Quick & Dirty Field Guide to Historic Artifacts

Total Page:16

File Type:pdf, Size:1020Kb

Quick & Dirty Field Guide to Historic Artifacts Quick & Dirty Field Guide to Historic Artifacts Millersville University Archaeology 2011 2 TABLE OF CONTENTS COARSE EARTHENWARES Delftware, Polychrome 33 Redware 3 Delftware, Sponged 34 Agate Ware 4 STONEWARES Philly Slip 5 German Moravian Slipware 6 Brown Rhenish Stoneware 35 English Staffordshire Slipware 7 Westerwald Stoneware 36 North Devon Slipware, Sgraffito 8 English Jackfield-Type Ware 9 Fulham-Type Brown Salt-Glazed REFINED EARTHENWARES Stoneware 37 Creamware 10 English Brown Stoneware 38 Pearlware 11 Nottingham Stoneware 39 Transitional Whiteware 12 Elers-Type Stoneware 40 Whiteware 13 Black Basalt Stoneware 41 Ironstone 14 White Salt-Glazed Stoneware 42 Whieldon Ware 15 Scratch Blue Stoneware 43 Yellow Ware 16 Debased Scratch Blue Stoneware 44 American Rockingham Ware 17 American Stoneware 45 DECORATION STYLES PORCELAIN Hand-Painted, Blue on White 18 Chinese Hand-Painted, Polychrome 18 Dehua White 46 Transfer Printed 18 Ching Blue on White 47 Shell-Edged 19 Chinese Imari 48 Sponged/Spattered 19 Ching Polychrome Overglaze 49 Flow Blue 19 Brown Porcelain 50 Annular Wares Powder Blue Porcelain 51 Banded 20 Polychrome Chinese 52 Dendritic Mocha 20 English Speckled SlipField 21 English Soft Paste 53 Marbleized 21 Bone China 54 Cabled 22 TIN-GLAZED REFINED Borderware 55 EARTHENWARES French Faience Vessel Forms 56-62 Saint Cloud Polychrome 23 Bottle Anatomy 63 Seine Polychrome 24 Dutch and French Bottles 64 Rouen (Brün), Plain 25 Hand-Blown Bottle Seriation 64-65 Rouen (Brün), Polychrome 26 Dutch Gin Case Bottles 66 Provence Blue on White 27 Nails 67 Normandy, Plain 28 Pipes and Pipestems 68 Normandy, Blue on White 29 Lead Bale Seals 69 Brittany Blue on White 30 Gun Flints 69 Delftware Gun Parts 70 Plain Delftware 31 Coins 70-73 Delftware, Blue on White 32 Glossary 74-77 3 COARSE EARTHENWARES REDWARE Body Profile Various Redwares Dark Brown Manganese Glazed Redware Base Ceramic Type: Redware Category: Coarse Earthenware Origin: North America, Europe Date Range: 1500-Present Common Types: Manganese Glazed, Clear Lead Glazed Vessel Forms: BOWL, CANDLE HOLDER, CHAMBER POT, JAR, JUG, PAN, PITCHER, PLATE, PLATTER, SAUCER, TEA POT Body Color: Red to red-orange Glaze Color: Dark manganese glaze; light manganese; clear lead glaze Note: The glaze if present is usually on the interior of the vessel, although both side may glazed. Body Type: Vessel walls are generally heavy, reflecting the utilitarian nature of this pottery. 4 AGATE WARE Agate Ware Agate Ware body with swirled red and white clay Base Ceramic Type: Agate Ware Category: Coarse Earthenware Origin: England Date Range: 1740-1775 Vessel Forms: BOWL, DOOR KNOB, HANDLE, PLATE, PLATTER, TEA POT Body Color: Paste consists of multiple colors, usually red and white colored clays mixed together to create veins seen both inside and out. Paste is relatively hard, and thin. Glaze Color: Clear lead glaze, making the surface appear swirled with light and dark browns. Decoration Styles: The rim may be decorated with a yellow band incised with roulette impressions. Versions with a yellow decorated band were common in the third quarter of the eighteenth century. There was a revival of agate Comments: wares used as doorknobs in the late nineteenth century. Sources: Noel Hume 1969, South 1977 5 SLIPWARE, “PHILLY SLIP” SLIP-TRAILED REDWARE Looped Decoration Philadelphia Slipware Striped Decoration Philadelphia Slipware Wavy Striped Philadelphia Slipware Base Ceramic Type: Redware Category: Coarse Earthenware Origin: North America Date Range: 1750-1820 Common Types: Philadelphia Slipware Vessel Forms: BOWL, CANDLE HOLDER, CHAMBER POT, JAR, JUG, PAN, PITCHER, PLATE, PLATTER, SAUCER, TEA POT Body Color: Red to red-orange Glaze Color: The interior surface