KEMPB on tue 18 jun 96
To all majolica devotees,
Without wishing to get into an argument ab
spelling and pronunciation I am looking for some assistance from anyone
who has had any experience with majolica ware.
I am a ceramic lecturer at the Nanyang Technological University,
National Institute of Education in Singapore. For the next semester which
starts in two weeks I have set and assignment based on majolica to a
group of pottery students who are just getting into throwing. I also want
them to get involved in using the e-mail facilities and the internet and I am
looking for names and e-mail addresses of people who would be prepared
to answer questions from my students.
In my handouts I will be giving them the internet access address for the
Clayart archives but I would like to be able to give them a few e-mail
addresses to contact.
There are 10 students in the class and they are all student teachers in
their third year of a BA/Dip Ed course. They only get 30 hours clay work
per year because as future art teachers they have to cover so many other
disciplines in additition to their pedagogic studies so their questions are
likely to be of a fairly elementary nature - probably relating to technique,
decoration and glazes.
If you are available to help please mail me your e-mail address as soon as
possible.
Thanks in anticipation
Brian Kemp. Singapore
kempb@nievax.nie.ac.sg
Kathy McDonald on wed 19 jun 96
At 09:14 AM 6/18/96 EDT, you wrote:
>----------------------------Original message----------------------------
>To all majolica devotees,
> Without wishing to get into an
argument ab
>spelling and pronunciation I am looking for some assistance from anyone
>who has had any experience with majolica ware.
>I am a ceramic lecturer at the Nanyang Technological University,
>National Institute of Education in Singapore. For the next semester which
>starts in two weeks I have set and assignment based on majolica to a
>group of pottery students who are just getting into throwing. I also want
>them to get involved in using the e-mail facilities and the internet and I am
>looking for names and e-mail addresses of people who would be prepared
>to answer questions from my students.
>In my handouts I will be giving them the internet access address for the
>Clayart archives but I would like to be able to give them a few e-mail
>addresses to contact.
>There are 10 students in the class and they are all student teachers in
>their third year of a BA/Dip Ed course. They only get 30 hours clay work
>per year because as future art teachers they have to cover so many other
>disciplines in additition to their pedagogic studies so their questions are
>likely to be of a fairly elementary nature - probably relating to technique,
>decoration and glazes.
>If you are available to help please mail me your e-mail address as soon as
>possible.
>Thanks in anticipation
>Brian Kemp. Singapore
>
>kempb@nievax.nie.ac.sg
>
Brian,
I am not a majolica expert but i am a trained teacher/school psychologist
and have 18 yrs pottery experience as well as some teaching of teachers at
the post-secondary level.
Be glad to help where i can.
Kathy Mcdonald
Kathy McDonald
mcdonaldk@docker.com
WACKY on tue 23 jul 96
hi everyone...
i am an art student from the National Institute of Education Singapore.
i am currently reading up on the history of majolica when the dates
and places of origination started to confuse me a little.
i will appreciate greatly if any of the fellow subscribers can help
me out with this problem.
ANY information on majolica is welcomed.
please direct all responses to
94a37506512d@nievax.nie.ac.sg
if the mail doesn't get through, kindly reply to this message instead.
THANK YOU VERY MUCH.
yen
Leonard Smith on thu 25 jul 96
You may like to look up a book by Alan Caiger-Smith called Tin Glazed
Pottery published in London by The Herbert Press. Along with his book on
Lustre pottery this hasa very good and well researched history of Majolica
Best wishes
Leo
who is making oval porcelain teapots, and is definitely mad!!!
---------------------------------------------------------------------------
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10 Marrakesh Place
Arcadia, 2159, NSW, Australia. Phone + 61 2 9653 2507
^^^^^^^^^^^^^^^^^^^^^^^^
SEE OUR NEW WEBB SITE AT
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Beverly Crist on tue 1 jul 97
A good book to learn about majolica is Daphne Carnegy's "Tin-glazed
Earthenware" .
Recentlu I took a majolica workshop with Terry Siebert. I like her glaze
recipe a lot:
Terry Siebert Majolica, cone 04 (same temp. for bisque and glaze firings)
ferro frit 3124 72
flint 10
EPK 12
zircopax 10
overglaze colors, mix 3 parts frit 3124 to 1 part stain
I am using this glaze on a very tight red earthenware and have a good glaze
fit. About five years ago I used the same recipe on a grogged red earthenware
and had a terrible time with fit, so you may have to experiment.
