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Pontil scar on the base of a free-blown glass bowl. A pontil mark or punt mark is the scar where the pontil, punty or punt was broken from a work of blown glass.The presence of such a scar indicates that a glass bottle or bowl was blown freehand, while the absence of a punt mark suggests either that the mark has been obliterated or that the work was mold-blown.
American Stoneware is a type of stoneware pottery popular in 19th century North America. The predominant houseware of the era, [citation needed] it was usually covered in a salt glaze and often decorated using cobalt oxide to produce bright blue decoration.
Some pieces are unmarked in all periods, and there appears to be some overlapping of marks; indeed some pieces have two different marks. There are also anchor marks in blue and brown, [12] and an extremely rare "crown and trident" mark in underglaze blue, known on only about 20 pieces, and thought to date from around 1749. A chipped beaker with ...
Gzhel pottery was originally created by potters in their homes; however, fairly early on these potters started to organize into workshops to increase production. The workshops eventually became factories with pieces formed in moulds and potters being responsible for separate pieces, a specific style, or decoration.
As a rule, the marks are applied in blue under the glaze. However, they also appear as overglaze marks in blue, iron red and gold. The first stamp was the T over a fish. The crossed S and P have been used since 1901. On August 21, 1902, the entwined S and P above the word Dresden were registered as a trademark. [16]
Wedgwood jasperware can often be dated by the style of potter's marks, although there are exceptions to the rules: Before 1860: Mark is "Wedgwood". Usually accompanied by other potter markings and a single letter. From 1860 to 1929: A three-letter mark represents in order, the month, the potter, and the year. The year code starts mid-alphabet ...
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English delftware pottery and its painted decoration is similar in many respects to that from Holland, but its peculiarly English quality has been commented upon: "... there is a relaxed tone and a sprightliness which is preserved throughout the history of English delftware; the overriding mood is provincial and naïve rather than urbane and sophisticated."
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