available handmade white tin glazed delftware that the Dutch may by this improvement be considerably tiles, John Sadler applied the newly developed method undersold.” (Van Lemmon p.128) The original Dutch de- of printing on ceramics to tiles.
    [Show full text]
  • More Than Meets the Eye
    MORE THAN MEETS THE EYE The Archeology Of Bathhouse Row, Hot Springs National Park, Arkansas Prepared By Author William J. Hunt, Jr. Midwest Archeological Center Technichal Report 102 United States Department of the Interior National Park Service Midwest Archeological Center Lincoln, Nebraska 2008 Cover Caption Hot Springs National Sanitorium, Ark. Arlington Hotel, Central Ave. and Bath House Row in 1888 “Postcard printed by Eastern National based on a poster by J.R. Buckingham and printed in 1888 by Woodward and Tiernan Printing Co., St. Louis. This report has been reviewed against the criteria contained in 43CFR Part 7, Subpart A, Section 7.18 (a) (1) and, upon recommendation of the Midwest Regional Office and the Midwest Archeological Center, has been classified as Available Making the report available meets the criteria of 43CFR Part 7, Subpart A, Section 7.18 (a) (1). MORE THAN MEETS THE EYE The Archeology Of Bathhouse Row, Hot Springs National Park, Arkansas By William J. Hunt, Jr. Midwest Archeological Center Technical Report No. 102 NATIONAL PARK SERVICE Midwest Archeological Center United States Department of the Interior National Park Service Midwest Archeological Center Lincoln, Nebraska 2008 hot sprinGS ABSTRACT For many, the oldest “park” managed by the federal government is not Yellowstone National Park (set aside in 1872) but Hot Springs National Park (HOSP) in Arkansas. Congress set aside the hot springs and adjoining mountains here as a federal reservation in 1832 to protect the resource and preserve it for public use. For centuries before this, the hot springs may have used by Native Americans, their occupations having little impact on the resource.
    [Show full text]
  • Collecting Canadian Hand Painted Porcelain from the 1880’S Onwards1 O Colecţie De Porţelan Pictat De Mână În Canada De La 1880 Până În Prezent
    MUZEUL NAŢIONAL Vol. XX 2008 COLLECTING CANADIAN HAND PAINTED PORCELAIN FROM THE 1880’S ONWARDS1 O COLECŢIE DE PORŢELAN PICTAT DE MÂNĂ ÎN CANADA DE LA 1880 PÂNĂ ÎN PREZENT Paula Gornescu-Vachon* Abstract After being practiced in the large factories of Europe, the art of decorating porcelain became an amateur domestic industry especially for women. In Canada, it mostly remained a feminine specialty that was linked to the Arts and Crafts Movement introduced into the country in the last quarter of the 19th century. Because the movement was North American in scope, it is important to compare developments in Canada with those in the United States. On the Canadian scene, the brothers John and James Griffiths were largely responsible for spreading of this “professional” hobby. The Cabot Commemorative State Dinner Service presented in 1898 to Lady Aberdeen, the Governor General’s wife, exemplifies the degree of skill attained by Canadian women artists of the time. The article highlights the achievements of several artists in the field from its beginnings in Canada. Key words: china painting, Canadian hand painted china, collectibles hand painted china porcelain, Canadian Historical Dinner Service, Alice Mary Hagen After being practiced in large factories in Europe, the art of decorating porcelain became an amateur domestic industry for many women. In Canada, this art, in which women were the most active, was linked to the Art and Crafts Movement introduced into the country in the last quarter of the 19th century. The movement was North American in scope, which inevitably leads us to compare the Canadian scene with developments across the border in the United States.
    [Show full text]
  • TERMINUS POST QUEM LIST Washington College Archaeology
    TERMINUS POST QUEM LIST Washington College Archaeology Amunition 1871 Bottle necked cartridges 1866 Rim fire cartridges 1852 Mini balls 1850 Shotgun cartridges, center fire 1846 Brass or copper cartridge cases 1814 Percussion caps Ceramics 1891 "Made in..." as part of mark 1884 "Rd. No...." as part of mark 1880 Decalomania printed pattern 1880 Liquid gold gilding, bright gold 1875 Ivory body, introduced by Spode 1870 Japanese style patterns, transfer printed 1862 "Trade mark" as part of mark 1861 "Ltd" as part of mark 1850 "Royal" as part of mark 1845 White granite or undecorated ironstone 1840 Sponged decoration 1840 Flow blue transfer printed patterns 1830 Yellow ware, American 1830 Polychrome transfer printed patterns 1828 Red, green, or purple transfer printed patterns 1820 Whiteware 1820 Embossed edge ware 1810 Underglaze black and brown transfer printing 1810 Printed marks, including the pattern name 1810 Stippling in transfer printed wares 1805 Stone China introduced 1805 Albany slip 1800 Royal Coat of Arms as part of pottery mark 1800 English Bone China 1800 Canton Porcelain, Chinese Export 1795 Underglaze painted pearlware 1795 Mocha 1795 Willow pattern, transfer print 1790 Lustre glaze, English 1790 Dipped Creamware, (i.e. annular ware, common cable) 1788 B ennington ware 1787 Underglaze transfer print on earthenware 1780 Underglaze blue and green shell edge decoration 1776 Pearlware 1775 Debased Rouen Faience in Williamsburg 1775 Light colored Creamware 1768 English hard paste porcelain 1765 Debased scratch blue on white saltglazed
    [Show full text]
  • Early 19Th to Mid-20Th Century Ceramics in Texas
