Showing posts with label Pottery. Show all posts
Showing posts with label Pottery. Show all posts
April 05, 2011
Royal Albert Old Country Roses Teapot Set
January 08, 2009
Wedgwood Pottery
You could say that pottery was in Josiah Wedgwood's blood. Wedgwood (1730-1795) was the 12th child of potter Thomas Wedgwood, and his grandfather and great-grandfather had been potters, too.
His mother was determined to provide Josiah with a good education, so from the tender age of 6 he walked 7 miles to school every day in Newcastle-upon-Lyme. When his father died in 1739, Josiah left school to apprentice under his brother Thomas, who carried on the family business.
At the age of 12 Josiah was struck by smallpox, which kept him confined to bed for months. He spent his time reading and improving his mind - it was just as well, for his body was badly stricken by the smallpox. He was left with a weak knee, which meant he was unable to operate the traditional potter's wheel. Instead, he improved his skills at modeling.
In his early 20's Joseph formed a partnership with the preeminent English potter of the day, Thomas Whieldon. Under Whieldon's eye, Wedgwood practiced with glazing, bodies, shapes, and colours. In 1759 his dreams came true when two relatives leased him the Ivy House in Burslem to allow him to start his own pottery business. One of the greatest boosts to the business in those early years was an advantageous marriage to a distant cousin, Sarah Wedgwood, who brought a large dowry into the marriage.
Wedgwood's knee proved troublesome, and he eventually was forced to have it amputated - the operation performed without anesthetic. In 1766 he bought Etruria, in Staffordshire, as a base for his factory and a magnificent new house.
Wedgwood was a constant innovator, a thinker, and a scientist. In 1782 he perfected a tool for measuring heat in kilns. On the basis of his work Wedgwood was elected to the Royal Society in 1783.
The first major innovation Wedgwood introduced to the pottery field was the development of Queen's Ware, a cream-coloured, lead-glazed earthenware. This was durable china formed with a mixture of flint and white clay. In 1765 Wedgwood provided a tea service in this new material for Queen Charlotte, wife of George III. She was so pleased with it that she gave Wedgwood permission to call it Queen's Ware, and to style himself, "Potter to Her Majesty". Queen's Ware became an enormous success spread the name of Wedgwood across all of Europe.
Queen Charlotte
In 1768 Wedgwood developed a fine black porcelain called Black Basalt. With this fine-grained stoneware he was able to produce copies of the newly excavated Etruscan pottery from Italy. The new innovation proved another huge commercial success. The surface was lustrous and smooth, with a purple-black sheen. Wedgwood's factory could scarcely keep up with the demand for candlesticks, medallions, tableware, and vases in the material.
The third major innovation for which Wedgwood is remembered was Jasper Ware, which has been described as the most important invention in the history of ceramics since the discovery of porcelain. It took Wedgwood years of experimentation to perfect his design for this unglazed stoneware with the uncanny ability to be both durable and delicate, and to take colours so evenly throughout its surface. Jasper can be almost any colour, although the most famous examples are are pale or dark blue and white.
The new material was used in an astonishing array of objects, including, of all things, a grand piano! Jasper Ware is also famous for the bas relief applied to the sides, often in imitation of classical Greek motifs.
Jasper Ware has been in production for over 200 years, and in that time the methods of production have changed hardly at all. It seems Joseph Wedgwood got it right the first time!
The Wedgwood Visitor Centre is located in Barlaston, Staffordshire. You can watch pottery being made, and even try your hand at "throwing" a pot yourself. There is a museum tracing the history of the Wedgwood company, a video theatre, and a giftshop where you can buy pottery direct from the works.
Wedgwood Visitor Centre
Wedgwood, Barlaston
Stoke-on-Trent,
Staffordshire
ST12 9ES
Tel. +44 (0) 1782 204218
Wedgwood on the Webhttp://www.wedgwood.com/
His mother was determined to provide Josiah with a good education, so from the tender age of 6 he walked 7 miles to school every day in Newcastle-upon-Lyme. When his father died in 1739, Josiah left school to apprentice under his brother Thomas, who carried on the family business.
At the age of 12 Josiah was struck by smallpox, which kept him confined to bed for months. He spent his time reading and improving his mind - it was just as well, for his body was badly stricken by the smallpox. He was left with a weak knee, which meant he was unable to operate the traditional potter's wheel. Instead, he improved his skills at modeling.
