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The Royal Worcester fruit painters were a group of painters who specialized in depicting fruits on porcelain tableware. The tradition originated with the painter Octar H. Copson, who in 1880 had also painted a plaque commissioned by a local farmer to commemorate the introduction of the Pershore plum.
Tea canister, about 1768, Worcester porcelain factory V&A Museum no. 1448&A-1853.. Royal Worcester is a porcelain brand based in Worcester, England.It was established in 1751 and is believed to be the oldest or second oldest remaining English porcelain brand still in existence today, although this is disputed by Royal Crown Derby, which claims 1750 as its year of establishment.
Vintage Royal Worcester bone china. The Chinese define porcelain [b] as a type of pottery that is hard, compact and fine-grained, that cannot be scratched by a knife, and that resonates with a clear, musical note when hit. It need not be white or translucent. [4] This porcelain is made from kaolin. [5]
[3] [4] All told, the factory was in production for longer than any English soft-paste porcelain producer other than Royal Worcester and Royal Crown Derby. [3] Geographically, it was isolated from other porcelain factories, or indeed makers of fine earthenware, which probably accounts for a relatively slow-moving stylistic development.
Chintzware, or chintz pottery, describes chinaware and pottery covered with a dense, all-over pattern of flowers (similar to chintz textile patterns) or, less often, other objects. It is a form of transferware where the pattern is applied by transfer printing as opposed to the more traditional method of painting by hand.
Baxter (of whom an account is given in 'A Century of Potting in the City of Worcester' by R. W. Binns, 1877 [2]) was born in Worcester, the son of a china painter and gilder, [3] who had workshops in London connected with the Worcester china works. [4] Baxter received his first instruction in art from his father.
Worcester porcelain tea canister c.1768, engraver Robert Hancock. Hancock was born in Staffordshire, studied under Simon François Ravenet, and was at first engaged as an engraver at the Battersea Enamel Works under Stephen Theodore Janssen.
Much of the porcelain was also transfer-printed, or combined this and china painting by hand. [2] Grove characterizes the wares as "inspired by those of Rockingham, Spode and Worcester". [3] In later periods, the many branches of the family businesses maintained a similar position in the market, and followed design trends at a rather safe distance.