Best of luck,
Beverly Crist, Dallas, Texas
Anne W. Bracker on thu 10 jul 97
It's taken me a while to get to this, but regarding the new AMACO
majolica glazes, I spoke with George Debikey at AMACO (American Art Clay
Company) who designed the Majolicas (in fact the joke at AMACO is that
they're named GDCs not as initials for Gloss Decorating Colors, but for
George Debikey Colors-ha ha). The recommended temperature is cone 05 or
06, but the majolicas are mostly stable up to cone 5 or 6 (some may even
go to cone 10). If you are doing sculpture or non-functional pieces, you
can also use the AMACO velvet underglazes over a white base glaze (such
as AMACO's LG-11). The Velvets are a little cheaper than the Majolicas
and the underglaze should sink in to the white, but not enough for it to
be foodsafe. Both lines are designed so that their raw state is very
similar to their fired state, and you can mix them to create your own
colors! If you have any other questions, feel free to contact me
personally at: or or
through clayart. AMACO glazes are great! Try them out!
Artistically yours,
Cindy Bracker
Bracker Ceramics
1835 E 1450 Road
Lawrence, KS 66044
1 913 841-4750 OFFICE
1 913 841-8142 FAX
1 888 822-1982 ORDER LINE
bracker@midusa.net E-MAIL
"Clay Ain't Dirt"
Beverly Crist on mon 25 aug 97
A while ago I posted a question to the list about a problem that I was having
with firing majolica and another glaze together on one pot. Ron Roy contacted
me directly and gave me the solution to my problem. I would like to share the
results with the group and to say thanks Ron!
The problem resulted from firing a commercial clear glaze on the inside of my
terra cotta pots to cone 018 and then dipping them in majolica (terry
Siebert's recipe) and refiring to cone 04. I did this to maintain a clean
edge between the two glazes. But what happened is that both of the glazes
blistered. Ron told me to eliminate the 018 firing. I did that and there was
no problem (except, what a pain to apply the glazes!). Ron said that the
clear glaze was trapping gases that needed to get out since boron glazes,
like majolica, melt at a real low temperature.
Ron, thanks again for all of your help.
Beverly Crist, atcrist@aol.com
Linda Arbuckle on wed 3 jun 98
Saw the post about majolica pin-holing the other day. The best and worst
thing about majolica is that it doesn't move in firing. This means that
soaking is of limited value, unlike soaking a fluid glaze. My view is
that it's better to reach temperature gracefully than to soak. If you
keep the glaze at peak temperature long enough, the surface color
sometimes starts to sink into the glaze and it looks a bit faded.
Yes, majolica is wonderful, but it's also as exacting as copper reds,
just in other ways and places. Matthias Ostermann in Canada is supposed
to have a new majolica technique book out in '98 from A & C Black
publishers. Anyone heard anything about it being out yet?
Linda
--
Linda Arbuckle
Graduate Coordinator, Assoc. Prof.
Univ of FL
School of Art and Art History
P.O. Box 115801, Gainesville, FL 32611-5801
(352) 392-0201 x 219
e-mail: arbuck@ufl.edu
Elias Portor on thu 18 mar 99
I would like to receive majolica glaze recipe's from majolica artists
out there. I am also interested in any colorants that you especially
are fond of. Also I would appreciate feedback regarding the earthenware
you have found that fits well with the majolica glaze. Thank you.
eportor.
Tammy McDonald on fri 19 mar 99
Linda Arbuckle has written some great information on the Ceramic Web.
http://art.sdsu.edu/ceramicsweb/main.html#anchor29623377. There are
majolica recipes, information on colorants, and other helpful tips on
working with majolica. The clay bodies that I have tried with majolica
are CT3 and Red Rock. Both work very well with the Linda Arbuckles
majolica glaze recipe.
Tammy
It's a beautiful spring day in Colorado. The flowers are starting to
bloom.
Sharon Pollock-De Luzio on mon 10 may 99
Our good friend Karon Doherty at UMASS Dartmouth has lost her precious
notebook with all her favorite majolica recipes. She hasn't figured out
CLAYART yet so I'm sending a request on her behalf.
Karon has done so much for our community through NCECA, teaching and just
being her wonderful sharing self. Please take a minute and send her any of
your favorite majolica recipes, tips or secrets. Her email is:
karond@meganet.net
thanks to all my clayart friends,
Sharon Pollock-De Luzio
RI
Tammy McDonald on fri 16 jul 99
Huske,
There is a very good article on the ceramic web that was written by
Linda Arbuckle. She gives tips on glazing techniques and
troubleshooting glaze problems. She also shares several majolica glaze
recipes.
http://art.sdsu.edu/ceramicsweb/main.html#anchor29623377
It's a beautiful Colorado day. I hope everyone is enjoying the day as
much as we are in Colorado.
Tammy
Valerie Mann on sun 1 aug 99
Elias,
I use the matt glaze clear from Duncan or Mayco or Gare....and use my
one stokes, concepts or fun strokes on top ....it works great for me
Bright Blessings, Val Mann
Yesterday's Child/ PRODUCTION MICROGRAPHICS
London ON Canada
ICQ # 1592406
http://www.tlaz.com/craftcoop
val@tlaz.com
MY REALITY CHECK BOUNCED!
rickmahaffey on tue 26 sep 00
Janet,
I enjoyed your post.
