Dating by dishes

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It provides an intriguing, interesting hobby rich with history, and it brightens the home along with the spirit just as it did back in the day. Glass was plucked from an oatmeal box one week, then from a detergent box the next. Main article: Delftware was made in the Netherlands from the 16th to the 18th centuries. Water rings can often be removed, but the luster can never be restored in a piece of sick glassware.

Oh, and check out my app when you have a chance —. Too are many others including Home Waters and Under The Greenwood Tree, as the mark on the left shows. Do you have any enamelware. Dated to the wu zi year 1888 in the inscription. Red base mark Tongzhi. Decoration in Wang Ye Ting style, but met by Gao Xin Tian. But as it was not precious when made, it was common not to mark the pieces. Farrar Pottery Company of Geddes, NY.

It is impossible to convey that quality in either words or photographs. I wish I could send some pics! Wedgwood Bentley 1769-80 This mark was used on intaglios and 356 is the number of Wedgwood and Bentley catalog.

Dating meakin ironstone - The manufacture of painted pottery may have spread from the south to the northern Netherlands in the 1560s. I think your best bet might be to spend a bit of time googling to see if other slicers such as yours exists.

It has been important in and European , but very little used in East Asia. The pottery body is usually made of red or buff-colored and the white glaze imitated. The decoration on tin-glazed pottery is usually applied to the unfired glaze surface by brush with metallic oxides, commonly , , , and oxide. The makers of Italian tin-glazed pottery from the late blended oxides to produce detailed and realistic polychrome paintings. The earliest tin-glazed pottery appears to have been made in in the 9th century, the oldest fragments having been excavated during the from the palace of about fifty miles north of. From there it spread to Egypt, Persia and Spain before reaching in the , in the 16th century and , and other European countries shortly after. The development of white, or near white, firing bodies in Europe from the late 18th century, such as by and , reduced the demand for tin-glaze , and. The rise in the cost of tin oxide during the First World War led to its partial substitution by compounds in the glaze. Chinese white ware bowl left found in , and Iraqi tin-glazed earthenware bowl right found in , both 9-10th century, an example of. Tin-glazed pottery of different periods and styles is known by different names. The pottery from Muslim Spain is known as. The decorated tin-glaze of Renaissance Italy is called , sometimes pronounced and spelt majolica by English speakers and authors. When the technique was taken up in the Netherlands it became known as as much of it was made in the town of. Dutch potters brought it to England in around 1600 and wares produced there are known as or galleyware. In France it was known as. The word maiolica is thought to have come from the medieval Italian word for , an island on the route for ships that brought Hispano-Moresque wares to Italy from in the 15th and 16th centuries, or from the Spanish obra de Mallequa, the term for lustered ware made in Valencia under the influence of Moorish craftsmen from Malaga. During the Renaissance, the term maiolica was adopted for Italian-made copying Spanish examples, and during the 16th century its meaning shifted to include all tin-glazed earthenware. In the late 18th century, old Italian tin-glazed maiolica became popular among the British, who referred to it by the anglicized pronunciation majolica. The pottery copied it and applied the term majolica ware to their product. At the Great Exhibition of 1851, Minton launched the colorful which they called soon also to become known as majolica. So now we have two distinct products with the same name. The introduced tin-glazed pottery to Spain after the conquest of 711. Hispano-Moresque ware is generally distinguished from the pottery of Christendom by the Islamic character of its decoration, though as the dish illustrated shows, it was also made for the Christian market. Hispano-Moresque shapes of the 15th century included the a tall jar , luster dishes with , made for wealthy Italians and Spaniards, jugs, some on high feet the citra and the grealet , a deep-sided dish the lebrillo de alo and the eared bowl cuenco de oreja. With the Spanish conquest of , tin-glazed pottery came to be produced in the Valley of Mexico as early as 1540, at first in imitation of the ceramics imported from. Although the Moors were expelled from Spain in the early 17th century, the Hispano-Moresque style survived in the province of Valencia. Later wares usually have a coarse reddish-buff body, dark blue decoration and luster. An albarello drug jar from Venice or Castel Durante, 16th century. Decorated in cobalt blue, copper green, antimony yellow and yellow ochre. The 15th-century wares that initiated maiolica as an art form were the product of a long technical evolution, in which medieval lead-glazed wares were improved by the addition of tin oxides under the initial influence of Islamic wares imported through Sicily. Such archaic wares are sometimes dubbed proto-maiolica. During the later 14th century, the limited palette of colors was expanded from the traditional manganese purple and copper green to embrace cobalt blue, antimony yellow and iron-oxide orange. Sgraffito wares were also produced, in which the white tin-oxide slip was decoratively scratched to produce a design from the revealed body of the ware. Refined production of tin-glazed earthenware made for more than local needs was concentrated in central Italy from the later 13th century, especially in the contada of. The city itself declined in importance in the second half of the 15th century, perhaps because of local. Italian cities encouraged the start of a new pottery industry by offering tax relief, citizenship, monopoly rights and protection from outside imports. Production scattered among small communes and, after the mid-15th century, at , and. Faenza, which gave its name to , was the only fair-sized city in which the ceramic industry became a major economic component. In the 16th century, maiolica production was established at , , and. Some maiolica was produced as far north as , and and as far south as and in Sicily. In the 