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Three other traditional techniques are tin-glazed (in fact this is lead glaze with a small amount of tin added), which coats the ware with an opaque white glaze suited for overglaze brush-painted colored enamel designs; salt glaze pottery, also often stoneware; and the feldspathic glazes of Asian porcelain.
Surrey whiteware or Surrey white ware, is a type of lead-glazed pottery produced in England from the 13th to the 16th centuries. The white-fired sandy earthenware was produced largely from kilns in Surrey and along the Surrey- Hampshire border.
The term, "Border ware" was introduced by archaeologist, Clive Orton, to describe the lead-glazed, sandy earthenware produced along the Surrey-Hampshire borders during the early post-medieval period. The pottery is divided into two classes, whitewares and redwares, although the term "Border ware" generally refers to the whitewares.
Several influences contributed to the emergence of studio pottery in the early 20th century: art pottery (for example the work of the Martin Brothers and William Moorcroft); the Arts and Crafts movement, the Bauhaus; a rediscovery of traditional artisan pottery and the excavation of large quantities of Song pottery in China. [1]
Werra ware is believed to have emerged from a tradition of lead-glazed stove-tile manufacture existing in the area in the 1520s. [6] Lead-glazing had rarely been used in central Germany before this date, whilst it was well established in the Netherlands where there was also use of sgraffito between 1400 and 1500, a technique later adopted in ...
Tin-glazed Victorian majolica is the rare tin-glazed earthenware made primarily by Mintons [11] from 1848 to circa 1880, typically with flat surfaces, and opaque whitish glaze with brush painted decoration in the style(s) of Italian Renaissance maiolica tin-glazed pottery. Also known as: maiolica; and 'lead or tin' glazed majolica.
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It is traditionally characterised by being hand-shaped rather than thrown, fairly porous vessels, which result from low firing temperatures, lead glazes and the removal of pieces from the kiln while still glowing hot. In the traditional Japanese process, the fired raku piece is removed from the hot kiln and is allowed to cool in the open air.