is covered with a clear lead glaze. Decoration Styles: Decoration is applied by slip-trailing in white, and is simple and geometric. Designs include broad bands, stripes, loops and lobes. Body Type: Vessel walls are generally heavy, reflecting the utilitarian nature of this pottery. Simple, slip-trailed redware vessels were produced at several locations in the Anglo-American colonies after 1750, initially by German potters who emigrated to Pennsylvania, New England and North Carolina. The simple geometric band and loop decoration Comments: on utilitarian forms is often referred to as "Philadelphia style", although as noted such wares were made in a number of centers in Eastern North America. The are most common from the third quarter of the eighteenth century into the first decades of the nineteenth century. Sources: Bower 1985; Magid and Means 2003 6 SLIPWARE, MORAVIAN Banded Moravian Slipware Squiggled White, Brown and Green Moravian Green Floral Moravian Slipware Base Ceramic Type: Redware Category: COARSE EARTHENWARE Origin: UNITED STATES Date Range: 1750-1825 Common Types: Moravian Slipware BOTTLE, BOWL, CANDLE HOLDER, CHAMBER POT, CUP, JAR, JUG, MUG, Vessel Forms: PAN, PITCHER, PLATE, POT, SAUCER, TEA POT Body Color: Varies in color from light red or orange, and less commonly, buff and yellow. Glaze Color: Clear lead glaze over the white slip decoration. Slip decoration could be trailed, marbled, overall slip washed, banded or sgraffito, using combinations of white, yellow, light brown, dark brown and green. Green decoration was usually applied over a base of white slip. Decoration Styles: Designs include a wide variety of floral and zoomorphic motifs, as well as inscriptions, dates, and abstract designs consisting of bands, stripes, squiggles, scrolls, dots and lobes. Interiors of many hollow forms were covered in a white slip wash before decoration. Moravian slip-decorated wares are distinct from English Staffordshire slipwares in their red-colored paste, their motifs, and their use of green decoration and highlighting. They were produced by German potters who settled in North Carolina and Pennsylvania in the Comments: 18th century, and the vessels exported widely in Eastern American by the late 18th century. For a more specific chronology of decorative categories, see South (2004). Sources: Bivins 1972; South 2004 7 SLIPWARE, STAFFORDSHIRE-TYPE, ENGLISH Combed Trailed Staffordshire w/ Crimped Rim Combed Trailed Staffordshire w/ Crimped Rim Dotted Staffordshire Dotted, Trailed & Combed Staffordshire Base Ceramic Type: Staffordshire Slipware Category: COARSE EARTHENWARE Origin: ENGLAND Date Range: 1675-1770 Common Types: Trailed, Dotted, Combed Vessel Forms: BOWL, CANDLE HOLDER, CHAMBER POT, CUP, MUG, PITCHER, PLATE, PLATTER, POSSET, CUP Body Color: Buff or tan in color, often with visible mineral tempering. Glaze Color: A clear lead glaze is applied over the slip decoration, giving the pottery its characteristic yellow and brown appearance. Surface is covered with white and/or brown slip, and decorated in a variety of ways. Decoration methods include trailing slip designs, “jewelling” (placing dots of slip on bands of contrasting color); combing, Decoration Styles: marbling (joggling), and impressed designs. Platters are usually decorated only in one side, and typically have a crimped (“piecrust”) lip. This yellow and brown slipware is associated with Staffordshire; however it was produced in several centers in England. It was Comments: made in a wide variety of both utilitarian and tableware forms. Vessels can be either wheel-thrown or bat molded. Sources: http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page/Historic_Main.htm; Erikson and Hunter 2001; Grigsby 1993; Noel Hume 1970, 2001 8 NORTH DEVON SLIPWARE, SGRAFFITO Incised Sgraffito Incised Sgraffito with Various Designs Incised Zoomorphic Sgraffito