The first barbotine technique in pottery styling was in use in the ancient world. The Egyptians were known to have used barbotine design. As another example, Middle Minoan pottery from Knossos on the island of Crete in present-day Greece includes a barbotine pottery style, and it is common in Ancient Roman pottery, where the colour may often be the same as the rest of the vessel.
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Chapman & Hall. 1971. Slipcast ware should not be confused with slipware, which is pottery formed by any technique that is decorated using slip. The French for slip is barbotine ("Coulée en barbotine" is slipcasting), and "barbotine pottery" is sometimes used for 19th century French and American pottery with added slipcast decoration, as well as (confusingly) being the English term for a variety of slipware that is decorated with thick blobs of slip.
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Type C painted vase by Eugène Schopin, France, late 19th century The second technique is a term for slipcasting, "couler en barbotine" in French. "Barbotine pottery" is sometimes used for Ancient Roman as well as 19th-century French and American pottery with added slipcast decoration. Slip or barbotine is cast in moulds to form three-dimensional decorative sections which when dried out are added to the main vessel., explains the second technique Typically, these might be flowers, fruit, or small animals.
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York: York Archaeological Trust. pp893-896 Where decoration occurs it includes barbotine (both under and over the slip), rouletting and grooving. Hunt scenes in barbotine decoration are well known from the earlier part of the industry, with the use of whorls instead of these beginning in the 3rd century AD.
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Cup, 6.5 cm. high, Aswan, Egypt, 1st-2nd century AD, decorated with type A piped or trailed barbotine patterns. Barbotine is the French for ceramic slip, or a mixture of clay and water used for moulding or decorating pottery.Or opne word for it in French engobe is also used in France and in some contexts in America In English the term is used for three different techniques of decorating pottery, though in all cases mainly for historical works.
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The ceramic production in the Nene Valley from the 2nd-4th Centuries AD frequent included images of hunting scenes in barbotine decoration. The so-called 'hunt cups' often depicted dogs chasing deer or hares.
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In the first, common from the Ancient World onwards, the barbotine is piped onto the object rather as cakes are decorated with icing, using a quill, horn, or other kind of nozzle. The slip would normally be in a contrasting colour to the rest of the vessel, and forms a pattern, or inscription, that is slightly raised above the main surface. This is normally called slip-trailing in English today, and for English pottery (such as the works of Thomas Toft, d. 1698), but "barbotine" remains common in archaeology.
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Oswald's classification (Oswald 1936–7) is much fuller, covering South, Central and East Gaulish types, but is marred by the poor quality of the drawings. Lezoux wares also included vases decorated with barbotine relief, with appliqué motifs, and a class usually referred to as 'cut-glass' decoration, with geometric patterns cut into the surface of the vessel before slipping and firing. Two standard 'plain' types made in considerable numbers in Central Gaul also included barbotine decoration, Dr.35 and 36, a matching cup and dish with a curved horizontal rim embellished with a stylised scroll of leaves in relief.
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The third sense of the term describes a technique developed by Ernest Chaplet, the secret of which was later sold by him to Haviland & Co.. This was a method of painting art pottery in brightly-coloured slips, in French also called peinture à la barbotine or in gouache vitrifiable. In this type there may be some impasto, but the decoration is essentially close to the surface. The term "Barbotine ware" also describes the American art pottery that emulated the Haviland pottery, which made a great impression at the 1876 Philadelphia Centennial Exposition.Ellison, 43-53 In America this led to the technique sometimes being called "Limoges ware", Haviland being a large maker of Limoges porcelain.
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The ceramic finds include a red Slipware bowl, a fine-ware cup and a skyphos with barbotine decoration. Three similar bowls were found next to Tel Shush. Other finds include a bowl, a juglet, "Heridoain" lamps and fragments of a figurine of a horse with a rider. The most important discovery is a real-life sized terracotta mask of a helmeted warrior.
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Surface decoration of ARS is relatively simple during the first three centuries of production, with occasional rouletting, barbotine motifs and some appliqué being typical. In the 4th century applied decoration becomes common. By the 5th century stamped central motifs such as animals, crosses and humans are common on larger plates. Paralleling developments in other visual media, gladiatorial scenes and references to pagan mythology come to be replaced by Christian figures.
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With the help of Morris, but also Franquin, Peyo and Remacle, Leonardo created the comics series Barbotine which allowed him to be hired by Spirou magazine. He took over Hultrasson in 1973, and he created Superdog and Bardolino. He also wrote some scenarios, among them Boule et Bill. Hired by Morris' Lucky Productions, he is entrusting the drawing of some Rantanplan albums, published each week in Télé Star from 1993.