17th century began to be a prominent place of manufacture. Some of the principal centers of production e. Main article: Delftware was made in the Netherlands from the 16th to the 18th centuries. The main period of manufacture was 1600-1780, after which it was succeeded by white stoneware and porcelain. The earliest tin-glazed pottery in the Netherlands was made in Antwerp in 1512. The manufacture of painted pottery may have spread from the south to the northern Netherlands in the 1560s. It was made in Middleburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work was produced in Delft, but simple everyday tin-glazed pottery was made in places such as Gouda, Rotterdam, Amsterdam and Dordrecht. The , to which painters in all media had to belong, admitted ten master potters in the thirty years between 1610 and 1640 and twenty in the nine years 1651 to 1660. In 1654 a gunpowder explosion in Delft destroyed many breweries and as the brewing industry was in decline their premises became available to pottery makers. From about 1615, the potters began to coat their pots completely in white tin glaze instead of covering only the painting surface and coating the rest with clear glaze. They then began to cover the tin glaze with a coat of clear glaze which gave depth to the fired surface and smoothness to blues, ultimately creating a good resemblance to porcelain. Although Dutch potters did not immediately imitate Chinese porcelain, they began to do after the death of the Emperor in 1619, when the supply to Europe was interrupted. Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns. Delftware ranged from simple household items to fancy artwork. Pictorial plates were made in abundance, illustrated with religious motifs, native Dutch scenes with and , hunting scenes, landscapes and seascapes. The Delft potters also made tiles in vast numbers estimated at eight hundred million over a period of two hundred years ; many Dutch houses still have tiles that were fixed in the 17th and 18th centuries. Delftware became popular, was widely exported in Europe and reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware for export to Europe. By the late 18th century, Delftware potters had lost their market to British porcelain and the new white earthenware. There are good collections of old Delftware in the and the. Main article: English delftware was made in the British Isles between about 1550 and the late 18th century. The main centers of production were , and with smaller centers at , and. The earliest known piece with an English inscription is a dish dated 1600 in the London Museum. The rim is decorated with dashes of blue and can be considered the first in series of large decorated dishes so painted and called blue-dash chargers. As they were kept for decoration on walls, dressers and side-tables, many have survived and they are well represented in museum collections. Smaller and more everyday wares were also made: paving tiles, mugs, drug jars, dishes, wine bottles, , salt pots, candlesticks, fuddling cups, puzzle jugs, barber's bowls, pill slabs, bleeding bowls, , and. Towards the end of the 17th century, changing taste led to the replacement of apothecary pots, paving tiles and large dishes by polite tablewares, delicate ornaments, , teapots, cocoa pots and coffee-pots. There are good examples of English delftware in the , the , the and the. Faience of In France, the first well-known painter of faïence was , established in Rouen in the 1530s. Other centres of faience manufacturing developed from the early 18th century, led in 1690 by in Brittany , which today possesses a museum devoted to faience, and followed by , and , and. The products of faience manufactories are identified by the usual methods of ceramic connoisseurship: the character of the clay body, the character and palette of the , and the style of decoration, faïence blanche being left in its undecorated fired white slip. Faïence parlante bears mottoes often on decorative labels or banners. Mottoes of fellowships and associations became popular in the 18th century, leading to the faïence patriotique that was a specialty of the years of the. A modern plate from , adapting a traditional Japanese design Popular and folk forms have continued in many countries, including the Mexican. In the 20th century there were changes in the formulation of tin-glaze and several artist potters began to work in the medium of tin-glazed pottery. The cost of tin oxide rose considerably during the 1918-1918 war and resulted in a search for cheaper alternatives. The first successful replacement was and later. Whilst zirconium compounds are not as effective opacifiers as tin oxide, their relatively low price has led to a gradual increase in their use, with an associated reduction in the use of tin oxide. Nevertheless, tin oxide still finds use in ceramic manufacture and has been widely used as the opacifier in sanitaryware, with up to 6% used in glazes. Otherwise, tin oxide in glazes, often in conjunction with zircon compounds, is generally restricted to specialist low temperature applications and use by studio potters. Since the beginning of the 20th century there has been a revival of pottery-making in Orvieto and Deruta, the traditional centres of tin-glazed ceramics in Italy, where the shapes and designs of the medieval and renaissance period are reproduced. In the 1920s and 1930s, , and decorated tin-glazed pottery for the in London. Picasso produced and designed much tin-glazed pottery at in the south of France in the 1940s and 1950s. At the , London, encouraged her students, including and , to use tin-glaze decoration. In Britain during the 1950s Caiger-Smith, Margaret Hine, and others including the made tin-glazed pottery, going against the trend in studio pottery towards. Subsequently, Caiger-Smith experimented with the technique of reduced lustre on tin glaze, which had been practiced in Italy until 1700 and Spain until 1800 and had then been forgotten. Caiger-Smith trained several potters at his Aldermaston Pottery and published Tin-glaze Pottery which gives a history of maiolica, delftware and faience in Europe and the Islamic world. A selection of tin glaze pottery by contemporary Studio potters is given Tin-glazed Earthenware by Daphne Carnegy. The pottery , based in , continue the production using tin-glazed. Fortuna, Gruppo Editoriale Faenza Editrice s. Faber and Faber, London. Caiger Smith and R.