William is actually one of about a dozen faience hippos the museum owns, but the sole anthropomorphized one.
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"Carl Walters visited The Met and was inspired by Egyptian art, in particular by the color blue of Egyptian faience,"Stünkel said.
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Among the artifacts found were a gilded silver mummy mask, fragments of mummy cartonnages, canopic cylindrical jars and marl clay and faience cups.
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The archaeologists also discovered ushabti funerary figurines made of faience, terra cotta and wood as well as a collection of clay pots, the ministry said.
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MASTERPIECES OF FRENCH FAIENCE: SELECTIONS FROM THE SIDNEY R. KNAFEL COLLECTION Examples from the world's finest private collection of the ceramic genre. Oct. 9-Sept.
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The royal figurine is made of faience, a glass-like material that was popular in jewelry and small human and animal figurines in ancient Egypt and the Near East.
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William also took a trip to the Met's conservation lab last month, where researchers examined and x-rayed the hippo to better understand how he was manufactured from faience paste.
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Another element of priestly fashion on display are the enticingly named "mummy pectorals," which are actually faience pottery depicting Nut, goddess of the sky, who spreads her wings across the deceased's chest as protection.
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Mr. Leprince said that this year, he preferred to hold a pop-up show of mid-18th-century Strasbourg-factory faience at the Galerie Vandermeersch in Paris, rather than commit to the Grand Palais.
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Faenza — a city that lent its name to richly decorated faience, or tin-glazed pottery — is Hart's final stop, and her months here have been spent alongside master ceramists, acquiring skills in shaping and decorating clay.
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The star attraction at Galerie Vandermeersch was the only known set of four white Strasbourg faience commedia dell'arte figures inspired by the artist Jean-Antoine Watteau and made under the supervision of the notable ceramist Paul-Antoine Hannong.
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Although drawings were a lifelong passion, he also built what he termed "subcollections" of 18th-century French faience (a type of tin-glazed earthenware), bronzes from the ancient Eurasian steppes, medieval European ornaments and architectural models, all of which found homes in museums.
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The Vignoli sisters' hand-painted faience decorations draw inspiration from Japanese Raku as well as their city's Renaissance heritage, and they've developed techniques to bring out lustrous metallic tones in their glazes, introducing sugar and alcohol into the kiln to consume oxygen as the temperature drops.
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Advertise on Hyperallergic with Nectar Ads In 1931, an article appeared in the now defunct British weekly Punch that described the mystique of one small, faience hippo — the ancient Egyptian statuette, decorated with lotus flowers, that is today among the most recognized objects at the Metropolitan Museum of Art.
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"The quality of this particular statuette and its excellent state of preservation make 'William' the best example of this type of object in our collection, and he is the faience hippo statuette that visitors react to most strongly," Isabel Stünkel, the associate curator of the Department of Egyptian Art told Hyperallergic.
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If the effort doesn't always result in stations that look like artworks themselves, as some of the best stations in Europe and Asia do, it has nonetheless put the aesthetic front and center again in a way that evokes the ambition of the city's first subway stations in 19203, with their mosaics, faience and amethyst-glass skylights. Gov.
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Charpin used the small prisoners' cells most effectively to create color-themed niches, such as the Dutch illustrator and typographer Irma Boom's "Color DNA based on the city of Bordeaux" (22017) where she created a wallpaper design evoking the colors of Bordeaux within which are placed a 16th-century wood dresser from Bordeaux and three romantic faience pieces made by the company Jules Vieillard & Cie.
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Porcelain teapot from Herrebøefabrikken Herrebøe faience factory (Herrebøefabrikken) was a faience manufacture located in Idd, (now Halden), Norway.
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The discovery of faience glazing has tentatively been associated with the copper industry: bronze scale and corrosion products of leaded copper objects are found in the manufacture of faience pigments.Kaczamrcyz, A. and Hedges. R.E.M. 1983. Ancient Egyptian Faience.
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They are not called "faience" in English, but may be in other languages, e.g. creamware was known as faience fine in France.
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Faience by Charles-François Hannong Faience by Paul Hannong Faience by Joseph Hannong Strasbourg faience or Strasbourg ware is a form of faience produced by the Strasbourg-Haguenau company in Strasbourg in the 18th century. The company was founded by a Dutch ceramicist, Charles-Francois Hannong. Charles-Francois was born in Maastricht around 1669 and later married Anne Nikke, daughter of a German pipe-maker, in Cologne. In 1709 they moved to Strasbourg, where Charles-François set up a pipe-making factory.
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Egyptian faience ushabti of Lady Sati. New Kingdom, Dynasty XVIII, reign of Amenhotep III, c. 1390-1352 BC. Possibly from Saqqara. lotus and grapes Egyptian faience (natively called tjehenet; modern archeological terms include sintered quartz, glazed frit, and glazed composition) is not, technically, faience.
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Bishop-bowl from c. 1735 from Store Kongensgade Faience Manufactury Store Kongensgade Faience Manufactury, active from 1722 to the late 1770s, was a faience ceramics manufacturer located on Store Kongensgade in Copenhagen. It was the first manufacturer of faience in the Nordic countries. It is especially rememberred for its bishop-bowls and tray tables but has also produced decorative tiles for several historic buildings.
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Some of the artists associated with California Faience are: Beniamino Bufano, Julia Morgan, Valenti Angelo, Sorcha Boru, Adele Stimmel Chase, Jane Fauntz and Mary Fuller. Several schools in the East Bay would have students make pieces from clay and glazes provided by California Faience. The work was then sold by California Faience. The longest relationship between a school and California Faience was likely with Berkeley High School (California).
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Friedman, F.D. (ed.). 1998. Gifts of the Nile-ancient Egyptian faience. London: Thames and Hudson. 177-194.137–142. Egyptian faience beaded fishnet dress dating from the Fourth Dynasty of Egypt.
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Print, . ::3/4. Building materials; Pottery, faience, glass, glaze, beadsForbes, Robert J. Bibliographia antiqua: Philosophia naturalis : [- 1960]. 3/4, Bouwmaterialien. Aardewerk, faience, glas, glazuur, siersteenen : nos 4131 - 4423. nos 4424 - 4895.
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A number of ceramists are experimenting with Egyptian faience, though some of the compositions bear only a passing resemblance to the original Egyptian formulae. There has also been a recent interest in the use of Egyptian faience in 3-d printing technology. It may be possible to fire faience-like materials in a microwave.
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Tite et al. report that frits, unusually colored blue by cobalt, found in “fritting pans” at Amarna have compositions and microstructures similar to that of vitreous faience, a higher-temperature form of Egyptian faience that incorporated cobalt into its body.Tite et al. 1998, 116, 118. In their reconstruction of the manufacture of vitreous faience, Tite et al.
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In 1796, a German engineer found that the area had suitable clay for the making of faience, and two years later, founded the Mezhyhirya Faience Factory, the first one in Ukraine, at the site of the unused monastery. By 1852, the faience factory had become the largest industrial complex in Kyiv. During its existence, the factory produced a variety of crockery and ornamental vases and figurines. In 1884, the faience factory was closed down after it failed to bring any profit.
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Although it appears that no glass was intentionally produced in Egypt before the Eighteenth Dynasty (as the establishment of glass manufacture is generally attributed to the reign of Thutmose III), it is likely that faience, frit and glass were all made in close proximity or in the same workshop complex, since developments in one industry are reflected in others. Such close relationship is reflected in the prominent similarity of the formulations of faience glaze and contemporary glass compositions. Despite the differences in the pyrotechnology of glass and faience, faience being worked cold, archaeological evidence suggests that New Kingdom glass and faience production was undertaken in the same workshops.
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Lucas documented a large number of molds at the palace area of Amenhotep III at Qantir, from 19th to 20th Dynasties, and at the palace area of Naucratis, also described in different sources as a scarab maker's and faience factory. However, seeing there is a lack of carefully documented archaeological evidence as to the nature of faience factory sites, direct information about the glazing process does not exist. Although recent excavations at the archaeological sites of Abydos and Amarna have supplemented our knowledge of the ancient production of faience gained from the earlier excavated sites of Lisht, Memphis and Naukratis, the differentiation of glass furnaces from faience kilns still remains problematic. Replication experiments, using modern kilns and replica faience pastes, indicate that faience is fired in the range of 800–1000°Verges, F.B. 1992.
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At the same time faience copies of the rings were made.
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The name faience is simply the French name for Faenza, in the Romagna near Ravenna, Italy, where a painted majolica ware on a clean, opaque pure-white ground, was produced for export as early as the fifteenth century. Hispano-Moresque ware dish from Manises, 15th century, the earliest type of European faience. Technically, lead-glazed earthenware, such as the French sixteenth-century Saint-Porchaire ware, does not properly qualify as faience, but the distinction is not usually maintained. Semi-vitreous stoneware may be glazed like faience.
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Moulding was first applied to faience manufacture in the Middle Kingdom by forming a model of an object, or employing a finished faience piece, impressing it in wet clay, and later by firing the clay to create a durable mold.Notes on the manufacture and use of faience rings at Amarna. In: Kemp, B.J. Amarna Reports V. London: Egypt Exploration Society. 160-168, 160–168 The faience paste could then be pressed into the mold, and following drying, be re-worked through surface abrasion before firing.
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Egyptian faience pottery (as opposed to modern faience) was made from fired earthenware colored with a glaze. The art style was popular in the Third Intermediate Period (c. 1069 BC – c. 664 BC) of Egyptian history.
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Hofnagel had previously owned Herrebö Faience Manufactury in Norway. The factory in Store Kongensgade struggled up through the 1760sm culminating with the termination of its monopoly on faience with blue decorations in 1769. It closed before 1779.
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Rouen faience ewer, "helmet" shape with lambrequin painted decoration, c. 1720 The city of Rouen, Normandy has been a centre for the production of faience or tin-glazed earthenware pottery, since at least the 1540s. Unlike Nevers faience, where the earliest potters were immigrants from Italy, who at first continued to make wares in Italian maiolica styles with Italian methods, Rouen faience was essentially French in inspiration, though later influenced by East Asian porcelain. As at Nevers, a number of styles were developed and several were made at the same periods.
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Egyptian faience and glass. Aylesbury: Shire- Egyptology.137–142. The association of faience with turquoise and lapis lazuli becomes even more conspicuous in Quennou's funerary papyrus, giving his title as the director of overseer of faience-making, using the word which strictly means lapis lazuli, which by the New Kingdom had also come to refer to the 'substitute', faience. The symbolism embedded in blue glazing could recall both the Nile, the waters of heaven and the home of the gods, whereas green could possibly evoke images of regeneration, rebirth and vegetation.
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Hippopotamus figure for a tomb, Middle Kingdom An extensive literature has accumulated in attempt to explain the processing of Egyptian faience and develop an adequate typology that encompasses both technological choices and chemical variations of faience bodies.Brill, R.H. 1999. Chemical Analyses of Early Glasses: Volume 1 (tables) and Volume 2 (catalogue), Corning, NY: Corning Museum of Glass., 69–78 Body color, density and luster provided the basis of the first typology developed for faience: seven variants were proposed by Lucas and Harris and still permit the archaeologist to distinguish faience objects during field sorting.
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Ramesses III prisoner tiles: Inlay figures, faience and glass, of "the traditional enemies of Ancient Egypt" from a royal palace of Ramesses III (1182-1151 B.C.), at the Museum of Fine Arts, Boston. From left: 2 Nubians, Philistine, Amorite, Syrian, Hittite The excavations led by Petrie at Tell-Amarna and Naucratis have reported finding workshop evidence. Nicholson explains, however, that while a square furnace-like structure at Amarna may be related to faience production, Petrie did not encounter any actual faience kilns at the site.Nicholson, Egyptian Faience and Glass, 30.
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Examples of Herrebøe faience are still preserved with the main public collection at the Norwegian Museum of Decorative Arts and Design (Kunstindustrimuseet) in Oslo. Items from Herrebøe faience are also on display at the Borgarsyssel Museum in Sarpsborg.
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Faience of Lunéville In France, the first well-known painter of faïence was Masseot Abaquesne, established in Rouen in the 1530s. Nevers faience and Rouen faience 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 Quimper in Brittany , followed by Moustiers, Marseille, Strasbourg and Lunéville and many smaller centres. 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 glaze, and the style of decoration, faïence blanche being left in its undecorated fired white slip.
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Blue faience saucer and stand, New Kingdom (1400-1325 BC) Egyptian blue is closely related to the other vitreous materials produced by the ancient Egyptians, namely glass and Egyptian faience, and it is possible that the Egyptians did not employ separate terms to distinguish the three products from one another. Although it is easier to distinguish between faience and Egyptian blue, due to the distinct core of faience objects and their separate glaze layers, it sometimes is difficult to differentiate glass from Egyptian blue due to the very fine texture that Egyptian blue occasionally could have. This is especially true during the New Kingdom, as Egyptian blue became more refined and glassy and continued as such into the Greco-Roman period.Nicholson, P.T. & Peltenburg, E. 2000, Egyptian faience.
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Hearst Castle detail, showing tiles supplied by California Faience California Faience was a pottery studio in Berkeley, California in existence from 1915 to 1959. It produced tiles, decorative vases, bowls, jars and trivets. It was run by William V. Bragdon and Chauncey R. Thomas who also taught at the California School of Arts and Crafts in Oakland, California. The name refers to a pottery style and technique: faience.
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Ptolemaic faience has a self-glazing process. In addition to not using successive layers of glaze after the underglaze, Ptolemaic faience also applied a lower kiln temperature. At the firing stage a bake between 900 °C and 1000 °C is applied to achieve a spectrum between turquoise blue and green. Underglaze in Ptolemaic faience was widely used for Ushabti dolls en masse for grave goods in the late Kingdom period.
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It took a long time for new ideas to be accepted in a conservative, agricultural society. One of the first variations to take hold was to color the faience beads by adding metallic salts. By the beginning of the eighteenth dynasty (1850 B.C.), faience making and glass making had become two separate crafts. Faience beads were so common because they were cheaper and less labor-intensive to make than stone beads.
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Noble, J. V. 1969. The technique of Egyptian faience. American Journal of Archaeology 73, 435–439 If pressed too vigorously, this material will resist flow until it yields and cracks, due to its limited plastic deformation and low yield strength. This faience vessel from the reign of Amenhotep III exhibits two different shades of blue that can be achieved by adding cobalt and copper pigments to faience paste.
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Both Luneville and St. Clement have been more recently known by their stanniferous faience.
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Photo taken by Kyra McCormick, Becca Leon, and LisaMarie Malischke There are several pottery and ceramic fragments on the site of Fort St. Pierre, many of them being pieces of French Faience. Faience is a form of tin-glazed earthenware that was inspired by imported Chinese porcelain. At the time Faience was considered fairly valuable, but many of the pieces of faience found at Fort St. Pierre are considered to be rejects and misproductions that were sold cheaply to colonists and settlers. Much of the earthenware has been shattered into pieces, possibly due to the destruction of the fort in 1729.
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Late Period It is called "Egyptian faience" to distinguish it from faience, the tin-glazed pottery associated with Faenza in northern Italy.Nicholson and Peltenburg 2000. Ancient Egyptian Materials and Technology. In: Nicholson, P.T. and Shaw, I.Cambridge: Cambridge University Press, 177-194.137–142.
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The New Jersey firm later acquired the Grueby Faience Company of Boston.Peake, p. 5–6.
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A. Kaczmarczyk and R.E.M. Hedges 1983, Ancient Egyptian Faience, Warminster: Aris and Phillips Ltd., 217.
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The sunburst designs were used to symbolize progress, while winged griffons depicting integrity and watchfulness flank each sunburst. An orange-and-green belt course of faience tiles runs above the 31st floor, while faience spandrels and an orange-and-green frieze depicting serpents are above the 38th floor. The rooftop water tower contains bas reliefs on green background surrounded by a frame of red faience. The windows of the penthouse are arranged in several configurations.
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The production was slowly superseded in the first half of the eighteenth century with the introduction of cheap creamware. Luneville Faience Dutch potters in northern (and Protestant) Germany established German centres of faience: the first manufactories in Germany were opened at Hanau (1661) and Heusenstamm (1662), soon moved to nearby Frankfurt-am-Main. In Switzerland, Zunfthaus zur Meisen near Fraumünster church houses the porcelain and faience collection of the Swiss National Museum in Zurich.
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The Regent Street elevation comprises three bays with Crittall-style metal framed windows, while the Walliscote Road elevation comprises five bays. There was an additional canopy along both elevations, but these were later removed. The facade of the building is covered in biscuit-coloured faience, except the shop areas on both wings which are clad in black glass Vitrolite panels. The basket-weave pattern faience encompasses three horizontal bands of green faience.
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Elsewhere, the exterior is faced in white faience, which has now been painted white and grey. The faience was produced by Gibbs and Canning of Tamworth. Inside, the auditorium consists of two tiers, a balcony and an aisle. It is highly decorated with plasterwork.
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At the same time a commercial treaty with Britain in 1786 led to a flood of imports of English creamware 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.
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It closed in 2006, when the owner Mitchells & Butlers sold the building to property developers. The Wardour Street building it formerly occupied is clad in faience, including a faience relief of Charles James Fox. , the premises were in use as a branch of the Byron hamburger chain.
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Above are further gablets are at the foot of the banded round turret with bracketed, eaves and a Buddhist-style conical faience roof with a series of ringed ribs. Smaller high cones on patterned drums are behind the crow-stepped gable foot at the end of each front. The steeply-pitched roof is of slate, has ridges from each gable with terracotta crestings, faience gable copings and tall, faience coping (behind the elephant gablets) and brick chimneys.
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Sèvres museum collection. Lunéville faience, a kind of unglazed faience produced from 1723 at Lunéville by Jacques Chambrette, became the Manufacture Royale du Roi de Pologne (“Royal Factory of the King of Poland”) after Stanislaus sponsored it in 1749. The earthenware first became famous for its detailed figurines and in the 20th century for its art deco designs, and it still exists today as "Terres d'Est".Website Luneville faience In 1858, the glass factory of Croismare was built.
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Egyptian faience is not really faience, or pottery, at all, but made of a vitreous frit, and so closer to glass. In English 19th-century usage "faience" was often used to describe "any earthenware with relief modelling decorated with coloured glazes",Petrie, Kevin; Livingstone, Andrew, eds., The Ceramics Reader, p. 98, 2017, Bloomsbury Publishing, , 9781472584434, google books including much glazed architectural terracotta and Victorian majolica, adding a further complexity to the list of meanings of the term.
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Bleus Egyptiennes. Paris: Louvain. 69–78Stocks, D.A.1997. Derivation of ancient Egyptian faience core and glaze materials.
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In 1922 the pottery merged with the Ault Faience Pottery to form Ault and Tunnicliffe. The owner of Ault Faience Pottery, William Ault had retired and Pascoe Tunnicliffe became the Works Director. The merged company was later renamed Aultcliff and renamed again in 1937 as Ault Potteries Ltd.
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In the late 18th century, August Zamoyski established a faience plant at Tomaszow Lubelski which employed 50 workers.
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The museum also exhibits faience from outside Provence, such as that made in Niderviller, Strasbourg, Lyon and Montpellier.
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The Clérissy faience factories or ateliers Clérissy were the main pottery factories making Moustiers faience, operated by members of the Clérissy family in Moustiers-Sainte-Marie in the Alpes-de-Haute-Provence, in Marseille, France and later Varages and elsewhere. Family members continued to produce faïence in different locations until 1733.
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Aprey is a commune in the Haute-Marne department in the Grand Est region in northeastern France. The commune is famous for its faience. Aprey Faience was produced at a glass-works at Aprey, set up in 1744 by Jacques Lallemont de Villehaut, Baron d'Aprey. The factory closed in 1885.
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Retrieved 8 January 2020. The dado around the pool hall is clad in stone-coloured faience, and the pool is clad in blue faience tiles. Doorways on the sides of the hall are framed with Vitrolite panels. Ivory and black ceramic tiles are used in other parts of the building.
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This, and the unusually large numbers of faience objects suggest that Mitathal might have been a major faience production centre. Other common surface finds were small bits of copper and some copper-alloy objects such as bangle fragments. Broken pieces and a few complete examplessee Shinde et al. 2008, Fig.
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The station features two styles of "Bleecker Street" station identifiers made by the Grueby Faience Company in 1904. The large "Bleecker Street" plaques were assembled from 27 pieces of faience ceramic. They depict poppies. The smaller blue "B" cartouches show tulips, probably a reminder of the Dutch origins of the city.
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The Metropolitan Museum of Art also maintains several fragments of Egyptian faience pottery dated between 945 and 712 B.C.
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Most of the faience in the fort was used for daily life, being used for drinking cups and plates.
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Gaspard Robert (1722-1799) was the founder of a factory that made faience in Marseille, France between 1750 and 1793.
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Jar inscribed with the prenomen and nomen of Amenmesse. Faience, cylindrical. 19th Dynasty. From Cemetery C at el-Riqqeh, Egypt.
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Jar inscribed with the prenomen and nomen of Amenmesse. Faience, cylindrical. 19th Dynasty. From Cemetery C at el-Riqqeh, Egypt.
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Moulds could facilitate mass production of faience objects such as amulets rings and inlays, as evidenced by the several thousand of small open face, earth-ware clay molds excavated at Tell el Amarna. Falcon, Ptolemaic period, 13.5 cm high, see text Wheel throwing, possibly occurring from the New Kingdom onwards, is certainly established by the Greco-Roman period, when large amounts of clay seem to have been added to the faience body. Because of the limited plasticity of faience, rendering throwing extremely difficult, a progressive increase of clay in the faience bodies culminating in the quartz, clay and glass frit bodies of Islamic times, is observed in the archaeological record.Kiefer, C. 1968 Les céramiques blues, pharanoiques et leur procédé révolutionnaire d'emaillage.
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Musée Ernest Cognacq. Blue and white faience with Chinese scene, Nevers faience, France, 1680-1700. The European manufacture of porcelain started at Meissen in Germany in 1707. The detailed secrets of Chinese hard-paste porcelain technique were transmitted to Europe through the efforts of the Jesuit Father Francois Xavier d'Entrecolles between 1712 and 1722.
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It has two green light luminous and Akiko seats of the same color. Bevelled white ceramic tiles cover the piers, the vault, the tympanums and the outlets of the corridors. The advertising frames are a faience honey color and the name of the station is also faience in the style of the original CMP.
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Each classroom has a blackboard surrounded by stained oak trim, and coat and storage areas on another wall, with bulletin boards either side. The kindergarten room has, in addition, a fireplace surrounded with Flint Faience tile in a field of green, and an oak mantel. The same green Flint Faience tiles surround a drinking fountain.
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Around 1946, she began working with California Faience, producing ceramic figurines. Her work was marketed across the country. According to Chase, her products were sold at high end retailers like Marshall Field's in Chicago and Garfinckel's in Washington, DC. She also produced ceramic tiles, and was called the "backbone of the artistic community" at California Faience during her six years there. In the 1960s, Chase started a ceramics workshop in Berkeley, California, where she produced mostly handmade tile in the style she had learned from William Bragdon at California Faience.
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In France, the first well-known painter of faïence was Masseot Abaquesne, established in Rouen in the 1530s. Nevers faience and Rouen faience 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. Nevers continued the Italian istoriato maiolica style, painted with figurative subjects, until around 1650. Many others centres developed from the early 18th century, led in 1690 by Quimper in Brittany , followed by Moustiers, Marseille, Strasbourg and Lunéville and many smaller centres.
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Marbleized faience, resulting from the working of different colored faience bodies together, so as to produce a uniform adherent body, also appears in this period. Towards the end of the Middle Kingdom, incising, inlaying and resisting techniques appear: these were bound to become progressively popular towards the New Kingdom. In the New Kingdom, beads, amulets and finger rings are produced by a combination of modeling and molding techniques. In this period, sculptural detail is created using inlays of different colored faience or by scraping the body to reveal the white intermediate layer in relief.
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A Bronze Age hoard was found at Derryhale and included a star- shaped faience bead, knives with ridged tangs and pins.
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Additionally the building had a large number of bathrooms and toilets.Clarke, p. 157 Much decorative use is made internally of faience of varying colours to clad columns and other features. The major rooms are all lined by rows of columns along their walls, each room having a slightly different style of column and colour of faience cladding.
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Faience has been defined as the first high technology ceramic, to emphasize its status as an artificial medium, rendering it effectively a precious stone.Vandiver, P.B.F.1983. Egyptian faience technology, Appendix A. In: A. Kaczmarczyk and R.E.M. Hedges, Editors, Ancient Egyptian Faience, Warminster: Aris and Phillips, A1–A14 Egyptian faience is a non-clay based ceramic composed of crushed quartz or sand, with small amounts of calcite lime and a mixture of alkalis, displaying surface vitrification due to the soda lime silica glaze often containing copper pigments to create a bright blue- green luster. While in most instances domestic ores seem to have provided the bulk of the mineral pigments, evidence suggests that during periods of prosperity, raw materials not available locally, such as lead and copper, were imported.
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Aldridge, p. 76 Shortly after, it started producing fine earthenware products in the English style, or faience. The manufactory had enjoyed limited profitability.
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The eaves cornice has a corbelled trefoil frieze. The attic windows have faience surrounds, similar to the first floor arcade, two trefoil-headed transom lights over mullioned lights, each window is in a high gable with round-headed niches in a banded faience decoration and moulded coping. Between the gables there are bracketed corniced shelves carrying faience elephants under bracketed gables with trefoil bargeboards with a crocket decoration and elaborate finials. The round oriel corner turret has nookshafts like the other first floor arcades but with arcaded central lights and blind arches, below a band of linked, splayed shafts and large eaves gargoyles.
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Entrance area with ticket booth and control This underground station has four tracks and two side platforms. The two platforms are as built and are only 5 cars in length. The station's ceiling was originally fitted with glass in order to let natural light in. It has green faience plaques and mosaic name tablets by Heins & LaFarge / Grueby Faience Company from 1904.