Base Ceramic Type: Sgraffito Slipware Category: COARSE EARTHENWARE Origin: ENGLAND Date Range: 1650-1740 Common Types: Incised Vessel Forms: BOWL, CANDLE HOLDER, JUG, MUG, PITCHER, PLATE Body Color: Red to light reddish-brown in color. Many examples have a thin grey core. Glaze Color: A lead glaze covered the slipped surface, giving a yellow color to the slip. Vessels are covered with a thin layer of slip, and patterns were incised through the slip to reveal the red body below. Decoration Styles: Designs include, birds, animals, portraits, letters, naturalistic scenes, geometric, and floral patterns Comments: This incised slipware variety was probably produced in the North Devon area of England. Although common on 17th century English sites, it is rare on Spanish colonial sites. Sources: Grant 1983; Noel Hume 1970; Outlaw 2002 9 JACKFIELD-TYPE WARE Various Examples of Jackfield Base Ceramic Type: JACKFIELD-TYPE WARE Category: LEAD GLAZED COARSE EARTHENWARE Origin: ENGLAND Date Range: 1740-1790 Common Types: Plain, Hand Painted Vessel Forms: CUP, PITCHER, SAUCER, TEA POT Body Color: Very hard, dark purple to dark reddish-grey paste. Glaze Color: Deep, shiny, lustrous (often almost metallic-appearing) black glaze on interior and exterior. Decoration Styles: Decorated Jackfield wares can have oil gilded or enamel floral or foliate designs, or be decorated with slip designs in sprigs, bands or lines. Body Type: Thin-walled vessels. Jackfield production is historically associated with the town of Jackfield in Shropshire, however it was also commonly produced in Comments: Staffordshire by potters like Thomas Whieldon (thus the use of "Jackfield-type" wares). It‟s peak period of use was from about 1740-1760. Jackfield type ware made by Thomas Wheildon is characterized by a redder body and slightly more brilliant black glaze. Sources: Noel Hume 1969, 2001; South 1977; www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page 10 REFINED
Recommended publications
  • Phase Evolution of Ancient and Historical Ceramics
    EMU Notes in Mineralogy, Vol. 20 (2019), Chapter 6, 233–281 The struggle between thermodynamics and kinetics: Phase evolution of ancient and historical ceramics 1 2 ROBERT B. HEIMANN and MARINO MAGGETTI 1Am Stadtpark 2A, D-02826 Go¨rlitz, Germany [email protected] 2University of Fribourg, Dept. of Geosciences, Earth Sciences, Chemin du Muse´e6, CH-1700 Fribourg, Switzerland [email protected] This contribution is dedicated to the memory of Professor Ursula Martius Franklin, a true pioneer of archaeometric research, who passed away at her home in Toronto on July 22, 2016, at the age of 94. Making ceramics by firing of clay is essentially a reversal of the natural weathering process of rocks. Millennia ago, potters invented simple pyrotechnologies to recombine the chemical compounds once separated by weathering in order to obtain what is more or less a rock-like product shaped and decorated according to need and preference. Whereas Nature reconsolidates clays by long-term diagenetic or metamorphic transformation processes, potters exploit a ‘short-cut’ of these processes that affects the state of equilibrium of the system being transformed thermally. This ‘short-cut’ is thought to be akin to the development of mineral-reaction textures resulting from disequilibria established during rapidly heated pyrometamorphic events (Grapes, 2006) involving contact aureoles or reactions with xenoliths. In contrast to most naturally consolidated clays, the solidified rock-like ceramic material inherits non-equilibrium and statistical states best described as ‘frozen-in’. The more or less high temperatures applied to clays during ceramic firing result in a distinct state of sintering that is dependent on the firing temperature, the duration of firing, the firing atmosphere, and the composition and grain-size distribution of the clay.
