Showing posts with label lead-glaze. Show all posts
Showing posts with label lead-glaze. Show all posts

Sunday, January 12, 2014

Object of the Day, Museum Edition: A Sussex Pig, 1840-1889




A Sussex Pig
England, mid to late 19th Century
This and all related images from:
The Victoria & Albert Museum



For those who always dreamed of yanking the head off of a pig and drinking from its neck, this lead-glazed earthenware vessel from Rye, England, is for you. Made between the mid and late Nineteenth Century, this sort of vessel was known as a “Sussex Pig,” and was, apparently, a pretty common sort of flask-type-thing.

Eh…it was covered in lead anyway, so, after awhile, you didn’t care that you were snorting from a pig. These flasks were also known as “hogsheads.” That’s not too surprising. This one came to the V&A from the Museum of Practical Geology, Jermyn Street.




Sunday, November 3, 2013

Gifts of Grandeur: A Footed Plateau, 1866-1867



Footed Plateau
France, 1866-1867
The Victoria & Albert Museum




This tazza, or footed plateau, is comprised of moulded earthenware glazed in brilliant blue and painted with enamels with a scene of a female figure holding a daisy. It is inscribed, “A la Belle Marquerite” in the center, and “soi toujours la confidante de nos amours a Marguerite.” Something about always being the confidante of her loves, is Marguerite. Or maybe something about pudding. You decide.

Made in Paris, this sumptuous tazza is the work of Joseph-Théodore Deck (1823-1891). Deck was born in Guebwiller, Alsace, and apprenticed to a traditional stove-making firm in Strasbourg. He would later study in other towns along Germany and Austria, settling in Paris around 1851 when he was appointed as overseer for the Dumas stove and tile firm.

In 1855 Deck launched his own studio and, later, even, his own retail shop, with the aid of his brother, Xavier. The Deck Brothers commissioned a host of well-known painters of the day to provide designs for their wares, and, often to paint them in their own hand. This tazza was painted by Emil Auguste Reiber (1826-1893). Joseph Deck was especially praised for his innovative glazes. He’d spent years researching glazing and color techniques of the handsome ceramics of the Middle and Far East. Just three years before his death, he was appointed as Director of the National Manufactory at Sèvres.

It has something of a "That Girl" vibe, too.  yes?



Monday, January 28, 2013

Object of the Day, Museum Edition: A Sussex Pig, 1840-1889


A Sussex Pig
England, mid to late 19th Century
This and all related images from:
The Victoria & Albert Museum



For those who always dreamed of yanking the head off of a pig and drinking from its neck, this lead-glazed earthenware vessel from Rye, England, is for you. Made between the mid and late Nineteenth Century, this sort of vessel was known as a “Sussex Pig,” and was, apparently, a pretty common sort of flask-type-thing.

Eh…it was covered in lead anyway, so, after awhile, you didn’t care that you were snorting from a pig. These flasks were also known as “hogsheads.” That’s not too surprising. This one came to the V&A from the Museum of Practical Geology, Jermyn Street.




Monday, January 21, 2013

Figure of the Day: The Doves, 1935

The Doves
John Adams, 1935
The Victoria & Albert Museum



This stoneware figural group is the work of John Adams. Not the U.S. president, but rather, a mid Twentieth Century modeler in Poole, England. Adams was a partner in Carter, Stabler & Adams Ltd., a manufacturer of decorative objects like this pair of doves. Perched on a branch of grape vine, the birds are picked out in blue, white and buff with the foliage finely glazed in blue and green. This group is indicative of the manufacture’s work of the mid 1930s. 




Monday, January 7, 2013

Gifts of Grandeur: A Footed Plateau, 1866-1867

Footed Plateau
France, 1866-1867
The Victoria & Albert Museum




This tazza, or footed plateau, is comprised of moulded earthenware glazed in brilliant blue and painted with enamels with a scene of a female figure holding a daisy. It is inscribed, “A la Belle Marquerite” in the center, and “soi toujours la confidante de nos amours a Marguerite.” Something about always being the confidante of her loves, is Marguerite. Or maybe something about pudding. You decide.

