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The traditional formulation for bone china is about 25% kaolin, 25% China stone and 50% bone ash. [13] The bone ash that is used in bone china has traditionally been made from cattle bones that have a lower iron content. These bones are crushed before being degelatinised and then calcined to around 1,000 °C to produce bone ash. [14]
Spode is an English brand of pottery and homewares produced in Stoke-on-Trent, England.Spode was founded by Josiah Spode (1733–1797) in 1770, and was responsible for perfecting two important techniques that were crucial to the worldwide success of the English pottery industry in the 19th century: transfer printing on earthenware and bone china.
Much of the porcelain was also transfer-printed, or combined this and china painting by hand. [2] Grove characterizes the wares as "inspired by those of Rockingham, Spode and Worcester". [3] In later periods, the many branches of the family businesses maintained a similar position in the market, and followed design trends at a rather safe distance.
The phase of glazed pottery started in the 13th century CE, when Turkic rulers encouraged potters from Persia, Central Asia and elsewhere to settle in present-day Northern India. Glazed pottery of Persian models with Indian designs, dating back to the Sultanate period, has been found in Gujarat and Maharashtra.
Cowham designed a series called Playtime; the design was a simple representation of children's activities. A second series of designs were produced in 1927 and in 1928 a tea set with a seaside theme was produced. The teapot was a bathing tent, the sugar bowl was a sea side bucket and the milk jug was a shell with a seaweed handle.
The china was considered to have a medium to high cost. [7] The glaze for the fine china line was developed by Max Compton with the shapes and patterns designed by Mary K. Grant, the design staff, and by contract designers. In 1942, World War II curtailed the introduction of new dinnerware lines and shapes. The Company continued to produce ware ...
The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University Press Pelican History of Art, ISBN 0300062176; Harsha V. Dehejia, The Advaita of Art (Delhi: Motilal Banarsidass, 2000, ISBN 81-208-1389-8), p. 97; Kapila Vatsyayan, Classical Indian Dance in Literature and the Arts (New Delhi: Sangeet Natak Akademi, 1977), p. 8
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