I can recall F. Carlton Ball describing the movement of
majolica/maiolica/faience/delft etc. for the umpteenth time. Said to myself I will
never repeat that lecture. Wrong, do it once a quarter.
At the Brundage collection at the M H de Young Museum in San Francisco's Golden Gate
Park there are some persian pots that have a clear glaze with a few white specks in
the glaze decorated with cobalt. I believe that these pots are precursors to the lead
opacified glazed pots that we know as majolica etc. Carlton said that the Porcelain
coming over the silk road was giving local potters in Persia fits so they tried
everything they could think of to make the glaze white so that they could compete.
By the way majolica made it's way to the new world with the Spaniards where it is
known as Hispano-Moresque ware. Still done I Mexico I believe.
Also Carlton said that the Della Robbia technique was majolica applied to relief
sculpture to color the sculpture.
Musings on a late Pacific Northwest night.
YMMV (your mileage may vary) Take with a grain of salt as all of this is backed up by
aging memory. :^)
Rick Mahaffey
Tacoma Community College
Tacoma, Washington, USA
where it has been sunny and 70 degrees (F) (about 22 C)
Les Crimp on wed 27 sep 00
At the Museum of Anthropology at the University of British Columbia we have
a magnificent gallery, set aside from the main galleries, which is devoted
exclusively to historic and ancient pottery from China, Korea, Japan, Italy,
France, the U.K., etc.
Some of the majolica displays are breathtaking. They include everything
from pouring vessels to dinnerware and ceramic heaters which are a wonder
and things of beauty.
If you are in our area ( Vancouver and the Lower Mainland ) please don't
miss this great display.
Les Crimp
lcrimp@home.com
Don & June MacDonald on thu 28 sep 00
Actually the Museum of Anthopology is located on the University of B.C.
Campus which is several miles from the West end of Vancouver, B.C. The
Koerner Collection was given to the Museum of Anthropology by Mr.
Koerner who had collected over years. He also donated the money to
build the wing for the Museum to house the collection. The Museum also
has a collection of Asian ceramics, and being a study museum has a lot
of the collection in the "stacks", or drawers which can, by arrangement,
be investigated. It is a great place, if you go, you will enjoy it.
Carol Mayer, who edited the book, is the Curator of the Koerner
collection.
June from B.C. who is taking a group of students on a field trip to the
Museum laterthis fall.
PERRY STEARNS wrote:
>
> Les Crimp indicated the huge ceramics collection at the Anthro Museum in the
> west end of Vancouver, B.C. It's called the Koerner Ceramics Gallery and is
> in the same building as a vast collection of Northwest Coast aboriginal
> sculpture and masks.
>
> A book is sold there, "The Potter's Art" edited by Carol E. Mayer, pub.
> 1997, which has essays by scholars on aspects of the Koerner Collection
> with b/w illustrations. Along the way the majolica/ faience/ maiolica
> issues are disentangled. Tin provided the opacity, lead the flux, and for
> the most part the history is of experimentation with metallic oxides, which
> defines the various differences associated with the nomenclature through the
> centuries.
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
PERRY STEARNS on thu 28 sep 00
Les Crimp indicated the huge ceramics collection at the Anthro Museum in the
west end of Vancouver, B.C. It's called the Koerner Ceramics Gallery and is
in the same building as a vast collection of Northwest Coast aboriginal
sculpture and masks.
A book is sold there, "The Potter's Art" edited by Carol E. Mayer, pub.
1997, which has essays by scholars on aspects of the Koerner Collection
with b/w illustrations. Along the way the majolica/ faience/ maiolica
issues are disentangled. Tin provided the opacity, lead the flux, and for
the most part the history is of experimentation with metallic oxides, which
defines the various differences associated with the nomenclature through the
centuries.
Rene Lawrie on tue 5 nov 02
Hello,
A handful of years ago, we had a special temporary exhibit of late 19th
century Majolica here at the Lightner Museum in St. Augustine,
Florida. We spent considerable time trying to sort out the difference
of the earlier painterly style of maiolica and the vibrant late
Victorian ceramics called majolica. I thought you might be interested
in the label which we used to make the distinction between the two:
The Name is English, With a "J"
The trade name "Majolica" was coined by Minton (famous English ceramics)
to describe a wide range of brilliantly glazed earthenwares introduced
at the Great Exhibition of 1851 in London. While some pieces were
indeed imitations
of Italian maiolica, most were not.
Majolica, of course, is an Anglicizaion of maiolica. It has been
frequently said that the name derives from wares made on the island of
Majorca.
With regard to the pronunciation of the word, some people refer to
majolica as 'maiolica', possibly because they think that it actually is
maiolica, or that majolica is an Italian word. However, majolica is not
maiolica, no Italian firm manufactured majolica and majolica originated
in England, overwhelming reasons for this author to approve the 'j'
pronunciation of the Oxford English Dictionary.
