Krater - Mixing Water with Wine - Wide mouth
Hydra - Carrying water - narrow mouth with lid
Kylix - Drinking cup - 2 handled flat
Oinochoe - Wine Jug - tall jug, narrow mouth usually with pouring spout
Amphora - Storage for supplies - Large, tall urn
tall, two-handled storage vessel for wine, corn, oil, or honey;
Khyton - Wine drinking usually a character
Friday, December 28, 2007
Pottery - major art in classical Greece
The fashioning and painting of ceramics was a major art in classical Greece. Native clay was shaped easily on the wheel, and each distinct form had a name and a specific function in Greek society and ceremonial: The amphora was a tall, two-handled storage vessel for wine, corn, oil, or honey; the hydria, a three-handled water jug; the lecythus, an oil flask with a long, narrow neck, for funeral offerings; the kylix, a double-handled drinking cup on a foot; the oenochoe, a wine jug with a pinched lip; the krater, a large bowl for mixing wine and water. Undecorated black pottery was used throughout Greek and Hellenistic times, the forms being related either to those of decorated pottery or those of metalwork. Both styles influenced Roman ceramics.
Even in the Bronze Age, the Greeks took advantage of oxidizing and reducing kilns to produce a shiny black slip on a cream, brownish, or orange-buff body, the shade depending on the type of clay. At first, decorative designs were abstract. By the Middle Bronze Age (2000-1500 BC), however, stylized forms from nature appeared. By the Late Bronze Age, plants, sea creatures, and fanciful animals were painted on pots of well-conceived shape by the Mycenaeans, who were initially influenced by Cretan potters. Athenian geometric style replaced the Mycenaean about 1000 BC and declined by the 6th century BC. Large kraters in the Geometric style, with bands of ornament, warriors, and processional figures laid out in horizontal registers, were found at the Dipylon cemetery of Athens; they date from about 750 BC.
Attic potters introduced black-figure ware in the early 6th century. Painted black forms adorned the polished red clay ground, with detail rendered by incising through the black. White and reddish-purple were added for skin and garments. Depictions of processions and chariots continued; animals and hybrid beasts (particularly in the Orientalizing phase that followed the Geometric period) were also shown, at times surrounded by geometric or vegetal motifs. Such decoration was always well integrated with the vessel shapes, and the iconography of Greek mythology can be identified. Beginning in the 6th century, the decoration stressed humans far more than animals. Favorite themes included people and gods at work, battle, and banquet; musicians; weddings and other ceremonies; and women at play or dressing. In some cases, events or heroes were labeled. Mythological and literary scenes became more frequent. Potters' and painters' names and styles have been identified, even when they did not sign their works.
Red-figure pottery was invented about 530 BC, becoming especially popular between 510 and 430. The background was painted black, and the figures were left in reserve on the red-brown clay surface; details on the figures were painted in black, which allowed the artist greater freedom in drawing. The paint could also be diluted for modulating the color. Secondary colors of red and white were less used; gold was sometimes added for details of metal and jewelry. Anatomy was rendered more realistically, and after 480, so were nuances of gesture and expression. Although Athens and Corinth were centers for red-figure pottery, the style also spread to the Greek islands. By the 4th century BC, however, it declined in quality. Another Greek style featured outline drawing on a white ground, with added colors imitating monumental painting; these vessels, however, were impractical for domestic use.
