jasperware - Synonyms for jasperware | Synonyms Of jasperware

Examples of "jasperware"
The Real Fabrica del Buen Retiro in Madrid produced jasperware. At the end of the eighteenth century jasperware plaques were used in the decoration of the Casita del Príncipe.
Wedgwood jasperware can often be dated by the style of potter's marks, although there are exceptions to the rules:
Another offshoot of the mania for engraved gems is the fine-grained slightly translucent stoneware called jasperware that was developed by Josiah Wedgwood and perfected in 1775. Though white-on-blue matte jasperware is the most familiar Wedgwood ceramic line, still in production today and widely imitated since the mid-19th century, white-on-black was also produced. Wedgwood made notable jasperware copies of the Portland Vase and the "Marlborough gem", a famous head of Antinous, and interpreted in jasperware casts from antique gems by James Tassie. John Flaxman's neoclassical designs for jasperware were carried out in the extremely low relief typical of cameo production. Some other porcelain imitated three-layer cameos purely by paint, even in implausible objects like a flat Sèvres tea-tray of 1840.
The porcelain room at the Casita del Principe, El Escorial, displays late eighteenth-century ceramic plaques designed in a neoclassical style strongly influenced by Wedgwood Jasperware.
Wedgwood's best known product is jasperware created to look like ancient cameo glass. It was inspired by the Portland Vase, a Roman vessel which is now a museum piece. The first jasperware color was Portland Blue, an innovation that required experiments with more than 3,000 samples. In recognition of the importance of his pyrometric beads (pyrometer), Josiah Wedgwood was elected a member of the Royal Society in 1783. The Wedgwood Prestige collection sold replicas of the original designs as well as modern neo-classical style jasperware.
William Adams (baptised 1746; died 1805) was an English potter, a maker of fine jasperware at the time of its development and introduction to the English market.
Hanging on one of the walls of the Council Room is a large (21.5 cm × 18.5 cm) Wedgwood Jasperware oval portrait plaque of Dr Joseph Priestley, attributed to William Hackwood (circa 1779).
Another Wedgwood Jasperware oval portrait plaque (23 cm × 19 cm) is on display in the Council Room. Representing Robert Boyle, the artefacts bears, on its gilt-beaded ebonised frame, the following inscription:
Jean-Baptiste Stahl developed his own style and techniques during his work at Villeroy & Boch in Mettlach, Saar, Germany. The name Phanolith was coined for this kind of jasperware. His work is praised for the translucency of the white porcelain on a colored background. JBS's work is known for its refined modelling and the vibrancy of its figures. He thus combined the benefits of jasperware and pâte-sur-pâte. A stand at the World's Fair 1900 in Paris was the first major public presentation of his work and gained him a gold medal. For this event, two huge wall plates were created with dimensions of 220 cm x 60 cm, each.
Jasperware, or jasper ware, is a type of pottery first developed by Josiah Wedgwood in the 1770s. Usually described as stoneware, some authorities have described it as a type of porcelain. It is noted for its matte and unglazed biscuit finish and is produced in a number of different colours, of which the best known is a pale blue that has become known as Wedgwood Blue. Relief decorations (typically in white but also in other colours) are characteristic of Wedgwood jasperware. They are produced in moulds and applied to the ware as sprigs.
Cut steel was combined with precious and semi precious materials such as jet and pearls. Alternatively plaques of Jasperware and Bilston enamel feature in some designs. Plaques from further afield also appear to have been used with some appearing to come from Italy and Switzerland.
Adams was one of three north Staffordshire William Adamses who were potters working at the time: all were cousins in an extended Adams family of potters of very many generations. This Adams founded the Greengates Pottery in 1779, producing fine jasperware table sets, plaques, medallions and other products stamped "Adams & Co". He is said to have been a friend and confidant of Josiah Wedgwood.
Wedgwood belonged to the fourth generation of a family of potters whose traditional occupation continued through another five generations. Wedgwood's company is still a famous name in pottery today (as part of Waterford Wedgwood; see Waterford Crystal), and "Wedgwood China" is sometimes used as a term for his Jasperware, the coloured stoneware with applied relief decoration (usually white), still common throughout the world.
The artwork inside includes a "Sala de Porcelana" on the upper floor. This room features jasperware plaques in neoclassical style. Reminiscent of the work of the English Wedgwood company, the plaques were made in Madrid in the 1790s by the Real Fábrica del Buen Retiro.
Among its innovations in Mettlach at the end of the nineteenth century.was "Phanolith", a kind of semi-transparent porcelain that combines the characteristics and benefits of jasperware and pate-sur-pate. The creator of the Phanolith was the ceramics artist Jean-Baptiste Stahl, who headed the modelling section of Villeroy & Boch. Phanolith gained first wide public attention at the Paris Exposition Universelle (1900).
Much of the Wedgwood collection was from the collection of Dudley Marjoribanks, 1st Baron Tweedmouth, bought in 1905. This in turn was partly formed from the collection of Charles Darwin, Josiah Wedgwood's grandson. It is probably the best collection of jasperware in the world.
Jasperware is particularly associated with the neoclassical sculptor and designer John Flaxman Jr who began to supply Wedgwood with designs from 1775. Flaxman mostly worked in wax when designing for Wedgwood. The designs were then cast: some of them are still in production.
Inspiration for Flaxman and Wedgwood came not only from ancient ceramics, but also from cameo glass, particularly the Portland Vase which was brought to England by Sir William Hamilton. The vase was lent to Wedgwood by the third Duke of Portland. Wedgwood devoted four years of painstaking trials at duplicating the vase - not in glass but in black and white jasperware.
Towards the close of the 18th century, modeling of medallion portraits and of relief groups, the latter frequently polychromatic, was in considerable vogue throughout Europe. Many of the artists were women. John Flaxman executed in wax many portraits and other relief figures which Josiah Wedgwood translated into pottery for his Jasperware. The National Portrait Gallery has 40 wax portraits, mostly from this period.
Phanolith is a kind of porcelain that combines the characteristics and benefits of jasperware and "pâte-sur-pâte". It was developed at Villeroy & Boch in Mettlach, Saarland, Germany, at the end of the nineteenth century. As the creator of the Phanolith, the artist Jean-Baptiste Stahl headed the modeller section at Villeroy & Boch. The Phanolith gained first wide public attention at the World's Fair 1900 in Paris.