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In the 1930s Huillard created an educational game, Bâtir, with wooden blocks in various shapes and sizes painted with doors and windows. The blocks could be assembled in different combinations to make houses. Paul Huillard became a specialist in the faience of the Yonne department. In 1960 he published a book on the faience of Auxerre from 1725 to 1870.
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Its collections also include goldwork, faience, porcelain, tapestries, ironwork and other examples of the decorative arts, along with archaeology and Asian, Oceanic and African ethnography.
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J. P. Lauer's main work during his 75 years in Saqqara was the restoration of Djoser's mortuary complex in particular the serdab and the enclosure wall. He is also known for his excavations of the subterranean chambers of the step pyramid and the discovery of the three blue faience chambers. He died aged 99 in 15th arrondissement of Paris. File:Djoser Pyramid - Blue faience chambers 1.
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Kellinghusen was first mentioned in the 11th century and became known during the 18th century for its faience. The town, which has existed since the time of Charlemagne, was first known as Kellinghusen around the year 1148, as evidenced by the name "Thoto of Kerleggehusen." The residents were primarily craftsmen, traders, and manufacturers. Plentiful clay in the area favored the establishment of faience factories.
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Bracquemond's decor for the Service Rousseau in Creil-Montereau faience, introduced c1867, for the editor François-Eugène Rousseau, is credited with the first expression of japonisme in France.Musée d'Orsay, "Art, industry and japonism : the "Rousseau" set" Eugène Rousseau was convinced and ordered two hundred pieces to be manufactured in Creil-Montereau faience. Bracquemond made the etchings and the engraved planks used by the manufacture.
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The windows on these stories are all sash windows, two per bay on each floor. The capitals of the vertical piers are clad in light green faience with small rosettes. The 20th through 38th stories comprise the "tower" of the building. On the upper stories, there are faience panels with sunburst designs on the north and south facades, with red, orange, gold, and green tiles.
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Faience plate with printed and painted decoration, Creil Lebeuf was director of the Creil-Montereau faience works for the Société Lebeuf et Millet from 1840 until his death. The trademark was "LM et Cie". Lebeuf purchased the château and estate of Montgermont at Pringy, Seine-et-Marne, and was ennobled. The Association pour la défense du Travail national was formed to oppose the lowering of tariffs.
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Baroque Saint George Church After the First Silesian War the town became part of Prussia in 1742 under the Germanized name Proskau. From 1763 the castle housed a famous faience manufacture, founded by count Leopold Prószkowski.F. Mainuš, Prószkowska manufaktura wyrobów fajansowych w latach 1769-1783, "Śląski Kwartalnik Historyczny Sobótka", 2, 1958, p. 224 (in Polish) The faience was sold mainly throughout Prussia, Poland and Austria.
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Typical faience mixture is thixotropic, that is thick at first and then soft and flowing as it begins to be formed.Kiefer, C. and Allibert, A. 2007. Pharanoic Blue Ceramics: the Process of Self-glazing. Archeology 24, 107–117 This property, together with the angularity of silica particles, accounts for the gritty slumps formed when the material is wetted, rendering faience a difficult material to hold a shape.
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Cunningham & Waterhouse, pp. 162-163 When Burmantofts Pottery developed their process to produce faience in 1879 Waterhouse started using it for his interiors. Most notably at The Victoria Building, University of Liverpool; the Chapel, Royal Liverpool Infirmary; Yorkshire College; the National Liberal Club and the final phase of Holborn Bars. He especially liked to clad columns in faience, but walls and fireplaces as well.
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Ancient Egyptian medical instruments depicted in a Ptolemaic period inscription on the temple at Kom Ombo Even before the Old Kingdom, the ancient Egyptians had developed a glassy material known as faience, which they treated as a type of artificial semi- precious stone. Faience is a non-clay ceramic made of silica, small amounts of lime and soda, and a colorant, typically copper. The material was used to make beads, tiles, figurines, and small wares. Several methods can be used to create faience, but typically production involved application of the powdered materials in the form of a paste over a clay core, which was then fired.
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Three methods have been hypothesized to shape the body of faience objects: modeling, moulding and abrasion, the last being used in conjunction with the first two. Modeling, scraping and grinding are the techniques most widely used in earlier times, as represented in the material qualities of Predynastic and Protodynastic faience objects. Predynastic bead manufacture is essentially a cold technology, more akin to stone working than glass: a general form of faience is modeled, possibly free formed by hand, then holes are drilled to create beads. In the Middle Kingdom, the techniques employed are molding and forming on a core, sometimes in conjunction with intermediate layers between the glaze and the body.
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Stamp or thumb ring in the form of three cartouches (enclosing dot pattern). Each topped with two plumes and sun disc. Faience. From Meroe. Meroitic period.
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Presently, no Jews live in Kamianyi Brid, and the faience factory is not in operation. At the factory, the museum of Kamianyi Brid has been founded.
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Network dress. Faience, blue and black cylinder beads, two breast caps and two strings of Mitra beads. 5th Dynasty. From burial 978 at Qau (Tjebu), Egypt.
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In modern times the pottery has three many lines: production of construction bricks; production of various clay dishes (tiles, clay pipe); production of faience and porcelain.
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The church has a terracotta memorial below west window which commemorates James Holroyd (1839–1890), the founder of the Burmantofts Faience Works, erected 'by his employees'.
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The name of the station is written in faience on the abutments of the station and with the Parisine font on enamelled plates on the central platform.
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In 1924 the property was purchased by the Continental Faience and Tile Company, which manufactured art tile and quarry tile. Faience is a glazed ceramic inspired by the pottery of Faenza, Italy. In 1928 the company added on the front section, which contained a showroom, a manager's office, and a vestibule - all decorated with the company's tiles. The company struggled during the Great Depression and finally folded in 1943.
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The decoration is of the style used for most metro stations. The lighting strips are white and rounded in the Gaudin style of the renouveau du métro of the 2000s, and the bevelled white ceramic tiles cover the walls, the vault and the tympans. The advertising frames are faience in a honey colour and the name of the station is also of faience. It is equipped with benches.
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Huillard assembled a large collection of faience objects, and installed his collection in the house where Georges Moreau was born, a pleasant bourgeois residence from the 19th century typical of the local architecture. He died on 11 February 1966 in Paris at the age of 90. He bequeathed the house and faience collection to the town of Villiers-Saint- Benoît, where it is now the Musée d'Art et d'Histoire de Puisaye.
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One among these was a feature that is suspected to be a series of faience kilns. Their furnace walls exhibit vitrification indicative of extremely high temperature craft activities. In his discussion of Indus faience production Kenoyer mentions (1994: 37) the discovery of white rocky quartz at the site of Harappa, which might have been the raw material crushed to make the silica powder. It's found along with the kilns.
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The drink bishop is of German origins and the name refers to the violet colour of a bishop's garments. The popularity of the punch led to the manufacturing of special punch bowls shaped in the form of a bishop's hat or later as a bishop. The first bishop-bowls in Denmark were produced at Store Kongensgade Faience Manufactury, Denmark's first faience manufacturer, that was founded in Copenhagen in 1722.
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A Marseille business directory for 1779–80 listed Savy as making both enamelled faience and porcelain. Childless, Savy continued his work until his death on 24 September 1790.
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It produced finely embroidered silks, dyed textiles of cotton, linen, and wool, artistic and functional pottery, faience, incense, and perfumes. Its artisans worked expertly with ivory,Warmington 1993, p.
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The pews inside the church were removed in order to make room for a track to be temporarily installed from the front doors of the church to the altar. A crane was required to carry each piece of the faience to and down the track, sideways. The entirety of the faience weighs over 15 tons. Furthermore, the church building's floor was reinforced, especially under the altar sanctuary before any of the installation could occur.
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The seats are Akiko style yellow. The platforms of line 9 are arranged in a similar style. The lighting strips are of the same model, and the white ceramic tiles cover the walls, the spandrels as well as the outlets of the corridors, but also the vault. In contrast, the advertising frames are in a faience honey colour and the name of the station is also faience, in the original CMP style.
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On 27 November 1722, Frederick IV granted a consortium a royal license to establish a faience manufactury in Copenhagen with a monopoly on the production of faience with blue decorations. The factory was located at the corner of Store Kongensgade and present-day Fredericiagade and variously referred to as Delf's Porcelins Fabrique or Hollandsch Steentøjs Fabrique. One of the founders was Rasmus Æreboe. The first director of the factory was Johan Wolff.
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The Faience makers from Marseille whose works are exhibited in this museum include Joseph Clérissy, Madeleine Héraud, Louis Leroy, Joseph Fauchier, Veuve Perrin, Honoré Savy, Gaspard Robert and Honoré Bonnefoy.
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Honoré Savy (1725-1790) was the founder of a factory that manufactured faience wares in Marseille, France between 1749 and 1790. He is associated with the Veuve Perrin and Leroy factories.
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Few traces have survived: one stone capital and three faience fragments are held by the museums of Sèvres and Écouen. The site has been built upon subsequently and the foundations destroyed.
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Two school faculty, William Bragdon and Chauncey Thomas established Berkeley's first art pottery company California Faience. Listed noted faculty both past and present, in alphabetical order by department and last name.
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Although it is usually removed when the mask is on display, it has a triple- string necklace of gold and blue faience disc-beads with lotus flower terminals and uraeus clasps.
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Broad Collar, c. 1336–1327 B.C.E., c. 1327–1323 B.C.E., or c. 1323–1295 B.C.E., 40.522, Brooklyn Museum Faience is a mixture of powdered clays and lime, soda and silica sand.
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Most of the seven variants introduced by Lucas fail to recognize the glazing technology utilized or to suggest the stylistic and technological choices embedded in the manufacture of a faience object. However, variant A describes a technologically unique product and as such is still applicable: it has a finely ground underglaze consisting of quartz particles in a glass matrix, often revealed by incisions or depressions cut into the overlying glaze. Glassy faience, variant E, displays no distinct outer layer from the interior, thus it has been suggested that the term 'faience' is a misnomer and the alternative name 'imperfect glass' has been advised. Regarding variant F specimens, Lucas suggests the use of lead glazes, however it appears that lead glazing was never practiced in Ancient Egypt.
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The Grade II listed Post Office building was up for sale for a considerable time before finally being sold for development in early 2006. On the west side of the square is the Grade II listed White Building. Built in 1908 by Gibbs and Flockton, it is faced in faience with carvings of the Sheffield metal trades by Alfred and William Tory, the faience was intended to resist the soot that blackened many of Sheffield's buildings at the time.
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The Sammlung Ludwig is a collection of porcelain and faience in Bamberg, Germany. Privately owned by the married couple Peter and Irene Ludwig, it has been on display in the Altes Rathaus since 1995. This collection contains both arts from India, China and Africa and manufactured items of all art historical epochs. The worldwide known Meißner manufactory, in former times one of the biggest porcelain manufactories of Germany, is also exhibited, as well as French Strasbourg faience.
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Ancient Egyptian pottery begins after 5,000 BC, having spread from the Levant. There were many distinct phases of development in pottery, with very sophisticated wares being produced by the Naqada III period, c. 3,200 to 3,000 BC. During the early Mediterranean civilizations of the fertile crescent, Egypt developed a non-clay-based ceramic which has come to be called Egyptian faience.The non-clay ceramic called Egyptian faience should not be confused with faience, which is a type of glaze.
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Egyptian faience is considerably more porous than glass proper. It can be cast in molds to create vessels, jewelry and decorative objects.Grose, The Toledo Museum of Art, Early Ancient Glass, 29. Although it contains the major constituents of glass (silica, lime) and no clay until late periods, Egyptian faience is frequently discussed in surveys of ancient pottery, as in stylistic and art-historical terms, objects made of it are closer to pottery styles than ancient Egyptian glass.
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In the second half of the 18th century the Faience industry (tin-glazed pottery) was thriving in Allemagne and this continued into the 1820s. The style imitated that of Moustiers-Sainte-Marie.
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Astor Place subway station in the New York City Subway A Grueby Faience vase by Wilhelmina Post, made approximately 1910 A 1906 Grueby Faience vase The Grueby Faience Company, founded in 1894, was an American ceramics company that produced distinctive American art pottery vases and tiles during America's Arts and Crafts Movement. The company was founded in Revere, Massachusetts, by William Henry Grueby (Boston 1867—New York 1925), who had been inspired by the matte glazes on French pottery and the refined simplicity of Japanese ceramics he had seen at the World's Columbian Exposition in Chicago the previous year, and the architect-designer William Graves.Barbara Bell, "The Potteries of New England, Part IV: Grueby" (on-line) During its first years, Grueby produced glazed architectural terra cotta and faience tiles. Teamed with the designer George Prentiss Kendrick, who was responsible for the simple vase shapes,Metropolitan Museum of Art: Grueby vase, design attributed to Kendrick, ca 1894-1911) beginning in 1897/98, and focusing primarily on art pottery vases, Grueby introduced matte glazes, including the matte cucumber green that became the company's hallmark.
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"Lady Crowning a Musician" c. 1770, Sèvres – Cité de la céramique France Luneville Faience is one of the most famous French pottery manufacturers. It has been located in Lunéville, Lorraine, France since 1730.
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Container Tea pot In the 1830s, the Gzhel potters developed a faience, or white earthenware, of a quality that rivaled the creamware being produced in England at the time. They followed the development of faience with the acquisition of porcelain. Porcelain is fired to a similar temperature as stoneware, but unlike stoneware it becomes a translucent white and as such is highly desirable. The making of porcelain had been a secret heavily guarded by China with only finished products being exported.
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The name of the station is inscribed in faience in the style of the original CMP and the advertising frames are in faience brown and with simple patterns, topped with the letter "M". These same executives are present only in seven other stations of the Paris metro and in particular the two following stations of Line 5, Jaurès and Stalingrad. With the latter two, they are the only two stations married in the Andreu-Motte style and these particular advertising frames.
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Joseph-Théodore Deck (1891) Joseph-Théodore Deck (2 January 1823 – 15 May 1891) was a 19th-century French potter, an important figure in late 19th- century art pottery. Born in Guebwiller, Haut-Rhin, he began learning the trade in his early 20s, moving to Paris at age 24. In 1856 he established his own faience (earthenware) workshop, Joseph-Théodore Deck Ceramique Française, and began to experiment with styles from Islamic pottery, and in particular the Iznik style. Faience vase, c.
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Faience bowl from Zittau, 1663, with typical outlined design Overglaze decorations of earthenware, Faience or porcelain were traditionally made with carefully outlined designs that were then colored in. Later designs represented flowers, landscapes or portraits with little overpainting or blending of the colors. In the 20th century china painting techniques became more like oil painting, with blended colors and designs in which attention to light gives three-dimensional effects. More recently a style more like watercolor painting has become more common.
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Plant ash, from "halophyte" (salt-tolerant) plants typical of dry and sea areas, was the major source of alkali until the Ptolemaic Period, when natron-based alkalis almost completely replaced the previous source. Although the chemical composition of faience materials varies over time and according to the status of the workshop, also as a cause of change of accessibility of raw materials, the material constitution of the glaze is at all times consistent with the generally accepted version of faience glazing.
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Indeed, scientists have determined that frit objects, such as amulets, beads and vessels, have chemical compositions similar to those of powder frits designed for use as pigments.Kaczmarczyk and Lahanier 1985, 98. Nevertheless, determining the exact technical relationships among the frit, glass and faience industries is an area of current and, likely, future scholarly interest. The excavations at Amarna offer a spatial confirmation of these potential relationships, as the frit, glass and faience industries there were located “in close proximity” to one another.
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The compositions of frits and glasses recovered from Amarna do not agree in a way that would imply frits were the immediate precursors of glasses: the frits have lower concentrations of soda and lime and higher concentrations of cobalt and alumina than the glasses have.Tite et al. 1998, 116. Scholars have suggested several potential connections between frit and faience. Kühne proposes that frit may have acted as the “binding agent for faience” and suggests that this binder was composed predominantly of silica, alkali and copper with minor concentrations of alkali earths and tin.A. Kaczmarczyk and C. Lahanier 1985, "Ancient Egyptian Frits and Colored Faience Bodies: Problems of Classification," In: P.A. England and L. Van Zelst (eds.), Application of Science in Examination of Works of Art, Boston: Museum of Fine Arts, 97.
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The Lawson Airplane Company-Continental Faience and Tile Company was a factory complex in South Milwaukee, Wisconsin. It was added to the National Register of Historic Places in 2001 and has since been demolished.
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Only the advertising frames are special: in brown faience and with simple patterns, they are surmounted by the letter M. These same frames are only present in seven other stations of the Paris metro.
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"World's Oldest Planked Boats", in Archaeology (Volume 54, Number 3, May/June 2001). Archaeological Institute of America. Egyptian faience and glass technology; new forms of literature; and the earliest known peace treaty.Clayton (1994) p.
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There are two shops at street level, two more at row level, and a further 20 in the arcade, most of which have modern fronts. The interior of the arcade is faced with faience.
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At some point "faience" as a term for pottery from Faenza in northern Italy was a general term used in French, and then reached English.Alan Caiger-Smith, 1973. Tin-Glazed Pottery (London: Faber and Faber).
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The exterior is polychrome and was constructed from brick, terracotta and faience. The ground floor has a full- width tiled fascia continuing along to the neighbouring building; this 20th- century alteration may conceal earlier detail. The arcaded first floor has sash windows with sloping sills in the Gothic faience arcade, clasping rings and crocket capitals to the nookshafts, alternate block jambs, raised pointed arches and roll-moulded dripstring. The ogee window heads have fleur-de-lys finials in front of lozenge-patterned terracotta spandrels.
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The very wide range of types of European tin- glazed earthenware or "faience" all began using in-glaze or underglaze painting, with overglaze enamels only developing in the 18th century. In French faience, the in-glaze technique is known as grand feu ("big fire") and the one using enamels as petit feu ("little fire").Lane, 1 Most styles in this group, such as Delftware, mostly used blue and white pottery decoration, but Italian maiolica was fully polychrome, using the range of in- and underglaze colours available.
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318 originally containing two large meeting halls over a parade of shops. It is clad in cream faience with orange faience detailing. Nove's initials may be seen set on the central pediment. Before the interior of the halls was completed, they were converted into two cinemas (The Regal Twins) with fashionable 1930 Art Deco interiors, the world's first multiplex. These were converted, in 1972, to a five screen complex (Studios 1 to 5) by Star Group, as the first five-cinema complex in Britain.
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Beige white ceramic tiles cover the pillars, vault, spandrels and the openings of the corridors. The platforms are equipped with slat seating and the name of the station is inscribed in faience in the original CMP style. It is therefore decorated in a style identical to that applied to the majority of Paris metro stations. Only the advertising frames are special: in brown faience and with simple patterns, they are surmounted by the letter M. These same frames are only present in seven other Paris metro stations.
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The brick building occupies a wedge- shaped site between Kings Road and Kettlehouse Road, overlooking and facing Kingstanding Circle. The centre of the glazed cream and black tile ("faience") frontage features three slender fins, also finished with faience, above a stepped brick parapet. Clavering, inspired by the Lichtburg cinema in Berlin, originally intended that these fins would be topped by a searchlight.Allen Eyles, Odeon Cinemas, 2 volumes, volume 1: Oscar Deutsch Entertains Our Nation, London: Cinema Theatre Association, British Film Institute, 2002, , p. 57.
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In France, tin-glaze was begun in 1690 at Quimper in Brittany,Faience-de-quimper.com followed in Rouen, Strasbourg and Lunéville. The development of white, or near white, firing bodies in Europe from the late 18th century, such as Creamware by Josiah Wedgwood and porcelain, reduced the demand for Delftware, faience and majolica. Today, tin oxide usage in glazes finds limited use in conjunction with other, lower cost opacifying agents, although it is generally restricted to specialist low temperature applications and use by studio potters,'Ceramic Glazes.
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Faience Vessel with Procession of Four Bulls, ca. 775-653 B.C.E. Brooklyn Museum Egyptian faience was very widely used for small objects, from beads to small statues, and is found in both elite and popular contexts. It was the most common material for scarabs and other forms of amulet and ushabti figures, and it was used in most forms of ancient Egyptian jewellery, as the glaze made it smooth against the skin. Larger applications included cups and bowls, and wall tiles, mostly used for temples.
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A privately owned collection of pieces made by Ephraim Faience Pottery. Also known as Ephraim Pottery, its pieces can be viewed and purchased at its Studio Gallery location in Lake Mills, WI on East Lake Street (phone: (920) 648-3534). The pieces are created by talented artists at Ephraim Pottery's nearby Studio on West Lake Street. Ephraim Faience Pottery is an American art pottery company founded in 1996 in Deerfield, Wisconsin, United States by Kevin Hicks and two partners who have since left the company.
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Founded in Revere, Massachusetts in 1894, the Grueby Faience Company produced vases and glazed architectural terra cotta and faience tiles. Grueby vases were notable for their simple shapes and a hallmark matte cucumber-green glaze. New York City's Astor Place subway stop is decorated with large Grueby tiles featuring a beaver, in honor of the fact that John Jacob Astor's fortune derived from trade in beaver pelts. The company ran into financial difficulties in the early 1900s and went out of business in 1920.
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Tiles in the Egyptian Museum catalogued in 1911 Tiles catalogued in 1908 by the Museum of Fine Arts, Boston. The Ramesses III prisoner tiles are a collection of Egyptian faience depicting prisoners of war, found in Ramesses III's palaces at Medinet Habu (adjacent to the Mortuary Temple at Medinet Habu) and Tell el-Yahudiyeh. Large numbers of faience tiles have been found in these areas by sebakh-diggers since 1903; the best known are those depicting foreign people or prisoners. Many were found in excavated rubbish heaps.
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Jan Aalmis or Johannes Aelmis (bapt. 4 April 1674, Rotterdam – bur. 2 April 1755, Rotterdam)Johannes Aelmis (I) at the RKD was a noted painter on faience. He long worked for Cornelis de Berg of Delft.
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The potters were mostly still Muslim or Morisco.Caiger-Smith, Alan, Lustre Pottery: Technique, Tradition and Innovation in Islam and the Western World, Chapters 6 & 7, (Faber and Faber, 1985) In a rare manuscript from Kashan compiled by Abulqassim in 1301, there is a complete description of how faience production was carried out. Frit was made of ten parts of powdered quartz, one part of clay and one part of glaze mixture. The addition of greater amounts of clay made wheel throwing of the faience easier, and allowed a better quality of work, because otherwise the material had little plasticity.W. J. Allan,The History of So-Called Egyptian Faience in Islamic Persia The glaze itself is “formed of a roughly equal mixture of ground quartz and the ashes of desert plants which contain a very high proportion of alkaline salts.
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Konakovo Faience Factory Konakovo was founded in 1806 as the selo of Kuznetsovo (). The name originates from the last name Kuznetsov, who was one of the early owners. The selo was not doing very well and was almost deserted by the 1820s. In 1826–1828, a faience factory was transferred there from the village of Domkino, about east of Kuznetsovo. The factory was built by merchant Auerbach in Domkino on the property which belonged to a local landowner, and by 1829 the lease agreement expired and was not extended. In 1826, Auerbach bought all lands in and around Kuznetsovo. In 1870, the factory was purchased by industrialist Matvey Kuznetsov (unrelated to Kuznetsov who gave the name to the village) and became known as Kuznetsov Faience Factory. After 1918, the factory was nationalized, and one of its specializations was art production.
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Craft items of shell, semi-precious stone, stone beads, faience and copper, unique unicorn seal with hollow place looking some sort of container inside, other harappan seals (total six), copper knives with bone handles, copper artifacts, etc.
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Examples of her work were included in a 2015 exhibition called "Of Cottages and Castles: The Art of California Faience" on display at the Crocker Art Museum in Sacramento and at the Pasadena Museum of California Art.
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Louis-Martin Lebeuf (26 May 1792 – 10 November 1854) was a French banker, faience manufacturer and right-leaning politician. He supported protectionist policies, and supported the coup d'etat that launched the Second French Empire under Napoleon III.
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"World's Oldest Planked Boats", inArchaeology (Volume 54, Number 3, May/June 2001). Archaeological Institute of America. Egyptian faience and glass technology, new forms of literature, and the earliest known peace treaty, made with the Hittites.Clayton (1994) p.
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Although this settlement was small in area, with 1.92 hectares, it had a wall measuring 5.20m in width built in three successive stages and there was flourishing craft and trading activities. Gola Dhoro specialised in production of shell bangles and semi precious stone beads as well as objects of copper and faience. Bead manufacturing was undertaken mainly outside the walled area of the town and objects of faience were manufactured only within the walled area. This unwalled town with a walled citadel, seems to have been a centre for trade and industry.
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The Arts and Crafts Society: "Grueby Faience Company of Boston" Grueby's work won two gold medals and one silver medal at the Exposition Universelle (Paris, 1900), medals at the Pan-American Exposition (Buffalo, 1901), and a gold medal at both the St. Petersburg Exhibition of Ceramics (1901) and the Louisiana Purchase Exposition (St. Louis, 1904). Grueby Faience stood in the mainstream of Arts and Crafts and Art Nouveau design in the United States. Graves and Kendrick were eventually replaced by the architect Addison LeBoutillier and Henry Belknap, who had worked with Louis Comfort Tiffany.
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Over the years, it gained the character of a local administrative center, which it remained until 1975, when the division of Poland was reorganized into larger units. In 1849, the Duchy was formalized as the Prussian province of Posen. Chodzież's important place in the ceramics industry began when two German businessmen, Ludwig Schnorr and Hermann Müller from Frankfurt an der Oder, purchased the ruins of the burned out manor house from Otto Königsmarck in 1855 and built the first faience factory. In 1897 the merchant Hein, a former faience factory owner, built a porcelain factory.
