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Lampworked dichroic glass bead showing thin film application Furnace glass beads. A variant of the wound glass bead making technique, and a labor-intensive one, is what is traditionally called lampworking. In the Venetian industry, where very large quantities of beads were produced in the 19th century for the African trade, the core of a ...
Apsley Pellatt in his book Curiosities of Glass Making was the first to use the term "millefiori", which appeared in the Oxford English Dictionary in 1849; prior to that, the beads were called mosaic beads. While the use of this technique long precedes the term "millefiori", it is now most frequently associated with Venetian glassware. [2] [3]
Two principal techniques are used to produce seed beads: the wound method and the drawn method. The wound method is the more-traditional technique, is more time-consuming, and is no longer used in modern bead production: in this technique, a chunk of glass known in glassmaking as a gather and composed mainly of silica is heated on an iron bar until molten.
Wedgwood jasperware can often be dated by the style of potter's marks, although there are exceptions to the rules: Before 1860: Mark is "Wedgwood". Usually accompanied by other potter markings and a single letter. From 1860 to 1929: A three-letter mark represents in order, the month, the potter, and the year. The year code starts mid-alphabet ...
It was founded as the National Brotherhood of Operative Potters on December 29, 1890. In 1900, it absorbed the Sanitary Pressers' National Union. On March 14, 1899, it was chartered by the American Federation of Labor, and in 1904, it absorbed the Potters' National Union of America. [2] [3] By 1925, the union had 7,900 members. [3]
A selection of glass beads Merovingian bead Trade beads, 18th century Trade beads, 18th century. A bead is a small, decorative object that is formed in a variety of shapes and sizes of a material such as stone, bone, shell, glass, plastic, wood, or pearl and with a small hole for threading or stringing.
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Chinese exports almost ceased and other sources were needed to fulfill the continuing Eurasian demand for blue and white. In Japan, Chinese potter refugees were able to introduce refined porcelain techniques and enamel glazes to the Arita kilns. From 1658, the Dutch East India Company looked to Japan for blue-and-white porcelain to sell in Europe.