1012:
641:
195:
1024:
913:. Whilst zirconium compounds are not as effective opacifiers as tin oxide, their relatively low price has led to a gradual increase in their use, with an associated reduction in the use of tin oxide. The whiteness resulting from the use of zirconia has been described as more "clinical" than that from tin oxide and is preferred in some applications. Nevertheless, tin oxide still finds use in ceramic manufacture and has been widely used as the opacifier in sanitaryware, with up to 6% used in glazes. Otherwise, tin oxide in glazes, often in conjunction with zircon compounds, is generally restricted to specialist low temperature applications and use by studio potters.
1040:
784:
20:
39:
884:
1052:
367:
444:
1011:
586:, to which painters in all media had to belong, admitted ten master potters in the thirty years between 1610 and 1640 and twenty in the nine years 1651 to 1660. In 1654 a gunpowder explosion in Delft destroyed many breweries, and, as the brewing industry was in decline, their premises became available to pottery makers.
719:
and an
Italianate border of masks and leaves. The rim is decorated with dashes of blue and can be considered the first in series of large decorated dishes so painted and called blue-dash chargers. Blue-dash chargers, usually between about 25 and 35 cm in diameter with abstract, floral, religious,
718:
The earliest known piece with an
English inscription is a dish dated 1600 in the London Museum. It is painted in blue, purple, green, orange and yellow and depicts the Tower of London and Old London Bridge, surrounded by the words, "THE ROSE IS RED THE LEAVES ARE GRENE GOD SAVE ELIZABETH OUR QUEENE"
714:
English delftware pottery and its painted decoration is similar in many respects to that from
Holland, but its peculiarly English quality has been commented upon: "... there is a relaxed tone and a sprightliness which is preserved throughout the history of English delftware; the overriding mood
578:
The earliest tin-glazed pottery in the
Netherlands was made in Antwerp in 1512. The manufacture of painted pottery may have spread from the southern to the northern Netherlands in the 1560s. It was made in Middleburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work was
454:
The 15th-century wares that initiated maiolica as an art form were the product of a long technical evolution, in which medieval lead-glazed wares were improved by the addition of tin oxides under the initial influence of
Islamic wares imported through Sicily. Such archaic wares are sometimes dubbed
294:
Because of their identical names, there has been some confusion between tin-glazed majolica/maiolica and the lead-glazed majolica made in
England and America in the 19th century, but they are different in origin, technique, style and history. In the late 18th century, old Italian tin-glazed maiolica
347:
that, "By a convenient extension and limitation the name may be applied to all tin-glazed ware, of whatever nationality, made in the
Italian tradition … the name faïence (or the synonymous English 'delftware') being reserved for the later wares of the 17th Century onwards, either in original styles
920:
re-discovered the technique of firing luster on tin-glaze "to an extraordinarily high standard". Since the beginning of the 20th century there has been a revival of pottery-making in
Orvieto and Deruta, the traditional centres of tin-glazed ceramics in Italy, where the shapes and designs of the
1285:
L. Arnoux, 1877, British
Manufacturing Industries - Pottery "Most of the Italian towns had their manufactory, each of them possessing a style of its own. Beginning at Caffagiolo and Deruta, they extended rapidly to Gubbio, Ferrara, and Ravenna, to be continued to Casteldurante, Rimini, Urbino,
589:
From about 1615, the potters began to coat their pots completely in white tin glaze instead of covering only the painting surface and coating the rest with clear glaze. They then began to cover the tin glaze with a coat of clear glaze which gave depth to the fired surface and smoothness to
969:. Subsequently, Caiger-Smith experimented with the technique of reduced lustre on tin glaze, which had been practiced in Italy until 1700 and Spain until 1800 and had then been forgotten. Caiger-Smith trained several potters at his Aldermaston Pottery and published
615:, hunting scenes, landscapes and seascapes. The Delft potters also made tiles in vast numbers (estimated at eight hundred million over a period of two hundred years); many Dutch houses still have tiles that were fixed in the 17th and 18th centuries.
727:
motifs, were produced in quantity by London and
Bristol potters until the early 18th century. As they were kept for decoration on walls, dressers and side-tables, many have survived and they are well represented in museum collections.
