# ent

id: 46779
type: WORK_OF_ART
entity:
  History of the Ceramic Art"--a descriptive philosophical study of the pottery of all ages and nations


# bib

id: 19423
title: The Story of Porcelain
author: Bassett, Sara Ware
txt: ./txt/19423.txt
cache: ./cache/19423.txt
extension: .txt
mime: text/plain
summary:
  "I wish I might have gone to France, Father," said Theo earnestly. this clay work was glazed, of course, for at that time men had not yet "I wish you would come, Mr. Croyden," urged Theo. Theo for such a long time; but the boy was insistent that his father After the Doctor had gone Theo looked up into Mr. Croyden''s face. tell me some more about china-making," Theo said naively. son, and Theo saw a great deal both of his father and Mr. Croyden. "Surely you have seen this ware, Theo," asserted Mr. Croyden. "Good-night," called Theo as Mr. Croyden passed out, "and thank The next day when Mr. Croyden put his head in at Theo''s door to say "I certainly shall, Mr. Croyden," answered Theo earnestly. "Perhaps by the time Theo gets to making china things will be "That is what Mr. Croyden wants," put in Theo.


id: 19953
author: Holmes, William Henry
txt: ./txt/19953.txt
cache: ./cache/19953.txt
extension: .txt
mime: text/plain
summary:
  FORM AND ORNAMENT IN CERAMIC ART. _Form_, as embodied in clay vessels, embraces, 1st, _useful shapes_, Clay has no inherent qualities of a nature to impose a given form or natural forms, both animal and vegetable, embodied in vessels of clay, art has acquired a multitude of new forms, some of which may be natural the art of pottery would use the stone vessels as models, and such forms probably many forms suggested by the use of the coil in vessel building, applied ornament, examples of which, from Pueblo art, are given in Fig. 479. Non-ideographic forms of ornament may originate in ideographic features, its possible origin through the modification of forms derived from In the latter art the forms of Ceramic art, Origin and development of form and Form modifies ornament in pottery 458 Origin and development of form and ornament in Origin and development of form and ornament in

title:
  Origin and Development of Form and Ornament in Ceramic Art. Fourth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1882-1883, Government Printing Office, Washington, 1886, pages 437-466.


id: 36092
title: North Devon Pottery and Its Export to America in the 17th Century
author: Watkins, C. Malcolm
txt: ./txt/36092.txt
cache: ./cache/36092.txt
extension: .txt
mime: text/plain
summary:
  [Illustration: FIGURE 1.--North Devon sgraffito cup, deep dish, and jug NORTH DEVON POTTERY AND ITS EXPORT TO AMERICA IN THE 17th CENTURY [Illustration: FIGURE 2.--Sketch of sherd of sgraffito-ware dish, dating [Illustration: FIGURE 7.--Gravel-tempered oven from 17th-century house on [Illustration: FIGURE 9.--Gravel-tempered oven made at Crocker pottery, [Illustration: FIGURE 10.--Restored gravel-tempered oven from Jamestown. North Devon wares occur in the majority of sites at Jamestown, but it is In sites dating from before about 1670, no North Devon wares are found, A small amount of North Devon gravel-tempered ware was found in sites Two small sherds of North Devon gravel-tempered ware of the areas excavated, occasional sherds of North Devon gravel-tempered [Illustration: FIGURE 23.--North Devon gravel-tempered pan with typical John Howland house site; and pan-rim sherd from "R. NORTH DEVON GRAVEL-TEMPERED WARE The North Devon potteries produced gravel-tempered ovens that probably [Illustration: FIGURE 34.--Rim profiles of North Devon gravel-tempered


id: 40411
title: The Potter''s Craft: A Practical Guide for the Studio and Workshop
author: Binns, Charles Fergus
txt: ./txt/40411.txt
cache: ./cache/40411.txt
extension: .txt
mime: text/plain
summary:
  natural cream-colored clay and the shapes were modeled with great skill. to use clays which were almost white, and after glazing a decoration in One of the pails is half filled with clean water and the clay, handful into clay, and for absorbing water from glazes, shallow dishes of For example, if a mold is to be taken from a clay model no size The plaster vase is laid upon its side on a piece of soft clay and a "block mold" and is not, as a rule, used for making the clay ware. piece is formed, the bat with its burden can be set aside for the work large wares in a single piece but section work involves great skill and, little glaze has been used on the piece or the buff of the clay has In the case of clay ware the pieces may be set close together or


id: 40311
title: China and Pottery Marks
author: Unknown
txt: ./txt/40311.txt
cache: ./cache/40311.txt
extension: .txt
mime: text/plain
summary:
  in this book is a representative list of better known marks by which china particular reference to the marks of English china which is greatly in This mark complete is never used except with perfect pieces decorated in Decorated pieces bearing the blue sceptre mark only are This mark, used about 1740, in gold, red, or blue. Factory established about 1775; ceased in 1785. Present mark Fayence. Mark under crown is another form of the monogram of Charles WEDGWOOD, present mark on decorated china. First quality mark in gold. This mark in gold 1773. Mark in blue or red. Mark in blue or red. This mark used from 1808 to 1871, in blue or gold. The Sevres Marks [Illustration: After 1848, this mark in green was used for white [Illustration: This mark used for white pieces; when scratched it denotes [Illustration: The marks used at the present time.]


id: 47870
title: Chats on Old Earthenware
author: Hayden, Arthur
txt: ./txt/47870.txt
cache: ./cache/47870.txt
extension: .txt
mime: text/plain
summary:
  Mug and Jug. Leeds Cream Ware, decorated at Lowestoft 299 =Jasper Ware.=--A fine hard stoneware used by Wedgwood, and imitated by in salt-glazed Staffordshire ware, or white and heavy, as in later a _coffee-pot_ of glazed red ware, a kaolin of deep cream colour the Staffordshire potters were turning out this salt-glazed ware as enamelling on the salt-glazed ware for the Staffordshire potters. the improvement of under-glaze blue-printing cream-ware. In the Staffordshire cream-ware jug we previously illustrated painted impressed marks, on ware of the Wedgwood school, in date from 1760 made cream ware with blue-printed decoration, a style which was not ware was decorated by transfer-printing salt-glaze followed the new of the black transfer-printed ware the Staffordshire potter used Under-glaze blue-printed ware was an imitation from the porcelain The top jug illustrated is of Staffordshire cream ware, and is in date cream ware transfer-printing in under-glaze blue; (3) the school of


id: 46779
title: Pottery and Porcelain, from early times down to the Philadelphia exhibition of 1876
author: Elliott, Charles Wyllys
txt: ./txt/46779.txt
cache: ./cache/46779.txt
extension: .txt
mime: text/plain
summary:
  --Sèvres.--Flower-Work.--Hard Porcelain, _Pâte Dure_.--The Grand Monarque. potteries in England, which are useless as works of art, and are useful time, in which glazed pottery and porcelain intended for the uses of pieces of this style of work were decorated with figures of saints, and admirable work of many sorts, and especially in porcelain and pottery, destroyed; so that we can expect no more fine art-work in porcelain from bottles are of good white porcelain, painted in colors, and bearing Chinese pottery from true porcelain, as the colored glaze in many cases porcelain, were the largest pieces of potter''s work we had ever seen, Many pieces of the old Dresden porcelain (and of modern work PH combined, sometimes found on this porcelain, marks the work of Chaffers, in his work upon "Pottery and Porcelain," gives the private important works on pottery and porcelain--of which enough have been elaborate pieces of porcelain-work are now made there.


