Discover the secrets of pottery


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The Story of the Stoneware Pottery

There were many potters whose names could notand it was not long before this excellent
be recognized due the non-availability orsalt-glazed material was being potted in
only the availability of their initials whichquantity in the Staffordshire towns, in
does not help the collectors to identify theLiverpool, and elsewhere. Most of the ware,
makers of some of the masterpieces that hadwhich was made not only into domestic
been  found  in different parts of the world.articles but also figures, was ornamented
with raised patterns, and the thin smear of
Much of the nineteenth-century ware wasglaze with which it was covered did not clog
marked by the makers, but often only withthe delicate lines as a flowing lead-glaze
initials, which do not help the collectorwould have done. Both overgraze and under
very much. Printed pieces usually have theglaze  colors  were  used  with great effect.
name  of  the  pattern.
While white stoneware was finally unable to
Stonewarewithstand the competition of Queen's Ware and
porcelain, a further refinement of materials
Stoneware is a very hard non-porous type ofand technique enabled Wedgwood to produce
pottery, introduced into England in thewith it his celebrated jasper ware. This is
sixteenth century from Germany. A feature ofthe pottery from which were made the
the ware is that it was glazed by puttingthousands of relief portraits, plaques and
common salt into the kiln while it was beingvases that spread the name of their inventor
fired; thus arises the term salt-glazedand maker throughout the world. In addition
stoneware. The resulting pottery is hard,to this ware, most familiar when colored blue
strong and watertight, and it can be madebut made also in pale shades of yellow, lilac
into objects much thinner in body than canand green Wedgwood developed a black
ordinary  clay  pottery.stoneware (basaltes), a red stoneware (rosso
antico) and a buflf-coloured (cane ware), all
Nottingham was a big centre for makingof which contributed to the fame and
stoneware from the late seventeenth century,expansion  of  Staffordshire.
and pieces with a hard grey body and a brown
glaze of orange-peel texture came from there.It is as well to remember that the
Many such pieces bear names and dates. Otherdescendants of Josiah Wedgwood are still
factories nearby in Derbyshire made similarmaking jasper and basaltes wares, and have
wares.done so continuously since the eighteenth
century. The oldest examples reveal their age
John Dwight founded a factory at Fulham, aby the superior fineness of their modeling
suburb of London, in 1671. A number of piecesand the velvet-like smoothness of their
made by him, after two centuries in thesurface.
possession of his family and now in the
British and Victoria and Albert Museums, areBrown stoneware was made throughout the
extraordinarily well modeled, and it has beennineteenth century, but the productions are
suggested that they are the work of thefar from exciting. Flasks in the form of
wood-carver and sculptor, Grilling Gibbons.politicians and pistols were made, and a
Dwight claimed to have invented a method oflarge number of jugs in imitation of
making porcelain, but nothing resembling ourseventeenth-century originals often deceive
modern meaning of the term can be attributedcollectors.
to  him.
Stoneware was introduced into England in the
In Staffordshire, red stoneware in imitationsixteenth century from Germany. This is a
of some imported from China, was made by twoglazed ware. Nottingham was a big centre for
Dutch brothers named Elers, who had worked atmaking stoneware from the late seventeenth
one time with Dwight at Fulham. Bycentury. There were some potters who mastered
1725Dwight's greyish stoneware had beenthe making of the stoneware products.
improved in colour until it was nearly white,



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