    [Show full text]
  • A Potterõ S Pots, by Suze Lindsay Clay Culture
    Cover: Bryan Hopkins functional constructions Spotlight: A Potter s Pots, by Suze Lindsay Clay Culture: An Exploration of Jun ceramics Process: Lauren Karle s folded patterns em— robl ever! p a Mark Issenberg, Lookout M ” ountain d 4. Pottery, 7 Risin a 9 g Faw h 1 n, GA r in e it v t e h n g s u a o h b t I n e r b y M “ y t n a r r a w r a e y 10 (800) 374-1600 • www.brentwheels.com a ith el w The only whe www.ceramicsmonthly.org october 2012 1 “I have a Shimpo wheel from the 1970’s, still works well, durability is important for potters” David Stuempfle www.stuempflepottery.com 2 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 3 MONTHLY ceramic arts bookstore Editorial [email protected] telephone: (614) 794-5867 fax: (614) 891-8960 editor Sherman Hall associate editor Holly Goring associate editor Jessica Knapp editorial assistant Erin Pfeifer technical editor Dave Finkelnburg online editor Jennifer Poellot Harnetty Advertising/Classifieds [email protected] telephone: (614) 794-5834 fax: (614) 891-8960 classifi[email protected] telephone: (614) 794-5843 advertising manager Mona Thiel advertising services Jan Moloney Marketing telephone: (614) 794-5809 marketing manager Steve Hecker Subscriptions/Circulation customer service: (800) 342-3594 [email protected] Design/Production production editor Melissa Bury production assistant Kevin Davison design Boismier John Design Editorial and advertising offices 600 Cleveland Ave., Suite 210 Westerville, Ohio 43082 Publisher Charles Spahr Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ.
    [Show full text]
  • Long Gallery Educator’S Pack This Pack Contains Information Regarding the Contents and Themes of the Objects in the Long Gallery
    Long Gallery Educator’s Pack This pack contains information regarding the contents and themes of the objects in the Long Gallery. On our website you can find further activities and resources to explore. The first exhibition in this gallery, ’Reactions’ focuses on Dundee’s nationally important collection of studio ceramics. This pack explores some of the processes that have created the stunning pieces on display and shares some of the inspirations behind the creation of individual ceramics. Contents Reactions: Studio Ceramics from our Collection Introduction and Origins 01 Studio Pottery - Influences 02 The Process 03 Glossary 05 List of Objects - by theme What is Studio Pottery? 10 Influences 11 Ideas and Stories 14 What on Earth is Clay? 16 Getting your Hands Dirty 19 The Icing on the Cake - Glaze and Decoration 21 Fire 24 Artist Focus Stephen Bird 27 Reactions: Studio Ceramics from our collection Introduction- background and beginnings 'Studio Ceramics' or 'Studio Pottery' - can be best described as the making of clay forms by hand in a small studio rather than in a factory. Where the movement in the early days is referred to as 'Studio Pottery' due to its focus on functional vessels and 'pots', the name of 'Studio Ceramics' now refers broadly to include work by artists and designers that may be more conceptual or sculptural rather than functional. As an artistic movement Studio Ceramics has a peculiar history. It is a history that includes changes in artistic and public taste, developments in art historical terms and small and very individual stories of artists and potters.