In his early 20's Joseph formed a partnership with the preeminent English potter of the day, Thomas Whieldon. Under Whieldon's eye, Wedgwood practiced with glazing, bodies, shapes, and colours. In 1759 his dreams came true when two relatives leased him the Ivy House in Burslem to allow him to start his own pottery business. One of the greatest boosts to the business in those early years was an advantageous marriage to a distant cousin, Sarah Wedgwood, who brought a large dowry into the marriage.
Wedgwood's knee proved troublesome, and he eventually was forced to have it amputated - the operation performed without anesthetic. In 1766 he bought Etruria, in Staffordshire, as a base for his factory and a magnificent new house.
Wedgwood was a constant innovator, a thinker, and a scientist. In 1782 he perfected a tool for measuring heat in kilns. On the basis of his work Wedgwood was elected to the Royal Society in 1783.
The first major innovation Wedgwood introduced to the pottery field was the development of Queen's Ware, a cream-coloured, lead-glazed earthenware. This was durable china formed with a mixture of flint and white clay. In 1765 Wedgwood provided a tea service in this new material for Queen Charlotte, wife of George III. She was so pleased with it that she gave Wedgwood permission to call it Queen's Ware, and to style himself, "Potter to Her Majesty". Queen's Ware became an enormous success spread the name of Wedgwood across all of Europe.
Queen Charlotte
In 1768 Wedgwood developed a fine black porcelain called Black Basalt. With this fine-grained stoneware he was able to produce copies of the newly excavated Etruscan pottery from Italy. The new innovation proved another huge commercial success. The surface was lustrous and smooth, with a purple-black sheen. Wedgwood's factory could scarcely keep up with the demand for candlesticks, medallions, tableware, and vases in the material.
The third major innovation for which Wedgwood is remembered was Jasper Ware, which has been described as the most important invention in the history of ceramics since the discovery of porcelain. It took Wedgwood years of experimentation to perfect his design for this unglazed stoneware with the uncanny ability to be both durable and delicate, and to take colours so evenly throughout its surface. Jasper can be almost any colour, although the most famous examples are are pale or dark blue and white.
The new material was used in an astonishing array of objects, including, of all things, a grand piano! Jasper Ware is also famous for the bas relief applied to the sides, often in imitation of classical Greek motifs.
Jasper Ware has been in production for over 200 years, and in that time the methods of production have changed hardly at all. It seems Joseph Wedgwood got it right the first time!
The Wedgwood Visitor Centre is located in Barlaston, Staffordshire. You can watch pottery being made, and even try your hand at "throwing" a pot yourself. There is a museum tracing the history of the Wedgwood company, a video theatre, and a giftshop where you can buy pottery direct from the works.
Wedgwood Visitor Centre
Wedgwood, Barlaston
Stoke-on-Trent,
Staffordshire
ST12 9ES
Tel. +44 (0) 1782 204218
Wedgwood on the Webhttp://www.wedgwood.com/
Royal Doulton / Royal Albert
The Royal Doulton Company is one of the most renowned English companies producing tableware and collectables, with a history dating back to 1815. Operating originally in London, its reputation grew in the area known as The Potteries, where it was a relative latecomer compared to other leading names such as Spode, Wedgwood and Minton.
Today, its products include dinnerware, giftware, cookware, porcelain, glassware, collectables, jewellery, linens, curtains, and lighting, among other items.
The company's three key brands are Royal Doulton, Royal Albert and Minton. Together, the three brands make up Doulton Home, which is now part of the Waterford Wedgwood group. Most of the pieces in these three brands are today manufactured outside the United Kingdom, in the Far East and Indonesia.
___________________________________
History of the Royal Doulton Company
The Royal Doulton Company began as a partnership between John Doulton, Martha Jones, and John Watts, with a factory at Vauxhall Walk, Lambeth, London. The business specialised in making stoneware articles, including decorative bottles and salt glaze sewer pipes. The company took the name Doulton in 1853.
By 1871, Henry Doulton, John's son, had launched a studio at the Lambeth pottery, and offered work to designers and artists from a local art school. Their names included the Barlow family (Florence, Hannah, and Arthur), Frank Butler, Mark Marshall, Eliza Simmance, and George Tinworth. Then in 1882, Doulton purchased the small factory of Pinder, Bourne & Co, at Nile Street in Burslem, Staffordshire, which placed Doulton in the region known as The Potteries.
By this time Doulton had become one of the most popular brands of stoneware and ceramics, under the artistic direction of John Slater, who worked across a wide variety of figurines, vases, character jugs, and decorative pieces, many designed by the prolific and popular Leslie Harradine. Doulton products also came to the attention of the Royal family. In 1901 King Edward VII granted the Burslem factory the Royal Warrant, which allowed the business to adopt new markings and a new name, Royal Doulton. The company continued to add products during the first half of the 20th century while retaining its reputation as a prime manufacturer of fashionable and high-quality bone china.