Source
Even in the Bronze Age, the Greeks took advantage of oxidizing and reducing kilns to produce a shiny black slip on a cream, brownish, or orange-buff body, the shade depending on the type of clay. At first, decorative designs were abstract. By the Middle Bronze Age (2000-1500 BC), however, stylized forms from nature appeared. By the Late Bronze Age, plants, sea creatures, and fanciful animals were painted on pots of well-conceived shape by the Mycenaeans, who were initially influenced by Cretan potters. Athenian geometric style replaced the Mycenaean about 1000 BC and declined by the 6th century BC. Large kraters in the Geometric style, with bands of ornament, warriors, and processional figures laid out in horizontal registers, were found at the Dipylon cemetery of Athens; they date from about 750 BC.Attic potters introduced black-figure ware in the early 6th century. Painted black forms adorned the polished red clay ground, with detail rendered by incising through the black. White and reddish-purple were added for skin and garments. Depictions of processions and chariots continued; animals and hybrid beasts (particularly in the Orientalizing phase that followed the Geometric period) were also shown, at times surrounded by geometric or vegetal motifs. Such decoration was always well integrated with the vessel shapes, and the iconography of Greek mythology can be identified. Beginning in the 6th century, the decoration stressed humans far more than animals. Favorite themes included people and gods at work, battle, and banquet; musicians; weddings and other ceremonies; and women at play or dressing. In some cases, events or heroes were labeled. Mythological and literary scenes became more frequent. Potters' and painters' names and styles have been identified, even when they did not sign their works.
Red-figure pottery was invented about 530 BC, becoming especially popular between 510 and 430. The background was painted black, and the figures were left in reserve on the red-brown clay surface; details on the figures were painted in black, which allowed the artist greater freedom in drawing. The paint could also be diluted for modulating the color. Secondary colors of red and white were less used; gold was sometimes added for details of metal and jewelry. Anatomy was rendered more realistically, and after 480, so were nuances of gesture and expression. Although Athens and Corinth were centers for red-figure pottery, the style also spread to the Greek islands. By the 4th century BC, however, it declined in quality. Another Greek style featured outline drawing on a white ground, with added colors imitating monumental painting; these vessels, however, were impractical for domestic use.
Source
Sunday, December 23, 2007
Frankoma Pottery
It wasn't so long ago that many pieces of Frankoma pottery languished on antique shop shelves collecting dust. Although Frankoma did have a few admirers, the company's older items produced during the 1930s were the main focus for pottery lovers for many years. Now the more common Frankoma pieces are getting more attention, and prices are starting to rise accordingly. Finally, it's fashionable to take another look at Frankoma pottery.
Frankoma's Origin
The founder of the company, John Frank, came to Oklahoma in 1927 as an art and pottery teacher at the University of Oklahoma. Working on various geological digs, he discovered the rich clays of the region and set up a studio using a butter churn to mix the clay and a fruit jar to grind the glazes. It wasn't long till he left his teaching position to further his love for creating pottery, according to the company's Web site.
Frankoma pieces made since 1954 sport a red clay from Sapulpa, Okla.
in comparison to the older pieces formed with a tan colored clay dug at Ada, Okla. Using these source names of Sapulpa and Ada, along with glaze colors and item styles, collectors are able to identify and date Frankoma Pottery.
Frankoma's Inspiration and Colors
The Great Southwest served as inspiration for many Frankoma works. The factory formed pitchers shaped like wagon wheels, attractive boot-shaped vases and interesting Native American masks over the years. Even their dinnerware patterns have a western flair.
Two of their most recognizable glazes are named Prairie Green and Desert Gold. In fact, many people associate Frankoma entirely with their medium green glaze that seemed rather dated and unattractive until recently. Since both these colors were used extensively over the years, it's the type of clay used in the piece rather than the color of the glaze, which determines value in this instance.
Many of their works, such as their dated political mugs shaped like elephants and donkeys, feature a wide variety of colors. Other series pieces, including bicentennial plates, were also very colorful. And most of these pieces are still relatively affordable, even for the beginning collector.
Pricing Frankoma
The colorful political mugs range in price from about $10-60 and bicentennial plates generally sell in the $15 range with a couple of exceptions for rarities. A 1974 Nixon/Ford elephant mug can sell for several hundred dollars because so few were produced. And a 1972 plate, with the word "states" spelled as "statis" because of a mold flaw, usually sells for more than $100. Many of the Wagon Wheel dinnerware pieces still sell for less than $20 apiece, with only the serving pieces pressing into the $30-75 range.