Made in Paris, this sumptuous tazza is the work of Joseph-Théodore Deck (1823-1891). Deck was born in Guebwiller, Alsace, and apprenticed to a traditional stove-making firm in Strasbourg. He would later study in other towns along Germany and Austria, settling in Paris around 1851 when he was appointed as overseer for the Dumas stove and tile firm.

In 1855 Deck launched his own studio and, later, even, his own retail shop, with the aid of his brother, Xavier. The Deck Brothers commissioned a host of well-known painters of the day to provide designs for their wares, and, often to paint them in their own hand. This tazza was painted by Emil Auguste Reiber (1826-1893). Joseph Deck was especially praised for his innovative glazes. He’d spent years researching glazing and color techniques of the handsome ceramics of the Middle and Far East. Just three years before his death, he was appointed as Director of the National Manufactory at Sèvres.

It has something of a "That Girl" vibe, too.  yes?




The Home Beautiful: A Stove Tile, 1561

Stove Tile
Germany, 1561
The Victoria & Albert Museum



Today is one of those days when my Internet connection is being apoplectic and deciding at random points to cut out and make my router blink and flash as if it’s having a seizure. So, forgive the slowness of my communications today. Frankly, I might as well be in the Nineteenth Century. I often wish that were the case. But, then, I remember how much I like antibiotics.

Speaking of times when people could die from a splinter, how about the Sixteenth Century?

That’s when this nifty tile was made in Germany—around 1561. These kinds of tiles were made to enclose wood-burning stoves. These ties were usually rectangular with charming relief scenes on them. This one, for example depicts “Faith,” and it’s from a series of tiles made in Köln to represent the Virtues and Liberal Arts. The earthenware tile shows Faith holding a cross and goblet, which seems appropriate. It is neatly adorned with colored glazes.



 


Thursday, January 3, 2013

The Home Beautiful: The Fennia Vase, 1900-1920

Vase from the "Fennia" Line
Arabia Company, Finland
1900-1920
The Victoria & Albert Museum





Made at the Arabia Company in Finland, this cast white earthenware vase takes a cylindrical form with a wider circular foot. It’s adorned with wholly early Twentieth-Century patterns of diamond shapes. These are both printed onto the vessel as well as hand-painted with an overglaze of red, black, yellow, buff and green.

This vase was part of a range called “Fennia” which was the result of a 1900 commission from an American importer who wished for designs by a “Famous Finnish artist.” The importer got his wish, but, the name of the “famous” artist was never revealed. Some speculate that the design is the work of Armas, one of three of the most famous Finnish architects of the early Twentieth Century. The range included thirty designs and was discontinued in the early 1920s. 



Thursday, June 7, 2012

The Home Beautiful: A Delftware Tile from Hampton Court Palace, 1694

Delftware Tile
Lead-glazed Earthenware
Dutch, 1694
Made for the Water Gallery at Hampton Court Palace
The Victoria & Albert Museum





In the Seventeenth and Eighteenth Centuries, tin-glazed earthenware tiles like this one were produced in large quantities in the Netherlands. This example, however, is exceptional in both its unusually large size, the quality of its decoration and its subject matter.


This tile was one of a group produced for Mary II (ruled 1688-1694) by Adrianus Kocx's prestigious “Greek A” factory in Delft. Daniel Marot (1661-1752), a Huguenot émigré, painted this as well as the others in the series of panels which were each formed from four tiles. The set was made to flank a fireplace or, possibly, a doorway at The Water Gallery--a Tudor building at Hampton Court near London that had been remodeled by Sir Christopher Wren (1632-1723).

A contemporary writer Celia Fiennes (1662-1741), who visited The Water Gallery soon after the completion of the remodel in 1694, said Queen Mary II took great delight in the redesigned space. Fiennes continued that The Gallery “opened into a balcony on to the water and was decked with china and fine pictures.” At “The Gallery,” Queen Mary II is said by Fiennes to have, “indulged her passion for delftware, which was presumably in part displayed in the 'Delft-Ware Closett.’”