478:. Italian cities encouraged the start of a new pottery industry by offering tax relief, citizenship, monopoly rights and protection from outside imports. Production scattered among small communes and, after the mid-15th century, at
852:, can bear the names of their intended contents, generally in Latin and often so abbreviated to be unrecognizable to the untutored eye. Mottoes of fellowships and associations became popular in the 18th century, leading to the
806:
were the leading French centres of faience manufacturing in the 17th century, both able to supply wares to the standards required by the court and nobility. Many others developed from the early 18th century, led in 1690 by
428:
Although the Moors were expelled from Spain in the early 17th century, the Hispano-Moresque style survived in the province of Valencia. Later wares usually have a coarse reddish-buff body, dark blue decoration and luster.
384:
Hispano-Moresque ware is generally distinguished from the pottery of Christendom by the Islamic character of its decoration, though as the dish illustrated shows, it was also made for the Christian market.
325:
returned to the original Italian 'maiolica' with an 'i' to describe all Italian tin-glazed earthenware, doubtless to stress the Italian pronunciation and to avoid confusion with contemporary majolica."
459:. During the later 14th century, the limited palette of colors was expanded from the traditional manganese purple and copper green to embrace cobalt blue, antimony yellow and iron-oxide orange.
871:
had greatly increased, and its prices were reducing, though it still cost much more than faience. At the same time a commercial treaty with Britain in 1786 led to a flood of imports of English
575:
Delftware was made in the Netherlands from the 16th to the 18th centuries. The main period of manufacture was 1600-1780, after which it was succeeded by white stoneware and porcelain.
618:
Delftware became popular, was widely exported in Europe and reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware for export to Europe.
1023:
601:
in 1619, when the supply to Europe was interrupted. Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns.
875:
which was not only superior to faience in terms of weight and strength, but cheaper. In the 19th century production revived, but faience was rarely fashionable again.
830:
The products of faience manufactories are identified by the usual methods of ceramic connoisseurship: the character of the clay body, the character and palette of the
746:
Towards the end of the 17th century, changing taste led to the replacement of apothecary pots, paving tiles and large dishes by polite tablewares, delicate ornaments,
604:
Delftware ranged from simple household items to fancy artwork. Pictorial plates were made in abundance, illustrated with religious motifs, native Dutch scenes with
447:
An albarello (drug jar) from Venice or Castel Durante, 16th century. Approx 30cm high. Decorated in cobalt blue, copper green, antimony yellow and yellow ochre.
973:
which gives a history of maiolica, delftware and faience in Europe and the Islamic world. A selection of tin glaze pottery by contemporary Studio potters is given
715:
is provincial and naive rather than urbane and sophisticated." Its methods and techniques were less sophisticated than those of its continental counterparts.
466:
Refined production of tin-glazed earthenware made for more than local needs was concentrated in central Italy from the later 13th century, especially in the
905:
The cost of tin oxide rose considerably during the 1918-1918 war and resulted in a search for cheaper alternatives. The first successful replacement was
703:
for the sole right to practice "galleypotting" (at the time "galliware" was the term in English for delftware) in London and soon set up a workshop at
902:
In the 20th century there were changes in the formulation of tin-glaze and several artist potters began to work in the medium of tin-glazed pottery.
1295:
Carnegy, p.51. Caiger-Smith describes its mood as "ingenuous, direct, sometimes eccentric", and Garner talks of its "quite distinctive character".
1039:
370:
A Hispano-Moresque dish, approx 32cm diameter, with Christian monogram "IHS", decorated in cobalt blue and gold luster. Valencia, c. 1430–1500.
724:
463:
wares were also produced, in which the white tin-oxide slip was decoratively scratched to produce a design from the revealed body of the ware.
474:. The importance of the city itself in the production of maiolica declined in the second half of the 15th century, perhaps because of local
640:
421:, tin-glazed pottery came to be produced in the Valley of Mexico as early as 1540, at first in imitation of the ceramics imported from
1446:'Tin-Glaze Pottery in Europe and the Islamic World: The Tradition of 1000 Years in Maiolica, Faience and Delftware.' A. Caiger-Smith.