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Vase by Max Laeuger, c. 1898, barbotine on earthenware Max Laeuger (30 September 1864 – 12 December 1952) was a German architect, artist, and ceramicist. He was born and died in Lörrach, Baden-Württemberg.Opac; NDB Working initially in an Art Nouveau style, he was perhaps the most important figure in the relatively small German contribution to the art pottery movement, though he was a designer and decorator rather than a hands-on potter.
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The latter of these is called the "cut-glaze" technique.Vainker, 116-117 Slipware may be carved or burnished to change the surface appearance of the ware. Specialized slip recipes may be applied to biscuit ware and then refired. Barbotine (another French word for slip) covers different techniques in English, but in the sense used of late 19th-century art pottery is a technique for painting wares in polychrome slips to make painting-like images on pottery.
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Fragments of pottery and vast movable material from Neolithic period recorded during these researches, evidence Starcevo and Vinca cultures. Advanced researches from 2010 included a wider are of this archaeological site, 1000 meters square. This open Neolithic settlement is characterized by huts build by tided wooden beam, without floor levels. The movable archaeological material is dominated by monochrome pottery with red gloss, ceramic pottery painted with geometric and linear motifs, barbotine decorated with impresso technique, anthropomorphic figurines, cult tables, and small altars.
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Ludowici 1927; Ricken 1942; Ricken & Fischer 1963 Rheinzabern produced both decorated and plain forms for around a century from the middle of the 2nd century. Some of the Dr.37 bowls, for example those with the workshop stamp of Ianus, bear comparison with Central Gaulish products of the same date: others are less successful. But the real strength of the Rheinzabern industry lay in its extensive production of good-quality samian cups, beakers, flagons and vases, many imaginatively decorated with barbotine designs or in the 'cut-glass' incised technique.
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Starcevo and Vinca pottery fragments dating to 6500-3500 BC have been found here. A magnetic survey was conducted at the site in March 2010, and the remains of huts reinforced with wooden joists have been found. Monochrome pottery decorated with red gloss, Cardium pottery, barbotine earthenware and ceramic pottery painted with linear and geometric designs have been found, along with anthropomorphic figurines and cult tables (small altars). Ornamental artifacts include a spiral baked-clay vase tinted with ocher, painted in dark colors and decorated as the palm of a hand.
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In fact all their barbotine wares were made at their factory in Auteuil, near Paris.Ellison, 45 The technique and term were less frequently used in England, although the technique was used, typically for floral paintings, by potteries including the Watcombe Pottery and the Bretby Art Pottery.Bergesen, Victoria, Bergesen's Price Guide: British Ceramics, 237 and 230 respectively, 1992, Barrie & Jenkins, This sense of the term entered English via French potteries such as Sèvres and the Haviland Company of Limoges, who used it to describe their pottery in the second half of the 19th century. The precise technique varied between ceramicists.
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During the second stage, in the center of Transylvania there develops a cultural group bearing the name of the locality of Copăceni (Cluj County), which favored the locations afforded by the elevated sites in the eastern, and probably western, arch of the Western Carpathians and the upper basin of the Someş rivers. Their main pursuits were agriculture, animal breeding and ore extraction. They had surface dwellings, medium-sized (3x4m) with a rectangular layout, and pottery displays mainly high-necked pots with a short bottom portion often decorated with barbotine. Frequently the pots' rims are thickened and decorated with rope impressions.
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Glazed pottery was almost nonexistent in Tibiscum; the only finds from the early period are a few fragments with Barbotine decorations and stamped with "CRISPIN(us)". The only finds from the late period are a handful of glazed bowl fragments that bore relief decorations on both the inside and the outside. The most common type of amphorae is the Dressel 24 similis; finds are from the time of rule of Hadrian to the late period. An amphora of type Carthage LRA 4 dated between the 3rd and 4th century AD has been found in Tibiscum-Iaz and an amphora of type Opaiţ 2 has been found in Tibiscum-Jupa.
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New styles emerge at this time: an Incised Style, the tactile Barbotine ware, studded with knobs and cones of applied clay in bands, waves and ridges, sometimes reminiscent of sand-dollar tests and barnacle growth (Example), and the earliest stages of Kamares ware. Spirals and whorls are the favorite motifs of Minoan pottery from EM III onwards (Walberg). A new shape is the straight-sided cylindrical cup. MMIA wares and local pottery imitating them are found at coastal sites in the eastern Peloponnese, though not more widely in the Aegean until MMIB; their influence on local pottery in the nearby Cyclades has been studied by Angelia G. Papagiannopoulou (1991).
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Moulded Mithras slaying the bull, from Lavinium near Rome, 400 ± 50 From about the 4th century, competent copies of the fabric and forms were also made in several other regions, including Asia Minor, the eastern Mediterranean and Egypt. Over the long period of production, there was obviously much change and evolution in both forms and fabrics. Both Italian and Gaulish plain forms influenced ARS in the 1st and 2nd centuries AD (for example, Hayes Form 2, the cup or dish with an outcurved rim decorated with barbotine leaves, is a direct copy of the samian forms Dr.35 and 36, made in South and Central Gaul),Hayes 1972, p. 19–20. but over time a distinctive ARS repertoire developed.
