151:
29:
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331:, who produced a variety of Cauliflower, Pineapple, Fruit Basket and other popular wares. There was considerable inventiveness of form and the use of moulds allowed both greater complexity and ease of mass-production. Several creamware types used moulds originally produced for the earlier salt-glazed stoneware goods, such as the typical plates illustrated opposite. Combined with increasingly sophisticated decorative techniques, creamware quickly became established as the preferred ware for the dinner table amongst both middle and upper classes.
271:
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169:. and to the United States. One contemporary writer and friend of Wedgwood claimed it was ubiquitous. This led to local industries developing throughout Europe to meet demand. There was also a strong export market to the United States. The success of creamware had killed the demand for tin-glazed earthenware and pewter vessels alike and the spread of cheap, good-quality, mass-produced creamware to Europe had a similar impact on Continental tin-glazed
454:
In addition, factories usually sent out their wares to outside specialist enamellers or transfer-printers for decoration – decoration in-house was only gradually adopted. For this reason, several manufacturers usually shared the same decorator or printer and tended to use the same or very similar patterns.
453:
Attribution of pieces to particular factories has always been difficult because virtually no creamware was marked prior to Josiah
Wedgwood's manufacture of it in Burslem. At the time manufacturers frequently supplied wares to one another to supplement stocks and ideas were often exchanged or copied.
424:
By 1760 creamware was often enamelled for decoration, using a technique adopted from the early porcelain industry. This consisted of painting overglaze on the ware with pigments made from finely powdered coloured glass and then firing again to fuse the enamel to the ware. The varied enamel colours
400:
was prepared and rubbed with oil. The surplus oil was wiped off and an impression was taken onto thin paper. The oily print was then transferred to the glazed earthenware surface which was then dusted with finely ground pigment in the chosen colour. Excess powder was then removed and the ware was
355:
The early process of using lead-powder produced a brilliant, transparent glaze of a rich cream colour. Small stamped motifs similar to those used at the time on salt-glaze wares and redware were sometimes applied to the ware for decoration. Dry crystals of metallic oxides such as copper, iron and
230:, mixed with a certain amount of ground calcined flint, was dusted on the ware, which was then given its one and only firing. This early method was unsatisfactory because the use of lead componds resulted in lead poisoning among the potters, and the dry grinding of calcined flint caused a form of
364:
The early lead-powder process led directly to the development of the tortoiseshell method and other coloured glazes which were used with the new fluid glazes. Here, patches of colour were sponged or painted onto the biscuit surface before a clear glaze was applied to the whole and then fired.
449:
Whilst
Staffordshire had taken the lead, creamware came to be developed in a number of large potting centres where stoneware was already being produced, eventually replacing stoneware entirely. These included Derbyshire, Liverpool, Yorkshire (including the Leeds pottery) and Swansea.
457:
Collectors, dealers and curators alike were frustrated in their efforts to ascribe pots to individual factories: it is frequently impossible to do so. Archaeological excavations of pottery sites in
Staffordshire and elsewhere have helped provide some better-established
494:
The heyday of creamware ran from about 1770 to the rise of painted pearlwares, white wares and stone chinas in the period around 1810 to 1825. Although creamware continued to be produced during the later period, it was no longer pre-eminent in the markets.
412:
that could be laid on the workbench whilst a globular pot was carefully rolled over it. Glue-bats allowed more subtle engraving techniques to be used. Underglaze transfer printing was also sometimes used, directly onto the porous biscuit body.
282:
into both the body and glaze and so was able to produce creamware of a much paler colour, lighter and stronger and more delicately worked, perfecting the ware by about 1770. His superior creamware, known as 'Queen's ware', was supplied to
241:
in which the ingredients were mixed and ground in water was invented, possibly by Enoch Booth of
Tunstall, Staffordshire, according to one early historian, although this is disputed. The method involved first firing the ware to a
201:
to form a cream-coloured earthenware. The white clays ensured a white colour after firing and the addition of calcined flint improved its thermal shock resistance, whilst the calcined flint in the glazes helped prevent
445:
There were approximately 130 potteries in North
Staffordshire during the 1750s, rising to around 150 by 1763 and employing up to 7,000 people – a large number of these potteries would have been producing creamware.
