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Under the Kangxi Emperor's reign (1662–1722) the Chinese porcelain industry, now largely concentrated at Jingdezhen was reorganised and the export trade soon flourished again. Chinese export porcelain from the late 17th century included blue-and-white and famille verte wares (and occasionally famille noire and famille jaune). Wares included ...
White clay is a favorite to work with but many colors are used. A potter's wheel is not used. The bottom of the pot is molded and the upper part is created by the coil method. When the pot is dry, it is rubbed with a stone or other hard object to make it shine. This can take days. Pots are fired on the open ground using wood and manure for fuel.
During its heyday from the 1950s until the 1970s, over 100 pottery and porcelain companies and studio potters were actively producing art pottery in West Germany. Scheurich, Carstens, Bay, ES, and Dümler & Breiden were the most prolific producers, and while production began slowing in the early 1970s, a wide variety of art pottery was produced ...
Experiments with the manufacture of porcelain began in 1820. By 1826 the pottery was bankrupt. However the Bramelds' experiments with porcelain had just come to fruition and the Earl was impressed by the potential of the new products. He bailed out the pottery and allowed his family's crest and name to be used by the pottery. [3]
By the end of the century, a large Chinese export porcelain trade with Europe had developed, and the so-called Kraak ware style had developed. This was by Chinese standards a rather low-quality but showy style, usually in blue and white, that became very popular in Europe, and can be seen in many Dutch Golden Age paintings of the century ...
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