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Bradford Art Galleries & Museums and Leeds City Museum (1984) Burmantofts Pottery Early examples were individual works of art, notably in barbotine style where a plain base had a design worked in relief with slip and painted, but the company soon developed production lines for decoration of individual shapes, either in a single glaze or painted with flowers and so on (signed by the decorator), for sale at a lower price to a larger market, but still of high quality. Over 2000 different shapes are recorded, including pots, vases, bottles and table items. The base usually had 'Burmantofts Faience' or later 'BF' on the base, along with the shape number. Influences included Art Nouveau, Persian, Chinese and Japanese.
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The mould was therefore decorated on its interior surface with a full decorative design of impressed, intaglio (hollowed) motifs that would appear in low relief on any bowl formed in it. As the bowl dried, the shrinkage was sufficient for it to be withdrawn from the mould, in order to carry out any finishing work, which might include the addition of foot-rings, the shaping and finishing of rims, and in all cases the application of the slip. Barbotine and appliqué ('sprigged') techniques were sometimes used to decorate vessels of closed forms.Closed forms: shapes such as vases and flagons/jugs that cannot be made in a single mould because they have a swelling profile that tapers inwards from the point of greatest diameter.
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The centres of production were in the Roman provinces of Africa Proconsularis, Byzacena and Numidia; that is, modern Tunisia and part of eastern Algeria. From about the 4th century AD, competent copies of the fabric and forms were also made in several other regions, including Asia Minor, the eastern Mediterranean and Egypt. Over the long period of production, there was obviously much change and evolution in both forms and fabrics. Both Italian and Gaulish plain forms influenced ARS in the 1st and 2nd centuries (for example, Hayes Form 2, the cup or dish with an outcurved rim decorated with barbotine leaves, is a direct copy of the samian forms Dr.35 and 36, made in South and Central Gaul),Hayes 1972, p. 19–20.
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The slip placed onto a wet or leather-hard clay body surface by a variety of techniques including dipping, painting, piping or splashing.Osborne, 746-747 Principal techniques include slip-painting, where the slip is treated like paint and used to create a design with brushes or other implements, and slip-trailing, where the slip, usually rather thick, is dripped, piped or trailed onto the body, typically from some device like the piping bag used to decorate cakes. The French term for slip is barbotine, and this term may be used for both techniques, but usually from different periods.Osborne, 746-747 Often only pottery where the slip creates patterns or images will be described as slipware, as opposed to the many types where a plain slip is applied to the whole body, for example most fine wares in Ancient Roman pottery, such as African red slip ware (note: "slip ware" not "slipware").
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The movement was strongly linked with the fashion for national and international competitions and awards in the period, with the World's fairs the largest. America's first of these was the Centennial Exposition in Philadelphia in 1876, which "was a critical catalyst for the development of the American Art Pottery movement", both because American commercial potteries exerted themselves to improve the artistic quality of the products specially made for exhibition, and because American visitors were exposed to a wider range of European and Asian ceramics than hitherto. Doulton appears to have exhibited over 500 pieces of its Lambeth art studio stoneware and Lambeth Faience, and these as well as French "barbotine" and Japanese pieces had a decisive influence on many individuals who went on to become significant in American art pottery.Ellison, 27–45 (quoted); Mohr, Richard D., Ohr, George E., Pottery, Politics, Art: George Ohr and the Brothers Kirkpatrick, 2–3, 2003, University of Illinois Press, , 9780252027895, google books There were also close links with amateur china painting, which had become a very popular hobby, especially for middle-class women, in the same decades.
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Rheinzabern barbotine-decorated vase, form Ludowici VMe There were numerous potteries manufacturing terra sigillata in East Gaul, which included Alsace, the Saarland, and the Rhine and Mosel regions, but while the samian pottery from Luxeuil, La Madeleine, Chémery- Faulquemont, Lavoye, Remagen, Sinzig, Blickweiler and other sites is of interest and importance mainly to specialists, two sources stand out because their wares are often found outside their own immediate areas, namely Rheinzabern, near Speyer, and Trier.For a good selection of examples, see Garbsch 1982, pp. 54–74 The Trier potteries evidently began to make samian vessels around the beginning of the 2nd century AD, and were still active until the middle of the 3rd century. The styles and the potters have been divided by scholars into two main phases, Werkstatten I and II.Huld-Zetsche 1972; Huld-Zetsche 1993 Some of the later mould-made Dr.37 bowls are of very poor quality, with crude decoration and careless finishing. The Rheinzabern kilns and their products have been studied since Wilhelm Ludowici (1855–1929) began to excavate there in 1901, and to publish his results in a series of detailed reports.
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