    [Show full text]
  • 001. Outstanding Double Stamped John Bell Sitting Molded Spaniel Dog W/ Collar & Chain, 8 ½” Tall
    Pa. OnSite Auction Saturday Nov. 17, 2018 Charles & Elizabeth Roby Auction Sale Catalog 001. Outstanding double stamped John Bell sitting molded Spaniel dog w/ collar & chain, 8 ½” tall. 002. Very good splint basket w/ green paint & wooden handle. 003. “White Utica” bulbous stoneware jug w/ blue decoration. 004. Blue & white granite coffee boiler. 005. Early oblong wooden trencher maintaining some original bark. 006. Signed “H.W. Hayden pat. Dec. 16, 1851 brass bucket. 007. Early iron grappling hook w/ loop top. 008. Cornucopia & eagle w/ shield dark green glass flask. 009. 1994 Book w/ dust cover: “The Pottery Of The Shenandoah Valley Region” by H.E. Comstock, signed “To Charles Roby Good Luck In Collecting J. Bell Pottery H.E. Comstock 11/10/95”. 010. Very good olive green glass nice form demijohn. 011. Early 3 legged iron hearth frypan w/ wrought iron handle. 012. “Wm. Radam’s Microbe Killer No. 1” stoneware jug. 013. Very good oak splint flower gathering basket w/ full wooden handle & rest stops on base. 014. Very good wooden dry measure w/ iron bands. 015. Large pair tailors scissors signed “R. Heinisch Inventor Newark N.J.” 016. Large green glass bottle “Clarke’s Vegetable Sherry Wine Bitters Sharon Mass.”\ 017. 4 pc. Kitchen Tool Set: wrought iron fork, brass spatula w/ wrought iron handle, brass bowl ladle & strainer both w/ wrought iron handles, all pcs. signed “F.B.S. Canton O. Pat. Jan 26, 1886”. 018. Sheet iron cow or goat bell. 019. Signed “J.T. 1978” wrought iron adjustable candle lamp. 020. 12 count candle mold.
    [Show full text]
  • Ackland Ceramics Guide
    ! ! CERAMICS!GUIDE! Ceramics:"objects"formed"from"moistened"clay"and"hardened"by"firing;"distinguished"by" permeability"and"firing"temperatures" • Earthenware:"Porous,"low<firing" • Stoneware:"Non<porous,"high<firing" • Hard<Paste"Porcelain:"Non<porous,"high<firing" Single!firing:"clay"mixture"and"glaze"reach"maximum"density"and"hardness"in"a"single"firing,"with" the"glaze"being"applied"directly"to"the"unfired"clay"beforehand" Biscuit!firing:"glazed"objects"can"also"undergo"multiple"firings,"the"first"being"the"firing"of"the" unglazed"(biscuit)"object;"helps"stabilize"a"work"before"a"glaze"or"painted"decoration"is"applied" Glost!firing:"fuses"glaze"to"an"object"that"has"already"been"biscuit<fired" Glaze:!natural"materials"applied"to"a"clay"object"(either"as"a"powder"or"mixed"with"water)," fusing"with"the"clay"when"fired;"makes"porous"ceramics"impervious"to"liquid;"also"used"on"non< porous"ceramics"for"purely"decorative"effects,"either"as"transparent"coating"or"colored"by"the" addition"of"various"metal"oxides;"comprised"of"ground"silica,"which"melts"to"create"a"glassy" surface,"as"well"as"(1)"an"alumina"stabilizer"to"increase"viscosity"and"(2)"a"mineral"flux"to"lower" the"silica’s"melting"point." Common!glaze!types:"distinguished"by"flux"material" th • Lead:"low<firing,"used"on"earthenware;"largely"discontinued"by"the"late"19 "century"due" to"dangers"of"prolonged"lead"exposure" • Tin:"lead"glaze"with"the"addition"of"tin"oxide,"resulting"in"an"opaque"white"surface;" originates"in"Middle"East,"9th"century;"European"tin<glazed"earthenware"classified"by"
    [Show full text]
  • Pekin Japan – a Pattern with a Long Run
