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Tin-glazed potteryVIDEO ON THE TOPIC: Shaping porcelain production progress
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For the convenience of bidders, the material is structured in chronological order: "Russian porcelain and faience XIX century — ", "Early Soviet porcelain and faience. The Russian Emperor is depicted in two forms: as a tireless and humble worker, and at the same time — the Great helmsman, saving from certain death he entrusted the ship, personifying the state. Most of the early vases, created at the factory Kornilov, in its forms and murals done in the style of the products of the St. It is manufactured at the plant Batenin and decorated with the image by the engraving K. Steiben "Peter on lake Ladoga". Vases Kornilov brothers are of great historical and artistic value.
Sarreguemines, France, Fruit Plate - Plums, Majolica, Faience.
Inside the ovoid body jug is painted a scene representing a woman who rides a crawling bend man. In the Renaissance the majolica of Faenza definitively leaves the gothic and oriental decorative motifs. The five characters of the sculpture are grouped around a fountain with a column to keep the ink and an hexagonal basin tool post. The scene is inspired by a well known engraving by Marcantonio Raimondi. The creation of this precious salts for the sumptuous table of rich commitments was inspired by the art of the precious metals, in particular by the silver objects. The decoration, typical of Faenza and of central Italy, was produced for all the The outstanding refresher in the shape of a moulded ship is characterized by the typical blue lapis lazuli glaze light blue majolica , created in the Castelli workshops in the late 16th century.
HISTORY OF THE PORCELAIN
It is a collective noun related to several movements in several countries, which were mainly a response to Art Nouveau and Jugendstil. The design is firm and simple; long, thin forms, bent surfaces, geometrical forms, red, black and silver, abstraction and clear colours. Art Nouveau Art Nouveau is an art movement, which emerged between and in several places in Europe, mainly as a response to the impressionism. A common characteristic of the Art Nouveau movements is the use of undulating ornamental lines, usually in the form of stylised plants.
Production of earthenware and stoneware for the cheaper market continued on an ever-increasing scale. Lustre decoration , which had been revived in the preceding century, was used more frequently than before. Ironstone china , a type of opaque stoneware sometimes called opaque porcelain, was introduced early in the 19th century. Pseudo-Chinese and Japanese patterns were frequently used to decorate it. By new underglaze colours had been pressed into service for transfer printing. Transfer-printed earthenware in blue, which became increasingly popular after , was soon being produced in enormous quantities. It was much used by Spode, who often employed American subjects for wares exported to the United States. Polychrome transfer printing, essayed tentatively at Liverpool during the s, was also mastered. Earthenware figures were made in large quantities in Staffordshire and elsewhere, the best associated with Enoch Wood.
Delftware as Inspiration for Northern French Ceramic Centers
Tin-glazed Majolica plate from Faenza , Italy. Tin-glazed pottery is pottery covered in glaze containing tin oxide which is white, shiny and opaque. See tin-glazing. The pottery body is usually made of red or buff colored earthenware and the white glaze was often used to imitate Chinese porcelain.
The invention of a white pottery glaze suitable for painted decoration, by the addition of an oxide of tin to the slip of a lead glaze, was a major advance in the history of pottery. The invention seems to have been made in Iran or the Middle East before the ninth century. The term is now used for a wide variety of pottery from several parts of the world, including many types of European painted wares, often produced as cheaper versions of porcelain styles. English generally uses various other terms for well-known sub-types of faience. Italian tin-glazed earthenware, at least the early forms, is called maiolica in English, Dutch wares are called Delftware , and their English equivalents English delftware , leaving "faience" as the normal term in English for French, German, Spanish, Portuguese wares and those of other countries not mentioned it is also the usual French term, and fayence in German. The name faience is simply the French name for Faenza , in the Romagna near Ravenna , Italy, where a painted majolica ware on a clean, opaque pure-white ground, was produced for export as early as the fifteenth century. Technically, lead-glazed earthenware , such as the French sixteenth-century Saint-Porchaire ware , does not properly qualify as faience, but the distinction is not usually maintained. Semi- vitreous stoneware may be glazed like faience. Egyptian faience is not really faience, or pottery, at all, but made of a vitreous frit , and so closer to glass. In English 19th-century usage "faience" was often used to describe "any earthenware with relief modelling decorated with coloured glazes",  including much glazed architectural terracotta and Victorian majolica , adding a further complexity to the list of meanings of the term. The Moors brought the technique of tin-glazed earthenware to Al-Andalus , where the art of lustreware with metallic glazes was perfected.