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His work ranged from ornate Rococo pieces, such as clock cases, to plates with unsophisticated floral decoration. The Strasbourg technique spawned a number of imitations including the ware of Marseilles, Niderviller, Luneville, St. Clement, Sceaux, Aprey, Lodi in northern Italy and the majority of the smaller factories in France. A large collection of this faience is on display in the Musée des Arts décoratifs, Strasbourg. Haguenau's Musée historique and Gertwiller's Musée du pain d'épices also display valuable Hannong faience, as does the Castle "Favorite" on the other side of the Rhine.
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This decoration is married with the white beveled tiling which covers the pillars, vault and the outlets of the corridors. The name of the station is inscribed in faience in the original CMP style. The advertising frames are special: in brown faience and with simple patterns, they are surmounted by the letter M. These same frames are only present in seven other Paris metro stations. The platforms of Line 7 are laid out in the Ouï-dire style blue colour: the two lighting strips, of the same color, are supported by curved shaped false consoles.
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Laumière is a standard configuration station with two platforms separated by metro tracks under an elliptical roof. The decoration is Andreu-Motte style green, with two light bars, flat tile benches and Motte seating in the same colour. In contrast, the archways and outlets of the corridors as well as the walls and the vault, are covered with white bevelled ceramic tiles. The advertising frames are a faience honey color and the name of the station is also faience in the style of the original Compagnie du chemin de fer métropolitain de Paris (CMP).
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A number of possible binding agents, amongst Arabic gum, clay, lime, egg white and resin, have been suggested to help in the binding process. Although traces of clay have been found in most Pharaonic faience, reconstruction experiments showed that clay, organic gums or lime while successfully improving the wet working performance, failed to improve the fired strength of the faience, or proved the gum was too sticky for the removal of objects from their molds.Lucas, A. and Harris, J. R., 1962, Ancient Egyptian materials and industries. London: Edward Arnold.
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Egyptian faience was both exported widely in the ancient world and made locally in many places, and is found in Mesopotamia, around the Mediterranean and in northern Europe as far away as Scotland. The term is used for the material wherever it was made and modern scientific analyses are often the only way of establishing the provenance of simple objects such as the very common beads.Stone and Thomas 1956. The Use and Distribution of Faience in the Ancient East and Prehistoric Europe, Proceedings of the Prehistoric Society, London 22, 37–84.–142.
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Potpourri with cover, showing the elegance of form and painted decoration that the factory achieved in faience, 1760-65 Niderviller faience (German Niederweiler) is one of the most famous French pottery manufacturers. It has been located in the village of Niderviller, Lorraine, France since 1735. It began as a maker of faïence (tin-glazed earthenware), and returned to making this after a period in the mid-18th century when it also made hard-paste porcelain. In both materials, it made heavy use of deep magenta or pink in its decoration.
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Often there is a hierarchy of design, in his Refuge Assurance Building in Manchester, for instance, polished stone and timber in the boardroom, faience in the public offices and simpler designs for the managers and clerks offices.Cunningham & Waterhouse, p. 176 The Manchester Town Hall fireplaces contain tiling in the fireplace, some with medieval designs, others classical designs, Turkish designs and Japanese in the Mayor's Suite. Staircase balustrades in his domestic work were usually either timber or iron often with elaborate designs, he preferred iron, faience or stone in his public buildings.
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Faience was popularised in Melbourne in the 1920s by architects such as Harry Norris. One of the leading commercial architects of the time in the city, Norris was strongly influenced by trends in American architecture and used faience on projects such as the Nicholas Building and the Kellow Falkiner Showrooms (a 1928 car showroom) in South Yarra. In Sydney, it featured on notable buildings such as BMA House, designed by Joseph Charles Fowell. Australian-made tiles were available from Wunderlich Tiles, a company founded by London-born Frederick Wunderlich.
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In 1872, when Samuel Augustus Weller (1851−1925) was 21, he established and operated a one-man pottery in Fultonham in Muskingum County, Ohio. Between 1882−1890, he had expanded to Zanesville, with a factory on Pierce Street along the river. In 1893 he saw William Long's Lonhuda ware at the Chicago World's Fair, and Long joined Weller to produce this faience-glazed pottery line. When Long left Weller's employ after less than a year, Weller renamed the faience line Louwelsa after his daughter Louisa, who had been born in 1896.
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Items imported to Cyprus during the Late Bronze Age include "a faience sceptre with the cartouche of Pharaoh Horemheb"; and an opium pipe. Wall mounted text tells about excavations including those at Tourapi (Τουραπή), in present-day Larnaca.
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It was buried in a pit at the foot of the Great Pyramid at Giza.Solar Ships and Solar Boats. March, 2004, retrieved from Internet Archive October 29, 2008. Glazed fragment faience vessel / pharaoh Aha, early 1st Dynasty, ca.
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Maugras, p. 164. The continued war with the Coalition reduced the number of employees to 15; the factory survived, however, and the Custine share was bought by Lanfrey in 1802.Faience History of Niderviller factory. Infofaience, 2012–2014.
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The banai brickwork style is employed again. The arches are decorated with bisque tiles, mosaic faience. The dado is formed of marble mosaic. The dihliz appears octagonal due to the painted dado which hides the bottom of the arches.
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The hippopotamus, Gardiner E25, E25 shows a "Faience hippopotamus, Meir, 12th Dynasty."Reading Egyptian Art, Hippopotamus, deb, E25, p. 70-71 The photo is a small statuette, the hippo skin covered with large lined lotus buds, and lotus blossoms.
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Glazed earthenware vase modeled by Annie V. Lingley, Grueby Faience Company, ca. 1901. Glazed earthenware vase, Weller Pottery, ca. 1905. Glazed earthenware vase, Newcomb Pottery, decorated by Sadie Irvine, ca. 1910. Pitcher with incised decoration, Paul Revere Pottery, 1914.
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Weller copied and renamed Long's faience glazed pottery as Weller Pottery's "Louwelsa" line, after his daughter Louise and himself. That Lonhuda factory burned down on May 10, 1895, and Weller rebuilt a larger factory immediately, employing between 500 and 600 people.
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Military objects discovered in the settlements are primarily leaf- shaped arrowheads. The faience beads are an extremely common element of the funeral inventory. The next category is pottery. In vascular ceramics the influences of the Corded Ware culture are visible.
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The Metropolitan Museum of Art has a number of blue faience vases and chalices from Ancient Egypt in its collection. The vessels, which range in condition from full works to fragments, are dated to the Third Intermediate Period of Egypt.
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Egyptian potters crafted relief vases, chalices, and bowls. Many items depicted reeds, lotuses, rivers, aquatic animals, and people, likely due to the glaze's blue-green coloration being associated with water.Friedman, F.D. (ed.). 1998. Gifts of the Nile-ancient Egyptian faience.
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"Daniel et Florence Guerlain : la passion du dessin." Grande Galerie - Le Journal du Louvre 2013: 84-85. Print. An aesthete of diverse tastes, Guerlain purchased Nevers faience,"Haute Epoque, Curiosités : Vente du Vendredi 7 juin 2013" Piasa. Web. May 7, 2014.
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Traditional styles of faience pottery from Székely Land, Romania, on sale in Budapest in 2014. A conventional idea of folk art, though no doubt made in quasi-industrial conditions. Pew group of Staffordshire figures, England, c. 1745, salt-glazed stoneware.
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Vase. The Faïencerie de Gien is a faience (or earthenware) factory in Gien, France.Pascale Nourisson, Une aventure industrielle. La manufacture de Briare (1837-1962), Rennes: Editions Alan Sutton, 2001, p. 18 It was founded in 1821 by Thomas Edme Hulm.
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As at 1 November 2006, refer to Archaeological Zoning Plan. Mechanical Engineers for original building were Watson & White. The terracotta faience was manufactured locally by Wunderlich. The building won the RIBA Award for Street Architecture in 1935 and RIBA Bronze Medal.
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Faience plate, Bordeaux, c. 1840, "A shadow which will later become realized". The lamb is a commonly used symbol of innocence's nature. In Christianity, for example, Jesus is referred to as the "Lamb of God", thus emphasizing his sinless nature.
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Bianchi, op. cit., p. 202. The aegis was often made of faience, but other materials as varied as leather and bronze were also used.Petrie Museum Collection - search for menat It was often inscribed or bore depictions of deities associated with Hathor.
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The Louis Vouland Museum (musée Louis Vouland) is a 17th and 18th century decorative arts museum in Avignon, housed in a hôtel particulier designed by Villeneuve-Esclapon. Its collections include Parisian furniture, faience from Marseille and Moustiers, metalwork, tapestries and paintings.
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Among the range of models of the French company Berlot-Mussier (they used the trade name ODYV between 1927-1940) there were one in the Art Deco style with the case made out of faience they sold in the 1930s.
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In 1921, Champion founded the Flint Faience Tile Company in a building adjacent to the Harriet Street factory, firing decorative tiles in the same kilns as spark plugs. This was done so they could avoid shutting down the kilns when they were finished with spark plug production, because repeated cycles of cooling and reheating would damage the kilns. When AC expanded its operations to the former Dort Motor complex, Flint Faience moved to a new building there. The northwest portion of the plant still has these tiles along the outside, visible from Dort Highway and Davison Road.
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The last period of occupation at the site belongs to the Mature Harappan period with all the characteristic features of a well-developed Harappan city. The important artifacts of the period consisted of Seals of steatite, bangles of copper, terracotta, faience and shell, inscribed celts of copper, bone objects, terracotta spoked wheels, animal figurines of terracotta, beads of lapis lazuli, carnelian, agate, faience, steatite, terracotta and stone objects. A replica of the famous "Dancing Girl" from Mohenjodaro is found engraved on a potsherd in the form of a graffiti. The massive fortification wall of the town was made of mud bricks.
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Garnier, 270 faience patriotique of the French Revolution. An aristocrat and bishop: "Unhappiness re-unites us", 1791. The Conrade monopoly was not effective for long, with a second factory starting in 1632, and by 1652 there were four different potteries in Nevers, including one founded by Pierre Custode, whose family became the other main Nevers dynasty of potters.Garnier, 270; Chaffers, 148 The French faience industry received a huge boost when, late in his reign in 1709, Louis XIV pressured the wealthy to donate their silver plate, previously what they normally used to dine, to his treasury to help pay for his wars.
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The Eastbourne Bandstand is a bandstand on the seafront of the East Sussex coastal town of Eastbourne, with an attached colonnade and viewing decks. Built in 1935 to the designs of the Borough Council Engineer, Leslie Rosevere. Neo-Grec style, constructed of cream faience with some decorative blue, green and black faience, with its unique semi-circular design and blue domed roof; there is no other in the United Kingdom. It has a main arena, middle and upper balconies for seating and originally seated 3,500 but with current health and safety laws this has been reduced to 1,600.
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The Musée de la Faïence de Marseille is a museum in southern Marseille, France, dedicated to faience, a type of pottery. It opened to the public in June 1995 in the Château Pastré at 157, avenue de Montredon 13008 Marseille. It is planned to transfer the faience museum to the Château Borély, which will also hold the planned Museum of Decorative Arts and Fashion, as part of preparations for Marseille becoming the European cultural capital in 2013. The museum is housed in the magnificent nineteenth century building named after its former owner Eugène Pastré (1806-1868).
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Material for construction was transported either by train and truck, or by sea into a wharf built in San Simeon Bay below the site. In time, a light railway was constructed from the wharf to the castle, and Morgan built a compound of warehouses for storage and accommodation for workers by the bay. Brick and tile works were also developed on site as brick was used extensively and tiling was an important element of the decoration of the castle. Morgan used several tile companies to produce her designs including Grueby Faience, Batchelder, California Faience and Solon & Schemmel.
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Kneeling Statue of Nesbanebdjedet, ca. 755-730 BC, now 13.8 cm high From the inception of faience in the archaeological record of Ancient Egypt, the elected colors of the glazes varied within an array of blue-green hues. Glazed in these colours, faience was perceived as substitute for blue-green materials such as turquoise, found in the Sinai Peninsula, and lapis lazuli from Afghanistan. According to the archaeologist David Frederick Grose, the quest to imitate precious stones "explains why most all early glasses are opaque and brilliantly colored" and that the deepest blue color imitating lapis lazuli was likely the most sought-after.
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Though similar to his work for rivals the Prudential, the use of materials and the plainer walls set it subtly apart. The main office has walls clad in faience. The builders were F. Morrison & Sons; the structural steel work was by A. Hanyside & Co.; heating and ventilation was by J. Grundy; the stone carving was by Farmer & Brindley; the faience was manufactured by Burmantofts; the mosaic flooring was by J. Rust and J.F. Ebner; the chimney-pieces were made by Shuffrey & Co.; the decorative iron work and light fittings were made by Hart Son Peard & Co.. The cost was £20,076.Cunningham & Waterhouse, pp.
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" Lacovara notes elsewhere that "the palace was decorated with wall paintings of armed men carrying battle axesP. Lacovara, “Archaeological Survey of Deir el-Ballas,” ARCE Newsletter 113 (1980). pp. 1-7., and faience tiles, fragments of which were recovered by the Hearst Expedition.
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The minaret, capped with a ribbed dome that was once covered with green faience tiles, is located on the south side of the building. The first tier is square and trimmed with rows of stalactites, or Muqarnas vaulting, while the second is cylindrical.
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Heins & LaFarge worked with the ceramic-producing firms Grueby Faience Company of Boston and Rookwood Pottery of Cincinnati to create the ceramic plaques. In addition, mosaic tablets with the name of the station were put at regular intervals within the station's walls.
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Depressions in the faience body were filled with coloured "vitreous pastes" and refired, followed by polishing.Egypt and the Ancient Near East, 1987, p. 82, Metropolitan Museum of Art, , 9780870994135, google books Polychrome pieces were usually made by inlaying different colours of paste.
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Statues in a variety of materials include Madame Roland, Saint-Just, and Jean- Jacques Rousseau. Decorative arts illustrate everyday life: furniture, porcelain, and French, English and Dutch faience. Unique objects are stones from the Bastille, swords from the National Guard, and musical instruments.
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The museum also owns a collection of Strasbourg faience by the Hannong Family and a collection of modern art, including Art Nouveau glassware, and paintings. The ethnographic and folk art collections relating to Alsace were moved to the Musée alsacien nearby in 1972.
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'Tin-Glaze Pottery in Europe and the Islamic World: The Tradition of 1000 Years in Maiolica, Faience and Delftware.' A. Caiger-Smith. Faber and Faber, London. 1973 A selection of tin glaze pottery by contemporary Studio potters is given Tin-glazed Earthenware by Daphne Carnegy.
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Oblong plate with blue grand feu decoration. (Moustiers) Bérain style decoration (around 1720-1730). Musée de Sèvres. Faience, the French term for tin-glazed pottery, takes its name from Faenza, Italy, which became a center of manufacture and export in the fifteenth and sixteenth centuries.
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Polychrome style rayonnant lambrequin decoration, with a chinoiserie central scene. Made c. 1710, this is an early example in all these respects; 23.97 cm. In 1644, Nicolas Poirel, sieur (lord) of Grandval, obtained a fifty-year royal monopoly over the production of faience in Normandy.
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Saint-Cloud faience plate, 1700-1710. Saint Cloud soft porcelain vase, with blue designs under glaze, 1695-1700. Saint-Cloud porcelain was a type of soft- paste porcelain produced in the French town of Saint-Cloud from the late 17th to the mid 18th century.
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Methods of forming stoneware bodies include moulding, slipcasting and wheel throwing.What is Stoneware Underglaze and overglaze decoration of many types can be used. Much tableware in stoneware is white-glazed and decorated, and it is then visually highly similar to porcelain or faience earthenware.
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Badarian flint tools continued to develop into sharper and more shapely blades, and the first faience was developed.Grimal, Nicolas. A History of Ancient Egypt. p.24. Librairie Arthéme Fayard, 1988 Distinctly Badarian sites have been located from Nekhen to a little north of Abydos.
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Cathedral of Faenza. Faenza (, , ; or ; ) is an Italian city and comune in the province of Ravenna, Emilia-Romagna, situated southeast of Bologna. Faenza is home to a historical manufacture of majolica-ware glazed earthenware pottery, known from the French name of the town as faience.
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Each state had a specialty in what they could produce in their region. Egypt mined gold, Lebanon logged cedars, murex shells valued for their dye came from Northern Africa, Canaan specialized in jewelry, and Cyprus had its glass, beads of gold, faience, and agate.
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Swiss National Museum: Changing exhibitions The main item in the collection was an originally 300-piece dinner service, which Zürich donated to the Einsiedeln Abbey in 1775 as a thank-you for its mediation in the conflict over fishing rights with the Canton of Schwyz. Zürich porcelain is complemented by outstanding objects from Nyon, the other important Swiss porcelain manufactory of that time, which produced from 1781 to 1813. In the field of faience tableware production all Swiss production sites of that time were represented. Zürich's magnificent tiled stoves made of faience refer to the close ties to this branch of industry, but also to the important Swiss harbor tradition.
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Pont de Levallois-Bécon has two platforms, one central and one side, serving three tracks: the central platform is served by the two tracks used for the departure of the trains while the side platform is served by the trains on arrival. The decoration is in the style used for most metro stations: the lighting strips are white and rounded in the Gaudin style of the renouveau du métro of the 2000s, and the bevelled white ceramic tiles cover the walls, the vault and the tympan. The advertising frames are a honey color faience and the name of the station is also faience. The seats are a Motte style white colour.
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Saint-Ambroise is a standard configuration station It has two platforms separated by metro tracks and the arch is elliptical. The decoration is the style used for the majority of metro stations. The lighting strips are white and rounded in the Gaudin style of the metro revival of the 2000s (although they have a second row of reflectors, a prototype variant that was not reused), and the white ceramic tiled tiles cover the walls, the vault, the spandrels and the outlets of the corridors. The advertising frames are faience honey colour in the original CMP style and the name of the station is also in faience.
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Modern bowl in a traditional pattern, made in Faenza, Italy, which gave its name to the type. Sophisticated Rococo Niderviller faience, by a French factory that also made porcelain, 1760-65 Faience or faïence (; ) is the conventional name in English for fine tin-glazed pottery, at least when there is no more usual English name for the type concerned. The invention of a white pottery glaze suitable for painted decoration, by the addition of an oxide of tin to the slip of a lead glaze, was a major advance in the history of pottery. The invention seems to have been made in Iran or the Middle East before the ninth century.
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Burmantofts faience in the Great Hall of the University of Leeds The business began in 1859 when fire clay was discovered in a coal mine owned by William Wilcock and John Lassey. In 1863 Lassey's share was bought by John Holroyd and the company then named Wilcock & Co. In 1879, after a period of expansion, the firm made decorative bricks and tiles in orange or buff- coloured architectural terracotta, glazed bricks, and glazed terracotta (faience). Architect Alfred Waterhouse used their materials in his Yorkshire College (1883) in Leeds, and his National Liberal Club (1884) in London. From 1880 they also made art pottery such as vases and decorative domestic items.
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Industrie Céramique. May, 395–402 Ptolemaic and Roman faience tends to be typologically and technologically distinct from the earlier material: it is characterized by the widespread use of moulding and high relief on vessels.Shortland, A.J. and Tite M.S. 2005. A technological study of Ptolemaic – early roman faience from Memphis, Egypt Archaeometry 47/1, 31–46 31–46 A very unusual and finely made group of figures of deities and falcons in the Metropolitan Museum of Art in New York, apparently representing hieroglyphs that are elements from a royal inscription, perhaps from a wooden shrine, is decorated in a form of champlevé (typically a technique for enamel on metal).
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Embassy Cinema, foyer (1934) Embassy Cinema, auditorium (1934) Harry Weston designed the Embassy Cinema in a more lavish style than would have been usual for a Gaumont Cinema. Its façade had a Modernist horizontal emphasis, faced in cream/'biscuit' coloured faience tiling above and black faience tiles below, with chromium plated fittings, enhanced by neon strip lighting and illuminated signs at night. There is a large window over the entrance which allows light into the ballroom. The double-height entrance foyer behind featured Art Deco metalwork and a floodlit glass column of crystalline rods. The auditorium originally had a ‘saucered’ floor to improve sight-lines from the seats.
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The floor was tiled by Jehan de Valence, called "the Saracen" in the accounts, with green and gold circular lustred maiolica tiles. When the project was complete, Jehan de Valence returned home to Valencia, and no further lustred tin-glazed faience was produced in FranceSolon 1907.
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Archeologist Edward Ayrton excavated the entranceway to the tomb during 1905/1906, followed by Howard Carter in 1920. Both of them found remnants of the materials which had originally come from inside the tomb, such as shabtis, numerous ostraca and fragments of wood, glass and Faience.
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The glazed faience tile used in the wainscot was manufactured by the California China Products Company of nearby National City. Elaborate Hispano-Moorish designs are executed in green, yellow, blue, white, and black and the bottom and top edges are finished with a frieze of stylized ziggurats.
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Jug, c. 1765 by the Pont-aux-Choux factory near Paris, one of the first and best French makers of faience fine, as creamware was known. Transfer-printing of pottery was developed in the 1750s.Robin Hildyard, English Pottery 1620 – 1840, London: Victoria & Albert Museum (2005) p.
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Egyptian Paste article from Ceramics Today;. See also Egyptian faience. There are disputes as to whether, or when, such materials were fired with the object, or fired separately first and then cut into pieces to be inlaid like gems. It seems both methods may have been used.
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David Frederick Grose, The Toledo Museum of Art, Early Ancient Glass, 45. As early as the Predynastic graves at Naqada, Badar, el-Amrah, Matmar, Harageh, Avadiyedh and El-Gerzeh, glazed steatite and faience beads are found associated with these semi- precious stones.Nicholson 1998. Nicholson, P.T.1993.
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At night neon lighting placed in line with the green faience, around the 'Odeon' and along the edge of the canopies provided an a-typical Art Deco attractive feel to the building. The original Odeon lettering has been replaced, despite this occurring after the building was listed.
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The faience- clad elevations of on the western frontage of upper Bridge Street are a particularly noteworthy examples of late Victorian and Edwardian architectural elegance. Above street level these remain largely unaltered. A rebuilt version of the Warrington Academy currently houses the offices of the Warrington Guardian.
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Vasily Sedlyar (c.1930) Illustration from Kobzar Vasily Teofanovych Sedlyar (Ukrainian: Васи́ль Теофанович Седля́р: 12 April 1899, Khristyvka, Shyshaky Raion — 13 July 1937, Kiev) was a Ukrainian painter, illustrator and art teacher; executed in the Great Purge. He was also known for his ceramic and faience work.
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Beketamun or Beket was a princess of the Eighteenth Dynasty of Egypt, a daughter of Pharaoh Thutmose III., p.138 Her name means “Handmaid of Amun”. Her name is inscribed on a faience votive object (together with her father's cartouche) found in Deir el-Bahri (now in Boston).
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At some point, they were no longer a part of the building but were replaced in 2011. A part of its architecture also includes an addition made in the mid-1900s wherein the altar space was changed slightly to accommodate a 16th-century della Robbia faience from Florence.
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The area where the faience currently resides was originally a squared- off ending to the building but was replaced with a curved, steel shell was installed behind the altar at the time of installation. Wrought iron work was installed where the della Robbia had been in the garden.
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Bar with hard wood top and with external covering of tiles with grotesque pattern in relief. Walls of entrance lobby, with faience tiled picture of Cardiff Castle, dated 1903 and another of Cardiff Town Hall. British Listed Buildings . The whole scheme is by Craven Dunnill of Jackfield in Shropshire.
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The Lotiform Chalice (c. 945–664 B.C.) is faience relief chalice. Images carved into the chalice depict fish, papyrus clumps, and lotus blooms. The vessel's images possibly portray legends surrounding the flooding of the Nile, an event that was of significant economic and spiritual importance to the ancient Egyptians.
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Later figurines were often made of less perishable materials: stone, terracotta, metal, glass and, most frequently, glazed earthenware (Egyptian faience). While ushabtis manufactured for the rich were often miniature works of art, the great mass of cheaply made ushabtis became standardised--made from single molds with little detail.
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Street art and graffiti are commonplace, whilst buskers/street performers also frequent the laneway, adding to its atmosphere. The Majorca Building built in the 1930s dominates the view at the northern end of Degraves Street. The building was designed by Harry Norris and is cladded in faience tiles.
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The Historical Museum of Bamberg (German: Historisches Museum Bamberg) is a museum in Bamberg, Germany, located in the Alte Hofhaltung next to the city's cathedral. Together with the Villa Dessauer and the Collection Ludwig, a collection of porcelain and faience, it belongs to the museums of the city.
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A staircase in the south bay leads to an ambulatory. Plaster muqarnas cover the ceiling and alcoves. The dado is composed of buff hexagonal tiles and blue and black mosaic faience, broken up by narrow borders of four pointed stars. The mihrab is a simple inscribed marble slate.
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Auguste Pellerin attained his fortune through margarine manufacturing. His successful enterprise included factories in France, England, Germany, Denmark, Sweden, and Norway. From 1906 until his death in 1929 he also acted as Norwegian General Consul in Paris. At first, Pellerin collected craft objects such as porcelain, faience, and glass.
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Some shafts were personalized by the use of stela with the deceased prayers and name on it. Shabtis in faience for all classes are known. Canopic jars, though often nonfunctional, continued to be included. Staves and scepters representing the deceased's office in life were often present as well.
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The interiors use white and grey glazed bricks with terrazzo floors, lacking any mouldings therefore easy to keep clean. The chapel has bright coloured faience work and tiling by Burmantofts Pottery. The Nightingale ward plan was used, women were on the first floor, the men on the second floor.
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Faience strips are provided with bricks in turquoise colour projecting out of the wall, in smaller decorative forms. Austere kufic script is also seen. The sahn or courtyard is wide, the same width as the nine central naves. There is an ablution fountain at the center of the courtyard.
