gemma-kate on mon 15 jan 01
Can anyone help me discover some recipes for rich transparent glazes that
were used on some of the Art Nouveau tiles at the beginning of the 1900's.
Many of these glazes have a appear to have great depth and a fantastic
flowing quality that breaks nicely over relief. Is it the presence of tin
that gives a pearly, lusterous tint to many. Any suggestions gratefully
recieved as testing so far is not being fruitful.
lucien m koonce on mon 15 jan 01
I suspect, although I am not 100% sure, that those were lead glazes; someone
will correct me if I am wrong. If, indeed, they are, and you are willing to
use white lead as a flux, I can send you mine. I use c/04 and c/4
transparent lead glazes.
~Lucien Koonce
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Click on http://lmkoonce.home.mindspring.com and visit my on-line gallery.
L M Koonce / Robbins, NC, USA
-----Original Message-----
From: gemma-kate
To: CLAYART@LSV.CERAMICS.ORG
Date: Monday, January 15, 2001 5:42 PM
Subject: lowfire pooling glazes
>Can anyone help me discover some recipes for rich transparent glazes that
>were used on some of the Art Nouveau tiles at the beginning of the 1900's.
>Many of these glazes have a appear to have great depth and a fantastic
>flowing quality that breaks nicely over relief. Is it the presence of tin
>that gives a pearly, lusterous tint to many. Any suggestions gratefully
>recieved as testing so far is not being fruitful.
>
>___________________________________________________________________________
___
>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.
John Hesselberth on mon 15 jan 01
gemma-kate wrote:
>Can anyone help me discover some recipes for rich transparent glazes that
>were used on some of the Art Nouveau tiles at the beginning of the 1900's.
>Many of these glazes have a appear to have great depth and a fantastic
>flowing quality that breaks nicely over relief. Is it the presence of tin
>that gives a pearly, lusterous tint to many. Any suggestions gratefully
>recieved as testing so far is not being fruitful.
With no specific knowledge about these glazes at all, I would bet it is
the presence of plenty of lead. Tin my be involved too, but during that
time period most glazes below cone 6 or 7 were lead-based.
Regards, John
"The life so short, the craft so long to learn." Hippocrates, 5th cent.
B.C.
MaryBeth Bishop on tue 16 jan 01
I'm not sure where lowfire/high fire ranges begin and end. I'm sorry for my
ignorance. Anyway the caveat before the thing I want to say.
I was lucky enough to be among the crowd at Edna Arnow's 50 year
retrospective and 80th birthday yesterday. She showed slides and a number of
her pieces were on display. I learned much even in the short presentation
she gave. She had pieces which had glazes which moved and pooled a good deal
at cone 6. They looked like high fire reduction to my limited eye. She said
some things about using tin and such things as large percentages of glazes.
Thirty years ago these ingredients/elements were less costly than today. I
thought a number of pieces were barium or lead glazes but I was 100% wrong.
It turned out they were Albany slips under glazes or glaze on glaze
applications with large amounts of tin and so on. Very interesting stuff. I
think she knows more about such things than I could learn in a year
listening. Anyway, the point I want to make is that the answer to a glaze
puzzle isn't always lead or barium. Some of these inclusions were solutions
to problems for their time. I guess we have to keep looking for the magic in
the things available to us today.
I think the most interesting thing about hearing her talk about her work was
the way she moved on. This was what she did in the 60's, this in the 70's,
so on. All wonderful stuff but not lamenting or holding to what was. Just
moving forward with what was in her present at each stage. Talk about a
living treasure. Quiet, lovely, brilliant person and breathtaking work. I
wish you could all have been there.
One friend said she would like to live so long. I hope we all can. To see
our work mature and change. Well I am going on and have left the subject
behind so will stop. Still, I am newly inspired to experiment and hope for
something magical to happen.
Mary Beth Bishop
Durham, NC (3 days until we open mamagama and see what we got)
| |
|