(Quoted from Victoria Bergesen, Majolica, British, Continental and
American Wares, 1851-1915, p. 9, Barrie & Jenkins, London, 1989)
Rene Lawrie
Registrar, Lightner Museum
Snail Scott on tue 5 nov 02
At 05:29 PM 11/5/02 -0400, you wrote:
However, majolica is not
>maiolica, no Italian firm manufactured majolica and majolica originated
>in England, overwhelming reasons for this author to approve the 'j'
>pronunciation of the Oxford English Dictionary...
Sorry, but I spent too much of my life in New
Mexico to pronounce a respectable Spanish 'J'
like an English one. Just can't do it. For the
antiquarian/historical collector crowd, I'll
cope with their preferred pronunciations, but
for a contemporary craftsperson who is not
producing reproduction ware, I can't see that
it matters. And I'll continue to pronounce
majolica: 'maiolica', as nature intended! ;)
-Snail
Lily Krakowski on wed 6 nov 02
Bless you! Now join me in pronouncing boutique correctly and i will be in
your debt for life!
Snail Scott writes:
> At 05:29 PM 11/5/02 -0400, you wrote:
> However, majolica is not
>>maiolica, no Italian firm manufactured majolica and majolica originated
>>in England, overwhelming reasons for this author to approve the 'j'
>>pronunciation of the Oxford English Dictionary...
>
>
> Sorry, but I spent too much of my life in New
> Mexico to pronounce a respectable Spanish 'J'
> like an English one. Just can't do it. For the
> antiquarian/historical collector crowd, I'll
> cope with their preferred pronunciations, but
> for a contemporary craftsperson who is not
> producing reproduction ware, I can't see that
> it matters. And I'll continue to pronounce
> majolica: 'maiolica', as nature intended! ;)
>
> -Snail
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Lili Krakowski
P.O. Box #1
Constableville, N.Y.
(315) 942-5916/ 397-2389
Be of good courage....
Linda Arbuckle on tue 12 nov 02
> At 05:29 PM 11/5/02 -0400, you wrote:
> However, majolica is not
>>maiolica, no Italian firm manufactured majolica and majolica
>>originated in England, overwhelming reasons for this author to approve
>>the 'j' pronunciation of the Oxford English Dictionary...
>
> Sorry, but I spent too much of my life in New
> Mexico to pronounce a respectable Spanish 'J'
> like an English one. Just can't do it. For the antiquarian/historical
> collector crowd, I'll cope with their preferred pronunciations, but
> for a contemporary craftsperson who is not
> producing reproduction ware, I can't see that
> it matters. And I'll continue to pronounce
> majolica: 'maiolica', as nature intended! ;)
>
> -Snail
I'm late to join this discussion.
Well, I have a lovely poster from the Metropolitan Museum from a show of
Italian tin-glazed ware, and the title is Majolica. There is a movement
afoot to make life tidy and say that 'majolica' is the transparent
lead-glazed ware, while 'maiolica' is the tin-glazed. But someone hasn't
told historic sources that. I've found many mixed references for both
spellings and have heard many pronunciations. Life is messy, and there
are alternate spellings and pronunciations - tomato, tomahto. Susan
Weschler's book "Low Fire" talks about the name 'majolica' coming from
wares exported from Majorca. I use 'majolica', personally, and hope the
contemporary revisionists don't re-write history.
>And to be really picky, there is nothing "painterly" about Italian
>maiolica. It is fairly rigid and linear. Best wishes -
>- Vince
Some of the old pieces are really wonderfully painterly. Barcelona has a
ceramics museum that's about 90% tin-glazed ware, some from as early as
13th century. Wonderful. Not linear. Quirky, charming. But, Vince,
Bernard Leach holds your view in his writings, but I think he's biased.
Much of the contemporary work seems produced as tourist ware and lacks
the brushwork vitality of the good ol' days. The range of historic
majolica is quite large, from very brisk (almost cubist) folk work to
very rendered work that reproduces paintings on ceramic forms. It
doesn't all have fish-scale borders. One of my favorites is a pair of
hands clasped over a burning heart, with drops of blood. Not all those
old guys were sticks; some of them loosened up and went for it with
gusto.
Linda Arbuckle
14716 SE 9th Terr
Micanopy, FL 32667
(352) 466-3520
L.arbuckle@att.net
http://www.arts.ufl.edu/artex02/html/ceramics/arbuckle.html
Joan Costa on wed 22 jan 03
It seems to me that you might be using very concentrated pigments or too=
thick a coating with your blues and greens. Cobalt and copper I assume. We=
do a lot of majolica work in our tile painting and our "paints" are=
usually mixed with some of the base glaze for a better fit. Thick coats=
don't usually result very well. We fire to 980=BA C.
Just an added note tile painting being a traditional Portuguese artistic=
medium is one of our units of study.