283:, the term for lustered ware made in Valencia under the influence of Moorish craftsmen from Malaga. During the Renaissance, the term
194:
661:
English delftware was made in the British Isles between about 1550 and the late 18th century. The main centers of production were
1323:
579:
produced in Delft, but simple everyday tin-glazed pottery was made in such places as Gouda, Rotterdam, Amsterdam and Dordrecht.
85:. The decoration on tin-glazed pottery is usually applied to the unfired glaze surface by brush with metallic oxides, commonly
699:, where they made "Gally Paving Tiles, and vessels for Apothecaries and others, very artificially". In 1579 Jansen applied to
211:
1632:
222:
Tin-glazed pottery of different periods and styles is known by different names. The pottery from Muslim Spain is known as
1250:
Galeazzo Cora (1973) noted kilns dispersed at Bacchereto (a center of production from the fourteenth century), Puntormo,
621:
By the late 18th century, Delftware potters had lost their market to British porcelain and the new white earthenware.
597:
Although Dutch potters did not immediately imitate Chinese porcelain, they began to do after the death of the Emperor
1595:
1574:
1532:
1518:
1435:
1166:
942:
291:
copying Spanish examples, and, during the 16th century, its meaning shifted to include all tin-glazed earthenware.
1159:
Tin-glazed Pottery in Europe and the Islamic World: The Tradition of 1000 Years in Maiolica, Faience and Delftware
69:
for the chemistry); usually this provides a background for brightly painted decoration. It has been important in
950:
340:
238:
by English speakers and authors. When the technique was taken up in the Netherlands, it became known as
754:
629:
348:(as in the case of the French) or, more frequently, in the Dutch-Chinese (Delft) tradition." The term
322:
1627:
731:
Smaller and more everyday wares were also made: paving tiles, mugs, drug jars, dishes, wine bottles,
151:
The development of white, or near white, firing bodies in Europe from the late 18th century, such as
1622:
735:, salt pots, candlesticks, fuddling cups, puzzle jugs, barber's bowls, pill slabs, bleeding bowls,
164:
1637:
1617:
1088:
321:. So now there were two distinct products with the same name. "In the 1870s, the curators of the
308:
1502:
Blake, Hugo, "The archaic maiolica of North-Central Italy: Montalcino, Assisi and Tolentino" in
494:, was the only fair-sized city in which the ceramic industry became a major economic component.
182:
The rise in the cost of tin oxide during the First World War led to its partial substitution by
1481:
981:
695:(1598) records the arrival in 1567 of two Antwerp potters, Jasper Andries and Jacob Jansen, in
1304:
Ale mugs joined in groups of three, four or five with connecting holes to confuse the drinker.
1051:
985:
1544:
Goldthwaite, Richard A., "The Economic and Social World of Italian Renaissance Maiolica", in
707:
to the east of the city. There were already other Flemish potters in London, two of them in
361:
224:
77:, but very little used in East Asia. The pottery body is usually made of red or buff-colored
808:
248:. Dutch potters brought it to England in around 1600, and wares produced there are known as
1350:, J.R. Taylor & A.C. Bull, The Institute Of Ceramics & Pergamon Press, Oxford, 1986
558:
824:
8:
1115:
957:, to use tin-glaze decoration. In Britain during the 1950s Caiger-Smith, Margaret Hine,
160:
896:
820:
766:
448:
371:
334:
295:
became popular among the British, who referred to it by the anglicized pronunciation
1591:
1570:
1528:
1514:
1431:
1327:
1162:
958:
954:
917:
864:
857:
816:
812:
795:
700:
656:
645:
583:
275:, an island on the route for ships that brought Hispano-Moresque wares to Italy from
250:
98:
90:
82:
1642:
868:
762:
1581:
Marvels of Maiolica: Italian Renaissance Ceramics from the Corcoran Gallery of Art
1511:
Lustre Pottery: Technique, Tradition and Innovation in Islam and the Western World
1428:
Lustre Pottery: Technique, Tradition and Innovation in Islam and the Western World
1177:
783:
510:
in the 15th century. In the 16th century, maiolica production was established at
1258:, none of them site-names that have circulated among connoisseurs and collectors.