    Early 19th to Mid 20th Century Ceramics in Texas Becky Shelton, TASN Training Fort Worth, July 18th 2015 Adapted from: Sandra and Johnney Pollan and John Clark Texas Archeological Stewardship Network 2006 Workshop Presentations Ceramics generally fall into two categories: High temperatures Low temperatures Vitreous Nonvitreous 1. Stoneware Earthenware 2. Porcelain 1. Creamware 2. Pearlware 3. Whiteware 4. Red earthenware OET Porcelain Compact and grainy in cross-section with glassy edges. Used all decorating techniques to make decorative as well as useful wares. England developed two kinds of porcelain – hard-paste and soft-paste. Soft-paste porcelain is fritted with crushed glass. Bone China, or bone ash porcelain (fritted with glass and animal bone ash), became the standard English porcelain body throughout the 19th Century. It is more translucent than hard-paste porcelain. Its broken edges will discolor, and the overglaze decoration often wears away with use. Soft-paste porcelain: very Bone China: ivory, white, vitreous vitreous Earthenware • Fired at low temperatures • Coarse, porous clay bodies • Non-vitreous; require interior surface coating to prevent leakage • Opaque body; transmits no light • Includes “red wares, yellow wares, and white wares” Earthenware-Red • Coarse, porous body that is fragile and must be glazed to prevent leakage. • Pinkish buff to red to brown body • Wheel-thrown and drape-molded most common • Pre-1830: bulbous, ovoid shapes • Post-1830: Straight-sided cylindrical vessels • Decor: Slip-trailing, Manganese glaze, and simple Lead glaze Earthenware-Red, cont. Tooling marks Manganese glaze mostly pre-1850 Slip-trailed and coggled pie plate Milk pan with simple interior glaze Majolica - Early 20th Century Earthenware - Yellow • Coarse, porous body that is finer and more durable than redware, but less vitreous than stoneware.
    [Show full text]
  • White Bodied Earthenware, European, and American Stoneware Texas Archeological Stewards Network Becky Shelton - THC July 18, 2015
    White Bodied Earthenware, European, and American Stoneware Texas Archeological Stewards Network Becky Shelton - THC July 18, 2015 Deciphering White Earthenware 1) Introduction a) Table 1 – Ceramic body types and their characteristics 2) Reference Collection used and further research 3) When it is white, but not white earthenware a) Stoneware b) China, Chinese porcelain (Cat #25) c) Porcelain –English or European (THC Cat#53/#74/#79/#94) i) Bone (THC #24) ii) Bisque porcelain – Parian Ware (THC Cat #3) 4) Categories of White-bodied Earthenware (Price 1979). a) Creamware – ca. 1760-1820 (THC Cat #100/#109/#111) i) Refined (high fired) earthenware with yellowish or cream-colored paste and a clear lead glaze which has a yellowish or greenish cast. When glaze pools, appears deep green or yellow-green. ii) Contemporaneous with Pearlware iii) Decorations (1) Painted underglaze (2) Transfer printed (3) Painted overglaze b) Pearlware ca. 1780-1840 i) Refined earthen ware with white paste ii) Clear lead, blue-tinted (cobalt) glaze. Decoration under the glaze in blue paint (THC Cat #44/#16/#81/#95/#88/#89/#91/#108), printing, and over the glaze in monochrome and polychrome painting (THC Cat #46/#30) (enamels). c) Whiteware ca. 1800-late 19th century i) Refined earthen ware with white paste (THC Cat #37/#48/#90/#113) ii) Blue cobalt was omitted from the glaze, but added to the clay body to make it appear white. Overlaps Pearlware production. Every conceivable decorative style (THC [2006] 2012). (1) Handpainted (THC Cat #112/#92/#93/#45), English origin, Delft (THC Cat #27) East Texas 1820+, South Texas 1830+ (2) Transfer print (THC Cat #12/#13/#14): English origin, 1800 to ca.
    [Show full text]
  • Did Benjamin Franklin Invent Transferware?
    MA.JULY.Erich.pg.proof.corrs:Layout 1 29/06/2010 14:41 Page 464 Did Benjamin Franklin invent transferware? by WENDY W. ERICH ON 3RD NOVEMBER 1773 Benjamin Franklin (1706 –90) wrote a letter to Peter Perez Burdett, a young engraver then based in Liverpool, thanking him for sending his recently produced specimen of transfer-printed chinaware (see Appendix below). 1 Following words of appreciation and encouragement for the china, the elder statesman then makes an astonishing claim that he himself had pursued his idea for transferring pictures to pottery more than twenty years earlier, only to be laughed at by the English pottery trade. The invention of transferware pottery has been subject to academic dispute, but credit was ultimately bestowed on John Brooks as the creator and John Sadler, of Sadler & Green, Liverpool, as the developer of the transfer-print - ed style that revolutionised the surface decoration of ceramics for 2 the following two hundred years. However, the importance to 20. The Franklin bowl, attributed to Josiah Wedgwood. c.1777. Transfer-printed ceramic history of this 1773 letter written by Franklin has been creamware, diameter 22.9 cm. (State Museum of Pennsylvania, Pennsylvania overlooked. Historical and Museum Commission, Harrisburg). By 1773 Franklin was sixty-seven years old and a well- respected figure in worldwide political and scientific realms. His image appeared ubiquitously in periodicals, on trinkets and on but Wedgwood was reluctant. Burdett had given Wedgwood a home furnishings, including popular exported items such as the few engravings: a landscape, dead game and a third with shells transfer-printed creamware bowl celebrating America’s heroes and seaweed, but the great potter did not want to confuse his (Fig.20).
    [Show full text]