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It included paintings, books and faience, and in 1928 was bequeathed to the City of Paris to become the Musée Cognacq- Jay. From 1914 the employees were given shares in the company. 65% of profits were redistributed to employees, who also received benefits such as a free canteen.
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Interior The church is of a gothic revival style, built of coursed stone with ashlar dressings. The church has a steeply pitched slate roof with gable ends. The church has a four-bay nave with octagonal piers. The reredos is made 1891 of Burmantofts faience and coloured tiles.
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The latter contained a lid and several fragments of canopic jars, 11 or 12 canopic clay figures of gods and goddesses including Osiris, Imsety and Neith, a few inlay pieces of lapis lazuli, obsidian and slate (all originally from a sarcophagus), and fragmentary faience shawabtis. Excavations of the pyramid yielded numerous objects including fragments of jars and alabaster vessels, one of which was inscribed with Tantamani's cartouches, several bowls, a beryl scarab attached to a gold wire loop, pieces of gold foil, a faience pendant with Atlanersa's cartouche, Menat amulets and beads, pieces of paste, and further fragments of shawabtis. In total, 15 complete shawabtis were recovered of over 235 found in the pyramid, all c. in size.
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Automobile Palace, Llandrindod 03 Automobile Palace, Llandrindod 02 Humphrey's Garage, Severn Street Newtown Pritchard's garage, Llandrindod Wells Equally notable is use of white Doulton faience glazed terracotta for the Motor Palace at Llandrindod Wells by Richard Wellings Thomas in 1906–1910. Now the National Cycle Museum, it has a curving facade of nine bays of white-faience ware and blocked pilasters dividing the display bays, surmounted with lion finials. It is an early example of steel framed construction. The building reflects that Llandridod was the social capital of Wales at the time and Tom Norton, for whom it was built was both an early bus proprietor and also aviator, hence the fascia letting CYCLES – MOTORS- AIRCRAFT.
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From 1958 to 17 April 2018 the guild house was one of the seven sites of the Swiss National Museum and housed its porcelain and faience collection. The permanent exhibition gave an overview of the Swiss porcelain and faience factories of the 18th century, and the development of forms and patterns of dishware and miniatures. One of the focuses were the products of the Porzellanmanufaktur Schooren (1763–1790) in Kilchberg. Changing exhibitions further explained the history and the work of well-known porcelain manufacturers and other cultural and historical issues in Zürich, such as the anniversary exhibition Frauen, Zunft und Männerwelt – 250 Jahre Zunfthaus zur Meisen (Women, Men's Guild and the world - 250 years Guild house Meisen).
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McNab, 22 Before the end of the century Rouen faience, apparently led by Louis Poterat (d. 1696), had developed the lambrequin style of decoration, a "baroque scalloped border pattern",Savage & Newman, 174 with "pendant lacework ornament, drapes and scrollwork",Savage (1959), 145 (quoted) adapted from ornamental styles used in other types of decorative art, including book-bindings, lace and metalwork, and printed versions of them in design-books. Typically large and small elements alternate. This remained a key style, a "virtual trademark" for Rouen,Moon well into the next century, and was often copied in other faience centres, including some outside France, and porcelain factories such as Rouen and Saint-Cloud porcelain.
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In 1879, a number of pieces of faience decorated by her were sent by invitation to the exhibition of Howell James & Co., London, England. One of her vases was presented to Sir Frederic Leighton, president of the Royal Academy, and others were sold to art museums in England, to be kept as examples of American art pottery. The same year, some of her work in faience was shown in New York, and won much praise. When the Associated Artists began their united enterprise which did much in revolutionizing and elevating household taste and interior decoration of American home and public buildings, Carter's services were secured by Louis Tiffany, and she was connected with them several years.
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Faience hippopotamus statuettes like this one were placed in tombs and temples to help the deceased be successfully reborn into the afterlife. Brooklyn, Brooklyn Museum. It was not until the Middle Kingdom of Egypt (c. 2055–1650 BCE) that Taweret became featured more prominently as a figure of religious devotion.
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From 1865 the factory was known as Egersunds Fayancefabrik, producing the fine tin-glazed pottery on earthenware known as faience. By 1876, the factory encountered a financial crisis and was administered by the courts. The estate was not insolvent and the factory continued. Feyer was offered a position which he declined.
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Detailed map of the Ptolemaic Egypt. Egyptian faience torso of a king, for an applique on wood While ruling Egypt, the Ptolemaic Dynasty built many Greek settlements throughout their Empire, to either Hellenize new conquered peoples or reinforce the area. Egypt had only three main Greek cities—Alexandria, Naucratis, and Ptolemais.
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Lonhuda pottery produced by the Lonhuda Pottery Company of Steubenville, Ohio was a pottery business founded in 1892 by William Long (1844–1918) with investors W.H. Hunter and Alfred Day. The pottery business utilized underglaze faience. It is known for brown underglaze and slip-decoration. The firm closed in 1896.
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27 distinct ushabtis (all given titles), gold foil, multi-columned hieroglyphs, to simple blue faienced; James, 2000, Servant Figures, p. 111–127. They were divided into groups: some honored Osiriform gods, gold-foiled; some were more simple of wood, or faience. Ushabti with linen grave clothes. 19th Dynasty, Heracleopolis Magna.
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They also developed a ceramic glaze known as faience, which was used well into the Roman Period to decorate cups, amulets, and figurines. During the last predynastic phase, the Naqada culture began using written symbols that eventually were developed into a full system of hieroglyphs for writing the ancient Egyptian language.
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Much of its exterior decoration has been lost, but the interior retains superb mosaics, faience, and murals. People have described the architecture of the building as “anticipating the Taj Mahal.” The estimated 200 ton dome stands 49 meters (161 ft) tall from its base, and is currently undergoing extensive renovation.
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According to the Egyptologist Peter Kaplony, a single faience cylinder-seal may possibly bear Nikare's name, and could thus be the only contemporary attestation of this king.Peter Kaplony: Die Rollsiegel des Alten Reichs, vol. 2: Katalog der Rollsiegel, (= Monumenta Aegyptiaca. Vol. 3), La Fondation Égyptologique Reine Élisabeth, Brüssel 1981, issue 144.
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The structure probably has a steel frame. The Bridge Street façade is mainly timber framed, with plaster panels, and some brick and faience decoration. It is roofed in green Westmorland slate. It is in five storeys, with five gables, and is expressed in an E-plan with three projecting bays.
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It was purchased by the Cambridge Tile Manufacturing Company in 1927. The company is known for its use of relief in its decorative pottery and green, blue, and yellow glazes. Its vases haabe appeared on Antiques Roadshow. Wheatley imitated the work of other artists including Limoges and Grueby Faience Company.
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These are usually steep and triangular: curved and shaped gables are uncommon in the area. Stucco, plaster, weatherboarding and woodwork were often used to decorate the face of the gable. Buildings decorated with yellow faience include 4 King's Gardens, Hove. This gable at the former Belgrave Hotel on Brighton seafront has ornate mouldings.
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Amesbury 48 is a bowl barrow which also survives as an earthwork () although it is now only 0.3 metres high. It includes an outer bank which survives as a slight earthwork 4 metres wide and 0.2 metres high. Excavations by Colt Hoare uncovered a cremation with beads of stone, amber and faience.
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Other items recovered included faience beads and a seal stamp with a seated lion facing a crouching enemy. This type of seal can be dated to the Sixth Dynasty or the First Intermediate Period. The north-east compartment is the largest and most significant of the tomb. It is accessed by a shaft.
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In 1212 Kaykaus built a madrasa in Ankara and in 1217 the Şifaiye Medresesi in Sivas. The latter was designed as a hospital and medical school. The sultan’s mausoleum is in the south eyvan of the building under a conical dome. The façade includes a poem by the sultan in blue faience tiles.
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The Minoans created elaborate metalwork with imported gold and copper. Bead necklaces, bracelets and hair ornaments appear in the frescoes, and many labrys pins survive. The Minoans apparently mastered faience and granulation, as indicated by a gold bee pendant. Minoan metalworking included intense, precise temperature, to bond gold to itself without burning it.
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In the 18th century, a porcelain factory was established in 1773 by Baron Erik Gabriel Sparre. The porcelain produced here is referred to as faience, and the production was spread around Sweden. The factory remained for only a few decades and production was cancelled in 1790. In 1901, a glass factory was established.
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Chinese caddy set, c. 1780, with Western caddy spoon of 1805. English manufacturers at first imitated the Chinese, but quickly devised forms and ornament of their own, and most ceramic factories in the country competed for the supply of the new fashion. Earlier tea caddies were made of either porcelain or faience.
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The Minoans created elaborate metalwork with imported gold and copper. Bead necklaces, bracelets and hair ornaments appear in the frescoes, and many labrys pins survive. The Minoans apparently mastered faience and granulation, as indicated by a gold bee pendant. Minoan metalworking included intense, precise temperature, to bond gold to itself without melting it.
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Covered tureen, Niderviller manufactury, exhibited in the Birmingham Museum and Art Gallery. After Custine purchased the business, the factory began producing tableware in the English style. In 1770, Custine acquired property in the Niderviller region, which included a faience factory. The manufactory had been founded in 1735, but had enjoyed limited profitability.
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Redevelopment of the Mutual Store in 2006 has further enhanced the lane with additional shops. A vista up Degraves laneway is created by "Majorca House", an ornate 1930s building dressed in faience. People use Degraves Street as a quick stop for a coffee before going to catch their train at Flinders Street station.
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Caiger-Smith, Alan, Tin- glazed Pottery in Europe and the Islamic World: The Tradition of 1000 Years in Maiolica, Faience and Delftware (Faber and Faber, 1973) From there it spread to Egypt, Persia and Spain before reaching Italy in mid-15th century, early Renaissance, Holland in the 16th century and England, France and other European countries shortly after. The development of white, or near white, firing bodies in Europe from the late 18th century, such as creamware by Josiah Wedgwood, and increasingly cheap European porcelain and Chinese export porcelain, reduced the demand for tin-glaze Delftware, faience and majolica. The rise in the cost of tin oxide during the First World War led to its partial substitution by zirconium compounds in the glaze.
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Félix Bracquemond designed the Service Rousseau, c. 1867, for the editor François- Eugène Rousseau, credited as the first expression of japonisme in France.Musée d'Orsay, "Art, industry and japonism : the "Rousseau" set" Creil-Montereau faience is a faïence fine, a lead-glazed earthenware on a white body originating in the French communes of Creil, Oise and of Montereau, Seine-et-Marne, but carried forward under a unified direction since 1819. Emulating the creamware perfected by Josiah Wedgwood in the 1770s, and under the artistic and technical direction of native English potter entrepreneurs, the faience of Creil-Montereau introduced the industrial technique of transfer printing on pottery in France and raised it to a high state of perfection during its peak years in the 19th century.
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The advertising frames are in a faience honey color and the name of the station is also in faience, in the style of the original CMP, a unique case on line 2. The seats are in a Motte style red. The station is distinguished however by the lower part of its platforms which are vertical and not elliptical, except at the end on the Porte Dauphine side (where the accesses take place), which is located within the very end of the old platforms; it is therefore recognizable by its lower vault and the curvature of the platforms at the level of the tympan. The wall on the platform towards Nation has a niche fitted out as a small display window dedicated to Victor Hugo.
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French faience, from Lunéville Tin-glazing is the process of giving tin-glazed pottery items a ceramic glaze that is white, glossy and opaque, which is normally applied to red or buff earthenware. Tin-glaze is plain lead glaze with a small amount of tin oxide added.Caiger-Smith, Alan, Tin-Glaze Pottery in Europe and the Islamic World: The Tradition of 1000 Years in Maiolica, Faience and Delftware, London, Faber and Faber, 1973 The opacity and whiteness of tin glaze encourage its frequent decoration. Historically this has mostly been done before the single firing, when the colours blend into the glaze, but since the 17th century also using overglaze enamels, with a light second firing, allowing a wider range of colours.
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A kiln capable of producing temperatures exceeding was required to achieve this result, the result of millennia of refined pottery-making traditions. The term is now used for a wide variety of pottery from several parts of the world, including many types of European painted wares, often produced as cheaper versions of porcelain styles. English generally uses various other terms for well-known sub-types of faience. Italian tin-glazed earthenware, at least the early forms, is called maiolica in English, Dutch wares are called Delftware, and their English equivalents English delftware, leaving "faience" as the normal term in English for French, German, Spanish, Portuguese wares and those of other countries not mentioned (it is also the usual French term, and fayence in German).
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In between these arches are thin engaged columns that were once all covered in coloured faience (ceramic), which remains on some of them. This set of elements then blends into the much larger decorative facades above them. These facades feature a wide interlacing sebka pattern (a common Maghrebi motif that roughly resembles palmettes or fleur-de-lys) sculpted in brick and filled-in with green faience. Although the decoration of the four sides of the minaret is almost the same, there are small differences between the north and south facades on the one hand and the east and west facades on the other, with details of the shapes of the sebka pattern and of the polylobed arches on the lower facade varying slightly.
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"William," the faience hippopotamus, early second millennium B.C. Harkness and his mother, Anna, gave substantial sums to several important non-profit enterprises. Harkness was a major benefactor of the New York Public Library and the Metropolitan Museum of Art.Finding aid for the Preston Remington records, 1925-1970, Metropolitan Museum of Art. Retrieved 25 July 2014.
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The northern entrance portal is lavishly decorated with mosaic faience, glazed and unglazed terracotta.Lisa Golombek and Donald Wilber, The Timurid Architecture of Iran and Turan (Princeton: Princeton University Press, 1988)Arthur Upham Pope, "The Fourteenth Century", in A Survey of Persian Art ed. Arthur Upham Pope and Phyllis Ackerman. (Tehran: Soroush Press, 1977), 1079–1082.
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Bennett came from Burslem, Staffordshire. In the 1870s, he was the director of the "Lambeth faience", that is, "art" stoneware, department at Doulton & Co. in London. Around 1876, he immigrated to America and started his own ceramic business in New York City. His work soon became sought-after for its high quality and painterly style.
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Following this commission they were asked to design the 41st Precinct Station House on Mosholu Parkway, in Norwood, the Bronx, which is now the station house for the 52nd Precinct. The building is of red brick and architectural terracotta, with a clock tower.Laurence, Sturgis (January 1907) "Architectural faience" in Architectural Record no.21 p.
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One of the most common objects discovered in archaeological sites in the Mierzanowice culture are axes and sickles.Kaczanowski and Kozłowski, p. 144. Another type of artifacts are necklaces made of faience and bones. The Mierzanowice culture is well known for its earrings in the shape of a willow leaf, often produced in local workshops.
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In Romagna, Faenza, which gave its name to faience, produced fine maiolica from the early fifteenth century; it was the only significant city in which ceramic production industry became a major part of the economy.Goldthwaite 1989:14. Bologna produced lead-glazed wares for export. Orvieto and Deruta both produced maioliche in the fifteenth century.
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Ushabti of pharaoh Seti I (ruled 1290–1279 BC). Blue faience (H. 26 cm), from Thebes, Reign of Seti I, 19th dynasty, New Kingdom With 3,500 objects on display, the museum's Egyptian collection is among the most important in Europe. The sarcophagi, the stele, and ushabti all document three-thousand years of a society.
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The artifacts of this period include a seal of quarter-foil shape made of shell, arrowheads, bangles and rings of copper, beads of carnelian, jasper, lapis lazuli, steatite, shell and terracotta, pendents, bull figurines, rattles, wheels, gamesmen, and marbles of terracotta, bangles of terracotta and faience, bone objects, sling balls, marbles and pounders of sandstone.
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Hans Syberg and his cousin Grete Jensen, a daughter of the painter Peter Hansen, established a ceramics workshop in Valby in 1928. They specialized in faience with flower decorations inspired by Anna Syberg's watercolours. Lars Syberg joined the company in 1931 and gradually took it over. The production peaked during the 1940s and early 1950s.
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Silver, gold, lapis lazuli (imported from Badakhshan in what is now Afghanistan), and Egyptian faience were used ornamentally,Redford, Donald B. Egypt, Canaan, and Israel in Ancient Times. (Princeton: University Press, 1992), p. 17. and the cosmetic palettes used for eye paint since the Badari culture began to be adorned with reliefs.Gardiner (1694), p.
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He was succeeded by Johan Ernst Pfau (c. 1685-1752) in 1728. Christian Gierløf (1706-86), a brewer, took over the factory in 1749. He was soon faced with new competition, both from Jacob Fortling's Kastrup Værk on Amager, an enterprise in Schlesvig and especially a faience manufactury established by Peter Hofnagel in Østerbro.
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On the floor are tiles designed by the Grueby Faience Company, with geometric patterns and imagery reminiscent of the iconography in other cathedrals. A compass rose, the official icon of the Anglican Communion (in which the Episcopal Church participates), is located on the floor between the two stalls, in the center of the choir.
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This faience vessel from the early Ptolemaic period (4th century BCE) is molded in the form of Taweret and was perhaps used to ritually cleanse liquid. Walters Art Museum, Baltimore. Taweret bears physical aspects of both a fertility goddess and a fearsome protective deity. She takes the form of a female hippopotamus, a highly deadly creature.
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However, there are many examples of nearly identical sistrums and columns dating all the way to Dynasty 18 in the New Kingdom. It is, therefore, purely Egyptian in style. Aside from the name of the king, there are other features that specifically date this to the Ptolemaic period. Most distinctively is the color of the faience.
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Vase, 1902-06 The Aluminia factory mark before 1969 After 1969: The Royal Copenhagen Fajance mark Aluminia was a Danish factory of faience or earthenware pottery, established in Copenhagen in 1863. (1838-1922) was the founding owner of the Aluminia factory in Christianshavn. In 1882, the owners of Aluminia purchased the Royal Copenhagen porcelain factory.Erhard Winge Flensborg (2008) Aluminia.
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Burnand, its architect, erected the town hall between 1768 and 1773, on the site of the former covered market. Inside the building, furniture and decorations are displayed, faience stoves, panels, wainscots and paintings. The vaults of the ancient granary are used year-round for art exhibitions.Yverdon-les-Bains Tourism-History-The Town Hall accessed 11 May 2009.
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There was a fire in the manufactory in 1913,Bell. but Grueby rebuilt. In 1917, the C. Pardee Works in Perth Amboy, New Jersey, bought out the company's works; the Grueby company closed for good in 1920. Grueby Faience Company, which still remains better known for its art pottery, also produced glazed architectural tiles, which were impressed in molds.
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Slott-Møller is remembered for his portraits of well-known figures from Southern Jutland and South Schleswig, often characterized with customized backgrounds such as a landscape or appropriate buildings."Flensborghus" , Grænseforeningen. Retrieved 4 February 2013 He also worked at the faience factory Aluminia from 1902 to 1906 designing a number of notable items together with ."Aluminia", Den Store Danske.
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California Faience produced two kinds of tiles, decorative and architectural. The decorative tiles were known as tea tiles and basically served the purpose of being a trivet, protecting furniture from being burned from hot teapots and other hot objects. Tea tiles could have a simple or ornate design. Some were also framed and hung on walls like paintings.
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There are some circular stamp seals with geometric designs, but lacking the Indus script which characterised the mature phase of the civilisation. Script is rare and confined to potsherd inscriptions. There was also a decline in long-distance trade, although the local cultures show new innovations in faience and glass making, and carving of stone beads.Kenoyer (2006).
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The factory had indeed been given the privilege to produce true porcelain, but faience was the only ware that was actually produced until the 1770s. In 1758, the rival manufactory at Marieberg began to produce porcellanous stoneware. High production costs, a small market, and strong competition from imported Chinese porcelain kept Rörstrand from trying to copy Marieberg's goods.
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Zusman, the owner of the Kamianyi Brid faience factory, also lived in Berdichev, not far from the Tsadik's residence. In 1919, there was a pogrom in Kamianyi Brid, which took lives of more than 200 Jewish men, including the local rabbi Shmuel Shvartzstein. The Jewish cemetery was founded here after pogrom as the burial place for its victims.
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Madeleine Leroy (1685–1749), was a French industrialist.Béatrice Craig: Women and Business since 1500: Invisible Presences in Europe and North America? After the death of her husband in 1706, she managed one of the biggest faience-factories in France in Marseilles, with export internationally to both the Middle East and America. She was the daughter of Anne Heraud (d.
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The Hoffmann kiln Hakkemose Brickworks had by the 1870s developed into the largest brickyard in the country. It produced 7 million bricks in 1872. In 1883, it also started a production of terracotta objects and faience cocklestoves. The brickyard was represented and won awards on the 1872 Nordic Exhibition in Copenhagen and again on the Nordic Exhibition of 1888.
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For example, in an anthropological context: a 17th-century lathe, a piece of faience, or a television each provides a wealth of information about the time in which they were manufactured and used. Cultural artifacts, whether ancient or current, have a significance because they offer an insight into: technological processes, economic development and social structure, among other attributes.
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Architecture in Qalaat Beni Hammad featured adornments of "porcelain mosaics of many-colored faience, sculpted panels and plaster, enameled terra-cotta stalactites; building and pottery ornamentation consisted of geometric designs and stylized floral motifs." Hammadid emirs constructed five palaces, most of which are now destroyed. The keep of the Palace of the Fanal (Qasr al-Manar) does survive.
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The façade, restored and on display in the Museum of Liverpool The shop front of No. 29 was added for Percy Galkoff by local builder, John Tomkinson. It comprised a facing of green faience tiles with gold patterning, and bearing the legend “P. Galkoff Family Butcher”. It also bore the word “Kosher” in Hebrew lettering, also in gold.
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The conical dome is covered with turquoise faience. However several sections were added until 1854. Selimoğlu Abdülvahit decorated the interior and performed the woodcarving of the catafalques. The decree of 6 April 1926 confirmed that the mausoleum and the dervish lodge (Dergah) were to be turned into a museum. The museum opened on 2 March 1927.
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A large number of blue-green faience bangle fragments are found on the site’s surface; most are very fragmentary. Parallels are found for some Bangle types in the Harappa Phase (Period 3) levels at Harappa.Kenoyer 1992: 87, Fig. 3 Ash pits and kilns of considerable size were observed on the northwestern and eastern peripheries of the site.
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There is a clock tower on the right of the facade above the main entrance. The banking hall is octagonal and domed the centre of which is glazed, the walls and columns have faience decoration the floor is of mosaic. The builder was William Sindall; the structural steel work was by A. Hanyside & Co.; the stone carving, mainly around the doorway, on the clock tower and in the gables was by Farmer & Brindley; the ceramic tiles were made by Craven Dunnill & Co.; the faience was by Burmantofts; the mosaic flooring was by J.F. Ebner and J. Rust; the decorative iron work and light fittings were made by Hart Son Peard & Co.; the lighting was by Belshaw & Co.; the clock in the tower was made by John Moore & Sons of Clerkenwell. The bank cost £32,190.
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Towards the end of the sixteenth century, the tea master Rikyu also patronized a certain appearance of wares, called Rikyu Shigaraki. These wares were made with a grey faience that imitated Korean wares. The Todo family came to power in 1635 and employed a tea master by the name of Kobori Enshu to supervise what would be later called Enshu Shigaraki ware.
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The Catacombs beneath the Serapeum Architecture has been traced to an early Ptolemaic and a second Roman period. The excavations at the site of the column of Diocletian in 1944 yielded the foundation deposits of the Serapeion. These are two sets of ten plaques, one each of gold, silver, bronze, Egyptian faience, sun-dried Nile mud, and five of opaque glass.Kessler, D. (2000).
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Golden Cross pub, Custom House Street, Cardiff Golden Cross pub, Custom House Street, Cardiff Glazed architectural terra-cotta starts appearing in building facades in Wales around 1900. An example occurs in Longbridge Street in Llanidloes. This is a double fronted shop faced with brownish Burmantofts faience and the shops with facias with decorative tendril designs. “Scourfield and Haslam” (2013), 172.
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In 1889, company employee J. Llewellyn moved to Liberty & Co taking with him exclusive selling rights. In 1881 the premises were reconstructed and these incorporated art pottery galleries. An exhibition was staged, of architectural faience, produced to the designs of M. B. Adams by Burmantofts. In 1884 the company became a limited company and their name changed to Howell & James Ltd.
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Foundation stone. Liverpool Stadium was a boxing arena on St. Paul's Square, Bixteth Street, Liverpool, England. The foundation stone was laid by the Earl of Lonsdale on 22 July 1932, and it opened to the public on 20 October 1932. The facade was finished in faience tiling with Art Deco detail, as were the lobby, corridors and public areas inside.
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Few artifacts remain of Hor-Aha's reign. However, the finely executed copper-axe heads, faience vessel fragments,F. Petrie Abydos, II, London: Egypt Exploration Fund. Memoir 23, A. J. Spencer Early Egypt: The rise of civilisation in the Nile Valley, London: British Museum Press 1993 ivory box and inscribed white marbles all testify to the flourishing of craftsmanship during Aha's time in power.
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The Hearst Castle employs California Faience tile on its exterior. Architects such as Julia Morgan used the pottery company's tiles, as for William Randolph Hearst at San Simeon. The 1920s were peak years for tile production, often "brilliantly multi-colored", with Spanish and medieval inspired designs. The pottery business withered during the Great Depression, but the business survived until 1959 as a studio.
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The building was purchased by MetLife in 1985, and the French Companies subsequently moved out. During the 1990s, the Fred F. French Building underwent a complete restoration. Although the faience panels were largely undamaged, the terracotta was replaced because of rust. The lobby was re-gilt and the ceiling was repainted; in addition, the elevators from the lobby were totally replaced.
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There was mixed commentary on the Fred F. French Building's design. George S. Chappell lamented the "rows of dreary factory windows" in The New Yorker, rhetorically commenting: "Can't the Fifth Avenue Association do something about this?" The WPA Guide to New York City described the faience panels as being "of questionable taste." Other criticism of the building was more positive.