264:
was in partnership with Thomas
Whieldon from 1754 to 1759 and after Wedgwood had left to set up independently at Ivy House, he immediately directed his efforts to the development of creamware.
274:
Fragment of moulded 18th-century creamware found on Thames foreshore, central London, August 2017. Showing typical patterns of border decoration. Staffordshire, c. 1760–1780. Courtesy C Hobey.
257:. Although he has become popularly associated almost exclusively with tortoiseshell creamware, in fact he produced a wide variety of creamware. He first mentions 'Cream Colour' in 1749.
416:
Transfer-printing was specialist and so generally outsourced in the early years: Sadler & Green of
Liverpool were exclusive printers to Josiah Wedgwood by 1763, for example.
267:
Wedgwood rebelled against the use of coloured glazes, declaring as early as 1766 that he was clearing his warehouse of coloured ware as he was 'heartily sick of the commodity'.
150:
311:
amongst the growing middle classes of the time. By around 1808 a fully whitened version of creamware (known as White Ware) was introduced to meet changing market demand.
307:
and a body somewhat modified to produce a ware that was slightly greyish in appearance. Pearlware was developed in order to meet demand for substitutes for
Chinese
291:
and later became hugely popular. There were few changes to creamware after about 1770 and the
Wedgwood formula was gradually adopted by most manufacturers.
303:, of which there was an increase around 1779. Pearlware is distinct from creamware in having a blue-tinged glaze produced by the use of
343:
An early tortoiseshell-decorated creamware plate. Perhaps from the factory of Thomas
Whieldon, but not attributable. Private collection
598:
The Chemistry of the several natural and artificial heterogeneous compounds used in manufacturing porcelain, glass, and pottery, etc..
327:
from 1754 to 1759, moulded creamware in a variety of forms was developed, especially in collaboration with the talented block-cutter
1032:
A R Mountford, "Thomas Whieldon's Manufactory at Fenton Vivian," Transactions of the English Ceramic Circle, Vol. 8 pt. 2 (1972)
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Osborne, 140; Creamware for the American market is the subject of Patricia A. Halfpenny, Robert S. Teitelman and Ronald Fuchs,
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Wedgwood and his English competitors sold creamware throughout Europe, sparking local industries, that largely replaced
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115:, who perfected the ware, beginning during his partnership with Thomas Whieldon. Wedgwood supplied his creamware to
197:, but it is fired to a lower temperature (around 800 °C as opposed to 1,100 to 1,200 °C) and glazed with
84:
Variations of creamware were known as "tortoiseshell ware" or "Whieldon ware" were developed by the master potter
1188:
1134:
1071:
1090:
The Fifth Exhibition from the Northern Ceramic Society. Stoke-on-Trent City Museum & Art Gallery (1986).
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The Fifth Exhibition from the Northern Ceramic Society. Stoke-on-Trent City Museum & Art Gallery (1986).
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The Fifth Exhibition from the Northern Ceramic Society. Stoke-on-Trent City Museum & Art Gallery (1986).
905:
The Fifth Exhibition from the Northern Ceramic Society. Stoke-on-Trent City Museum & Art Gallery (1986).
701:
The Fifth Exhibition from the Northern Ceramic Society. Stoke-on-Trent City Museum & Art Gallery (1986).
793:
The Fifth Exhibition from the Northern Ceramic Society. Stoke-on-Trent City Museum &Art Gallery (1986).
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did not fuse at the same temperature so several firings were generally needed, adding to the expense.
217:. Burslem, about 1771–1775. Printed by Guy Green, Liverpool. On display at the British Museum, London.
93:
1163:
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This method could be varied by transferring the oily print onto a 'glue-bat' – a slab of flexible
377:
Jug, c. 1765 by the Pont-aux-Choux factory near Paris, one of the first and best French makers of
365:
Coloured decoration could help disguise imperfections that might arise during the firing process.
250:
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to soften the glaze, burn off the oil and leave the printed image firmly bonded to the surface.