1078:
946:
934:
276:
156:
117:
70:
307:
to their product. At the Great Exhibition of 1851, Minton launched the colorful
895:
Popular and folk forms have continued in many countries, including the Mexican
799:
758:
511:
215:
842:(especially from Nevers) bears mottoes often on decorative labels or banners.
561:) still produce maiolica, which is sold in quantity in Italian tourist areas.
19:
1611:
831:
803:
747:
475:
58:
965:
made tin-glazed pottery, going against the trend in studio pottery towards
930:
926:
395:
313:
86:
788:
648:, 1730-1740, the decoration here an early and charmingly naive attempt at
116:
in the 9th century, the oldest fragments having been excavated during the
38:
1030:
997:
962:
883:
649:
625:
543:
330:
300:
133:
106:
78:
66:
54:
921:
medieval and renaissance period are reproduced. In the 1920s and 1930s,
720:
398:, made for wealthy Italians and Spaniards, jugs, some on high feet (the
1386:, F. Singer & W.L. German, Borax Consolidated Limited, London, 1960
1083:
843:
740:
732:
352:
is sometimes applied to modern tin-glazed ware made by studio potters.
288:
109:
blended oxides to produce detailed and realistic polychrome paintings.
94:
1374:, D. Fortuna, Gruppo Editoriale Faenza Editrice s.p.a., Florence, 2000
1541:(J. Paul Getty Museum in association with British Museum Press, 1993)
1093:
993:
989:
966:
938:
937:
in London. Picasso produced and designed much tin-glazed pottery at
922:
872:
848:
736:
708:
688:
674:
670:
605:
570:
390:
240:
199:
183:
168:
152:
62:
1017:
Maiolica of portal, in the form of Muqarnas, Saint Petersburg Mosque
1562:(Tucson: Anthropological Papers of the University of Arizona, 1982)
1178:
Victoria and Albert Museum, "Ceramics - M is for Maiolica/majolica"
906:
471:
438:
230:
176:
102:
23:
381:
introduced tin-glazed pottery to Spain after the conquest of 711.
366:
128:. From there it spread to Egypt, Persia and Spain before reaching
1255:
1073:
1068:
778:
704:
696:
678:
666:
609:
539:
499:
495:
491:
422:
272:
260:
172:
141:
137:
125:
121:
74:
31:
1590:(trans. A. Caiger Smith and R. Lightbown) (Scolar Press, 1980)
910:
888:
682:
662:
598:
591:
554:
547:
531:
523:
519:
515:
503:
483:
479:
418:
145:
105:
oxide. The makers of Italian tin-glazed pottery from the late
43:
27:
1251:
535:
527:
487:
378:
245:
129:
112:
The earliest tin-glazed pottery appears to have been made in
594:
blues, ultimately creating a good resemblance to porcelain.
443:
333:
earthenware was also called "majolica", and is now known as
612:
271:
is thought to have come from the medieval Italian word for
207:
203:
113:
1560:
Sixteenth Century Maiolica Pottery in the Valley of Mexico
388:
Hispano-Moresque shapes of the 15th century included the
228:. The decorated tin-glaze of Renaissance Italy is called
206:, and Iraqi tin-glazed earthenware bowl (right) found in
34:
is named, c. 1555; diameter 43 cm, tin-glazed earthenware
794:
In France, the first well-known painter of faience was
941:
in the south of France in the 1940s and 1950s. At the
753:
There are good examples of English delftware in the
279:
in the 15th and 16th centuries, or from the Spanish
624:There are good collections of old Delftware in the
1558:Lister, Florence C. and Lister, Robert H. Lister,
553:Some of the principal centres of production (e.g.
202:white ware bowl (left), not tin-glazed, found in
1362:, K. Shaw, A.H. & A.W. Reed, Wellington, 1973
916:In England at the end of the nineteenth century,
1609:
838:being left in its undecorated fired white slip.
863:The industry was in crisis by the start of the
550:began to be a prominent place of manufacture.
526:. Some maiolica was produced as far north as
1343:
1341:
1339:
1337:
1153:
1003:
16:Pottery covered in glaze containing tin oxide
1151:
1149:
1147:
1145:
1143:
1141:
1139:
1137:
1135:
1133:
148:and other European countries shortly after.
