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After the Great Chicago Fire of 1871, Haegar shipped bricks into the city to help rebuild Chicago. By the 1920s the brickyard's production included teaware, luncheonware, crystal and glassware. At the Century of Progress Exposition in 1934 in Chicago, Haeger Potteries' exhibit included a working ceramic factory where souvenir pottery was made. [1]
Teco Pottery became closely linked with this style and the pottery was often an integral part of Prairie School homes Bungalow. Gates retired in 1913 to write for Clay-worker magazine, but returned in 1915. His son Major Gates, a ceramic engineer, invented a pressing machine and tunnel kiln, and also a glaze spraying apparatus called a ...
The center began as a ceramics studio in a renovated horse barn on Lillstreet in 1975, by clay salesman, Bruce Robbins. [2] It quickly outgrew its space and, in 2003, Lillstreet relocated to a former gear factory on Ravenswood Avenue, increasing its space from 12,000 sq ft (1,100 m 2) to 40,000 sq ft (3,700 m 2). [3]
In the 1920s, the A.E. Hull Pottery Company maintained its general offices and factories in Crooksville and had an office and a showroom located in New York, offices in Chicago and Detroit and a large warehouse in New Jersey. [1] It was also during the 1920s that Hull began expanding the variety of his company's product line to art pottery.
Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made this way. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat.
The use of brick construction increased in Chicago after the Great Chicago fire of 1871. They are called common brick since they were used in multiwythe mass walls with many of the brick used on inner wythes while a facing brick was used for the outer wythe. Most of the brick manufacturers closed around the middle of the 20th century, and now ...
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Clay tempered with sand, grit, crushed shell or crushed pottery were often used to make bonfire-fired ceramics because they provided an open-body texture that allowed water and volatile components of the clay to escape freely. The coarser particles in the clay also acted to restrain shrinkage during drying, and hence reduce the risk of cracking.