1139:
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482:("earthenware in the English manner"). They were produced in many factories, including by the
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manganese were then dusted onto the ware to form patches of coloured decoration during firing.
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factories. By the 1780s Josiah Wedgwood was exporting as much as 80% of his output to Europe.
697:
Gordon Elliot, "The Technical Characteristics of Creamware and Pearl-Glazed Earthenware," in
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89:
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Success to America: Creamware for the American Market. Woodbridge: Antiquw Collectors Club
131:. Later, around 1779, he was able to lighten the cream colour to a bluish white by using
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with coloured stains under the glaze. It served as an inexpensive substitute for the
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being developed by contemporary English manufactories, initially in competition with
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and the Triumph of Art and Industry (Bard Graduate Center, New York), Glossary,
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in purple enamel by Guy Green of Liverpool. Victoria & Albert Museum, London
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P Holdway, "Techniques of Transfer-printing on Cream Coloured Earthenware," in
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N Stretton, "On-glaze Transfer-printing on Creamware: The first fifty Years,"
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Creamware was first produced some time before 1740. Originally lead powder or
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96:. It was often made in the same fashionable and refined styles as porcelain.
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Creamware during the 18th century was decorated in a variety of ways:
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Cream-coloured, refined earthenware with a lead glaze over a pale body
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of pottery was developed in the 1750s. There were two main methods,
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Italian Ceramics: Catalogue of the J. Paul Getty Museum Collections
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77:, which proved so ideal for domestic ware that it supplanted white
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147:(producing "Leedsware") was another very successful producer.
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Terrence A Lockett, "The Later Creamwares and Pearlwares," in
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towards a finer, thinner, whiter body with a brilliant glassy
190:
186:
139:. Wedgwood sold this more desirable product under the name
630:
Patricia A Halfpenny, Robert S Teitelman and Ronald Fuchs,
198:
1062:
Hess, Catherine, with Marietta Cambereri on this entry,
853:, London: Victoria & Albert Museum (2005) pp. 91-93
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with a lead glaze over a pale body, known in France as
958:
The Pottery Trade and North Staffordshire 1660 – 1760.
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Success to America: Creamware for the American Market
193:. This body is the same as that used for salt-glazed
81:
wares by about 1780. It was popular until the 1840s.
947:, London: Victoria & Albert Museum (2005) p. 224
879:, London: Victoria & Albert Museum (2005) p. 228
866:, London: Victoria & Albert Museum (2005) p. 227
892:, London: Victoria & Albert Museum (2005) p. 86
840:, London: Victoria & Albert Museum (2005) p. 88
780:, London: Victoria & Albert Museum (2005) p. 80
767:, London: Victoria & Albert Museum (2005) p. 82
667:, London: Victoria & Albert Museum (2005) p. 93
1011:Terrence A Lockett, "Problems of Attribution," in
32:Josiah Wedgwood: Tea and coffee service, c. 1775.
213:Josiah Wedgwood: Four creamware plates depicting
1170:
1045:, Stoke-on-Trent: City Museum & Art Gallery
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61:. It was created about 1750 by the potters of
1115:, London: Victoria & Albert Museum (2005)
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536:
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69:, who refined the materials and techniques of
789:Pat Halfpenny, "Early Creamware to 1770," in
754:, Hanley, Printed for the author (1829), p 18
249:Foremost of the pioneers of creamware in the
472:Italian versions of creamware were known as
1164:Creamware at the Victoria and Albert Museum
1127:The Oxford Companion to the Decorative Arts
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278:Wedgwood improved creamware by introducing
176:
111:The most notable producer of creamware was
1066:, 2003, p. 244, note 1Getty Publications,
246:state, and then glazing and re-firing it.
158:) in three parts, 1770–1775, Queen's ware
960:Manchester University Press (1971), p. 5
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181:Creamware is made from white clays from
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521:"Creamware: "In France it was known as
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752:History of the Staffordshire Potteries
396:. For overglaze printing, an engraved
299:One important ware of note however is
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234:colloquially known as potter's rot.