_______________________________________________________
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Carolyn Jacobson on wed 10 sep 03
My majolica base glaze seems to be a little soft. Is there something I
can add to the glaze batch to give a harder surface before decoration? I
am firing to ^018 at the moment to give the surface a little more hardness
before decorating. Carolyn
Ababi on thu 11 sep 03
Yes, CMC 1-2% but prepare as much as you need or keep in the fridge!
Ababi Sharon
Glaze addict
Kibbutz Shoval Israel
ababisha@shoval.org.il
http://members4.clubphoto.com/ababi306910
http://www.matrix2000.co.nz/Matrix%20Demo/Ababi.htm
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Carolyn
Jacobson
Sent: Wednesday, September 10, 2003 8:53 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: majolica
My majolica base glaze seems to be a little soft. Is there something I
can add to the glaze batch to give a harder surface before decoration?
I
am firing to ^018 at the moment to give the surface a little more
hardness
before decorating. Carolyn
.
Lili Krakowski on tue 18 apr 06
Thank you all. Most of the source books I have looked at insist--as I
did--on the lead content. Other tin-opacified glazes were not called that.
I am corrected, and will not use the word either way--i.e. avoid the m word
and speak of lead/tin, and non-lead tin. Thank you.
Lili Krakowski
Be of good courage
Pete Pinnell on wed 19 apr 06
Hi Friends,
The majolica topic caught my eye and I thought I=92d throw in what little=
=20
I know. Kingery and Vandiver, in their great book =93Ceramic Masterpieces=
=94=20
shed a little light on the subject. It seems that when pure tin is=20
calcined it turns a gray color, so it was traditionally combined with=20
lead and then calcined, which yielded that bright white needed for the=20
glazes (Middle Eastern potters learned this from metallurgists). The=20
full glaze was a fairly complex mixture of alkalies, lead, tin, alumina=20
and silica. From page 140 of their book:
=93The pottery technology used for manufacturing majolica ware in Italy=20
during the sixteenth century is described in some detail by Piccolpasso=20
in his work, =93The Three Books of the Potter=92s Art=94, written in 1557=
. To=20
make glazes it was common practice to react soluble alkalies with silica=20
by a sintering process in which three parts of ground sand and one part=20
of calcined wine dregs were mixed, placed in a clay container, and baked=20
under the kiln while firing a load of pottery. Some variations included=20
salt as an ingredient, and Piccolpasso reports that in Venice it was=20
common to use calcined Levantine plant as imported from the Near East.=20
The sintered product (marzacotta) was a hard mixture consisting in large=20
part of an alkali silica glass, but also including calcined lead oxide,=20
a calcined lead oxide/tin oxide mixture (usually three parts of lead to=20
one of tin, but sometimes as much as seven to one), crushed sand, flint=20
pebbles, and salt.
The principal ingredient of calcined wine lees is potassium carbonate;=20
they also contain appreciable amounts of lime and silica and lesser=20
amounts of magnesia, but little soda. Our analysis of the glaze=20
composition indicates that it would have been made by milling together=20
calcined wine lees, sand, lead oxide and salt. Piccolpasso and the=20
Baldelli Boni manuscript both give this general type of recipe. The=20
exact composition of several of the ingredients varies from time to=20
time, so, as Piccolpasso suggested in 1557, the recipe would be varied=20
accordingly. In other words, if one batch of wine lees were found to be=20
weak in fluxing power, more than the usual amount would be added. The=20
milled ingredients would have been sintered, then crushed and milled.=20
The excess water was decanted from the glaze material to give a slurry=20
ready for pouring over the ware.=94
I would tend to trust these sources, since they have the full analytical=20
weight of MIT and the Smithsonian behind their research. As for me, I=20
have to go mix glazes for my beginning class. I wonder where I put my=20
wine lees?
Pete Pinnell
May Luk on wed 19 apr 06
Dear Lili;
Maiolica, in Italian, is a noun as well as an
adjective. It describes the wares, the firing
temperature, the glaze, the clay and the paintings on
top. Tin glaze, of which the firing temperature is
unspecified, is only the coating of the ceramics and
it poses a visual challenge. The ‘maiolica’ look
conjures up a rich imagery on the mind and tin glaze
does not.
Outside of North America, there are places that still
accept lead as a glaze ingredient within regulation
(or not). Until lead is banned world wide, maiolica
glaze is going to have lead in it, especially
historical recipes. Lead is not the only quality of
maiolica. I am curious to know what the future naming
convention is in the lead-less glaze world. For the
time being, maiolica, with or without lead, is
appropriate usage for communications in most
instances.
This is merely my opinion and I am no expert on
Italian maiolica. But I do know that my opinion does
not count in somebody else’s polemic rant.
In the spirit of straight talk, I find it distracting,
not to mention rude, for you to pick on other’s
question without offering any real insight, nor
quoting any sources. You then went on and posted a
self-congratulating note on your ‘correctness’. I am
happy to eat your cone pack if you give me a success
guaranteed low fire tin-glaze recipe with the analysis
before slapping me on the wrist. For now, I will only
express my mild dismay.