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Le Déluge, embarquement sur l'Arche, by Masséot Abaquesne (1550), exhibited in the Musée national de la Renaissance d Écouen. Masseot Abaquesne (c. 1500-1564) was a manufacturer of Rouen faience, in France between 1535 and 1557. He was the maker of the remarkable paving in the Chateau de Ecouen, which has been attributed both to Luca della Robbia and Palissy.
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Three gold finds will be presented. In addition to the Hiddensee treasure, this also includes the Gold rings of Peenemünde. The presentation of the history of Stralsund as a former Swedish city and as Hanseatic and port city is given a lot of space. Faience manufactured at Stralsund Fayencenmanufaktur, Spielkarte n the Stralsunder Spielkartenfabrik bear witness to the economic importance of Stralsund.
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Apart from the skeletal material, the graves were full of grave goods, mainly pottery, as well as coins, objects made of various metals and jewellery. Among these finds stand out a delta-shaped askos, known also as “hot-water bottle”, a clay sieve, a small aryballos made of faience and fish- plates. These finds are kept in the Archaeological Museum of Pylos.
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The Mehrgarh Period II (5500 BCE–4800 BCE) and Merhgarh Period III (4800 BCE–3500 BCE) were ceramic Neolithic, using pottery, and later chalcolithic. Period II is at site MR4 and Period III is at MR2. Much evidence of manufacturing activity has been found and more advanced techniques were used. Glazed faience beads were produced and terracotta figurines became more detailed.
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Armin Krausz, Sheffield Jewry, p.128 Sukkah, with roof part-open The building was designed by Mansell Jenkinson in a classical style, featuring a portico in the Doric order. It is built of brick, with faience dressings, and also has notable internal features, including a granite ark, choir gallery and hardwood pews.Ruth Harman et al, Pevsner Architectural Guide: Sheffield, p.
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In the eighteenth century, no fewer than 30 families working there, with 25 fours. Saint-Eutrope specialized in the manufacture of large pieces: mass graves, Ponnes and flagons, as well as "faience pebbles" yellow glaze characteristics of certain workshops in the locality. This craft has reached its peak in 1841 with 140 potters. After the 1914-18 war, they were only a dizaine.
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Blue-and-white faience albarello with Pseudo-Kufic designs, Tuscany, 2nd half of 15th century. An albarello (plural: albarelli) is a type of maiolica earthenware jar, originally a medicinal jar designed to hold apothecaries' ointments and dry drugs. The development of this type of pharmacy jar had its roots in the Middle East during the time of the Islamic conquests.
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Konakovo contains eight cultural heritage monuments of local significance. They include one of the buildings of the faience factory, the complex of Kuznetsov's dacha, as well as monuments to soldiers fallen in World War II and of people killed during the October Revolution and subsequent events. The Konakovo District Museum, located in Konakovo, contains exhibitions on the archeology and history of the district.
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The two entry vestibules have quarry tile floors and brick walls with decorative tiles, manufactured by the Flint Faience Tile Company inset. The corridors floors feature rust-colored sheet linoleum inset into a cream-colored terrazzo bases and with coved border. Corridor walls have a cement wainscoting topped with oak trim. The classroom floors are carpeted, with original wood floors beneath.
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Baudin moved to Saint-Briac-sur-Mer, Ille-et-Vilaine, Brittany in 1898 for health reasons. There he opened a ceramic workshop where he made "soft sandstones, fired on iridescent porcelain, with metallic reflections." (grès tendres, flammés sur porcelaines irisées, reflets métalliques). These include a series of faience medallions with blue glaze drawn by the sculptor Théophile Camel (1863–1911).
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He later made trips to Spain, Morocco, Egypt and Istanbul to study and document what he saw there. In 1905, he moved to Fontenay-aux-Roses where he set up a shop to produce faience tiles with orientalist themes. He decorated his home in Ottoman style and lived a reclusive life. His exact date of death was apparently not recorded.
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Pierrette Perrin (died 1794), was a French industrialist.Béatrice Craig: Women and Business since 1500: Invisible Presences in Europe and North America? After the death of her husband Claude Perrin in 1748, she developed his company in to one of the biggest faience-factories in France in Marseilles, with export internationally to both the Middle East, the West Indies and Latin America.
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Green glazed faience weight, inscribed for the high Steward Aabeni. Late Middle Kingdom. From Abydos, Egypt. The Petrie Museum of Egyptian Archaeology, London The high steward (also called chief steward or great overseer of the house; Egyptian: imi-r pr wr) was an important official at the royal court in Ancient Egypt in the Middle Kingdom and in the New Kingdom.
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The mark on the underside of a piece made by Ephraim Faience Pottery founder, Kevin Hicks. Each piece is individually marked with a date code, the company logo and an artist signature stamp. Additional stamps indicate whether it is an experimental piece, made during an anniversary year (5th and 10th anniversaries are both marked) or part of a special edition.
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A bishop-bowl A bishop-bowl (Danish: Bispebolle) is a punch bowl made of faience and shaped in the form of a mitre (a bishop's hat) that was popular in Denmark and Schleswig-Holstein in the eighteenth end nineteenth centuries. The alcoholic drink served from the bowl was known as "bishop".Fleming, John & Hugh Honour. (1977) The Penguin Dictionary of Decorative Arts.
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Mycenean civilization is represented by stone, bronze and ceramic pots, figurines, ivory, glass and faience objects, golden seals and rings from the vaulted tombs in Mycenae and other locations in the Peloponnese (Tiryns and Dendra in Argolis, Pylos in Messinia and Vaphio in Lakonia). Of great interest are the two golden cups from Vafeio showing a scene of the capture of a bull.
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Randalls originated in 1891, and the current store was built in 1937–38 and designed by William Eves (1867–1950). The store was designed in the 1930s style with cream faience. During the Second World War, the store was accused of adverts which were sympathetic towards Nazism. It was used as a location for the British sitcom Only Fools and Horses.
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The museum collection features decorative ceramic tiles or azulejos from the second half of the 15th century to the present day. Besides tiles, it includes ceramics, porcelain and faience from the 19th to the 20th century. Its permanent exhibition starts with a display of the materials and techniques used for manufacturing tiles. After this the exhibition route follows a chronological order.
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The subterranean burial maze contains four magazine galleries, each pointing straight to one cardinal direction. The eastern gallery contained three limestone reliefs depicting king Djoser during the celebration of the Heb-Sed (rejuvenation feast). The walls around and between these reliefs were decorated with bluish faience tiles. They were thought to imitate reed mats, as an allusion to the mythological underworld waters.
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The mosque occupies an area of roughly 1500 square meters. The mosque features one of the tallest minarets in the old city, making it very prominent on the skyline, especially from the south. The minaret has a square base and is decorated simply with bands of green faience. The main gate of the mosque opens on its west side, facing a small public square.
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Typical Harappan pottery was found and the complex itself appeared to be a pottery workshop. Ceramic items found included roof tiles, dishes, cups, vases, cubical dice, beads, terracotta cakes, carts and figurines of a humped bull and a snake. There were also beads and possibly ear studs made of steatite paste, faience, glass, carnelian, quartz, agate and black jasper. Little metal was in evidence.
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The used white and decorative faience terracotta tiling on his buildings which was sourced from the Hathern Terracotta works in Liecestershire (now Ibstock plc).Stratton, M. (1993) The Terracotta Revival : Building Innovation and the Image of the Industrial City in Britain and North America. London : Gollancz. pp. 139–141. The pylon frontage design will also be seen on the Odeon, Altrincham and the Pyramid, Sale.
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The northern building of Wanamaker's store, but not the southern building above, burned in the 1950s. Octagonal windows on the brick wall of the platform were the store's showcases. Plaques of beavers are located on the walls, in honor of John Jacob Astor's fortune derived from the beaver-pelt trade. The plaques, as well as name tablets, were made by the Grueby Faience Company in 1904.
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Roth's design reflects many Hungarian church building traditions, in keeping with the practice of many immigrant communities of the time. The stucco exterior is accented with inlaid faience tile, overhanging roof with rafter tails, and clay-tiled conical tower. Inside, the coffered ceiling is a common element in churches in eastern Hungary and Transylvania. Its 322 individual coffers are handpainted with Hungarian folk motifs.
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Auguste Majorelle, charger mid-19th century, Lunéville Jacques Chambrette Senior initially started the first fine pottery works in Lorraine in 1711. His son began in 1722 by trading faience in Lunéville. He built his own factory there in 1730, just before he obtained the royal permission. He formulated a new type of earthenware called "terre de Lorraine" in 1748 based on the study of English potteries.
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Noack was born in Ribe, the daughter of merchant Johan Peter N. (1831-1911) og Johanne Metdine Barkentin (1850-1913). Ugift. She was the sister of theologian Carl Wulff Noack. In 1902 Noack went to Copenhagen where she earned a living painting porcelain at the Aluminia faience factory. She then attended Vallekilde Folk High School, specializing in sculpture and qualifying as an apprentice in 1910.
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This trade is testified archaeologically by large amounts of Egyptian commodities deposited in the A-Group graves. The imports consisted of gold objects, copper tools, faience amulets and beads, seals, slate palettes, stone vessels, and a variety of pots. During this time, the Nubians began creating distinctive black topped, red pottery. Around 3100 BC the A-group transitioned from the Early to Classical phases.
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Joseph Clerissy, Pierre's brother, founded the first faience factory in the Marseilles region around 1677, in Saint-Jean-du-Désert. His family managed the factory until 1733. At his death, the factory management was undertaken from 1688 to 1697 by François Viry who had married the widow of the deceased potter, Anne Roux. Direction was assumed by Antoine Clérissy, son of Joseph, from 1697 to 1722.
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His pub designs generally eschewed the then fashionable modernism in favour of nostalgic neo-Georgian or neo-Tudor designs that presented a dignified front that celebrated Englishness. According to Nikolaus Pevsner in The Buildings of England, Sewell's pubs "usually sport attractive faience decoration and domestic architectural motifs". The last known pub designed by Sewell was the Royal George, near Euston ( 1939). The Royal Oak, Bethnal Green.
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Despite a relatively long reign for the period, Wahibre Ibiau is known from only a few objects, mostly scarab seals bearing his name.Photos from the Petrie Museum of Egyptian Archaeology on Digital Egypt He is also named on the stela of an official named Sahathor, probably from Thebes.British Museum inventory number EA 1348. Finally, a fragment of faience from El-Lahun mentions this king.
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The streets, lanes and by-lanes were oriented in similar fashion. The pottery assemblage shows a mixed bag of Early Harappan and Mature Harappan forms. The artifacts of the period included beads of semi-precious stones (including two caches of beads kept in two miniature pots), bangles of copper, shell, terracotta and faience; fishhook, chisel, arrowhead of copper; terracotta animal figurines and a host of miscellaneous artifacts.
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Typical Harappan pottery was found and the complex itself appeared to be a pottery workshop. Ceramic items found included roof tiles, dishes, cups, vases, cubicle dice, beads, terracotta cakes, carts and figurines of a humped bull and a snake. There were also beads and possibly ear studs made of steatite paste, faience, glass, carnelian, quartz, agate and black jasper. Little metal was in evidence.
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The facade is mostly designed with brick walls and limestone trim. The base of the facade is ornamented with two bronze entrances and multiple mythological figures, while the top contains a "tower" with Mesopotamian bas-reliefs and faience tiles. Other multicolored details such as ornamental friezes ornament the facade. The Middle Eastern design motifs are also used in the lobby, which contains a polychrome vaulted ceiling.
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Studio pottery—exemplified by the Grueby Faience Company, Newcomb Pottery in New Orleans, Marblehead Pottery, Teco pottery, Overbeck and Rookwood pottery and Mary Chase Perry Stratton's Pewabic Pottery in Detroit, the Van Briggle Pottery company in Colorado Springs, Colorado, as well as the art tiles made by Ernest A. Batchelder in Pasadena, California, and idiosyncratic furniture of Charles Rohlfs all demonstrate the influence of Arts and Crafts.
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Marginalized as an architect, Bindesbøll turned increasingly towards the art of craftsmanship. As early as 1880, he came into the field of pottery encouraged by the friend and architect Andreas Clemmensen. He began producing ceramics at Frauens Levarefabrik. He worked at Johan Wallmann in Utterslev 1883-90, between 1890 and 1891, he worked with faience at Kähler in Næstved and at G. Eifrig in Valby 1891-1904.
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Friedrich Casimir tried to implement mercantilism into Hanau-Münzenberg severely devastated by the effects of Thirty Years' War. A leading role in this is claimed for his adviser Johann Becher. A successful achievement was the foundation of a factory to produce Faience, the first in Germany. On the other hand, the count's extravagant initiative to lease Guiana from the Dutch West India Company was a devastating experiment.
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Louis-Martin Lebeuf was born on 26 May 1792 in L'Aigle, Orne. His parents were Martin Lebeuf, a notary in L'Aigle, and Félicité Hilliere. On 12 November 1922 in Paris he married Claudine Athénaïs Marie Pollissard (1804–87), daughter of Adrien Edmé Pollissard, a Paris merchant, and Alexandrine Marie Denise Pajot. Their children were Adrien Louis Lebeuf (1824–76), faience manufacturer, Alfred Louis Lebeuf (d.
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The eastern desert was also an important source for colorful semi-precious stones such as carnelian, amethyst and jasper. In the Sinai were turquoise mines, the deep blue lapis lazuli had to come from far away Afghanistan. Glass and faience (glaze over a core of stone or sand) were favorites to replace rocks because they could be produced in many colors.– Ancient Egyptian Jewelry.
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Interior of a Woolworths store in Reading in 1945 After the First World War, the company continued to expand with the opening of further branches. By 1923 there were 130 branches, and William Lawrence Stephenson (1880–1963) became managing director. He implemented a strategy of major expansion, with the company buying or building freehold properties. Many of the stores had distinctive faience tiled art deco frontages.
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The mosque is inspired by Persian architecture and is notable for its colourful exterior and interior. It features a facade and onion dome marked with extensive Persian faience tilework, and an azure blue background featured in floral patterns. Islamic calligraphy from the Quran is inscribed in rosettes, amidst swirls in colours of green, yellow, red and white. The mosque has its origins among the city's Iranian community.
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Egyptian pendant of lions or Apis Bull. The Walters Art Museum. The term faience broadly encompassed finely glazed ceramic beads, figures and other small objects found in Egypt as early as 4000 BC, as well as in the Ancient Near East, the Indus Valley Civilisation and Europe. However, this material is not pottery at all, containing no clay, but a vitreous frit, either self-glazing or glazed.
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A figure of either the god Osiris or of the composite deity Ptah-Sokar-Osiris could be found, along with heart scarabs, both gold and faience examples of djed-columns, Eye of Horus amulets, figures of gods, and images of the deceased's ba. Tools for the tomb's ritual called the "opening of the mouth" as well as "magical bricks" at the four compass points could be included.
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Kastrup Works In 1749 Jacob Fortling obtained a royal license to establish a lime plant in Kastrup. It harbor in Kastrup for the landing of chalk from Saltholm. He soon diversified with a brickyard (1752) and a pottery specializing in faience (1755) at the same site. This marked the beginning of an industrial development that accelerated after the opening of Kastrup Glassworks in 1847.
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If a beadmaker was a little short of clay and had a little extra lime and the fire was hotter than usual, the mixture would become glass. In fact some early tubular faience beads are clayish at one end and pure glass at the other end. Apparently the beads weren't fired evenly. The uneven beads were noticed early on, this led to experimentation, slowly at first.
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As with the architectural styles he used when designing his buildings, the materials and decoration also show the use of diverse materials. Waterhouse is known for the use of terracotta on the exterior of his buildings, most famously at the Natural History Museum. He also used faience, once its mass production was possible, on the interiors of his buildings. Such as the Victoria Building, University of Liverpool.
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The best surviving example contained a ring of upright posts, up to in diameter, with one pair suggesting an entrance to the south-east. In the central hearth, a faience bead had been dropped. The farmers who dwelt in this house used decorated Beaker-style pottery, cultivated barley, oats, and wheat, and collected hazelnuts. They dug ditches that marked the surrounding grassland into sections, indicating land ownership.
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Pope; Survey, p. 1185–88 It employed the new haft rangi (seven-colour) style of tile mosaic. In earlier Iranian mosques the tiles had been made of faience mosaic, a slow and expensive process where tiny pieces are cut from monochrome tiles and assembled to create intricate designs. In the haft rangi method, artisans put on all the colors at once, then fired the tile.
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64Studio International, Studio Trust, Volume 168, Issues 855-858, p. 19 As of 1777, it included faience by Bernard Palissy.Oeuvres de Bernard Palissy, revues sur les exemplaires de la Bibliothèque du Roi, avec des notes, par MM. Faujas de Saint-Fond et Gobet, chez Ruault, 1777, p. lxiii In the 1960s, German painter Francis Bott was commissioned to design the stained glass in the chapel.
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Indeed, analysis of some frits that date to the time of Thutmose III and later show the use of bronze filings instead of copper ore. Stocks suggests that waste powders from the drilling of limestone, combined with a minor concentration of alkali, may have been used to produce blue frits.D.A. Stocks 1997, "Derivation of Ancient Egyptian Faience Core and Glaze Materials," Antiquity 71: 181.
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But analysis of a wide array of Egyptian frits contradicts the binder composition that Kühne offers.Kaczmarczyk and Lahanier 1985, 97. Vandiver and Kingery argue that one method of producing a faience glaze was to “frit or melt the glaze constituents to form a glass,” then grind the glass and form a slurry in water, and finally apply the glaze “by dipping or painting.”P.
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As a material for sculptures he mostly used terra cotta, with engobe being his favourite pottery technique along with less frequently used faience and glazing techniques. His work is characterized by social motifs from urban and rural life. In 1942 he returned to Čakovec, where he lived with his wife until his death. Bezeredi donated his entire collection of 485 various works of art to the Međimurje County Museum in Čakovec.
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The signs may have stood both for words and for syllables. The direction of the writing was generally from right to left. Most of the inscriptions are found on seals (mostly made out of stone) and sealings (pieces of clay on which the seal was pressed down to leave its impression). Some inscriptions are also found on copper tablets, bronze implements, and small objects made of terracotta, stone and faience.
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Arsinoe seems to have been a genuinely popular goddess throughout the Ptolemaic period, with both Greeks and Egyptians, in Egypt and beyond. 'Arsinoe' is one of the few Greek names to be naturalised as an Egyptian personal name in the period. Altars and dedicatory plaques in her honour are found throughout Egypt and the Aegean, while hundreds of her faience oenochoae have been found in the cemeteries of Alexandria.
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Gledhow Hall In 1885 Kitson purchased Gledhow Hall in Gledhow, Leeds. He redecorated the hall and entertained lavishly including playing host to Prime Minister William Gladstone and his son, Herbert, who was a witness at Kitson's second marriage to Mary Laura Smith in 1881. He commissioned Burmantofts Pottery to create an elaborate bathroom of faience, glazed architectural terra-cotta, in honour of a visit from the Prince of Wales circa 1885.
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Akhenaten seal ring in blue faience. Walters Art Museum If one approached the city of Amarna from the north by river the first buildings past the northern boundary stele would be the North Riverside Palace. This building ran all the way up to the waterfront and was likely the main residence of the Royal Family.Kemp, Barry, The City of Akhenaten and Nefertiti: Amarna and its People, Thames and Hudson, 2012, pp.
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Around 1749 a new period of faience manufacture began in which the first factory was established by Honore Savy in which polychrome decoration succeeded the earlier style using blue with some violet. A letter of 27 September 1765 to M. Bertin described Savy as a master of fayance fabrication for fifteen years. In 1765 Honoré Savy applied for permission to start making porcelain. The minister, Bertin, was discouraging.
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According to the Al-Ahram, in January 2019, archaeologists headed by Mostafa Waziri revealed a collection of 20 tombs dated back to the Second Intermediate Period in Kom Al-Khelgan. The burials contained the remains of animals, amulets, and scarabs carved from faience, round and oval pots with handholds, flint knives, broken and burned pottery. All burials included skulls and skeletons in the bending position and were not very well-preserved.
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Tamara Musakhanova managed to finish several art schools in different cities. She began her education at the pedagogical school in Makhachkala where she met her husband, Abram Vladimirovich Fridberg. She then continued her education at the Moscow Kalinin School of industrial art, which she graduated in 1949. She worked in the media of sculpture, painting, and crafts in ceramics and faience before continuing her art education in Alma-Ata.
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This conch-like maquarna can only be seen a handful of other monuments: the Mausoleum of Baysunghur, the Madrasah of Khargird, the Masjid-i Mawlana, and the Shah-i Zindah. The mosaic faience can be seen around the shrine on spandrels, inscriptions, and borders. Each spandrel in contains a teardrop medallion framed by a ring of petals. An amber arabesque passes through the ring's center, superimposed on a second, turquoise arabesque.
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Common motifs included white lotuses, palm leaves, and even animals that represented the gods. Although the jewellery used by the lower class had similar motifs and designs, they were made with cheaper substitute materials. Copper was used in place of gold, and glazed glass or faience – a mix of ground quartz and colorant – to imitate precious stones. The most popular stones used were lapis lazuli, carnelian, and turquoise.
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The extension included a new five span steel platform roof, with a two span roof over the concourse, built by the Cleveland Bridge & Engineering Co., with the offices resited to the east end of the station, facing the station concourse, together with the adjacent Hotel. Half of the new office spaces was taken up by a tiled booking office, with wooden booking windows, and architectural detailing in faience.
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Lane, 1-2 Majolica, maiolica, delftware and faience are among the terms used for common types of tin-glazed pottery. An alternative is lead-glazing, where the basic glaze is transparent; some types of pottery use both.For example polychrome Delftware; Savage, 160 However, when pieces are glazed only with lead, the glaze becomes fluid during firing, and may run or pool. Colours painted on the glaze may also run or blur.
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English delftware is a term for English faience, mostly of the 17th and early 18th centuries. Not all of it imitated Dutch delftware, though much did. It was replaced by the much better creamware and other types of refined earthenware Staffordshire pottery developed in the 18th century, many of which did not need tin-glazes to achieve a white colour. These were hugely successful and exported to Europe and the Americas.
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After spending several years raising a family, in 1910 she began to experiment with ceramics, participating in Landsforeningen Dansk Kunsthaandværk's exhibition at the Museum of Decorative Art in 1912. Thanks to her concern for quality, she went on to create white glazed faience works, sparsely tinted in green. Her jars and bowls were decorated with leafy vines, flowers and fruits, in some cases taking the form of fruits themselves.
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Among the elite, bodies were mummified, wrapped in linen bandages, sometimes covered with molded plaster, and placed in stone sarcophagi or plain wooden coffins. At the end of the Old Kingdom, mummy masks in cartonnage (linen soaked in plaster, modeled and painted) also appeared. Canopic containers now held their internal organs. Amulets of gold, faience, and carnelian first appeared in various shapes to protect different parts of the body.
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In 1737 he worked as a portraitist in Neuenburg. He spent the years between 1738 and 1741 in Amsterdam, where his work came under the influence of Dutch artists such as Both and Berchem. Bullinger also created the ceiling and wall paintings of the Zunfthaus zur Meisen, a guild house and present faience museum that was built at the Münsterhof plaza in Zürich in 1757. He died at Zurich in 1793.
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It can be modelled by hand, thrown or moulded, and > hardens with firing. This material is used in the context of Islamic > ceramics where it is described as stonepaste (or fritware). Glazed > composition is related to glass, but glass is formed by completely fusing > the ingredients in a liquid melted at high temperature. This material is > also popularly called faience in the contexts of Ancient Egypt and Ancient > Near East.
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However, this is a misnomer as these objects have no relationship > to the glazed pottery vessels made in Faenza, from which the faience term > derives. Other authors use the terms sintered quartz, glazed frit, frit, > composition, Egyptian Blue, paste or (in the 19th century) even porcelain, > although the last two terms are very inappropriate as they also describe > imitation gems and a type of ceramic. Frit is technically a flux.
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During the Mehrgarh Culture, precursor of the Indus Valley Civilization, Period II (5500 BCE–4800 BCE) and Merhgarh Period III (4800 BCE–3500 BCE) were ceramic Neolithic, using pottery, and later chalcolithic. Period II is at site MR4 and Period III is at MR2. Much evidence of manufacturing activity has been found and more advanced techniques were used. Glazed faience beads were produced and terracotta figurines became more detailed.
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The palace has a driba and a skifa, which are successively a big and a small vestibule. Like all other residences in the medina of Tunis, it has a big court surrounded by apartments, with two other smaller courts for the kitchen and servants accommodation. All the decoration added by the Sheikh Bayram is essentially Italian: clear marble ground, walls with Italian faience and a wrought iron grill.
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Their art pottery was mostly branded as Ault Faience, regardless of the material.Grove; Bergesen, 245 Ault Pottery vase painted by Clarissa Ault, c. 1890.Page at Metropolitan Museum of Art Their most interesting and sought-after wares use designs by Christopher Dresser. These firstly resulted from the purchase of some of the Linthorpe Art Pottery's moulds for Dresser designs, after this went out of business in 1889–91.
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The cylinder seals themselves are typically made from hardstones, and some are a form of engraved gem. They may instead use glass or ceramics, like Egyptian faience. Many varieties of material such as hematite, obsidian, steatite, amethyst, lapis lazuli and carnelian were used to make cylinder seals. As the alluvial country of Mesopotamia lacks good stone for carving, the large stones of early cylinders were imported probably from Iran.
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Around the entrance bay, at string course level, are a series of curved sandstone blocks with shields, gargoyles, mashs, acanteurs etc. This work is very fine and appears to be in perfect condition. Inside are fine timber panelling, moulded plaster, faience panels, colourful tiles and stained glass. Above the entrance hall was a three-storey central light well with coloured clerestroey lighting, now covered over at each floor level.