1527:(A&C Black/Chilton Book Company, 1993)
1472:Klei/Glas/Keram, 13, No.4, 1992, pp.103-106
329:A style of brightly-coloured 19th-century
1537:Cohen, David Harris, and Hess, Catherine,
1353:
1334:
711:recorded in 1571 as "painters of pottes".
42:Tin-glazed (majolica/maiolica) plate from
1286:Florence, Venice, and many other places."
1130:
856:that was a specialty of the years of the
1360:Science For Craft Potters And Enamellers
891:, adapting a traditional Japanese design
882:
782:
639:
498:produced lead-glazed wares for export.
442:
365:
355:
193:
37:
18:
1600:Whitehouse, David, "Proto-maiolica" in
750:, teapots, cocoa pots and coffee-pots.
303:pottery copied it and applied the term
1610:
1539:A Guide To Looking At Italian Ceramics
1459:'Tin-glazed Earthenware.' D. Carnegy.
1324:"History of faience making in Quimper"
1045:A modern vase from Caltagirone, Sicily
339:W.B. Honey (Keeper of Ceramics at the
244:as much of it was made in the town of
65:which is white, shiny and opaque (see
1567:Picasso: Painter and Sculptor in Clay
933:decorated tin-glazed pottery for the
798:, established in Rouen in the 1530s.
212:Chinese influences on Islamic pottery
210:, both 9-10th century, an example of
1182:
635:
1588:The Three Books of the Potter's Art
949:encouraged her students, including
167:, reduced the demand for tin-glaze
13:
1489:
14:
1654:
943:Central School of Arts and Crafts
490:. Faenza, which gave its name to
394:(a tall jar), luster dishes with
234:, sometimes pronounced and spelt
1050:
1038:
1033:, Sicily, painted in cobalt blue
1022:
1010:
1475:
1466:
1453:
1440:
1420:
1411:
1398:
1389:
1377:
1365:
1316:
1307:
1298:
1289:
1279:
1270:
1261:
1244:
1235:
834:, and the style of decoration,
546:in Sicily. In the 17th century
317:, soon also to become known as
1583:(Bunker Hill Publishing, 2004)
1569:(Royal Academy of Arts, 1998)
1226:
1217:
1208:
1195:
1171:
1121:
1105:
878:
1:
1579:Musacchio, Jacqueline Marie,
1404:Cremona, J. and Andreis, T.,
1099:
992:, continue the production of
417:With the Spanish conquest of
287:was adopted for Italian-made
81:and the white glaze imitated
564:
341:Victoria & Albert Museum
258:. In France it was known as
7:
1633:Types of pottery decoration
1546:Renaissance Quarterly, 42.1
1499:, (Thames and Hudson, 1981)
1062:
432:
132:in mid-15th century, early
124:about fifty miles north of
10:
1659:
1004:Gallery of modern examples
867:in 1789, as production of
827:and many smaller centres.
776:
772:
755:Victoria and Albert Museum
654:
630:Victoria and Albert Museum
568:
436:
406:), a deep-sided dish (the
359:
1555:, 1948, Faber & Faber
1408:, London: BBC Books, 1982
1348:Ceramics Glaze Technology
1313:Similar to fuddling cups,
961:and others including the
811:in Brittany, followed by
159:, and increasingly cheap
1565:McCully, Marylin (ed.),
1513:(Faber and Faber, 1985)
1430:(Faber and Faber, 1985)
1161:(Faber and Faber, 1973)
1057:Modern tiles from Deruta
673:with smaller centers at
189:
186:compounds in the glaze.
165:Chinese export porcelain
140:in the 16th century and
1586:Piccolpasso, Cipriano,
1089:Lead-glazed earthenware
323:South Kensington Museum
309:lead-glazed earthenware
1604:(1980), pp. 77–83
1525:Tin-glazed Earthenware
1506:(1980) pp. 91–106
982:Royal Tichelaar Makkum
975:Tin-glazed Earthenware
892:
791:
652:
451:
410:) and the eared bowl (
374:
343:, 1938–1950) wrote of
219:
47:
35:
1205:by Matthias Osterman.