Stoneware and earthenware
Seventeenth and eighteenth-century Delftware was inspired by many other ceramic centers. Sources of influence included Southern European wares, such as maiolica and Faenza, the much coveted Chinese porcelain wares and later the Northern European ceramic centers, such as Nevers and Meissen. Of course, Delftware was also inspirational for these same ceramic centers. Some examples of Chinese porcelain retain Delftware marks, and Meissen potters adapted the techniques of red stoneware objects after visiting the factories in Delft. The Delft industry further influenced faience factories in Northern France throughout the eighteenth and even nineteenth centuries.
ITALIAN CERAMICS FROM MIDDLE AGE TO THE PRESENT
The history of the iconic Dutch faience produced mainly in the western Dutch city of Delft is drawn up in many publications. Museums and studenst in the Netherlands and around the world are continuously researching certain aspects of a product the played such a pivoting role in the history of arts, of the first encounters between Europe and the Far East and of the comencement of the production of faience and porcelain in other European cities. Both Meissen and Sevres drew on the knowledge built over centuries in Delft. In the first half of the 15th century, mercantile cities such as Brugge Bruges and Antwerp in the southern Netherlands now Belgium became familiar with earthenware from southern Europe through both trade and political contacts with Italy, Spain and Portugal. This earthenware was exported by Spain and Italy to the northwestern European commercial centers often by sea. Dutch Maiolica is an earthenware product coated with a tin glaze on the front or exterior and a highly translucent lead glaze on the back or base. Maiolica dishes were fired face down on three spurs that often left marks which remained visible in the central design. It was slightly more refined than maiolica and distinguished from it in that the earthenware body was completely covered on the front and back with a whiter tin glaze. By the middle of the 15th century, largely through the gradual migration of potters from southern Europe through France to the Netherlands, the earthenware industry had become well established in Antwerp. The books of the guild reveal that by the end of the 15th century several Italian maiolica- and faience-makers in Antwerp had become extremely successful.
Historicism and Art Nouveau in nineteenth-century decorative arts were the result of a fellowship that developed soon after between science, industry, art, and education, in part to supply the rapidly growing industrial society with contemporary-style home furnishings. The decoration of these objects was based on the intellectual foundations of historicism: reverence and adaptation of past historical forms and designs combined with innovation and the expansion of available technologies. In the case of ceramics, nineteenth-century scientific research at European factories promoted experimentation by ceramic craftsmen to revive forgotten historical forms, production techniques, and firing processes, which ultimately made possible the development of a modern style. Toward the end of the century, chemists and technicians with decades of experience were at work in the applied arts industries, and artists, by then weary of historicism, began to translate new aesthetic visions into Art Nouveau.
Majolica, Faience, and Delftware
T HE revelations of the Centennial Exhibition set our potters to thinking and stimulated them to greater competition. Never before was such an impetus given to any industry. The best productions of all nations were sent here and exhibited beside our own modest manufactures, and it was only too apparent that America had been left behind in the race.
Tin-glazed pottery is earthenware covered in lead glaze with added tin oxide  which is white, shiny and opaque see tin-glazing for the chemistry ; usually this provides a background for brightly painted decoration. It has been important in Islamic and European pottery , but very little used in East Asia.
Что, если мы съездим туда ненадолго. "Пожалуйста, не откажи в любезности старой женщине, - подумала Николь.