The Lambeth factory closed in 1956 due to new clean air regulations that prevented the production of salt glaze in the urban environment. Following closure, all work was transferred to The Potteries.
On 30 September 2005, the Nile Street factory closed after being sold to developers. Some items are now made at a location of parent company Waterford Wedgwood in Barlaston, to the south of the Potteries Conurbation. Almost all other Doulton pieces are made in Indonesia.
Royal Doulton Ltd (along with other Waterford Wedgwood companies) went into administration on 5 January 2009.
Today, its products include dinnerware, giftware, cookware, porcelain, glassware, collectables, jewellery, linens, curtains, and lighting, among other items.
The company's three key brands are Royal Doulton, Royal Albert and Minton. Together, the three brands make up Doulton Home, which is now part of the Waterford Wedgwood group. Most of the pieces in these three brands are today manufactured outside the United Kingdom, in the Far East and Indonesia.
___________________________________
History of the Royal Doulton Company
The Royal Doulton Company began as a partnership between John Doulton, Martha Jones, and John Watts, with a factory at Vauxhall Walk, Lambeth, London. The business specialised in making stoneware articles, including decorative bottles and salt glaze sewer pipes. The company took the name Doulton in 1853.
By 1871, Henry Doulton, John's son, had launched a studio at the Lambeth pottery, and offered work to designers and artists from a local art school. Their names included the Barlow family (Florence, Hannah, and Arthur), Frank Butler, Mark Marshall, Eliza Simmance, and George Tinworth. Then in 1882, Doulton purchased the small factory of Pinder, Bourne & Co, at Nile Street in Burslem, Staffordshire, which placed Doulton in the region known as The Potteries.
By this time Doulton had become one of the most popular brands of stoneware and ceramics, under the artistic direction of John Slater, who worked across a wide variety of figurines, vases, character jugs, and decorative pieces, many designed by the prolific and popular Leslie Harradine. Doulton products also came to the attention of the Royal family. In 1901 King Edward VII granted the Burslem factory the Royal Warrant, which allowed the business to adopt new markings and a new name, Royal Doulton. The company continued to add products during the first half of the 20th century while retaining its reputation as a prime manufacturer of fashionable and high-quality bone china.
The Lambeth factory closed in 1956 due to new clean air regulations that prevented the production of salt glaze in the urban environment. Following closure, all work was transferred to The Potteries.
On 30 September 2005, the Nile Street factory closed after being sold to developers. Some items are now made at a location of parent company Waterford Wedgwood in Barlaston, to the south of the Potteries Conurbation. Almost all other Doulton pieces are made in Indonesia.
Royal Doulton Ltd (along with other Waterford Wedgwood companies) went into administration on 5 January 2009.
January 07, 2009
What is bone China?
The story of bone china starts with Josiah Spode. Spode was born in 1733 in Stoke-on-Trent, Staffordshire, England. The county of Staffordshire is world-renowned for its ceramics and porcelain . When he was 16 or 17, young Josiah apprenticed with Thomas Whieldon, one of the area’s finest potters.
Spode worked for other potters and also co-owned factories with other potters until 1767 when he formed the Spode factory. This factory was wholly owned by him by 1776 and that factory remains in operation in the same spot today. It is the oldest porcelain factory to remain in business at the same site.
Josiah passed his factory on to his son, Josiah Spode II (1754-1827). Josiah II apprenticed in his father’s factory and opened a London gallery to showcase his father’s porcelain.
Porcelain is an ancient ceramic material perfected by the Chinese. There are examples of porcelain that date back to the 7th century. Porcelain is commonly called china, as this is where the material originated. There are three types of porcelain, hard paste, soft paste and bone china. In 1800, Josiah Spode II created bone china by adding bone ash to the formula for porcelain. The result was the hardest, most durable porcelain available.
Hard paste porcelain is made from kaolin and petuntse. The materials are fired at high temperatures, with or without a glaze, and produce a hard, translucent material. Soft paste porcelain contains the kaolin and petuntse of hard paste but also includes frit – a combination of various materials like white sand, nitre, alum, salt and gypsum. The frit in the mixture liquefies and turns to glass when fired and the glassy bits fuse to the porcelain. The resulting soft paste porcelain has a grittier feel to it and is not as strong as hard paste porcelain.