886:
786:
643:
446:
369:
362:Hispano-Moresque ware
356:Hispano-Moresque ware
225:Hispano-Moresque ware
197:
41:
22:
1509:Caiger-Smith, Alan,
1495:Anscombe, Isabelle,
1426:Caiger-Smith, Alan,
1190:European Ceramic Art
1157:Caiger-Smith, Alan,
1029:A modern plate from
887:A modern plate from
538:and as far south as
1116:C. Drury E. Fortnum
977:by Daphne Carnegy.
854:faïence patriotique
120:from the palace of
1406:Buongiorno Italia!
1201:See, for example,
893:
792:
767:Fitzwilliam Museum
653:
452:
449:Burrell Collection
375:
372:Burrell Collection
335:Victorian majolica
311:which they called
220:
161:European porcelain
51:Tin-glazed pottery
48:
36:
1523:Carnegy, Daphne,
1330:on 13 April 2005.
996:using tin-glazed
971:Tin-glaze Pottery
959:Nicholas Vergette
955:Alan Caiger-Smith
918:William De Morgan
865:French Revolution
858:French Revolution
846:wares, including
796:Masseot Abaquesne
701:Queen Elizabeth I
657:English Delftware
646:English delftware
636:English delftware
584:Guild of St. Luke
251:English delftware
99:manganese dioxide
83:Chinese porcelain
1650:
1628:History of glass
1484:
1482:Porcelain Paving
1479:
1473:
1470:
1464:
1457:
1451:
1448:Faber and Faber,
1444:
1438:
1424:
1418:
1415:
1409:
1402:
1396:
1393:
1387:
1381:
1375:
1369:
1363:
1357:
1351:
1345:
1332:
1331:
1326:. Archived from
1320:
1314:
1311:
1305:
1302:
1296:
1293:
1287:
1283:
1277:
1274:
1268:
1267:Goldthwaite p.14
1265:
1259:
1248:
1242:
1239:
1233:
1230:
1224:
1223:Goldthwaite, p.1
1221:
1215:
1212:
1206:
1203:The New Maiolica
1199:
1193:
1186:
1180:
1175:
1169:
1155:
1128:
1125:
1119:
1109:
1054:
1042:
1026:
1014:
869:French porcelain
840:Faïence parlante
763:Ashmolean Museum
693:Survey of London
281:obra de Mallequa
1658:
1657:
1653:
1652:
1651:
1649:
1648:
1647:
1623:Italian pottery
1608:
1607:
1497:Omega and After
1492:
1490:Further reading
1487:
1480:
1476:
1471:
1467:
1458:
1454:
1445:
1441:
1425:
1421:
1417:Anscombe, p.136
1416:
1412:
1403:
1399:
1394:
1390:
1382:
1378:
1370:
1366:
1358:
1354:
1346:
1335:
1322:
1321:
1317:
1312:
1308:
1303:
1299:
1294:
1290:
1284:
1280:
1275:
1271:
1266:
1262:
1249:
1245:
1240:
1236:
1231:
1227:
1222:
1218:
1213:
1209:
1200:
1196:
1187:
1183:
1176:
1172:
1156:
1131:
1126:
1122:
1110:
1106:
1102:
1079:Islamic pottery
1065:
1058:
1055:
1046:
1043:
1034:
1027:
1018:
1015:
1006:
951:William Newland
947:Dora Billington
935:Omega Workshops
881:
836:faïence blanche
781:
775:
659:
638:
573:
567:
441:
435:
412:cuenco de oreja
408:lebrillo de alo
364:
358:
192:
157:Josiah Wedgwood
118:First World War
17:
12:
11:
5:
1656:
1646:
1645:
1640:
1638:Ceramic glazes
1635:
1630:
1625:
1620:
1618:Arabic pottery
1606:
1605:
1598:
1584:
1577:
1563:
1556:
1553:French Faïence
1551:Lane, Arthur,
1549:
1542:
1535:
1521:
1507:
1500:
1491:
1488:
1486:
1485:
1474:
1465:
1461:A&C Black.