189:combined with an amount of calcined
1146:, London: Faber & Faber (1978)
994:, London: Faber & Faber (1978)
819:, London: Faber & Faber (1978)
733:, London: Faber & Faber (1978)
680:, London: Faber & Faber (1978)
613:, London: Faber & Faber (1978)
462:to enable progress in attribution.
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43:is a cream-coloured refined
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1113:English Pottery 1620 – 1840
973:. London: Macmillan (1992)
945:English Pottery 1620 – 1840
890:English Pottery 1620 – 1840
877:English Pottery 1620 – 1840
864:English Pottery 1620 – 1840
851:English Pottery 1620 – 1840
838:English Pottery 1620 – 1840
778:English Pottery 1620 – 1840
765:English Pottery 1620 – 1840
665:English Pottery 1620 – 1840
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553:The standard monograph is
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401:given a short firing in a
127:) and used the trade name
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381:, as creamware was known.
94:Chinese export porcelains
1088:Creamware and Pearlware.
1043:Unearthing Staffordshire
1013:Creamware and Pearlware.
924:Creamware and Pearlware.
903:Creamware and Pearlware.
791:Creamware and Pearlware.
699:Creamware and Pearlware.
561:(Faber & Faber) 1978
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177:Materials and production
53:, in the Netherlands as
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71:salt-glazed earthenware
1125:Osborne, Harold (ed),
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154:Wedgwood ice-bucket (
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90:soft-paste porcelains
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515:Alexandre Brongniart
360:Tortoiseshell method
237:Around 1740 a fluid
652:European Creamware.
437:Le Nove (Venetian)
289:Catherine the Great
121:Catherine the Great
21:Creamware (company)
1184:English inventions
1111:Hildyard, Robin,
572:European Creamware
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329:William Greatbatch
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407:
398:copper plate
384:
379:faience fine
378:
363:
354:
346:
318:
300:
298:
277:
266:
259:
248:
236:
225:
180:
161:
155:
140:
135:in the lead
129:Queen's ware
128:
125:Frog Service
110:
83:
58:
54:
50:faïence fine
48:
40:
39:
25:
1179:British art
403:muffle kiln
351:Lead-powder
222:Development
45:earthenware
1173:Categories
1135:0198661134
1072:0892366702
801:pp. 14-19.
499:References
420:Enamelling
390:underglaze
335:Decoration
280:china clay
260:The young
164:tin-glazed
141:pearl ware
105:loving-cup
79:salt-glaze
75:lead glaze
1144:Creamware
1098:pp. 44–51
1023:pp. 52-58
992:Creamware
913:pp. 20-23
817:Creamware
731:Creamware
709:pp. 9-13.
678:Creamware
611:Creamware
559:Creamware
486:factory.
475:terraglia
467:Terraglia
439:terraglia
394:overglaze
309:porcelain
301:pearlware
295:Pearlware
232:silicosis
195:stoneware
137:overglaze
41:Creamware
460:typology
410:gelatine
103:English
1002:, p. 22
827:, p. 21
741:, p. 20
688:, p. 19
634:(2010)
574:. 1989/
490:Decline
244:biscuit
204:crazing
171:faience
167:faience
156:glacier
67:England
1150:
1133:
1119:
1094:
1070:
1053:(1990)
1049:
1019:
998:
977:
930:
909:
823:
797:
737:
705:
684:
638:
617:
305:cobalt
228:galena
183:Dorset
143:. The
133:cobalt
107:, 1774
981:p. 46
587:2010.
478:, or
315:Forms
239:glaze
191:flint
187:Devon
1148:ISBN
1131:ISBN
1117:ISBN
1092:ISBN
1068:ISBN
1047:ISBN
1017:ISBN
996:ISBN
975:ISBN
928:ISBN
907:ISBN
821:ISBN
795:ISBN
735:ISBN
703:ISBN
682:ISBN
636:ISBN
615:ISBN
519:s.v.
323:and
287:and
253:was
199:lead
185:and
119:and
1175::
1142:,
806:^
714:^
557:,
531:^
206:.
65:,
525:.
23:.
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