Regards
May
LondON, UK
P.S. This is off topic and unimportant, but there's no
'j' in the Italian alphabets.
Hank Murrow on wed 19 apr 06
On Apr 19, 2006, at 6:27 AM, Pete Pinnell wrote, in part:
> I would tend to trust these sources, since they have the full
> analytical weight of MIT and the Smithsonian behind their research. As
> for me, I have to go mix glazes for my beginning class. I wonder where
> I put my wine lees?
Dear Pete;
At the u of oregon around '64, I read that fruit wood was high in
Phosphorus, so we got a bunch of apple cider pressings(similar to your
wine lees) and calcined the stuff in bisqued bowls to get some ash. Had
to calcine quite a lot of pressings to get enough even just to test
with, but got the wonderful iron blues and chun colors we were looking
for, along with an unexpected iron red(shino precursor). Meanwhile, the
apple pulp stored in garbage cans began to ferment and get bubbly.
Bruce finch(an undergrad student at the time) got the idea of mixing
fireclay and kaolin and bubbly apple pulp together to make improvised
softbrick. Worked pretty darn well too, save for the terrible smells
coming from the kiln room at times.
Good luck with the lees!
Cheers, Hank in Eugene
>
www.murrow.biz/hank
Marek & Pauline Drzazga-Donaldson on thu 21 sep 06
Dear Bev,
Majolica or maiolica or whatever is a method of painting with =
oxides/colours directly onto a white tin glaze. I ose the same method to =
decorate my bowls and plates. It is a seat of the pants method, as when =
you make a mistake, trying to repair it ends in failure - so much =
practicing required. I fire to Cone 6.
Originally it was fired to an Earthenware temperature.
Happy potting Marek
Hand made Architectural Ceramics from No9 Studio UK www.no9uk.com
Fully Residential Pottery Courses and more at Mole Cottage =
www.moleys.com
"Tips and Time Travel from a Vernacular Potter" reviews on =
www.keramix.com
an irreverent point of view after 35 years in the game Marek =
Drzazga-Donaldson =20
Free Works and Mole Cottage DVD's and Video content on all the sites.
Bonnie Staffel on sat 23 sep 06
Hi all,
That is the methodology that I use to decorate my pots that I fire to =
Cone 9
electric. Great hard glaze and clay which stands up to the dishwasher,
microwave and regular oven cooking, as well as everyday use like mugs,
vases, sculpture and whatever you would want to create that would look =
well
with this type of decoration. I was decorating in this manner 45+ years =
ago
even before I was aware of Mason Stains using Albany slip and oxides and
other things that I have long forgotten what. It is a very interesting
exploratory venture to work with stains. =20
If you check out my website, my face plates and landscapes all were done
with this method and my current production work is also decorated in =
this
manner. =20
Enjoy,
Bonnie Staffel =20
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD Throwing with Coils and Slabs
DVD Beginning Processes
Charter Member Potters Council
Bonnie Hellman on tue 9 sep 08
This is an excellent book in general, not only for people firing
earthenware. It is well written, and discusses the "how to" aspects of
maiolica, as well as developing colors using commercial stains. I find I go
back to this book often, especially when I am using commercial stains in a
cone 6 base.
I heard Matthias Ostermann speak at an NCECA just as this book was being
published, and if I ever have the opportunity to hear him, or attend a
workshop with him, I'd get there as quickly as possible.
Bonnie
Bonnie D. Hellman
Ouray, Colorado 81427
----- Original Message -----
From: "Frank Gaydos"
To:
Sent: Tuesday, September 09, 2008 7:26 PM
Subject: Re: Majolica
> This seems to be very popular.
> The New Maiolica: Contemporary Approaches to Color and Technique by
> Matthias
> Ostermann (Hardcover - Jul 23, 1999)
>
>
>
>
>
>> Can anyone recommend a good "how to" book on majolica? Most books that I
>> have found are either very image heavy or skip across the surface.
>>
>> Thanks!
>>
>> --
>> Randall in Atlanta
Randall Moody on tue 9 sep 08
Can anyone recommend a good "how to" book on majolica? Most books that I
have found are either very image heavy or skip across the surface.
Thanks!
--
Randall in Atlanta
Frank Gaydos on tue 9 sep 08
This seems to be very popular.
The New Maiolica: Contemporary Approaches to Color and Technique by Matthias
Ostermann (Hardcover - Jul 23, 1999)
> Can anyone recommend a good "how to" book on majolica? Most books that I
> have found are either very image heavy or skip across the surface.
>
> Thanks!
>
> --
> Randall in Atlanta
Randall Moody on wed 10 sep 08
Thanks to you both. For some reason that book didn't show up in my
searches. I mainly got books on how to collect, look at or appreciate.
On 9/9/08, Frank Gaydos wrote:
> This seems to be very popular.