Bone china is the toughest of porcelains and does indeed contain bones. Bone ash makes up the greatest part of the formula for bone china, with the balance of the formula containing kaolin and petuntse. The resulting material is hard, resilient and an ivory white in color. It remains the standard for porcelain manufactured in England.
Bone ash comes from the pulverized and burned bones of animals. All tissue is removed from the bones and they are fired at temperatures of up to 1000 degrees. The resulting ash is crushed to a powder and mixed with water before being added to the other porcelain material.
Spode bone china is still produced today at the Spode factory in Stoke-on-Trent, Staffordshire, England. All bone china is not Spode, however. Josiah II’s formula quickly spread to other factories within England and to other ceramics factories around the world.
Bone china by Spode and other well-known makers is highly collectible. The material is used to make many things, but most collectible are the tableware, vases and figurines. Most factories have their own identifying marks and some sort of dating scheme fired into the bottom of the works. Spode date marks, for example, were once very simple to decipher. From 1870 to 1957, the date of the piece was marked by a letter over a two-digit number. The letter denoted the month of manufacture and the numbers indicated the year. A piece marked F/09 would have been manufactured in February of 1909. Later dating schemes for Spode are a bit more difficult but numerous reference books exist to help you. These books also feature maker’s marks and are invaluable to the porcelain collector.
Values of bone china by famous makers can vary dramatically and are based on popularity, condition, rarity and other factors. Of all factors, condition is probably one of the greatest concerns. While bone china is resilient compared to hard or soft paste porcelain, it is still fragile and requires gentle care. Tiny chips, crazing, cracks and breaks all will affect the value and beauty of your bone china. These factors are less important in figurines than they are in tableware and vases, but preventing damage is always the best way to go.
You can take many steps to care for your bone china. To start with, keep handling to a minimum. This doesn’t mean that you shouldn’t use your bone china tableware but when you do use it, use it with care. Handling can cause chips, cracks and breaks all too easily. Support plates and platters by holding them underneath rather than by a delicate edge. Hold teapots and gravy boats by their sides and handles rather than the handle alone. Lift and replace covers gently and always remove them before turning a piece over to look at its marks. Don’t use pieces that have been mended.
When you display your bone china, take care that the display doesn’t put your lovely pieces in harm’s way. Closed cabinets in low traffic areas are a good way to show off your china. Many people use plate wires to hang their bone china plates but I prefer not to use these as they can stress the plates and lead to cracks or breaks. Never use bare wire hangers, choose only plastic coated ones if you decide to use hangers at all. Make certain that the surface that you rest your pieces on is stable and doesn’t jiggle or wobble when you walk by.
You can purchase a gum like material that sticks your bone china securely to a table or shelf. This material is used by museums especially in earthquake zones and does no damage to the china or the surface the china sits on. Don’t hang your cups by their handles, no sense asking for trouble. When you stack plates, put a piece of thick paper or cloth between them and don’t let the stack get too high. Don’t stack unmatched plates together or you may create an unstable tower.
Cleaning your bone china should be done with care. Gilded pieces were made with a variety of processes and the stability of the gilding will vary greatly. Avoid scrubbing gilded areas and wash the pieces only when necessary. Gently dust them on occasion. Get into crooks and crevices with a soft toothbrush or a cotton swab. Don’t immerse large pieces in water, instead rest the piece on a stable surface and wash and rinse it there. Don’t attempt to clean mended pieces with any liquid. If you break a valuable piece, don’t attempt to glue it back together yourself. Instead, take it to a professional restorer. Call your local museum for a referral.
Collecting bone china can be a very satisfying and financially rewarding hobby. But, even if you start by collecting relatively inexpensive modern bone china, you are going to be spending fair amounts of money. For this reason, you should educate yourself about the various makers, marks, processes and values of bone china. Many books are available on the subject and a wise collector will own at least a few of them. The better educated you are on the subject, the more likely you are to make some really wonderful finds.
Written by Cheryl Stotesbery - © 2002 Pagewise
Spode worked for other potters and also co-owned factories with other potters until 1767 when he formed the Spode factory. This factory was wholly owned by him by 1776 and that factory remains in operation in the same spot today. It is the oldest porcelain factory to remain in business at the same site.
Josiah passed his factory on to his son, Josiah Spode II (1754-1827). Josiah II apprenticed in his father’s factory and opened a London gallery to showcase his father’s porcelain.
Porcelain is an ancient ceramic material perfected by the Chinese. There are examples of porcelain that date back to the 7th century. Porcelain is commonly called china, as this is where the material originated. There are three types of porcelain, hard paste, soft paste and bone china. In 1800, Josiah Spode II created bone china by adding bone ash to the formula for porcelain. The result was the hardest, most durable porcelain available.