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By then, the royal complex also included the baroque Belvedere Palace situated at the southern edge of the escarpment. In one of the wings, the king set up a faience factory whose products were known as Belvedere vessels. Whenever Stanisław Augustus visited Łazienki, he was followed by his entire court and closest family members. Decorative tents were set up in the garden to accommodate mainly all the servants and guards.
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Limoges had strong antecedents in the production of decorative objects. The city was the most famous European centre of vitreous enamel production in the 12th century, and Limoges enamel was known as Opus de Limogia or Labor Limogiae.Arts and Crafts in the Middle Ages by Julia De Wolf Gi Addison p.97ff Limoges had also been the site of a minor industry producing plain faience earthenware since the 1730s.
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Majorelle was born in Toul. In 1861, his father, Auguste Majorelle (1825 - 1879), who himself was a furniture designer and manufacturer, moved the family from Toul to Nancy. There, Louis finished his initial studies before moving to Paris in 1877 for two years of work at the École des Beaux-Arts. On the death of his father, he cut short his studies and returned to Nancy to oversee the family's manufactories of faience and furniture.
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The earliest known glass objects, of the mid-third millennium BC, were beads, perhaps initially created as accidental by-products of metal-working (slags) or during the production of faience, a pre-glass vitreous material made by a process similar to glazing. During the Late Bronze Age in Egypt (e.g., the Ahhotep "Treasure") and Western Asia (e.g., Megiddo),These early examples are drawn from there was a rapid growth in glassmaking technology.
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Nebnuni's name is given in the Turin canon on column 7, line 11 (Gardiner col. 6, line 11). The length of Nebnuni's reign is mostly lost in a lacuna of the papyrus, except for the end "[...] and 22 days". The only contemporary attestation of Nebnuni is a faience stele showing the king before Ptah "South of his wall", a memphite epithet of the god, and on the other before Horus, "Lord of the foreign countries".
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As a result of these sanctuaries, Arsinoe became closely associated with protection from shipwrecks. Coinage and statuettes depicting the divine Arsinoe survive. Her divine attributes are a small ram's horn behind her ear - symbolising her connection to the ram of Mendes - and a pair of cornucopiae which she carries. She appears in this guise on a set of mass-produced faience Oenochoae, which seem to have been associated with funerary ritual in Alexandria.
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Bar at the Golden Cross, Cardiff More impressive is the Golden Cross public House in Custom House Street. This has a two-storey red faience facade with yellow pilasters. The ground floor has an elaborate tiled pub front with Venetian windows; green and gold tiling with raised lettering to fascias, tiled panelling to pilasters. The saloon bar on the ground floor has walls lined with polychrome tiles and a tiled floral frieze.
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Rich ceramic assemblage, representing the Mature Harappan culture was found at this site. Three clay seals with central holes, making them pendants, with Indus scripts were found. A large number of bead-making goods -- 150 stone beads and roughouts, 160 drill bits, 433 faience beads and 20,000 steaite beads -- were found here, indicating the site's importance as an industrial unit. Agate quarries were also located at a distance of from the site.
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He was trained in Theodore Deck's studio, starting when he was 15. At the 1873 World's Fair in Vienna, Lachenal's work as a decorator for Deck received an Honorable Mention. Following this award, he became director of Deck's decoration atelier, a significant promotion for one so young. In 1889, Lachenal received his first gold medal at the World's Fair in Paris for his work with faience wares in the style of Theodore Deck.
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The alkali lakes of the Natron Valley provided the Ancient Egyptians with the sodium bicarbonate used in mummification and in Egyptian faience, and later by the Romans as a flux for glass making. The Egyptian Salt and Soda Company Railway was built at the end of the 19th century as a 33 miles (54 km) long narrow gauge railway with a gauge of 750 mm, which attracted the first tourists to the wadi.
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Faience ryhton with enamel inlay, 13th c. BC, Nicosia museum Early in the 12th century BC the town was rebuilt on a larger scale; its mudbrick city wall was replaced by a cyclopean wall.Excerpt of wall mounted text in exhibit room number two at Larnaca District Museum. Around 1000 BC, the religious part of the city was abandoned, although life seems to have continued in other areas as indicated by finds in tombs.
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St. Thomas School The parish complex at St. Thomas the Apostle comprised six buildings, including the church, rectory, school, and convent.Saint Thomas the Apostle Catholic Church and Rectory from the state of Michigan The church was essentially of Romanesque design, with some Art Deco aspects. It was built of brick laid over Dennison interlocking tile, sitting atop a limestone base. The building was trimmed with limestone and Tuscan glazed faience in various colors.
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Joseph Fauchier was born in Peyruis in the Alpes-de-Haute- Provence. He learned his trade in the Atelier Clerissy, then set up his own works in Marseille in 1710. His family controlled this factory until 1789. After running the faience factory of Madeleine Heraud and Lois Leroy from 1710 to 1728, Joseph Fauchier created his own company in 1730 which became one of the largest factories in the first half of the eighteenth century.
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On 23 November 1695 Joseph and Honoré Clerissy, nephews of Pierre Clerissy of Moustiers, established themselves in Varages, about midway between Moustiers and Marseille. Some years later their brother Jean-Baptiste left Moustiers to join the brothers in Varages. The factory prospered, producing well-regarded products. The factory at Varages made faience in all the same styles as Moustiers, including blue paintings from Italian prints, and the Berain, Boulle and Torro designs.
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At first he concentrated on producing enamelled earthenware stoves. Around 1720 he was working with Henri Wackenfeld, perfecting these stoves and at the same time making experiments in porcelain, in which they attained a certain success, with great improvements being achieved by succeeding members of the Hannong family. Wackenfeld later left Strasbourg and Charles-Francois continued alone. By 1724, the faience was so successful that Charles-Francois opened a second factory in Haguenau.
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The company began in the tiny Lorraine village of Audun le Tiche, where the iron master François Boch set up a pottery company with his three sons in 1748.Timeline and brief history notes supplied by Villeroy & Boch AG to FundingUniverse. In 1766 Boch was licensed to build a ceramics kilnworks nearby at Septfontaines, Luxembourg, where it operated a porcelain factory. In 1785 Nicolas Villeroy became sole owner of the faience manufactory at Wallerfangen.
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There was an "overnight frenzy" as the elite rushed to get faience replacements of the best quality. Nevers garden vases in blue and white were prominently used in the gardens of the Chateau de Versailles.Moon; McNab, 30 The success of the wares led to several other factories opening in the early 18th century, and in 1743 the government limited the number to eleven, to prevent flooding the market. In 1760 a twelfth was permitted.
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Body ornaments made of fish-bones, shell and faience, as well as daggers and axes, discovered in Bronze Age burial sites, accompanied the cremated remains. Of note are a new highly- stylized form of body representation which are completely different to the ones belonging to the previous Temple period. They are flattened figures with disk-like torsos, narrow heads and no arms. The torsos are inscribed with the same geometric motifs that adorn contemporary pottery.
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The second shaft, a 12-sided polygon separated from the first by fretted balconies supported by muqarnas, is decorated with blue faience. A balcony separates the third level from the second shaft. The third level is made up of two rectangular shafts with horseshoe arches on each side of both shafts. Atop each of these two shafts rests a finial atop two identical onion shaped bulbs, with a balcony separating the finials from the shafts.
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Some minor production, such as a Faience factory between 1773 and 1798 made no major impressions. The castle was abandoned after the Danish defeat to the Swedes at the battle of Knäred in 1637. Rather than letting the Swedes seize the castle, the foreman of the castle decided that it should be burnt. Today, nothing but ruins remain, but the old castle in Bäckaskog is of the same age and of similar construction.
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Motifs known from the stucco at Samarra permit the dating of structures built elsewhere, and are furthermore found on portable objects, particular in wood, from Egypt through to Iran. Samarra witnessed the "coming of age" of Islamic art. Polychrome painted stucco allowed for experimentation in new styles of moulding and carving. The Abbasid period also coincided with two major innovations in the ceramic arts: the invention of faience, and of metallic lusterware.
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This process was probably discovered first in Mesopotamia and then imported to ancient Egypt. However, it was the Egyptians who made it their own art form. Since before the 1st dynasty of Narmer (3100 B.C.) to the last dynasty of the Ptolemaic Kingdom (33 B.C.) and to the present day, faience beads have been made in the same way. These beads predate glass beads and were probably a forerunner of glass making.
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Various difficulties, including a fire that gutted the production building and a limitation on the manufacture of soft- paste porcelain, discouraged the original investors. When Custine purchased the property in 1770, it was a struggling investment. He encountered significant financial problems over the next eight years, and considered bankruptcy in 1778. He subsequently entered into partnership with François- Henri Lanfrey and the factory began producing faience in the English style of tableware.
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Holíč's once thriving Jewish community was completely decimated by the Holocaust. The name Holíč (also spelled Holitsch) also refers to a type of tin-glazed earthenware faience that was manufactured in the area. The Holitsch factory (Slovakia) was founded in 1743 by Francis of Lorain consort of Empress Maria Teresia. The factory concentrated on the production of richly adorned sets intended to emulate the wares used by the aristocracy in the large western European centers.
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Various difficulties, including a fire that gutted the production building and a limitation on the manufacture of soft-paste porcelain, discouraged the original investors. When Custine purchased the property in 1770, it was a struggling investment. He encountered significant financial problems over the next eight years, and considered bankruptcy in 1778. He subsequently entered into business with François-Henri Lenfrey and the factory began producing faience in the English style of tableware.
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Lenfrey also revamped the production process, producing cailloutage, which combined faience production techniques with a new process that mixed crushed limestone with the clay.Joseph Marryat, A History of Pottery and Porcelain... nl, J. Murray, 1868, pp. 438–439. Custine's execution led to the temporary closing of the plant when the regime confiscated his property; the workmen, summarily laid off, traveled to Paris to find work, and several signed a petition for her release.Maugras, p. 164.
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Plate, 1750-1800 Aprey Faïence is a name used for the painted, tin-glazed faience pottery produced at a glass-works at Aprey, France. This factory was established in 1744 by Jacques Lallemont de Villehaut, the Baron d'Aprey, on his estate. In 1760 he partnered with his brother Joseph, and the two hired Protaix Pidoux, a Swiss pottery painter. Jacques withdrew from business in 1769, so Joseph hired François Ollivier, a potter.
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The buildings were first completed in 1910 for the 2nd Duke of Westminster. They were designed by W. T. Lockwood. In the initial design, the Bridge Street façade was faced with cream and gold ceramic tiles (faience), with Baroque decoration. However, there was strong public opposition to the design because it was too much of a contrast from the Black-and-white Revival buildings that had been recently erected in the city.
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Quimper faience is known worldwide for its bowls and plates painted by hand, and other towns, such as Pornic, also maintain a similar tradition. The potteries usually feature naïve Breton characters in traditional clothing and daily scenes. The designs have a strong traditional Breton influence, but Orientalism and Art Deco have also been used. Because of its distinct culture and natural landscape, Brittany has inspired many French artists since the 19th century.
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The Clockarium is a museum in Schaerbeek, in the Brussels-Capital Region, Belgium, devoted to the Art Deco ceramic clock. It specializes into the faience mantel clocks, which were the first timepiece affordable to everyone and proudly decorating many homes in Belgium and Northern France during the 1920s and 1930s.Clockarium on the website of the Brussels Museum Council. It is located on the Reyers boulevard in a stylish Art-Deco house built in 1935 by Belgian architect Gustave Bossuyt.
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Considered to be the most ornately decorated Mughal-era mosque, Wazir Khan Mosque is renowned for its intricate faience tile work known as kashi-kari, as well as its interior surfaces that are almost entirely embellished with elaborate Mughal-era frescoes. The mosque has been under extensive restoration since 2009 under the direction of the Aga Khan Trust for Culture and the Government of Punjab, with contributions from the governments of Germany, Norway, and the United States.
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The range of its use is very broad: paper, ceramic (porcelain/faience), electrical engineering (insulators), refractory, aluminum, textile, cable, rubber, chemical and soap industries as well as perfumery, manufacture of pencils and mineral paints. Unique decorative qualities of Vinnytsia's granites, sorbites, vinnytsites, charnockites allow to manufacture stone, facing slabs, window sills, monuments, etc. Three granite deposits (whose resources are 10 million cu.m) have been explored and are being mined, an experimental mining is carried out in eight developed deposits.
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Heart scarabs (typically 50 mm to 90 mm long, made of dark hardstone and not pierced for suspension) were made for a specific funerary purpose and should be considered separately. Scarabs were generally either carved from stone or moulded from Egyptian faience. Once carved, they would typically be glazed blue or green and then fired. The most common stone used for scarabs was a form of steatite, a soft stone which becomes hard when fired (forming enstatite).
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Station entrance in 1960 The station was opened on 22 June 1907 by the Charing Cross, Euston & Hampstead Railway as an intermediate station on its line from to . It is served by three lifts which descend to the platforms. The platforms can also be reached by stairs; there are 219 steps according to the sign in the station. The station was designed by Leslie Green and has his familiar facade of ox-blood faience with five round arched windows.
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Vase in a Japanese style, c. 1680, Delft Window display of Delftware in the market place, Delft Delftware or Delft pottery, also known as Delft BlueDelft Blue, Holland.com (), is a general term now used for Dutch tin-glazed earthenware, a form of faience. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major centre of production, but the term covers wares with other colours, and made elsewhere.
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Westminster Palace Gardens in 2008 Westminster Palace Gardens (WPG) is a Victorian red brick mansion block with apartments centred around a courtyard. It is located on Artillery Row in the City of Westminster, London. It is listed at grade II. The seven-story building was designed in the grand mansion style by architect Charles J.C. Pawley, and was built between 1898 and 1899. The façade of the building is clad at street level in blue and green faience tiles.
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A scarab in the Valley of the KingsSeveral species of dung beetle, especially the sacred scarab, Scarabaeus sacer, were revered in Ancient Egypt. The hieroglyphic image of the beetle may have had existential, fictional, or ontologic significance. Images of the scarab in bone, ivory, stone, Egyptian faience, and precious metals are known from the Sixth Dynasty and up to the period of Roman rule. The scarab was of prime significance in the funerary cult of ancient Egypt.
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Anhotep was Viceroy of Kush, Governor of the South Lands, Scribe of the Tables of the Two Lands during the reign of Ramesses II. His wife was named Hunuro. Anhotep's tomb is TT300 in Dra' Abu el-Naga.Kitchen, K.A., Ramesside Inscriptions, Translated & Annotated, Translations, Volume III, Blackwell Publishers, 1996 A shabti inscribed for Anhotep, King's Son of Kush was found in Thebes. The shabti is made of blue faience and is in the collection of the Metropolitan Museum.
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Azerbaijani tea is usually served first when a host receives guests. Tea serving and drinking is an important component of Azerbaijani culture. Armudu, which translates as "in the shape of a pear," or Boğmalı, which translates as "narrow", as it is also called, suggests the shape of a pear and is sometimes associated with the figure of a hostess in Azerbaijani culture. The Armudu is made from a variety of materials: glass, porcelain, faience, and silver.
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All of these had been, for some considerable time, centres of old pottery. Bowl with hunters, Persian pottery from 12th–13th century. The Seljuks brought new and fresh inspiration to the Muslim world, attracting artists, craftsmen and potters from all regions including Egypt. In addition to continuing the production of similar (although more refined) tin and lustre glaze ceramics, the Seljuks (in Persia) were credited for the introduction of a new type sometimes known as "Faience".
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Saint-Cloud manufactory soft porcelain vase, with blue designs under glaze, 1695-1700. Experiments at the Rouen manufactory produced the earliest soft-paste in France, when a 1673 patent was granted to Louis Poterat, but it seems that not much was made. An application for the renewal of the patent in 1694 stated, "the secret was very little used, the petitioners devoting themselves rather to faience-making". Rouen porcelain, which is blue painted, is rare and difficult to identify.
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Unemployment and living conditions deteriorated, leading to a wave of strikes, starting in 1921. In the 1930s, the years of the great world economic crisis, workers from Chodzież porcelain factory started a new series of protests. In the period between the two world wars, Chodzież was considered as an important administrative center in the border area between Poland and Germany. It had a working class character, which was related to the development of the faience factory.
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Dodson & Hilton, p.157. Almost nothing is known of her life beyond being the oldest daughter of a powerful (and long-lived) queen. In the last decade of her father's reign, she was promoted to the status of Great Royal Wife. The evidence for this marriage consists of a blue-faience kohl-tube with the cartouches of Amenhotep III and Sitamun, an alabaster bowl found at Amarna with the same cartouches and jar-label inscriptions from Malkata palace.
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An artist by training (B.A., art education, University of Illinois) and vocation, Fauntz was a painter and sculptor. While her husband was serving in the United States Navy during World War II, she made ceramic figurines for California Faience in Berkeley, California, and later sold her figurines under the trade name "Jane Fauntz Original". She taught high school art classes for 20 years at Las Lomas High School in Walnut Creek, California, where she also coached boys' diving.
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Royal Copenhagen 2010 plaquettes are a series of small, collectible plates produced by Danish factories, Aluminia and Royal Copenhagen. The numbered and named series of 3-1/4” (80 mm) faience miniplates or "plaquettes" are generally round, though a few are square. The most common colors are moderate to deep blue on a white background, though some have additional colors. On the front, each has a scene depicting boats, landscapes, people, animals, steeples, buildings, statues, bridges, windmills, and more.
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Paul Balze produced several other Raphael reproductions in faience and also took part in the decorative scheme of the Hôtel de la Banque de France in Paris. In 1855 he and Raymond made a copy of Ingres' The Apotheosis of Homer for one of the stairways in the Louvre. Between 1875 and 1881 the pair restored the Francesco Primaticcio frescoes in the abbot's chapel in Chaalis Abbey. Paul Balze died in Paris on 24 March 1884.
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Rozenburg teapot by J. Jurriaan Kok (form) & Samuel Schellink (decoration), 1900, porcelain In the Netherlands De Porceleyne Fles had been founded in Delft in 1653, but by 1840 was the only Delftware factory left in the city. After appointing Adolf Le Comte as designer in 1877, its products were shifted in the direction of art pottery, though still mostly using the traditional hand-painted blue and white pottery style.Muller, 60. It never made "porceleyne" until later, but Delftware faience.
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In: In: P. Nicholson and I. Shaw (eds.), Ancient Egyptian materials and technology. Cambridge: Cambridge University Press. Since Egyptian blue, like faience, is a much older technology than glass, which only begins during the reign of Thutmose III (1479–1425 BC), changes in the manufacture of Egyptian blue undoubtedly were associated with the introduction of the glass industry. Analysis of the source of copper used in the manufacture of Egyptian blue indicates a relationship with the contemporaneous metal industry.
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Nevers became one of the important patrons of the arts and sciences in 16th-century France. He fostered faience production in the Duchy of Nevers, beginning in 1588 under the Italian masters, the brothers Augustin Conrade, Baptiste Conrade, and Dominique Conrade from Albisola, and Giulio Gambin, who had worked in Lyon.Riccardi-Cubit 1996, p. 604. Nevers is also considered by many historians as one of the courtiers most responsible for the St. Bartholomew's Day massacre in 1572.
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Ancient Egyptian art refers to art produced in ancient Egypt between the 31st century BC and the 4th century AD. It includes paintings, sculptures, drawings on papyrus, faience, jewelry, ivories, architecture, and other art media. It is also very conservative: the art style changed very little over time. Much of the surviving art comes from tombs and monuments, giving more insight into the ancient Egyptian afterlife beliefs. The ancient Egyptian language had no word for "art".
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Osiris could be shown with green skin; in the 26th Dynasty, the faces of coffins were often colored green to assist in rebirth. This color symbolism explains the popularity of turquoise and faience in funerary equipment. The use of black for royal figures similarly expressed the fertile alluvial soil of the Nile from which Egypt was born, and carried connotations of fertility and regeneration. Hence statues of the king as Osiris often showed him with black skin.
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The Kitchen Copper and tin vessels of all shapes and sizes, with old earthenware and faience containers, give the impression that this beautifully arranged kitchen could still be used. Under the stone vaulted ceiling, in the huge fireplace, stands a mechanical rotisserie, still in working order. In a corner of the fireplace there is an oven, which was used for broiling and pot- roasting. In the other corner of the fireplace, lumps of wood were permanently smoldering.
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The romance is reflected in his writings. In May 1897, Karen Topsøe married the art historian Emil Viggo Hannover who later became a museum director. Their home attracted many cultural figures, including the art historian Karl Madsen, the painter Johan Rohde and the couple Agnes and Harald Slott-Møller. After a number of years raising her children, in 1910 when the youngest daughter was five, she began working with the faience pottery produced at Ipsen's Terracotta Factory.
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Excavations of ancient Egyptian sites have yielded images of the scarab in bone, ivory, stone, Egyptian faience, and precious metals, dating from the Sixth Dynasty and up to the period of Roman rule. They are generally small, bored to allow stringing on a necklace, and the base bears a brief inscription or cartouche. Some have been used as seals. Pharaohs sometimes commissioned the manufacture of larger images with lengthy inscriptions, such as the commemorative scarab of Queen Tiye.
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From here, other shapes of limoges porcelain boxes evolved. The earliest were those that held thimbles and embroidery scissors and then round flat Limoges boxes were formed and used as powder boxes, and/or snuff boxes. Under Louis XIV these small boxes were used to hold a lock of lady's hair or small poem. Exactly when and who made the first porcelain snuffbox is up for debate. There were faience snuffboxes that were produced sometime around 1730.
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Andrea Manzo: Eastern Sudan in its Setting, The archaeology of a region far from the Nile Valley, Archaeopress 2017, , 33 online Finds of Egyptian pottery and faience beads (perhaps made in Egypt) indicate contact to this country as well as to the Red Sea as Red Sea shells show.Manzo: Eastern Sudan in its Setting,, p. 35 Wild and domestic plants were found indicating a mixed economy between gathering and farming.Manzo: Eastern Sudan in its Setting,, p.
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He was born in Berlin between 1719 and 1722. His parents are not known, but his lineage does include painters such as Christian Friedrich Hosenfelder (1706–1880) who lives in Berlin and St. Petersburg where he was a professor at the Art Academy. He emigrated to Norway around 1760 to work as a painter for a faience factory in Idd near Halden. The factory went defunct, whereupon he traveled to Halden where he received burghership as a painter.
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However, many others were made of green materials such as Egyptian faience, whose color represented the renewal of life. Another type of knot is sometimes called the "Isis knot": a large knot in a mantle worn by Egyptian women from the Late Period onward. It is associated with Isis because it often appeared on statues of her in Hellenistic and Roman times, but apart from the name it is not related to the tyet.Bianchi 1980, pp.
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Norris incorporated faience into many of his building exteriors, notably the G.J. Coles building, but this is absent from Deva House and there is no surviving evidence that it was part of the original finish. Architecture academic Philip Goad has suggested that a first classification would place Deva House within the Palazzo style, with Greek Revival details in its facade treatment, but he adds that closer analysis reveals a more streamlined approach, with elements of Eclecticism.
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The palace is considered one of the finest examples of late 19th and early 20th century domestic architecture in Fes. The palace has multiple floors and is built around several inner courtyards, covering around a hectare in total. Its impressive main patio courtyard, surrounded by galleries, is decorated with marble and faience tiles, star-shaped water basins, white marble fountains, zellij tilework, carved stucco, and sculpted wood ceilings. Gardens of Andalusian (Moorish) inspiration are also attached.
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Girih are elaborate interlacing patterns formed of five standardized shapes. The style is used in Persian Islamic architecture and also in decorative woodwork. Girih designs are traditionally made in different media including cut brickwork, stucco, and mosaic faience tilework. In woodwork, especially in the Safavid period, it could be applied either as lattice frames, left plain or inset with panels such as of coloured glass; or as mosaic panels used to decorate walls and ceilings, whether sacred or secular.
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She was a spectacle in each town she passed through, Aix-en-Provence, Avignon, Orange, Montelimar and Vienne. She arrived in Lyon on 6 June, where she was greeted by an enthusiastic crowd of 30,000. Commemorative faience plate She was presented to the King at the chateau of Saint-Cloud in Paris on 9 July 1827, and took up residence in the Jardin des Plantes. Now standing nearly 4 m high, Zarafa's arrival in Paris caused a sensation.
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Dixie Terminal North Building - Fourth and Walnut Streets The Dixie Terminal is a set of buildings in Cincinnati, Ohio, that were completed in 1921 and served as a streetcar terminal, stock exchange, and office building in the city's downtown business district. They were designed by Cincinnati architect Frederick W. Garber's Garber & Woodward firm. The main building includes an Adamesque barrel-vaulted concourse and Rookwood Architectural Faience entry arch. The Rookwood tiles were manufactured by the local Rookwood Pottery Company.
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The substructure of the South Tomb is entered through a tunnel-like corridor with a staircase that descends about 30 m before opening up into the pink granite burial chamber. The staircase then continues east and leads to a gallery that imitates the blue chambers below the step pyramid. Current evidence suggests that the South Tomb was finished before the pyramid. The symbolic king's inner palace, decorated in blue faience, is much more complete than that of the pyramid.
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Roman cage cup from the 4th century CE Naturally occurring obsidian glass was used by Stone Age societies as it fractures along very sharp edges, making it ideal for cutting tools and weapons. Glassmaking dates back to at least 6000 years, long before humans had discovered how to smelt iron. Archaeological evidence suggests that the first true synthetic glass was made in Lebanon and the coastal north Syria, Mesopotamia or ancient Egypt. The earliest known glass objects, of the mid- third millennium BCE, were beads, perhaps initially created as accidental by- products of metalworking (slags) or during the production of faience, a pre- glass vitreous material made by a process similar to glazing. Early glass was rarely transparent and often contained impurities and imperfections, and is technically faience rather than true glass, which did not appear until 15th century BC. However, red-orange glass beads excavated from the Indus Valley Civilization dated before 1700 BC (possibly as early as 1900 BC) predate sustained glass production, which appeared around 1600 in Mesopotamia and 1500 in Egypt.