> The New Maiolica: Contemporary Approaches to Color and Technique by Matthias
> Ostermann (Hardcover - Jul 23, 1999)
>
>
>
>
>
>> Can anyone recommend a good "how to" book on majolica? Most books that I
>> have found are either very image heavy or skip across the surface.
>>
>> Thanks!
>>
>> --
>> Randall in Atlanta
>
--
Randall in Atlanta
Lee Love on wed 10 sep 08
On 9/10/08, Randall Moody wrote:
> Thanks to you both. For some reason that book didn't show up in my
> searches. I mainly got books on how to collect, look at or appreciate.
http://lindaarbuckle.com/handouts/majolica_handout2007.pdf
Check out Linda Arbuckle's Majolica handout.
--
--
Lee Love in Minneapolis
http://heartclay.blogspot.com/
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground." --Rumi
Frank Colson on wed 10 sep 08
Complete descriptive materials w/color images and supply list on working
Maljolica technique are available at: www.R2D2u.com First page
contains histrorical content~
Frank Colson
www.R2D2u.com
----- Original Message -----
From: "Randall Moody"
To:
Sent: Tuesday, September 09, 2008 12:18 PM
Subject: Majolica
> Can anyone recommend a good "how to" book on majolica? Most books that I
> have found are either very image heavy or skip across the surface.
>
> Thanks!
>
> --
> Randall in Atlanta
Russel Fouts on wed 10 sep 08
>> Can anyone recommend a good "how to" book on majolica? Most books
that I have found are either very image heavy or skip across the surface. <<
Matthias Oostermann's "The New Maiolica".
It has lots of images but they're mostly used as examples of the
possibilities of this medium.
It's also pretty good on the technical side, although a bit light.
Still, it's the best book out there.
Russel
Bill Merrill on wed 10 sep 08
Look up IRMA STARR on the net. You will find her site on majolica. She
is one of the best with majolica. She also has a video and booklet on
majolica and she specializes in 17th Century majolica techniques.
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Russel
Fouts
Sent: Wednesday, September 10, 2008 2:48 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Majolica
>> Can anyone recommend a good "how to" book on majolica? Most books
that I have found are either very image heavy or skip across the
surface. <<
Matthias Oostermann's "The New Maiolica".
It has lots of images but they're mostly used as examples of the
possibilities of this medium.
It's also pretty good on the technical side, although a bit light.
Still, it's the best book out there.
Russel
Russel Fouts on thu 11 sep 08
I don't think Irma does any maiolica. I had a look at her site and
there is one cup done for the Brooklyn Museum of Art that looks like
it could be maiolica but it could just as easily be black underglaze
on a white body with a clear glaze over it.
Plus, she never mentions maiolica or tin-glaze on her site.
Russel
At 02:26 11/09/2008, you wrote:
>Look up IRMA STARR on the net. You will find her site on majolica. She
>is one of the best with majolica. She also has a video and booklet on
>majolica and she specializes in 17th Century majolica techniques.
>
>-----Original Message-----
>From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Russel
>Fouts
>Sent: Wednesday, September 10, 2008 2:48 PM
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: Majolica
>
> >> Can anyone recommend a good "how to" book on majolica? Most books
>that I have found are either very image heavy or skip across the
>surface. <<
>
>Matthias Oostermann's "The New Maiolica".
>
>It has lots of images but they're mostly used as examples of the
>possibilities of this medium.
>
>It's also pretty good on the technical side, although a bit light.
>
>Still, it's the best book out there.
>
>Russel
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75
Http://www.mypots.com
Home of "The Potters Portal"
Over 3000 Pottery Related Links!
Updated frequently
"Look, it's my misery that I have to paint this kind of painting,
it's your misery that you have to love it, and the price of the
misery is thirteen hundred and fifty dollars. "
- Mark Rothko, In Art/Painting
Linda Mccaleb on wed 7 oct 09
=3DA0 Hello ClayArters,=3D0A=3DA0 Does anyone have a base recipie for majol=
ica? I=3D
have some students comming in and are interested in decorating with majoli=
=3D
ca. I don't have the money to buy those little 2 oz. bottles for my student=
=3D
s. I will go broke supplying them with it. I promise I won't get into any m=
=3D
agazine with my work, I am a little guy that makes pottery for myself, for =
=3D
teaching and selling a few pieces at the farmer's market.=3D0A=3DA0 I perso=
nall=3D
y don't have any need for it myself, but my students do. I like to china pa=
=3D
int on my work if I don't put on a decorative glaze on it. Oh yeah I use ov=
=3D
erglazes too, for chineese brushing. So I have the stains and oxides, I jus=
=3D
t need the base for them.=3D0A=3DA0 Is there a recipe for it? Or must=3DA0I=
buy i=3D
t in those small bottles?=3D0A=3DA0 Thanks,=3D0A=3DA0 Linda=3D0A=3D0A=3D0A
Lee Love on wed 7 oct 09
Go to Linda's handout page:
http://lindaarbuckle.com/arbuckle_handouts.html
The amber and truq glazes are awesome too.