    Pekin Japan – a Pattern with a Long Run By Connie Rogers n our work in the TCC Database, we cessful Ashworth firm continued Ifind that some patterns are short- from 1860-1968 when it was re- lived. Others were popular enough named ‘Mason’s Ironstone China that when the pottery that pro- Ltd.’ This paper will discuss and duced them went out of busi- illustrate some of the Pekin Ja- ness, another pottery bought pan pattern variations of the the copper plates and continued two firms that helped to keep the pattern for many years un- it popular for nearly a century. der different marks – and occa- Now, the name: Pekin Ja- sionally a new name. In the case pan. Where did that come of Pekin Japan, the pattern and from? Pekin surely relates to its name were found in a pattern the city of Peking in China. Ja- book, dated c. 1825-30 from the C. pan is a totally different country. J. Mason & Co. In Mason Porcelain Was this Mason’s way of choos- & Ironstone 1796-1853, the authors, ing a name for an Oriental land- Reginald Haggar & Elizabeth Adams, scape that was not directly copied illustrate a page from the pattern book Figure 1. from a Chinese Export pattern? By 1825- in Plate 101, and a 10 inch plate with 30 when this pattern came out, there were Pekin Japan, c. 1825-30 in Plate 102. The pat- thousands of pieces of Chinese Export tern was first produced by the Masons in an porcelain in Britain, and many of the pat- underglaze blue transfer print as seen here terns were known in general as “Chinese in Figure 1 with its mark (1a).
    [Show full text]
  • Fast Fossils Carbon-Film Transfer on Saggar-Fired Porcelain by Dick Lehman
    March 2000 1 2 CERAMICS MONTHLY March 2000 Volume 48 Number 3 “Leaves in Love,” 10 inches in height, handbuilt stoneware with abraded glaze, by Michael Sherrill, Hendersonville, North FEATURES Carolina. 34 Fast Fossils 40 Carbon-Film Transfer on Saggar-Fired Porcelain by Dick Lehman 38 Steven Montgomery The wood-firing kiln at Buck Industrial imagery with rich texture and surface detail Pottery, Gruene, Texas. 40 Michael Sherrill 62 Highly refined organic forms in porcelain 42 Rasa and Juozas Saldaitis by Charles Shilas Lithuanian couple emigrate for arts opportunities 45 The Poetry of Punchong Slip-Decorated Ware by Byoung-Ho Yoo, Soo-Jong Ree and Sung-Jae Choi by Meghen Jones 49 No More Gersdey Borateby JejfZamek Why, how and what to do about it 51 Energy and Care Pit Firing Burnished Pots on the Beach by Carol Molly Prier 55 NitsaYaffe Israeli artist explores minimalist abstraction in vessel forms “Teapot,” approximately 9 inches in height, white 56 A Female Perspectiveby Alan Naslund earthenware with under­ Female form portrayed by Amy Kephart glazes and glazes, by Juozas and Rasa Saldaitis, 58 Endurance of Spirit St. Petersburg, Florida. The Work of Joanne Hayakawa by Mark Messenger 62 Buck Pottery 42 17 Years of Turnin’ and Burnin’ by David Hendley 67 Redware: Tradition and Beyond Contemporary and historical work at the Clay Studio “Bottle,” 7 inches in height, wheel-thrown porcelain, saggar 68 California Contemporary Clay fired with ferns and sumac, by The cover:“Echolalia,” San Francisco invitational exhibition Dick Lehman, Goshen, Indiana. 29½ inches in height, press molded and assembled, 115 Conquering Higher Ground 34 by Steven Montgomery, NCECA 2000 Conference Preview New York City; see page 38.