1452:
1439:
1419:
1410:
1397:
1388:
1384:Ceramic Glazes
1376:
1364:
1352:
1333:
1315:
1306:
1297:
1288:
1278:
1269:
1260:
1243:
1234:
1225:
1216:
1207:
1194:
1181:
1170:
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1120:
1103:
1101:
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1071:
1064:
1061:
1060:
1059:
1056:
1049:
1047:
1044:
1037:
1035:
1028:
1021:
1019:
1016:
1009:
1005:
1002:
880:
877:
800:Nevers faience
777:Main article:
774:
771:
759:British Museum
655:Main article:
637:
634:
569:Main article:
566:
563:
512:Castel Durante
506:both produced
457:proto-maiolica
437:Main article:
434:
431:
360:Main article:
357:
354:
289:luster pottery
216:British Museum
191:
188:
30:, after which
15:
9:
6:
4:
3:
2:
1655:
1644:
1641:
1639:
1636:
1634:
1631:
1629:
1626:
1624:
1621:
1619:
1616:
1615:
1613:
1603:
1599:
1597:
1596:0-85967-452-5
1593:
1589:
1585:
1582:
1578:
1576:
1575:0-900946-63-6
1572:
1568:
1564:
1561:
1557:
1554:
1550:
1548:(Spring 1989)
1547:
1543:
1540:
1536:
1534:
1533:0-7136-3718-8
1530:
1526:
1522:
1520:
1519:0-571-13507-2
1516:
1512:
1508:
1505:
1501:
1498:
1494:
1493:
1483:
1478:
1469:
1463:London. 1993.
1462:
1456:
1449:
1443:
1437:
1436:0-571-13507-2
1433:
1429:
1423:
1414:
1407:
1401:
1395:Carnegy, p.65
1392:
1385:
1380:
1373:
1368:
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1356:
1349:
1344:
1342:
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1338:
1329:
1325:
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1301:
1292:
1282:
1276:Rackham, p. 9
1273:
1264:
1257:
1253:
1247:
1238:
1229:
1220:
1211:
1204:
1198:
1191:
1188:Honey, W.B.,
1185:
1179:
1174:
1168:
1167:0-571-09349-3
1164:
1160:
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1008:
1007:
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987:
984:, located in
983:
978:
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851:
850:
845:
841:
837:
833:
828:
826:
822:
818:
814:
810:
805:
804:Rouen faience
801:
797:
790:
785:
780:
770:
768:
764:
760:
756:
751:
749:
744:
742:
741:flower bricks
738:
734:
729:
726:
725:topographical
722:
716:
712:
710:
706:
702:
698:
694:
690:
686:
684:
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541:
537:
533:
529:
525:
521:
517:
513:
509:
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501:
497:
493:
489:
485:
481:
477:
476:deforestation
473:
469:
464:
462:
458:
450:
445:
440:
430:
426:
424:
420:
415:
413:
409:
405:
401:
397:
396:coats of arms
393:
392:
386:
382:
380:
373:
368:
363:
353:
351:
346:
342:
337:
336:
332:
327:
324:
320:
316:
315:
310:
306:
305:majolica ware
302:
298:
292:
290:
286:
282:
278:
274:
270:
265:
263:
262:
257:
253:
252:
247:
243:
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227:
226:
217:
213:
209:
205:
201:
196:
187:
185:
180:
178:
174:
170:
166:
162:
158:
154:
149:
147:
143:
139:
135:
131:
127:
123:
119:
115:
110:
108:
104:
100:
96:
92:
88:
84:
80:
76:
73:and European
72:
68:
64:
60:
56:
52:
45:
40:
33:
29:
26:charger from
25:
21:
1601:
1587:
1580:
1566:
1559:
1552:
1545:
1538:
1524:
1510:
1503:
1496:
1477:
1468:
1460:
1455:
1450:London. 1973
1447:
1442:
1427:
1422:
1413:
1405:
1400:
1391:
1383:
1379:
1372:Sanitaryware
1371:
1367:
1359:
1355:
1347:
1328:the original