On Wed, Oct 7, 2009 at 10:26 AM, Linda Mccaleb wr=
=3D
ote:
> =3DA0 Hello ClayArters,
> =3DA0 Does anyone have a base recipie for majolica? I have some students =
co=3D
mming in and are interested in decorating with majolica. I don't have the m=
=3D
oney to buy those little 2 oz. bottles for my students. I will go broke sup=
=3D
plying them with it. I promise I won't get into any magazine with my work, =
=3D
I am a little guy that makes pottery for myself, for teaching and selling a=
=3D
few pieces at the farmer's market.
> =3DA0 I personally don't have any need for it myself, but my students do.=
I=3D
like to china paint on my work if I don't put on a decorative glaze on it.=
=3D
Oh yeah I use overglazes too, for chineese brushing. So I have the stains =
=3D
and oxides, I just need the base for them.
> =3DA0 Is there a recipe for it? Or must=3DA0I buy it in those small bottl=
es?
> =3DA0 Thanks,
> =3DA0 Linda
>
>
>
>
--=3D20
--
Lee Love, Minneapolis
"The tea ceremony bowl is the ceramic equivalent of a sonnet: a
small-scale, seemingly constricted form that challenges the artist to
go beyond mere technical virtuosity and find an approach that both
satisfies and transcends the conventions." -- Rob Sliberman
full essay: http://togeika.multiply.com/journal/item/273/
Dinah Snipes Steveni on wed 7 oct 09
Hi=3D20
I did some research on a good glaze. I've got two=3DC2=3DA0for you to test =
in y=3D
our own kilns and on your bodies;=3DC2=3DA0the first=3DC2=3DA0is good cover=
over re=3D
d body and the other over white or cream. Oxidized.=3D20
The source is Daphne Carnegy's Tin-glazed Earthenware . The recipe is Terry=
=3D
Siebert's (cone 06-03)=3D20
Ferro frit=3DC2=3DA03124=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA072=3D20
Flint=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=
=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3D
=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA010=3D20
EPK=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=
=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3D
=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA012=3D20
Zircopak=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=
=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3D
=3DC2=3DA010=3D20
bentonite=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=
=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3D
=3DC2=3DA03=3D20
I also sinter to 824d c which makes a more forgiving surface to work on.=3D=
20
This is from the late Mathais Ostermann's The New Maiolica=3D20
Ferro frit 3124=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=
60=3D20
F frit 3195=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC=
2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3D
=3DA010=3D20
Ball clay=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=
=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3D
=3DC2=3DA0=3DC2=3DA0=3DC2=3DA06.5=3D20
EPK=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=
=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3D
=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=
=3DA0=3DC2=3DA06.5=3D20
Silica=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA=
0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3D
=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=
4=3D20
Whiting=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3D=
A0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3D
=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA02=3D20
Zircopax=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=
=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3D
=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA011=3D20
bentonite=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=
=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3D
=3DC2=3DA0=3DC2=3DA0=3DC2=3DA0=3DC2=3DA03=3D20
With all recipes please test them before applying to ware. I know sintering=
=3D
adds another layer of complication and expense to the process but for stud=
=3D
ents and mere mortals it makes the painting process easier. I know trad pai=
=3D
nting on powdered surface (not sintered surface) lends itself to a=3DC2=3DA=
0dif=3D
ferent kind of mark.=3DC2=3DA0You can combine og transfers, or lustered, or=
=3DC2=3D
=3DA0og enameled=3DC2=3DA0work in the sintering firing. I always add benton=
ite to=3D
a glaze formula. Keeps it from packing up at the bottom of the glaze bucke=
=3D
t.=3D20
Really would enjoy hearing from others about some good recipes. I enjoy mai=
=3D
olica work. Really respect those who work at it all the time. I don't, but =
=3D
every now and then I have a thought or two for a piece.=3D20
=3DC2=3DA0=3D20
Dinah=3D20
http://www.dinahsnipessteveni.com=3D20
http://www.dianthusceramics.blogspot.com=3D20
http://www.skagitartiststogether.com=3D20
Bill Merrill on sun 19 sep 10
I received a nice note from Lili that pointed out I had misread the post =
=3D
about talc....I sure did! I have seen the white spots that was talked =3D
about in Majolica post before. Kathy Ervin was a student of mine and =3D
went on to Kansas City Art Institute. She was very good and she had the =
=3D
majolica process down! I 'll ask her when In see her if she may have an =
=3D
answer. Remember the old saying ....jumping conclusions in single =3D
bounds...LOL Maybe when we get to a certain age we only read every =3D
other word...maybe for me it's more skips ...
=3D20
Thanks Lili for the nice note!!!! Val will get a kick out of this when =3D
I talk to him this week! Bill Merrill
=3D20
=3D20
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