    [Show full text]
  • Part 5: Exploration & Excavation
    Marshall University Marshall Digital Scholar C.S.S. Alabama: An Illustrated History Library Special Collections Fall 10-11-2017 Part 5: Exploration & Excavation Jack L. Dickinson Marshall University, [email protected] Follow this and additional works at: http://mds.marshall.edu/css_al Part of the Military History Commons, and the United States History Commons Recommended Citation Dickinson, Jack L., "Part 5: Exploration & Excavation" (2017). C.S.S. Alabama: An Illustrated History. 4. http://mds.marshall.edu/css_al/4 This Article is brought to you for free and open access by the Library Special Collections at Marshall Digital Scholar. It has been accepted for inclusion in C.S.S. Alabama: An Illustrated History by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. CSS Alabama : An Illustrated History In Six Parts: You are here Part 1: Building of Ship 290 Part 2: Officers and Crew Part 3: Cruise of the Alabama Part 4: Battle with USS Kearsarge ---> Part 5: Exploration & Excavation Part 6: Miscellaneous and Bibliography (the Alabama Claims, poems, music, sword of Raphael Semmes) To read any of the other parts, return to the menu and select that part to be downloaded. Designed and Assembled by Jack L. Dickinson Marshall University Special Collections 2017 Investigation of the Confederate Commerce Raider CSS Alabama 2001 CSS Alabama Association P. O. Box 2744 Mobile, Alabama 36652-2744 Association CSS Alabama 34 Avenue de New York 75116 Paris Investigation of the Confederate Commerce Raider CSS Alabama 2001 Submitted to: Joint French American Scientific Committee for the CSS Alabama Submitted by: Gordon P.
    [Show full text]
  • 2013 EFP Catalog 19 April
    Ephraim Pottery Studio Collection April 2013 Welcome! Dear pottery and tile enthusiasts, As you can see from this catalog, we’ve been busy working on new pottery and tiles over the past several months. While this is an ongo- ing process, we have also been taking a closer look at what we want our pottery to represent. Refocusing on our mission, we have been reminded how important the collaborative work environment is to our studio. When our artists bring their passion for their work to the group and are open to elevating their vision, boundaries seem to drop away. I like to think that our world would be a much better place if a collaborative approach could be emphasized in our homes, schools, and workplaces... in all areas of our lives, in fact. “We are better to- gether” is a motto that is in evidence every day at EFP. Many times in the creative process, we can develop a new concept most of the way quickly. Often, it’s that last 10% that requires work, grit and determination. It can take weeks, months, or even years to bring a new concept to fruition. Such has been the case with frames and stands for our tiles. Until recently, John Raymond was in charge of glaz- ing. As some of you know, John is also a talented woodworker who has been developing a line of quarter-sawn oak frames and stands for our tiles. While we have been able to display some of these at shows and in our galleries over the past year, we would like to make frames and stands available to all our customers.
    [Show full text]
  • Leeds Arts Calendar LEEDS ARTS CALENDAR MICROFILMED Starting with the First Issue Published in 1947, the Entire Leeds Art Calendar Is Now Available on Micro- Film
    Leeds Arts Calendar LEEDS ARTS CALENDAR MICROFILMED Starting with the first issue published in 1947, the entire Leeds Art Calendar is now available on micro- film. Write for information or send orders direct to: University Microfilms, Inc., 300N Zeeb Road, Ann Arbor, Michigan 48106, U.S.A. Leeds Art Collections Fund This is an appeal to all who are interested in the Arts. The Leeds Art Collections Fund is the source of regular funds for buying works of art for the Leeds collection. We want more subscribing members to give one and a half guineas or upwards each year. Why not identify yourself with the Art Gallery and Temple Newsam; receive your Arts Calendar free, receive invitations to all functions, private views and organised visits to places ot Cover Design interest, by writing for an application form to the Detail of a Staffordshire salt-glaze stoneware mug Hon Treasurer, E. M. Arnold Butterley Street, Leeds 10 with "Scratch Blue" decoration of a cattle auction Esq., scene; inscribed "John Cope 1749 Hear goes". From the Hollings Collection, Leeds. LEEDS ARTS CALENDAR No. 67 1970 THE AMENITIES COMMITTEE The Lord Mayor Alderman J. T. V. Watson, t.t..s (Chairman) Alderman T. W. Kirkby Contents Alderman A. S. Pedley, D.p.c. Alderman S. Symmonds Councillor P. N. H. Clokie Councillor R. I. Ellis, A.R.A.M. Councillor H. Farrell Editorial 2 J. Councillor Mrs. E. Haughton Councillor Mrs. Collector's Notebook D. E. Jenkins A Leeds 4 Councillor Mrs. A. Malcolm Councillor Miss C. A. Mathers Some Trifles from Leeds 12 Councillor D.