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Maiolica charger from Faenza, after which faience is named, c. 1555; Diameter 43 cm, Tin-glazed earthenware Tin-glazed (Majolica/Maiolica) plate from Faenza, Italy Tin-glazed pottery is earthenware covered in lead glaze with added tin oxide Maiolica, C. Drury E. Fortnum, 1875, p.12 which is white, shiny and opaque (see tin-glazing for the chemistry); usually this provides a background for brightly painted decoration. It has been important in Islamic and European pottery, but very little used in East Asia.
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Edward A. Stone designed the building in a French Art Deco style with a steel-framed interior clad in pale stone blocks decorated with faience. The Brighton Hippodrome's present appearance dates from 1901, when Frank Matcham altered it. The Brighton Dome complex incorporates the Studio Theatre, Corn Exchange and a concert hall. It has occupied its large corner site at the junction of Church Street and New Road in North Laine since William Porden built it for the Prince Regent in 1804–08.
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Ducks were common in Ancient Egypt, as depicted in this 3rd century BC faience vase. Mallard ducks were first domesticated in Southeast Asia at least 4000 years ago, during the Neolithic Age, and were also farmed by the Romans in Europe, and the Malays in Asia. In ancient Egypt, ducks were captured in nets and then bred in captivity. During the Ming Dynasty, the Peking duck—mallards force-fed on grains, making them larger— was known to have good genetic characteristics.
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From the Twenty-fifth Dynasty onwards large (typically 3 cm-8 cm long) relatively flat uninscribed pectoral scarabs were sewn, via holes formed at the edge of the scarab, onto the chests of mummies, together with a pair of separately made outstretched wings. These were mainly made from faience and glazed blue. The association of pectoral scarabs appears to be with the god Khepri, who is often depicted in the same form. A third kind of funerary scarab is the naturalistic scarab.
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Coin of Arsinoe II struck under the rule of her husband-brother Ptolemy II Philadelphus, including her main divine attributes: the ram's horn and the double cornucopia. Faience oinochoe with remains of gilding, depicting Arsinoe II After her death, Ptolemy II established a cult of Arsinoe Philadelphus. She received burial and deification rites at Mendes, where she had been a priestess, which are commemorated in the Mendes stele. This stele also includes the decree of Ptolemy II announcing her cult.
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The 16th and 18th centuries brought prosperity to the city through the textile trade and the increased use of port facilities, as well as the development of public transportation and other industries. In 1703, the Norman Chamber of Commerce was formed. Rouen was well known for the production of wool and faience – glazed ceramic ware; wool was the main source of wealth for the city. The printing industry was introduced to Rouen in 1485 and influenced its cultural and economic development.
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Clapham Common. The Central London Railway appointed Harry Bell Measures as architect, who designed its pinkish- brown steel-framed buildings with larger entrances. ox-blood tiles 55 Broadway, above St. James's Park station, was designed by Charles Holden in 1927 and is one of only two Grade I listed buildings on the Underground. In the first decade of the 20th century Leslie Green established a house style for the tube stations built by the UERL, which were clad in ox-blood faience blocks.
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The decoration of the outer walls went through two major phases: the initial Umayyad scheme comprised marble and mosaics, much like the interior walls. 16th-century Ottoman sultan Suleyman the Magnificent replaced it with Turkish faience tiles. The Ottoman tile decoration was replaced in the 1960s with faithful copies produced in Italy. Surah Ya Sin (the 'Heart of the Quran') is inscribed across the top of the tile work and was commissioned in the 16th century by Suleiman the Magnificent.
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That year he became a member of the Royal Academy of Painting and Sculpture of Marseilles. In July 1777 Savy was visited by Monsieur, the king's brother, later Louis XVIII of France. Monsieur inspected a large display of all types of faience in the workshop's gallery, but there is no mention of porcelain. Monsieur placed the factory under his protection, and gave permission for it to use his arms, and to display a statue of the prince in the gallery.
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"The Grosvenor Picture Palace" sign above the entrance The two-storey building is rectangular, and is on a corner site with a 3-bay chamfered entrance corner with a pavilion on top. Its facade features green and cream faience and terracotta tiles, and it has 4 bays facing Gosvenor street and 6 bays facing Oxford road. The centre of the Oxford road facade is marked with a raised torch in white terracotta. It has a small attic and a slate roof.
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Faience plate from Beylagan, 12th century During several excavations in the Inner City of Baku various medieval artifacts have been unearthed, including ceramic items and two tandoors. One of the tandoors was in the 12th-century layer. Large-scale excavations on the left bank of Shamkirchay, that started in 2007, revealed the remnants of monumental public building, dated to 9th–10th century. Studies of medieval Azerbaijani fortresses like Chirag Gala, Shindan, Gazankeshki, Ballabur and Gilgilchay defence system have been also conducted.
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At the end of the 16th century, Count Philipp Ludwig II attracted Protestant refugees from the Netherlands and France to found their own settlement south of Hanau. This was of high economic interest for him because these Walloons brought high-class trade, their knowledge of jewellery and other production of luxury items and therefore taxes to his county. Out of this tradition, goldsmiths are still trained in Hanau. Hanau also was the site of the first workshop to produce Faience within Germany.
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The CMP rolled out its final chosen design in 1921 in three newly built line 3 (now 3bis) stations from Gambetta to Porte des Lilas. Primarily, the CMP borrowed the Nord-Sud's idea of station names executed in blue and white earthenware tiles. The CMP also tiled its poster frames with more elaborately decorated borders of honey or ochre-colored faience, featuring floral and organic motifs. Art-deco-inspired geometric variants of this tiling were introduced later, including at Charenton-Écoles (opened 1942).
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Chaim-Leyzer Perelmuter Nehemia Aronov Kiselgof-Naumov The earliest known information on the Kamianyi Brid Jewish community dates from the 1850s. The Zusmans' faience factory operated here since 1862. Three synagogues operated here for decades (including one, at the factory's territory, which was closed, to be transferred to the local club, in 1928). Local Jews were adherents of the Chernobyl chassidism. Their last Rebbe (Tsadick, or leader) was Gersh-Leib (Zvi-Arie) Tverskiy Z”L, of Berdichev / Makarov (Chernobyl (Hasidic dynasty)). A.-F.
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Patricia A Halfpenny, Robert S Teitelman and Ronald Fuchs, Success to America: Creamware for the American Market. Woodbridge: Antiquw Collectors Club (2010) 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 faience factories.Jana Kybalova, European Creamware. London: Hamlyn (1989) By the 1780s Josiah Wedgwood was exporting as much as 80% of his output to Europe.
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The Carlton Tavern stood on Carlton Vale, just north of Paddington Recreation Ground, and just to the south of St. Augustine's church. It was built in 1920–21 for Charrington Brewery to a design by the architect Frank J. Potter. It replaced an earlier pub on the same site that was destroyed by a German bomb from the major Gotha Raids air raid of 19/20 May 1918. The building was noted for its unaltered 1920s interiors and faience tiled exterior.
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Lampworking-closeup Lampwork glass beads Glass beadmaking is among the oldest human arts, with the oldest known beads dating over 3,000 years. Glass beads have been dated back to at least Roman times. Perhaps the earliest glass-like beads were Egyptian faience beads, a form of clay bead with a self-forming vitreous coating. Glass beads are significant in archaeology because the presence of glass beads often indicate that there was trade and that the beadmaking technology was being spread.
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Although glaze compositions vary regionally and chronologically, depending on the formation of the body and the glazing process employed, objects produced with different glazing techniques do not exhibit immediate diagnostic chemical variations in their compositions.Tite, M.S., Freestone I.C. and Bimson. M. 1983. Egyptian faience: an investigation of the methods of production, Archaeometry 25, 17–27 The recognition of the various glazing techniques, through microscopic observations of the degree of sintering and the vitreous phase of quartz body, is also ambiguous.
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For instance, objects with applied glazes and those which may have been glazed by efflorescence have overlapping characteristic features.Tite, M.S. and Bimson, M. 1986. Faience: an investigation of the microstructures associated with the different methods of glazing, Archaeometry 28, 69–78 The following proposed criteria are subject to variation caused by increases in flux concentration, firing temperatures and time at peak temperatures. Recognition of application glazing- Macroscopically, applied glazes vary in thickness through the body, displaying thicker glazes on bases.
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Peck, William H., "The Material World of Ancient Egypt", 2013, Cambridge University Press, , 9781107276383, google books The well-known blue figures of a hippopotamus, placed in the tombs of officials, can be up to 20 cm long,Louvre: Hippopotamus figurine, Department of Egyptian Antiquities: From the late prehistoric period to the late Middle Kingdom (circa 3800 - 1710 BC) approaching the maximum practical size for Egyptian faience, though the Victoria and Albert Museum in London has a sceptre, dated 1427–1400 BC.
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It was excavated by French archaeologist Maurice Dunand from 1924-73. The original temple is now in two parts: the base is known as "the L-shaped temple", and the top is known as the "Temple of the Obelisks"; the latter was moved 40 meters east during Maurice Dunand's excavations. Dunand uncovered 1306 Byblos figurines – ex-voto offerings, including faience figurines, weapons, and dozens of bronze-with-gold-leaf figurines – which have become the "poster child" of the Lebanese Tourism Ministry.
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Ancient Egyptian gaming board inscribed for Amenhotep III with separate sliding drawer, from 1390–1353 BC, made of glazed faience, dimensions: 5.5 × 7.7 × 21 cm, in the Brooklyn Museum (New York City) Any structured form of play could become a game. Games are played sometimes purely for recreation, sometimes for achievement or monetary rewards as well. They are played for recreation alone, in teams, or online; by amateurs. Professionals can play as part of their work for entertainment of the audience.
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In 1767, Gerverot won a large sum in the city lottery of Mainz. In 1769, he came to Weesp, and worked in the porcelain factory of Bertrand Philip, count of Gronsveld, former envoy in Berlin, and now drost of Muiden and president of the Admiralty of Amsterdam. Production and activity did not take off and thus this enterprise, Holland's first porcelain factory, closed in 1771. Gerverot left for the faience- or porcelain factory of Offenbach am Main, Höchst and Ellwangen.
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Punch bowl from the factory on display at Frederiksborg Castle A characteristic product from the faience factory in Store Kongensgade was so-called bishop-bowl, a type of punch bowl designed in the shape of a mitre (bishop's hat) and used for serving an alcoholic drink known as "bishop". The factory is also known for its tray tables. The porcelain has usually blue but manganese violet decorations are occasionally seen. More everyday items and tiles were also produced at the factory.
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Finger rings have been found in tombs in Ur dating back to circa 2500 BC. The Hittite civilization produced rings, including signet rings, only a few of which have been discovered. People in Old Kingdom Egypt wore a variety of finger rings, of which a few examples have been found, including the famous scarab design. Rings became more common during the Egyptian Middle Kingdom, containing increasingly complex designs. Egyptians made not only metal rings but rings from faience, some of which were used as new year gifts.
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After decades of construction, the construction of the National High School was completed in 1665. The Lutheran School in Hanau, which had been founded in 1647, was expanded to a Lutheran High School in 1680. In 1813, it would be converted to a Realschule. During Friedrich Casimir's reign, one of the first faience manufacturing plants in Germany was founded by Daniel Behaghel and Jacob van der Walle, using a countly privilege issued on 5 March 1661; it would operate successfully until the early 19th century.
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The earliest known glass objects were beads, perhaps created accidentally during metalworking or the production of faience. Due to its ease of formability into any shape, glass has been traditionally used for vessels, such as bowls, vases, bottles, jars and drinking glasses. In its most solid forms, it has also been used for paperweights and marbles. Glass can be coloured by adding metal salts or painted and printed with vitreous enamels, leading to its use in stained glass windows and other glass art objects.
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Imperial Viennese Porcelain Manufactory, 1744/49 European centers imitated the style of Imari wares, initially in faience at Delft in the Netherlands. Imari patterns, as well as "Kakiemon" designs and palette of colors, influenced some early Orientalizing wares produced by the porcelain manufactories at Meissen, Chantilly, or later at Vincennes and in Vienna. It was also produced in the early 19th century at Robert Chamberlain's Worcester porcelain factory at Worcester, as well as Crown Derby porcelain, where Imari patterns remain popular to the present.
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Attic figures, Hamilton County Memorial Building Born in Cincinnati, Ohio Barnhorn began his art studies at the Art Academy of Cincinnati where he studied under Italian sculptor Lewis T. Rebisso and woodcarver Henry L. Fry. This was followed by studies in Paris at the Académie Julien under Bouguereau, Peuch and Mercié. Barnhorn's sculptures were executed in stone or metal, or in ceramic faience for Rookwood Pottery. His "Magdalen" received Honorable Mention at the Paris Salon in 1895, and bronze at the Paris Exposition in 1900.
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Fourmaintraux then switched production to pieces in French regional styles that were sold throughout France and Belgium. He became well known as a producer of Faïence de Desvres known in English as Faience. The Museum of la Belle Epoque de la Faïence de Desvres (which is housed in the former Fourmaintraux factory) contains a collection of more than 10,000 moulds by Gabriel Fourmaintraux. Pieces by Fourmaintraux - particularly his earlier work in porcelain - are now collector's items and can sell for many thousands of euros.
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The same manuscript, now held at the municipal library of Valenciennes, was found to contain one of the earliest literary texts in vernacular French, the poem called Sequence of Saint Eulalia. The Annales sancti Amandi, a set of annals of the Frankish kingdom, also originate from Saint-Amand. The abbey was declared national property in 1789, and mostly demolished between 1797 and 1820. The former courthouse (échevinage) and the exuberantly decorated church tower, which now accommodates a faience museum, survive and can still be visited.
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Bernard Palissy, self-portrait in faience, reproduced in a lithograph Detail of a Palissy still-life platter of c. 1550 (see below for the whole piece) Bernard Palissy (c. 1510c. 1589) was a French Huguenot potter, hydraulics engineer and craftsman, famous for having struggled for sixteen years to imitate Chinese porcelain. He is best known for his so-called "rusticware", typically highly decorated large oval platters featuring small animals in relief among vegetation, the animals apparently often being moulded from casts taken of dead specimens.
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It was in this time that Egyptian city dwellers stopped building with reeds and began mass-producing mud bricks, first found in the Amratian Period, to build their cities. Egyptian stone tools, while still in use, moved from bifacial construction to ripple-flaked construction. Copper was used for all kinds of tools, and the first copper weaponry appears here. Silver, gold, lapis, and faience were used ornamentally, and the grinding palettes used for eye-paint since the Badarian period began to be adorned with relief carvings.
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Ancient Egyptian faience production in the New Kingdom period employed the use of underglaze in works producing green and blue pieces that are distinct from other eras of production. This was achieved by the use of an underglaze that contrasts with the overglaze. This produces the effect of highlighting and lending spectral variance to relief patterns that are embossed into pieces such as tableware such as bowls or jars. Desired blue and green finishes were achieved with the use of copper oxide on their glazing process.
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Lenfrey also revamped the production process, producing cailloutage, which combined faience production techniques with a new process that mixed crushed limestone with the clay.Joseph Marryat, A History of Pottery and Porcelain... nl, J. Murray, 1868, pp. 438–439. Custine, with his wife, was guillotined in 1793, and his son not long after. This led to the temporary closing of the plant when the regime confiscated his property; the workmen, summarily laid off, travelled to Paris to find work, and several signed a petition for her release.
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Built from red Rowlands Castle brick and terracotta, with a Ruabon tile and zinc roof, there are decorative iron balconies along much of the facade. The facilities included an attached ballroom, with garden court, and a Turkish baths. The builders were J.T. Chappel; structural steel-work was by A. Handyside & Co.; the terracotta was manufactured by Gibbs & Canning and Joseph Cliff & Son; faience tiling was by Burmantofts; clocks were by Gillett & Co.; with the lifts by Waygood. The clerk of works was T. Holloway.
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This would become his most extensive set of commissions for any of the three universities. The first new building was the chemistry laboratories (1884–87), followed by the Walker engineering laboratory built (1887–91). The Victoria Building and Jubilee Tower of red brick and terracotta from Ruabon and slate roofs, were constructed (1888–93) and contained the main teaching and administration facilities, that includes a large lecture theatre and library. The interiors including the main hall, corridors and main staircase are decorated using different coloured Burmantofts faience.
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All the items found in the tomb date between 625 and 550 BC. The burial chamber is known as the 'Isis Tomb' because it was once thought that a bronze bust found in the tomb represented the Egyptian deity Isis. However the sculpture is more likely to depict a native fertility goddess or priestess. There were many objects from the Isis Tomb that were clearly imported from Egypt or elsewhere in the Middle East. These included blue faience flasks and scarabs with hieroglyphic inscriptions.
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Nader Shah's wife paid for the walls and courtyard to be rebuilt and the retiling of the iwan faience. In 1745, the iwan was rebuilt as a gilt muqarnas of nine tiers. In 1791, a raised stone floor covered the tombs in the courtyard, creating a cellar space for them. The Ottoman Sultan Abdülaziz rebuilt the Clock Portal (Bab al-Sa'a) and the Portal of Muslim Ibn 'Aqil in 1863 and the former gilded in 1888 by Qajar Sultan Naser al-Din Shah Qajar.
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It contained four pits. The prominent position of the people buried there is attested also by the lavish grave goods which accompanied them: pottery vessels, sealing gems made of semi-precious stones and little items made of gold, ivory and faience. In a hole between the pits 1 and 2 was discovered a pile of bronze items and vessels, among which a bent sword with an ivory handle. It has been used in the course of the prime time of Nichoria (1400-1200 B.C.).
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In two cases mother and child had been buried together and in one case two adults, possibly man and wife. One collective burial has been identified: it contained five individuals, whose bodies were mutilated and accompanied by offerings of sheep and goats. The corpses were usually accompanied by vessels of clay and alabaster in large and small numbers, ornaments of copper, beads of various kinds of stone, copper, faience and glass, occasional ornaments and implements of bone and stone. Very rare were the weapons.
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Dijon mustard shops sell exotic or unusually-flavoured mustard (fruit-flavoured, for example), often sold in decorative hand-painted faience (china) pots. Burgundy is a world-famous wine growing region, and notable vineyards, such as Vosne- Romanée and Gevrey-Chambertin, are within 20 minutes of the city center. The town's university boasts a renowned enology institute. The road from Santenay to Dijon is known as the "route des Grands Crus", where eight of the world's top ten most expensive wines are produced, according to Wine Searcher.
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It originally had steep slate mansard roofs with dormers and a dome, but these were lost to the fire of 2014. Though stripped in appearance relative to previous Edwardian or Victorian buildings, there are many subtle external decorative features. These principally include the Greek key patterned panels on both side elevations, the cornice with modillions, vase balustrade and two sets of triple bull's-eye windows at the attic storey. On the first floor, there are moulded faience swags above windows and detailed panels illustrating musical instruments.
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Early bishop-bowl from Store Kongensgade faience Manufactury are for instance on display at The David Collection in Copenhagen and at the Museum of National History at Frederiksborg Castle in Hillerød. Bishop-bowls from a manufacturer in Schleswig can be seen St. Anne's Museum in Lübeck. Den Gamle By has a bishop-bowl shaped in the form of a seated bishop made in Kellinghusen in Holstein in c. 1770. The figure is 34 cm high and the upper half comes off as a lit.
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Natron was added to castor oil to make a smokeless fuel, which allowed Egyptian artisans to paint elaborate artworks inside ancient tombs without staining them with soot. The Pyramid Texts describe how natron pellets were used as funerary offerings in the rites for the deceased pharaoh, "N." The ceremony required two kinds of natron, one sourced from northern (Lower) and one from southern (Upper) Egypt. Natron is an ingredient for making a distinct color called Egyptian blue, and also as the flux in Egyptian faience.
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The arcanist in charge was François Barbin (1691-1765Died at Mennecy, 27 August 1765, aged 74. Xavier R.M. de Chavagnac and Gaston Antoine de Grollier, Histoire des manufactures françaises de porcelaine, 1906:100).), who was already established as a maker of faience under Villeroy's protection when the parish registers commence in 1737. Barbin was identified in an action at law of August 1748 as having already spent fourteen years as a maker of porcelain in a house in the rue de Charonne, faubourg Saint-Antoine, Paris, where he and his wares had recently been seized and the porcelain sold, as impinging upon the prerogatives of the monopoly for exclusive manufacture of porcelains "in the manner of Saxony" (that is, Meissen porcelain) granted to the manufacture of porcelain at Vincennes in 1745; he sought protection away from Paris, with his protector the well- connected duc de Villeroy,François Barbin was already a member of the duke's household, and a manufacturer of porcelain in December 1737 (Chavagnac and Golier 1906:98). combining his porcelain manufacture with the already established faience industry at the château de Villeroy and Mennecy.
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Inside the school can be found rooms with fireplaces, hallways with beautiful faience wall tiles by John Scott Award recipient Herman Carl Mueller of Trenton, and mosaic inlaid terrazzo floors in the front hall. The front foyer was recently renovated, removing non-period lighting and mid-century acoustic tile. The restoration included doors that more closely replicated the 1926 originals, a new terrazzo floor, and dramatic lighting of the zodiac-inspired plaster ceiling. Recently, dubious student art dating from as far back as the 1970s was painted over, among other improvements.
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Between 1805 and 1815, to avoid conflicts with the pottery of Merlin-Hall at Montereau, Potter set up works in a former tile manufactory nearby, at Cannes-Ecluse. In 1819 the proprietor of the competing manufactory at Creil bought out the owners of the Montereau works at a stiff price. The potteries at Montereau were fully incorporated with the works at Creil from 1840 to 1895 as the Faïenceries de Creil et Montereau. then in 1920 were hived off in association with the faience manufactory at Choisy-le-Roi,.
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The development of technology in Ukraine in the modern sense (associated with the advent of machines and the mechanization of production processes) began at the end of the 18th century. It started from the machinery in textile industry (including the equipment of rope and spinning production). Later the technology of steel making, crystal, glass, porcelain and faience production began to develop, especially in Volyn. In the 19th century the discovery of deposits of iron ore and coal, and the construction of railways started off the period of industrial capitalism.
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Room C focuses on the finds from the necropolis of Orthi Petra and illustrates burial customs from Homeric Greece, such as the funeral pyre of Patroclus as described in the Iliad. The excavations have unearthed treasures such as fine jewelry, weapons, grave objects from glass, faience and ivory, bronze and ceramic vessels, and figurines.Ν. Κοντράρου-Ρασσιά: Πολύχρυση ταφή στην Ελεύθερνα, Ελευθεροτυπία OnLine, 28 Σεπτεμβρίου 2010, archived hereΝ. Κοντράρου-Ρασσιά: Γυναικεία μυστικά και κοσμήματα από το βάθος των αιώνων, Ελευθεροτυπία OnLine, 28 Αυγούστου 2009, archived here A prominent exhibit is a bronze shield.
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The museum is famous for its collections of courtly culture, musical instruments, furniture, oil paintings, sketches, clocks, stoneware, majolica, miniatures, porcelain and faience, and its statues. It has probably the world's best collection of the Nymphenburg porcelain figures of Franz Anton Bustelli (1723–63). Medieval art The Romanesque period is represented by stone sculptures from the monastery of Wessobrunn and the marble lions from Reichenhall. Important pieces of Romanesque art include wooden figures of crucifixion groups from Bamberg, Schongau and Kaufbeuren, and several works of metal and ivory.
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A concrete patio extends along the southern and western sides, lined on the west by a low stone wall. A breezeway on the south side joins the main structure to a two- room wood frame structure, which is believed to have served as a studio space. The house interior also has numerous Craftsman features, including exposed rafter beams and tilework by the Grueby Faience Company of Boston. The initial portion of the house was the subject of an article in the July 1903 edition of Country Living in America.
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Most often these necklaces were ornamented with blue or green enameled rosettes, animal shapes, or vase-shaped pendants that were often detailed with fringes. It was also common to wear long gold chains with suspended cameos and small containers of perfume. New elements were introduced in the Hellenistic period; colored stones allowed for poly-chromatic pieces, and animal-head finials and spear-like or bud shaped pendants were hung from chains. Ancient Etruscans used granulation to create granulated gold beads which were strung with glass and faience beads to create colorful necklaces.
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The memorial was designed by Arthur Peck for no fee and Mitcham Tesselated Tile Co. won the tender to construct. The memorial is built in brick covered by faience work. The supporting angles are formed to represent the trunks of gum-trees, branching out into leaves and cones under the main cornice, and the roots are shown on a bold projection above the base. Above the main cornice is a cross of a deep golden colour, which stands out clearly from the green tone of the general mass of work.
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Condominiums which formerly served as factory housing Over the next twenty years, the Eberhard Faber Pencil Factory complex was expanded with several buildings. The first such building, located at 100–106 West Street predated the factory itself, having been erected in the mid-1860s as a real estate investment for local resident and iron merchant Francis N. Gove. Another building predating the factory was 98 West Street, built by the Faience Manufacturing Company circa 1870. These structures, originally three stories, both received a fourth floor around 1901. Additional structures were built in the 1880s.
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The burials contained the remains of animals, amulets, and scarabs carved from faience, round and oval pots with handholds, flint knives, broken and burned pottery. All burials included skulls and skeletons in the bending position and were not very well-preserved. In May 2020, Egyptian-Spanish archaeological mission head by Esther Ponce uncovered a unique cemetery dating back to the 26th Dynasty (so-called the El-Sawi era) at the site of ancient Oxyrhynchus. Archaeologists found tombstones, bronze coins, small crosses, and clay seals inside eight Roman-era tombs with domed and unmarked roofs.
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The Zunfthaus zur Meisen is the guild house of the Zunft zur Meisen. It is one of the many historically valuable buildings in the Lindenhof quarter in Zürich, Switzerland, and also housed the porcelain and faience collection of the Swiss National Museum by April 2018. It is situated at the Münsterhof and the Münsterbrücke, a bridge over the river Limmat, opposite the upper Limmatquai with the Constaffel, Zimmerleuten, Kämbel and Saffran guild houses. Zunfthaus zur Meisen and Münsterbrücke Fraumünster abbey, old Kornhaus (at the left side) and Meisen guild house.