Hard paste porcelain is made from kaolin and petuntse. The materials are fired at high temperatures, with or without a glaze, and produce a hard, translucent material. Soft paste porcelain contains the kaolin and petuntse of hard paste but also includes frit – a combination of various materials like white sand, nitre, alum, salt and gypsum. The frit in the mixture liquefies and turns to glass when fired and the glassy bits fuse to the porcelain. The resulting soft paste porcelain has a grittier feel to it and is not as strong as hard paste porcelain.
Bone china is the toughest of porcelains and does indeed contain bones. Bone ash makes up the greatest part of the formula for bone china, with the balance of the formula containing kaolin and petuntse. The resulting material is hard, resilient and an ivory white in color. It remains the standard for porcelain manufactured in England.
Bone ash comes from the pulverized and burned bones of animals. All tissue is removed from the bones and they are fired at temperatures of up to 1000 degrees. The resulting ash is crushed to a powder and mixed with water before being added to the other porcelain material.
Spode bone china is still produced today at the Spode factory in Stoke-on-Trent, Staffordshire, England. All bone china is not Spode, however. Josiah II’s formula quickly spread to other factories within England and to other ceramics factories around the world.
Bone china by Spode and other well-known makers is highly collectible. The material is used to make many things, but most collectible are the tableware, vases and figurines. Most factories have their own identifying marks and some sort of dating scheme fired into the bottom of the works. Spode date marks, for example, were once very simple to decipher. From 1870 to 1957, the date of the piece was marked by a letter over a two-digit number. The letter denoted the month of manufacture and the numbers indicated the year. A piece marked F/09 would have been manufactured in February of 1909. Later dating schemes for Spode are a bit more difficult but numerous reference books exist to help you. These books also feature maker’s marks and are invaluable to the porcelain collector.
Values of bone china by famous makers can vary dramatically and are based on popularity, condition, rarity and other factors. Of all factors, condition is probably one of the greatest concerns. While bone china is resilient compared to hard or soft paste porcelain, it is still fragile and requires gentle care. Tiny chips, crazing, cracks and breaks all will affect the value and beauty of your bone china. These factors are less important in figurines than they are in tableware and vases, but preventing damage is always the best way to go.
You can take many steps to care for your bone china. To start with, keep handling to a minimum. This doesn’t mean that you shouldn’t use your bone china tableware but when you do use it, use it with care. Handling can cause chips, cracks and breaks all too easily. Support plates and platters by holding them underneath rather than by a delicate edge. Hold teapots and gravy boats by their sides and handles rather than the handle alone. Lift and replace covers gently and always remove them before turning a piece over to look at its marks. Don’t use pieces that have been mended.
When you display your bone china, take care that the display doesn’t put your lovely pieces in harm’s way. Closed cabinets in low traffic areas are a good way to show off your china. Many people use plate wires to hang their bone china plates but I prefer not to use these as they can stress the plates and lead to cracks or breaks. Never use bare wire hangers, choose only plastic coated ones if you decide to use hangers at all. Make certain that the surface that you rest your pieces on is stable and doesn’t jiggle or wobble when you walk by.
You can purchase a gum like material that sticks your bone china securely to a table or shelf. This material is used by museums especially in earthquake zones and does no damage to the china or the surface the china sits on. Don’t hang your cups by their handles, no sense asking for trouble. When you stack plates, put a piece of thick paper or cloth between them and don’t let the stack get too high. Don’t stack unmatched plates together or you may create an unstable tower.
Cleaning your bone china should be done with care. Gilded pieces were made with a variety of processes and the stability of the gilding will vary greatly. Avoid scrubbing gilded areas and wash the pieces only when necessary. Gently dust them on occasion. Get into crooks and crevices with a soft toothbrush or a cotton swab. Don’t immerse large pieces in water, instead rest the piece on a stable surface and wash and rinse it there. Don’t attempt to clean mended pieces with any liquid. If you break a valuable piece, don’t attempt to glue it back together yourself. Instead, take it to a professional restorer. Call your local museum for a referral.
Collecting bone china can be a very satisfying and financially rewarding hobby. But, even if you start by collecting relatively inexpensive modern bone china, you are going to be spending fair amounts of money. For this reason, you should educate yourself about the various makers, marks, processes and values of bone china. Many books are available on the subject and a wise collector will own at least a few of them. The better educated you are on the subject, the more likely you are to make some really wonderful finds.
Written by Cheryl Stotesbery - © 2002 Pagewise
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