    [Show full text]
  • Appendix A: Ceramic Ware Types
    BookID 162632_ChapID BM_Proof# 1 - 13/07/2009 Appendix A: Ceramic Ware Types Eleven different ware types were recovered at the various sites. The definitions for each ware as given below. Deflt: Tin-glazed pottery made in and around Spain and the Netherlands begin- ning in the early sixteenth century (Caiger-Smith 1973:127). The paste of these vessels was often of local clays and, therefore, variable in their color. Decorations consisted of opaque white tin-glazing decorated with cobalt blue hand-painted and transfer-printed designs, which often imitated Chinese import porcelains. Delft was used in domestic wares, decorative tiles, and a variety of other uses. Redware: This ceramic type was made from about 1730 up until 1840. As an artifact category, redware comprises a broad spectrum of specific paste and decoration variations. It is generally manufactured from rather unrefined materials and fired at relatively low temperatures. Decoration may take the form of colored slips, colored glazes, incisions, etc. Since redware bodies tend to be quite porous, interior glazing is common on those vessels intended to hold liquids (Ramsay 1947:128; Fay 1986). The lead glaze on redware affords the vessel a glossy surface finish that may be produced with a low firing temperature (Ketchum 2000:10; Ramsey 1939). Stoneware: Stoneware served as the “daily use” pottery of America, particularly rural America, after its introduction during the last decade of the eighteenth century. Stoneware is a vitreous, but opaque ware, manufactured of a naturally vitrifying fine, but dense clay. The pottery was fired longer and to a higher temperature than earthenwares; a kiln temperature of a least 1200–1250°C must be obtained (Dodd 1964:274–275; Cameron 1986:319).
    [Show full text]
  • Getting the Most out of Ceramic Glazes and Underglazes
    getting the most out of ceramic glazes and underglazes using commercial ceramic glazes and underglazes to achieve color, depth, and complexity Getting the Most out of Ceramic Glazes and Underglazes Using Commercial Ceramic Glazes and Underglazes to Achieve Color, Depth, and Complexity Ceramic glazes and underglazes are varied and wondrous concoctions. Because they can be complex, as well as for ease of use and time savings, most of us use commercial ceramic glazes to some extent. Chances are, even if you are a ceramic glaze mixing master, you have a few commercial ceramic glazes or underglazes around the studio for specific pot- tery applications. Maybe you want to rely on commercial glazes for your liner glaze, so you’re sure it will be food safe, or perhaps a commercial ceramic glaze provides that hard-to-formulate color you need for details in your surface decoration. Getting the Most out of Ceramic Glazes and Underglazes: Using Commercial Ceramic Glazes and Underglazes to Achieve Color, Depth, and Complexity provides several approaches and techniques to successfully identifying, applying and firing commercial ceramic glazes. A World of Color by David Gamble Underglazes are one of the most popular ways to add color to clay surfaces. They’re easy to use, and underglaze colors are pretty much a “what you see is what you get” kind of proposition—blue fires blue and orange fires orange. The best part is that underglazes come in all forms like underglaze pens, underglaze pencils, underglaze crayons, and more. Homemade Underglazes by Holly Goring Underglazes are widely avaialble but if you’re adventurous, you may want to try to mix your own.
    [Show full text]