1318:
1309:
1300:
1291:
1281:
1272:
1263:
1246:
1237:
1228:
1219:
1210:
1202:
1197:
1189:
1184:
1173:
1158:
1123:
1118:, 1875, p.12
1111:
1107:
980:The pottery
979:
974:
970:
931:Duncan Grant
927:Vanessa Bell
915:
904:
901:
894:
862:
853:
847:
839:
835:
829:
793:
752:
745:
730:
717:
713:
692:
687:
660:
623:
620:
617:
603:
596:
588:
581:
577:
574:
552:
507:
467:
465:
460:
456:
453:
427:
416:
411:
407:
403:
399:
389:
387:
383:
376:
349:
344:
338:
328:
318:
314:Palissy ware
312:
304:
296:
293:
284:
280:
268:
266:
259:
255:
249:
239:
235:
229:
223:
221:
181:
150:
111:
91:copper oxide
87:cobalt oxide
50:
49:
1031:Caltagirone
998:earthenware
963:Rye Pottery
879:Current use
787:Faience of
748:punch bowls
733:posset pots
650:chinoiserie
626:Rijksmuseum
544:Caltagirone
331:lead-glazed
134:Renaissance
107:Renaissance
79:earthenware
67:tin-glazing
61:with added
57:covered in
55:earthenware
1612:Categories
1602:Faenza, 66
1504:Faenza, 66
1241:Whitehouse
1100:References
1084:Lusterware
945:, London,
909:and later
844:Apothecary
821:Strasbourg
737:porringers
256:galleyware
95:iron oxide
59:lead glaze
1094:Tin glaze
994:Delftware
990:Friesland
967:stoneware
939:Vallauris
923:Roger Fry
873:creamware
849:albarelli
825:Lunéville
817:Marseille
813:Moustiers
789:Lunéville
721:patriotic
709:Southwark
689:John Stow
675:Wincanton
671:Liverpool
644:Charger,
606:windmills
571:Delftware
565:Delftware
559:Montelupo
508:maioliche
461:Sgraffito
391:albarello
267:The word
241:delftware
200:porcelain
184:zirconium
169:Delftware
153:creamware
63:tin oxide
1112:Maiolica
1063:See also
907:zirconia
897:Talavera
765:and the
628:and the
472:Florence
439:Maiolica
433:Maiolica
402:and the
350:maiolica
345:maiolica
319:majolica
297:majolica
285:maiolica
277:Valencia
269:maiolica
236:majolica
231:maiolica
198:Chinese
177:majolica
103:antimony
24:Maiolica
1643:Pottery
1256:Pistoia
1127:Lane, 3
1074:Faience
1069:Azulejo
809:Quimper
779:Faience
773:Faience
705:Aldgate
697:Norwich
679:Glasgow
667:Bristol
610:fishing
540:Palermo
500:Orvieto
496:Bologna
492:faience
468:contada
423:Seville
404:grealet
273:Majorca
261:faience
173:faience
142:England
138:Holland
126:Baghdad
122:Samarra
75:pottery
71:Islamic
46:, Italy
32:faience
1594:
1573:
1531:
1517:
1434:
1214:Lister
1192:, 1952
1165:
986:Makkum
911:zircon
889:Faenza
761:, the
757:, the
739:, and
683:Dublin
663:London
599:Wan-Li
592:cobalt
555:Deruta
548:Savona
532:Venice
524:Pesaro
520:Gubbio
516:Urbino
504:Deruta
484:Arezzo
480:Faenza
419:Mexico
301:Minton
299:. The
146:France
44:Faenza
28:Faenza
1252:Prato
1232:Blake
832:glaze
613:boats
536:Turin
528:Padua
488:Siena
400:citra
379:Moors
246:Delft
190:Names
130:Italy
1592:ISBN
1571:ISBN
1529:ISBN
1515:ISBN
1432:ISBN
1254:and
1163:ISBN
953:and
929:and
823:and
802:and
681:and
669:and
608:and
582:The
557:and
542:and
534:and
522:and
502:and
486:and
377:The
208:Iraq
204:Iran
175:and
163:and
114:Iraq
101:and
723:or
691:'s
470:of
414:).
254:or
155:by
53:is
1614::
1336:^
1132:^
1114:,
1000:.
988:,
925:,
899:.
860:.
819:,
815:,
769:.
743:.
685:.
677:,
665:,
632:.
530:,
518:,
514:,
482:,
425:.
264:.
214:.
179:.
171:,
144:,
136:,
97:,
93:,
89:,
218:.
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