With the older Frankoma pieces being hard to find and priced quite high, listing in the $1,000-$5,000 range per piece when sold by a knowledgeable dealer, the more recent Frankoma works have garnered some interest during the past couple of years. The dusty treasures once ignored by pottery shoppers have taken on a new light as collectors make a place for them in their homes.
Source
Frankoma's Origin
The founder of the company, John Frank, came to Oklahoma in 1927 as an art and pottery teacher at the University of Oklahoma. Working on various geological digs, he discovered the rich clays of the region and set up a studio using a butter churn to mix the clay and a fruit jar to grind the glazes. It wasn't long till he left his teaching position to further his love for creating pottery, according to the company's Web site.
Frankoma pieces made since 1954 sport a red clay from Sapulpa, Okla.
in comparison to the older pieces formed with a tan colored clay dug at Ada, Okla. Using these source names of Sapulpa and Ada, along with glaze colors and item styles, collectors are able to identify and date Frankoma Pottery.
Frankoma's Inspiration and Colors
The Great Southwest served as inspiration for many Frankoma works. The factory formed pitchers shaped like wagon wheels, attractive boot-shaped vases and interesting Native American masks over the years. Even their dinnerware patterns have a western flair.
Two of their most recognizable glazes are named Prairie Green and Desert Gold. In fact, many people associate Frankoma entirely with their medium green glaze that seemed rather dated and unattractive until recently. Since both these colors were used extensively over the years, it's the type of clay used in the piece rather than the color of the glaze, which determines value in this instance.
Many of their works, such as their dated political mugs shaped like elephants and donkeys, feature a wide variety of colors. Other series pieces, including bicentennial plates, were also very colorful. And most of these pieces are still relatively affordable, even for the beginning collector.
Pricing Frankoma
The colorful political mugs range in price from about $10-60 and bicentennial plates generally sell in the $15 range with a couple of exceptions for rarities. A 1974 Nixon/Ford elephant mug can sell for several hundred dollars because so few were produced. And a 1972 plate, with the word "states" spelled as "statis" because of a mold flaw, usually sells for more than $100. Many of the Wagon Wheel dinnerware pieces still sell for less than $20 apiece, with only the serving pieces pressing into the $30-75 range.
With the older Frankoma pieces being hard to find and priced quite high, listing in the $1,000-$5,000 range per piece when sold by a knowledgeable dealer, the more recent Frankoma works have garnered some interest during the past couple of years. The dusty treasures once ignored by pottery shoppers have taken on a new light as collectors make a place for them in their homes.
Source
Monday, December 10, 2007
The Dennis Chinaworks pottery - stylish, fun, beautiful!
Founded in 1993 by Sally and Richard Dennis, the Dennis Chinaworks pottery is run from the converted stables of a Victorian Gothic rectory in Somerset, England.
Sally established her professional name in design (she works as Sally Tuffin). Foale & Tuffin soon became one of the leading design houses of the 1960’s. Sally later took her skills and experience into ceramics, becoming partner and design director of the Moorcroft Pottery from 1986 to 1993.
Richard trained with the auctioneers Sotheby’s before establishing an antique glass and ceramic business together with a publishing house producing specialist books for collectors.
The pots are thrown and turned on the wheel. Colour is spun on the leather hard earthenware and decorated by incising and slip-trailing the designs. Further colour is added using underglazes and natural oxides, then the pots are finished with a clear glaze.
From beginning to end each pot is the work of a single Decorator. Their signature joins the number, company name, date and throwers mark on the base.
The pottery’s products, vases, bowls, boxes and dishes are bought by collectors and enthusiasts of decorative pottery. Although influenced by many sources, the designs are distinctly Sally Tuffin, reflecting her love of the late 19th - early 20th century Arts & Crafts movement.
Source
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