Denis Caraty on fri 15 sep 00
En Angleterre, les d=E9cors imprim=E9s =E0 partir de plaques grav=E9es en=
cuivre
concernent pricipalement les produits de fa=EFence. Cette technique est e=
ncore
utilis=E9e par quelques manufactures, mais elle est en voie de disparitio=
n.
En France, notre soci=E9t=E9 est la derni=E8re =E0 pratiquer ce type de d=
=E9coration.
Je n'ai jamais vu de d=E9cors imprim=E9s sur porcelaine, mais cela doit =EA=
tre
possible en utilisant des colorants stables =E0 haute temp=E9rature (Coba=
lt,
Chrome...).
Denis Caraty
Soci=E9t=E9 : Fa=EFenceries de Gien
78, place de la victoire, 45500 Gien, FRANCE
Fax : (33) 2 38 67 92 36
dcaraty@gien.com
http://www.gien.com
-----Message d'origine-----
De : Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]De la
part de Edouard Bastarache
Envoy=E9 : vendredi 15 septembre 2000 03:30
=C0 : CLAYART@LSV.CERAMICS.ORG
Objet : The decoration on English porcelains
Edouard Bastarache
Dans / In "La Belle Province"
edouardb@sorel-tracy.qc.ca
http://www.sorel-tracy.qc.ca/~edouardb/
-----Message d'origine-----
De : Info
Groupes de discussion : sci.materials.ceramics
Date : 14 septembre, 2000 11:41
Objet : ceramics
Dear ceramics discussion forum,
The decoration on English porcelains falls into 4 main types: underglaze,
overglaze, painted and printed. Most underglaze work was done in blue. It
should be noted that when the 'blue' was applied to the underglazed
porcelain, it was in fact black and the painter had to work out shading a=
nd
different tones purely by experience. The true colour appeared only after
firing. The blue and white designs, particularly on teawares, were for mo=
st
English factories (with the possible exception of Derby and Chelsea), the=
ir
main money makers. As the spread and demand increased, the printing proce=
ss
was employed to ensure a steady supply of popular patterns. Apart from th=
e
initial copper plate this could be done by almost totally unskilled labou=
r.
One should not dismiss printed wares as having no quality, many are crisp
and competent and show the true skill of a master copper engraver. This i=
s
also the case for a large amount of hand painted wares, as they could be
executed by apprentice painters, usually youngsters on very low pay.
To read this article with photos, please visit
http://www.worldantiquesonline.com
_________________________________________________________________________=
___
__
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.
Gavin Stairs on fri 15 sep 00
English translation inserted by Gavin Stairs:
At 02:56 AM 9/15/00, Denis Caraty wrote:
>En Angleterre, les d=E9cors imprim=E9s =E0 partir de plaques grav=E9es en=
cuivre
>concernent pricipalement les produits de fa=EFence. Cette technique est=
encore
>utilis=E9e par quelques manufactures, mais elle est en voie de disparition.
>En France, notre soci=E9t=E9 est la derni=E8re =E0 pratiquer ce type de=
d=E9coration.
>Je n'ai jamais vu de d=E9cors imprim=E9s sur porcelaine, mais cela doit=
=EAtre
>possible en utilisant des colorants stables =E0 haute temp=E9rature=
(Cobalt,
>Chrome...).
In England, decorations printed by copperplate engraving are principally=20
fa=EFence works. This technique is still used by some manufacturers, but it=
=20
is in the process of disappearing. In France, our organization is the last=
=20
to practice this type of decoration. I have never seen decorations printed=
=20
on porcelain, but this must be possible using high fire colourants (Cobalt,=
=20
Chrome...).
Translator's comment: those unfamiliar with the term fa=EFence see=20
below. Fa=EFence refers to both a style of decoration and a type of=20
body/glaze.
"ABOUT FAIENCE Faience refers to tin glazed earthenware pottery that is=20
made in France. Though not as well know in America as Delftware or=20
majolica, it is basically the same; the country of origin being the only=20
difference. Faience has been produced in France since the 16th century.=20
Faience is normally identified by the city or region in which it was=20
produced ( Quimper, Blois, Gien, Desvres, Malicorne,Boulogne,=
Angouleme,...).
"Each faience center developed a distinctive style that today is helpful in=
=20
identifying older unsigned pieces. And it is these distinctive styles that=
=20
attract collectors. A collector may admire the vivid colors of a piece from=
=20
Blois or the folk art beauty of the hand painted Breton peasants on a piece=
=20
from Quimper. Most pieces collected today are from the mid 19th century=20
into the 20th century."
>Denis Caraty
>Soci=E9t=E9 : Fa=EFenceries de Gien
>78, place de la victoire, 45500 Gien, FRANCE
>Fax : (33) 2 38 67 92 36
>dcaraty@gien.com
>http://www.gien.com
>
>
>-----Message d'origine-----
>De : Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]De la
>part de Edouard Bastarache
>Envoy=E9 : vendredi 15 septembre 2000 03:30
>=C0 : CLAYART@LSV.CERAMICS.ORG
>Objet : The decoration on English porcelains
>
>
>Edouard Bastarache
>Dans / In "La Belle Province"
>edouardb@sorel-tracy.qc.ca
>http://www.sorel-tracy.qc.ca/~edouardb/
>
>-----Message d'origine-----
>De : Info
>Groupes de discussion : sci.materials.ceramics
>Date : 14 septembre, 2000 11:41
>Objet : ceramics
>
>
>Dear ceramics discussion forum,
>The decoration on English porcelains falls into 4 main types: underglaze,
>overglaze, painted and printed. Most underglaze work was done in blue. It
>should be noted that when the 'blue' was applied to the underglazed
>porcelain, it was in fact black and the painter had to work out shading and
>different tones purely by experience. The true colour appeared only after
>firing. The blue and white designs, particularly on teawares, were for most
>English factories (with the possible exception of Derby and Chelsea), their
>main money makers. As the spread and demand increased, the printing process
>was employed to ensure a steady supply of popular patterns. Apart from the
>initial copper plate this could be done by almost totally unskilled labour.
>One should not dismiss printed wares as having no quality, many are crisp
>and competent and show the true skill of a master copper engraver. This is
>also the case for a large amount of hand painted wares, as they could be
>executed by apprentice painters, usually youngsters on very low pay.
>To read this article with photos, please visit
>http://www.worldantiquesonline.com
>
>___________________________________________________________________________=
_
>__
>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.
>
>___________________________________________________________________________=
___
>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=20
>melpots@pclink.com.
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