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In 1606, Guru Arjan of the Sikh faith was imprisoned at the fort before his death. Jahangir bestowed the massive Picture Wall, a by wall which is exquisitely decorated with a vibrant array of glazed tile, faience mosaics, and frescoes. On the spandrels of the large arched panels below Jahangir's Khwabgah (the Imperial Bedchamber) are azdahas or winged dragons from ancient Persian mythology, cup-bearing angel figures herons, cranes and other flying birds. Many of the scenes displayed on this ‘Picture Wall’ illustrate the court life of the Mughal sovereigns, their sports and their pastimes.
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The rest of his remains were buried in the church at Lunéville; when the church was destroyed during the French Revolution, Ferry's inscribed mausoleum was preserved and is now at the Chateau de Lunéville. Some of Ferry's outfits are preserved in the historical museum at Nancy and there are a number of wax statues of him still in existence. A unique Luneville Faience statue of Ferry, 22 inches (56 cm) tall, modelled from life, was kept at the Chateau de Lunéville, but was destroyed in a fire in 2003.Foster, Kate (Lady Davson) (2004).
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18th century Chinese export porcelain, Guimet Museum, Paris. Chinese porcelain had long been imported from China, and was a very expensive and desired luxury. Huge amounts of gold were sent from Europe to China to pay for the desired Chinese porcelain wares, and numerous attempts were made to duplicate the material.Chinese glazes: their origins, chemistry, and recreation Nigel Wood p.240 It is at the Nevers manufactory that Chinese-style blue and white wares were produced for the first time in France, using the faience technique, with production running between 1650 and 1680.
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The platforms of Line 6 are decorated in the Mouton style with orange tiles and orange luminous lighting strips. Those of Line 12 are in the Ouï-dire style with green lighting strips and Motte seats, white flat tiles and white cylindrical advertising frames. The platforms of Line 13 are built in the Andreu-Motte style with green lightning strips and green tiled benches, tympanum's and openings. Green Motte seats are married with the original CMP decoration (white bevelled tiled walls, the name in faience and honey colour advertising frames).
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Hoche is a standard configuration station with two platforms separated by subway tracks under an elliptical vault. It has white and rounded lighting bands in the Gaudin style of the metro revival of the 2000s and white beveled ceramic tiles cover the walls, vault, tympan's and outlets of the corridors.The platforms are equipped with benches made of slats and the name of the station is inscribed in faience, in the style of the original CMP. It is therefore decorated in a style identical to that applied to the majority of Paris metro stations.
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French styles were soon being imitated in porcelain in Germany, England, and as far afield as Russia. They were also imitated in the cheaper French faience, and this and other materials elsewhere. This dominance lasted until at least 1830. Before the French Revolution in 1789, French production was complicated by various royal patents and monopolies restricting the production of various types of wares, which could sometimes be circumvented by obtaining the "protection" of a member of the royal family or senior courtier; this might or might not involve ownership by them.
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Mustard and blue solid-body wares, 1650–80, with Turkish-inspired birds and flowers.McNab, 18–20; Ewer page at Metropolitan Museum after Mantegna, 1600–1630 The city of Nevers, Nièvre, now in the Bourgogne-Franche-Comté region in central France, was a centre for manufacturing faience, or tin- glazed earthenware pottery, between around 1580 and the early 19th century. Production then gradually died down to a single factory, before a revival in the 1880s. In 2017, there were still two potteries making it in the city, after a third had closed.
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This core was overlaid by casing stones of white Tura limestone, which were stolen in antiquity. At the time of its construction the pyramid stood high, with a base length of and an inclination angle of 52°. In the interior of the pyramid a descending passage led, behind three granite portcullises, to an antechamber, three magazine rooms and the burial chamber. In the burial chamber, pieces of alabaster and a faience bead on a gold thread were discovered, as well as many fragments of what was originally a large sarcophagus of dark grey basalt.
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Among them, that of the Manufacture Jules Vieillard in Bordeaux (late 19th century), that of the Crystal Stairs (early 20th century), or even of the faience of Gien The large birds still in reissue. It can also be noted that many pieces of this service are now preserved in various French national museums (Musée d'Orsay, Musée national Adrien Dubouché, etc.).68 pièces de céramique (en août 2015) sont présentées de façon détaillée dans la base Joconde. Each element of the service, inspired by Japanese prints, was decorated with a different motif.
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Considered one of the most ornate monuments in Uch, the tomb of Bibi Jawindi is an important site for visitors. The exterior of the building is octagonal in shape and has three tiers with the top one supporting a dome, while the interior is circular due to thick angled walls rising up two stories. Both the interior and exterior of the building are richly decorated with Islamic scriptures, carved timber, and bright blue and white mosaic tiles known as faience. The base tier is supported by eight tapering towers in each corner.
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He wears a nemes headcloth, topped by the royal insignia of a cobra (Wadjet) and vulture (Nekhbet), symbolising Tutankhamun's rule of both Lower Egypt and Upper Egypt respectively. The ears are pierced to hold earrings, a feature that appears to have been reserved for queens and children in almost all surviving ancient Egyptian works of art. It contains inlays of coloured glass and gemstones, including lapis lazuli (the eye surrounds and eyebrows), quartz (the eyes), obsidian (the pupils), carnelian, feldspar, turquoise, amazonite, faience and other stones (as inlays of the broad collar).
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Their arrangement reflected the five phyles of the priesthood that maintained the mortuary cult. alt=Photograph of a statuette Inside the storage magazines, significant collections of papyri, constituting the third Abusir temple archives, were unearthed. These provide a wealth of information regarding the daily operation of the mortuary cult and life in the Abusir pyramid complexes. Besides the papyri, frit tablets – depicting gods and the king, alongside gold leaf covered hieroglyphic inscriptions –, faience ornaments, stone vessels – variously of diorite, alabaster, gabro, limestone and basalt – flint knives and other remains were also discovered.
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A connecting tunnel at Embankment tube station mistakenly shows Willesden Green as part of the Bakerloo line as a result of a typo which instead should say Willesden Junction. This can be found on a printed map on the wall of Embankment station. The main station buildings, which date from the reconstruction of 1925, are fine examples of the work of Charles Walter Clark, the Metropolitan Railway's architect, who used this style of marble white faience for several 'central' area stations. The diamond-shaped clock is also a trademark of his style.
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This industry grew from the end of the seventeenth century and reached its full development in the second half of the eighteenth century between 1750 and the French Revolution. The increase in demand was due to population growth and the rise of a middle class looking for luxuries. Refinement of the domestic environment and adoption of more formal dining manners stimulated development of high-quality products. By 1787, on the eve of the revolution, there were nine manufacturers of enameled faience: Agenl and Sauze, Antoine Bonnefoy, Boyer, Fauchier, Fesquet, Ferrin and Abellard, Joseph-Gaspard Robert.
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Roger D. Woodard. Cambridge University Press, 2008, pp. 141–164. surpassing other ancient Italic peoples such as the Ligures, and their influence may be seen beyond Etruria's confines in the Po River Valley and Latium, as well as in Campania and through their contact with the Greek colonies in Southern Italy (including Sicily). Indeed, at some Etruscan tombs, such as those of the Tumulus di Montefortini at Comeana (see Carmignano) in Tuscany, physical evidence of trade with Egypt has been found—fine Egyptian faience cups are an example.
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Reprints of tile catalogues, including the 1930 Mueller Mosaic Faience Tile Inserts catalogue are available from the non-profit California based Tile Heritage Foundation. Swastika tiles are also featured in the 1920 catalogue from Wheatley Pottery Company of Cincinnati Ohio, the 1928 catalogue from the Cambridge-Wheatley Company of Covington, Kentucky, which marketed Wheatley tiles and a 1930s catalogue from the Franklin Pottery Company of Lansdale, Pennsylvania. The Mueller tiles with swastika design can be found at the St. James Episcopal Church (1927), and the Immanuel Presbyterian Church (1928).
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China painting, or porcelain painting is the decoration of glazed porcelain objects such as plates, bowls, vases or statues. The body of the object may be hard-paste porcelain, developed in China in the 7th or 8th century, or soft-paste porcelain (often bone china), developed in 18th-century Europe. The broader term ceramic painting includes painted decoration on lead-glazed earthenware such as creamware or tin-glazed pottery such as maiolica or faience. Typically the body is first fired in a kiln to convert it into a hard porous biscuit.
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CLVIII dell'edizione a cura di L.F. Benedetto, 1928; cap. 153 dell'edizione a cura di V. Pizzorusso Bertolucci Apart from copying Chinese porcelain in faience (tin glazed earthenware), the soft-paste Medici porcelain in 16th-century Florence was the first real European attempt to reproduce it, with little success. Early in the 16th century, Portuguese traders returned home with samples of kaolin, which they discovered in China to be essential in the production of porcelain wares. However, the Chinese techniques and composition used to manufacture porcelain were not yet fully understood.
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This type of Spanish pottery owed much to its Moorish inheritance. In Italy, locally produced tin-glazed earthenwares, now called maiolica, initiated in the fourteenth century, reached a peak in the late fifteenth and early sixteenth centuries. After about 1600, these lost their appeal to elite customers, and the quality of painting declined, with geometric designs and simple shapes replacing the complicated and sophisticated scenes of the best period. Production continues to the present day in many centres, and the wares are again called "faience" in English (though usually still maiolica in Italian).
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On the ground floor, paved with single slabs of stone, the building includes a backgammon room and a dining room. The lyre-backed chairs in mahogany lined with green Morocco, were created by Georges Jacob. To the left, another building housing the billiard room is connected to the Queen's house by a wooden gallery decorated with trellises and twelve hundred St. Clement faience pots, marked in the blue figures of the Queen. Upstairs, a small apartment which seems to have been inhabited by the architect Richard Mique, has five rooms including a library.
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The current exhibition displays the history of pharmacy in Bratislava in the first three rooms. The entrance room is furnished with the original Red Crayfish Pharmacy fittings. The furniture set constructed from stained beech in the Empire style standing along three walls of the room is supplemented with a tare balance and a stand for a hand-balance. This equipment is supplemented with faience, stoneware, wooden, china and glass containers for storing medicines dating from a period extending from the end of the 18th century up to the 1950s.
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The room contains paintings in the Baroque – Classicist style from the end of the 18th century with a theme of healing, with a balustrade and three figurative compositions on the vaulted ceiling. The pharmaceutical collection contains 8,500 items and 2,880 volumes of ancient pharmaceutical literature and it one of the largest of its kind in Slovakia. It contains original items of pharmaceutical equipment, the oldest originating from the 16th century. The Baroque and Classicist furniture and most of the faience, stoneware, glass, wooden and tin vessels for preserving medicines were made in Slovakia.
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Terracotta Gothic niche and statue of Prudence, Holborn Bars, above the main entrance arch on High Holborn c.1901, the statue is almost classical in style it was sculpted by F.M. Pomeroy Waterhouse is well known for his use of terracotta and faience as a building material, one of the driving factors being its resistance to air pollution, an increasing problem as the industrial age advanced. He relied on Gibbs and Canning Limited to supply the terracotta for the Natural History Museum, who he worked with to improve the quality of the material.Cunningham & Waterhouse, p.
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Gloucester Road station, Piccadilly line, with the sang de boeuf glazed tiles used on many London Underground station buildings. The material, also known in Great Britain as faience and sometimes referred to as "architectural ceramics", was closely associated with the work of Cass Gilbert, Louis Sullivan, and Daniel H. Burnham, among other architects. Buildings incorporating glazed terra-cotta include the Woolworth Building in New York City and the Wrigley Building in Chicago. Glazed architectural terra- cotta offered a modular, varied and relatively inexpensive approach to wall and floor construction.
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In 1770 Frederick Augustus III had a faience manufacture established in the premises, which obtained much attention at the Leipzig Trade Fair and later produced stoneware with considerable success. However, business went down during the Napoleonic Continental Blockade, while Hubertusburg served as a military hospital for the Saxon troopers of the Grande Armée, returning from the French invasion of Russia, and for the wounded of the Battle of Leipzig. From 1815 onwards, Frederick Augustus again held some royal hunts here. In 1840, Hubertusburg was turned into a penitentiary for up to 170, mainly female, inmates.
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The loss of three fleets of ships he owned in the Seven Years' War began his fall, although the commercial brokers who seized his goods, including the lands at Brue, themselves went bankrupt in 1774. He died in Brue, ruined, in 1792. His redevelopment of Brue-Auriac between 1746 and 1758 resulted in a small town which by 1765 had 832 inhabitants engaged in various industries such as silk, faience, cloth, tile works, and tanning, and despite the failure of Roux de Corse the regular planning of the town can still be appreciated.
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In 1885, Friedrich Goldscheider came from the Bohemian city of Pilsen to Vienna and founded the Goldscheider Porcelain Manufactory and Majolica Factory. It became one of the most influential ceramic manufactories of terracotta, faience and bronze objects in Austria, with subsidiaries in Paris, Leipzig and Florence. For over half a century, Goldscheider created masterpieces of historical revivalism, Art Nouveau (Jugendstil) and Art Deco. Famous artists such as Josef Lorenzl, Stefan Dakon, Ida Meisinger and the two perhaps best known Austrian ceramic artists (Michael Powolny and Vally Wieselthier) worked for Goldscheider.
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Bowl with panthers, 1894–95, including "Rouge Dalpayrat" glaze. Vase, c. 1900 Pierre-Adrien Dalpayrat or Adrien Dalpayrat (14 April 1844 - 10 August 1910) was a French potter who was a significant figure in French art pottery, especially known for his innovative coloured ceramic glazes, mostly on stoneware, but also earthenware and porcelain. After working for several makers of faience, mostly in the south, from 1889 he established his own studio in Bourg-la-Reine, not far from Paris, with his work on sale in various galleries in the capital and other cities.
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Belvedere near Weimar Belvedere seen from the garden in winter The Baroque Schloss Belvedere, Weimar on the outskirts of Weimar,The more famous Schloss Belvedere is located in Vienna. is a pleasure-house (Lustschloss) built for house-parties, built in 1724-1732 to designs of Johann August Richter and Gottfried Heinrich Krohne for Ernst August, Duke of Saxe-Weimar. The corps de logis is flanked by symmetrical pavilions. Today it houses part of the art collections of Weimar, with porcelains and faience, furniture and paintings of the eighteenth century.
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Ault was born at Bagnall, near the centre of the English pottery industry at Stoke-on-Trent, and started his career as a "packing boy" in a pottery at Longton, where he was gradually promoted to management. He ran the Bretby Art Pottery 1883–1887, then William Ault & Co, selling goods as "Ault Pottery" and "Ault Faience". He was also a Methodist lay preacher.Fletcher The firm merged with the Ashby Potters' Guild in Woodville in 1919, the formal name becoming at first "Ault and Tunnicliffe", Pascoe Tunnicliffe being the new Works Director.
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The Bridge Street Conservation Area includes many late Victorian shop buildings such as these which are a particularly noteworthy example of faience cladding. As of February 2016, there are 16 Conservation Areas in the borough of Warrington in Cheshire, England. The origins of Warrington are as a mediaeval market town and crossing point of the River Mersey, it grew rapidly during Industrial Revolution on the back of industries such as brewing, tanning and especially wire manufacturing. Further expansion followed the Second World War when it was selected as a New Town.
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These arches, in a classic deep-red faience style, formed the original perimeter: two are infilled with street-facing shops. As the station also functions as a drivers' depot, London Underground uses the offices above the station for administration and drivers' accommodation. The C&SLR; station was designed by Thomas Phillips Figgis in a similar style to Kennington station. It was partially rebuilt in the 1920s when the C&SLR; tunnels were modernised, and was rebuilt during the construction of the Elephant & Castle shopping centre and roundabout in the 1960s.
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The architects for the new complex spent two years studying the technical aspects of bathing in Europe. Completed in 1933, the development had three bathhouses — Lincoln, Washington, and Roosevelt — a drinking hall, the Hall of Springs, and a building housing the Simon Baruch Research Institute. Four additional buildings composed the recreation area and housed arcades and a swimming pool decorated with blue faience terra-cotta tile. Saratoga Spa State Park's Neoclassical buildings were laid out in a grand manner, with formal perpendicular axes, solid brick construction, and stone and concrete Roman-revival detailing.
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Prior to excavation conducted by Kurukshetra University in 1968, under the direction of Suraj Bhan (Bhan 1969, 1975), copper artefacts, Indus-style pottery, beads and faience bangles were discovered at Mitathal. Bhan’s excavations, although small in scale, revealed much about the site and the region. He identified a pre-Mature Harappan phase related to the Kalibangan I. Also he identified an early phase at the site of Harappa, which has been described as a ‘pre-defense’, 'or Kot Diji Phase'. This is also known in Haryana as 'Late Siswal culture'.
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Bryk's parents were Felix Bryk, an Austrian entomologist, and Aino Mäkinen. Bryk studied graphic art at the Art and the Central School of Helsinki in 1936–1939 and started working in 1942 in the Arabia Factory in Helsinki working with Birger Kaipiainen. Bryk's early works include graphical designs for greeting cards and book covers, as well as ceramic objects, such as colorful containers, trays and jewelry. In the mid-1940s she made faience plates characterized by pastel colors, and scenes of women in fancy hats, strolls in the park, and young courting.
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Page 374 from Ampzing's "Lof op Haerlem", 1628 The archives of Delft and Haarlem have documents that reflect various aspects of his life and that of his sons, most notably Gerrit who continued his business in Haarlem. Willem was a successful businessman and held leading positions in the Haarlem Guild of St. Luke from 1638.Willem Janss. Fabricant de porcelaine et de faience listed as one of the regents of the Haarlem Guild of St. Luke in 1638 by Adriaan van der Willigen He died in Haarlem in 1655.
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Under the step pyramid is a labyrinth of tunneled chambers and galleries that total nearly 6 km in length and connect to a central shaft 7 m square and 28 m deep. These spaces provide room for the king's burial, the burial of family members, and the storage of goods and offerings. The entrance to the 28 m shaft was built on the north side of the pyramid, a trend that would remain throughout the Old Kingdom. The sides of the underground passages are limestone inlaid with blue faience tile to replicate reed matting.
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Three chambers of this substructure are decorated in blue faience to imitate reed-mat facades, just like the pyramid. One room is decorated with three finely niche reliefs of the king, one depicting him running the Heb-sed. Importantly, Egyptian builders chose to employ their most skilled artisans and depict their finest art in the darkest, most inaccessible place in the complex. This highlights the fact that this impressive craftsmanship was not meant for the benefit of the living but was meant to ensure the king had all the tools necessary for a successful afterlife.
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Faïence parlante (especially from Nevers) bears mottoes often on decorative labels or banners. Apothecary wares, including albarelli, 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 faïence patriotique that was a specialty of the years of the French Revolution. The industry was in crisis by the start of the French Revolution in 1789, as production of French porcelain had greatly increased, and its prices were reducing, though it still cost much more than faience.
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Zellij made its appearance in the region during the 10th century and became widespread by the 14th century during the Marinid period. It may have been inspired or derived from Byzantine mosaics and then adapted by Muslim craftsmen for faience tiles. The tiles are first fabricated in glazed squares, typically 10 cm per side, then cut by hand into a variety of pre-established shapes (usually memorized by heart) necessary to form the overall pattern. This pre-established repertoire of shapes combined to generate a variety of complex patterns is also known as the hasba method.
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Elaborate carved reliefs are found on some of John Leopold Denman's buildings of the 1930s as a result of his collaboration with sculptor Joseph Cribb. In central Brighton, 20–22 Marlborough Place has a series of reliefs showing workers in the building trade, and 2–3 Pavilion Buildings have Portland stone capitals with scallops and seahorses. Terracotta was popular in the Victorian and Edwardian eras as an external decorative element, as was yellowish faience earthenware. They were commonly used to top off a structure such as a wall or roof, in the form of finials, urns and caps.
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The many achievements of the ancient Egyptians include the quarrying, surveying and construction techniques that facilitated the building of monumental pyramids, temples, and obelisks; a system of mathematics, a practical and effective system of medicine, irrigation systems and agricultural production techniques, the first known ships, Egyptian faience and glass technology, new forms of literature, and the earliest known peace treaty. Egypt left a lasting legacy. Its art and architecture were widely copied, and its antiquities carried off to far corners of the world. Its monumental ruins have inspired the imaginations of travellers and writers for centuries.
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Wares included garnitures of vases, dishes, teawares, ewers, and other useful wares along with figurines, animals and birds. Blanc de Chine porcelains and Yixing stonewares arriving in Europe and gave inspiration to many European potters. The massive increase in imports allowed purchasers to amass large collections, which were often displayed in dedicated rooms or purpose-built structures. The Trianon de Porcelaine built between 1670 and 1672 was a Baroque pavilion constructed to display Louis XIV's collection of blue-and-white porcelain, set against French blue-and-white faience tiles both on the interior and exterior of the building.
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Chinese potters copied the popular Japanese Imari porcelains, which continued to be made for export into the second half of the 18th century, examples being recovered as part of the Nanking cargo from the shipwreck of the Geldermalsen. Qing export porcelain with European Christian scene, 1725–1735. A wide variety of shapes, some of Chinese or Islamic origin, others copying faience or metalwork were made. Oriental figurines included Chinese gods and goddesses such as Guanyin (the goddess of mercy) and Budai (the god of contentment), figurines with nodding heads, seated monks and laughing boys as well as figurines of Dutch men and women.
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Great Portland Street Tube Station The street is served at the northern end by Great Portland Street station and at the southern end by Oxford Circus. Great Portland Street Station opened as Portland Road on 10 January 1863 as a station on London's then Metropolitan Railway. The station was renamed Great Portland Street in March 1917.It was then renamed Great Portland Street and Regent's Park in 1923 and reverted to Great Portland Street in 1933 The present station building, designed by Charles Clark, is of 1930 date and is constructed from cream faience tile with a slate mansard roof.
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An elaborate structural complex, which besides the residential houses or rooms closely connected with it, included a mud platform, about 18 m long, with fire altars of different shapes and an apsidal mud-wall structure, probably a temple associated with sacrificial activity were also identified. There were 16 burials in this phase, either pit or urn burials. Twigs of a fibrous plant were laid out at the bottom of the pits. The artifacts found in this phase included microlithic blades, copper objects, faience beads, terracotta and bone objects, The plant remains included barley, three types of wheat, finger millet, lentils and pulses.
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The Hannongs were early practitioners of overglaze decoration in France, referred to as 'petit-feu' (small fire) in French. This involved a second firing at a lower temperature, making it possible to have a wider range of colours, including radiant reds, colours that had not been able to survive the traditional grand-feu firing temperature. Using this broad colour range, the Hannongs designed motifs of naturalistic flowers, often asymmetrically painted on plates and tureens. Strasbourg faience products include large tureens designed by Paul, in forms such as pumpkins and cabbages, as well as naturalistic figures of animals.
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The platform in the direction of Bobigny presents in a display case, a bust of Lazare Hoche and images evoking the life of this General of the Revolution. In 2018 it saw 5,185,130 travelers, which placed it at the 87th position of metro stations for attendance. For more than ten years until 2018, the name of the station on the walls of the platforms were written in Parisine font on thin plates covering the original names in faience. They were re-continued, a feature that the station shares with Filles du Calvaire on Line 8 and Porte des Lilas on Line 11.
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Throughout the 18th and 19th centuries, France had a vigorous faience industry, making high-quality tin-glazed earthenware that remained in touch with artistic fashion. At least before 1800, this catered to the lower end of the market very successfully, so that porcelain factories concentrated on the top end, in France and elsewhere. Compared to other European countries, French manufacturers have generally concentrated on tablewares and decorative vessels rather than figures, with Mennecy-Villeroy porcelain being something of an exception.Battie, 107 Where figures and groups were produced, these were most often in the French invention of unglazed biscuit porcelain.
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Reconstruction of a ritual vase made of sycamore wood with faience and gold inlays showing Neferirkare's cartouche and found in his mortuary temple. Now in the Egyptian Museum of Berlin. Beyond his construction of a pyramid and sun temple, little is known of Neferirkare's activities during his time on the throne. Some events dating to his first and final years of reign are recorded on the surviving fragments of the Palermo stone, a royal annal covering the period from the start of the reign of Menes of the First Dynasty until around the time of Neferirkare's rule.
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An Egyptian amulet made of faience in the form of the Egyptian deity of Ptah-Sokar, typical of this period, was found, as well as an incense burner. An interesting discovery from a later stage of the building was an abundance of animal bones. Most of the bones belonged to sheep and goats, and most of them were the right forelegs of the animals. Such a collection of bones is unique to this building and indicates animal sacrifices, similar to a type of sacrifice described in the Hebrew Bible (Exodus 29:22 and Leviticus 7:32).
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The cities: Marseille, Toulon, Avignon and Aix-en-Provence, saw the construction of boulevards and richly decorated private houses. Marseille in 1754, by Vernet At the beginning of the 18th century, Provence suffered from the economic malaise of the end of the reign of Louis XIV. The plague struck the region between 1720 and 1722, beginning in Marseille, killing some 40,000 people. Still, by the end of the century, many artisanal industries began to flourish; making perfumes in Grasse; olive oil in Aix and the Alpilles; textiles in Orange, Avignon and Tarascon; and faience pottery in Marseille, Apt, Aubagne, and Moustiers-Sainte-Marie.
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At that time, the collection, and thus the new Provincial Museum for New Western Pomerania and Rügen, which today is the oldest museum in Mecklenburg-Western Pomerania, was still located in four rooms of the Stralsund Town Hall , The Hiddenseer gold jewelry was exhibited in the original room in the first room. Also exhibited here were oil paintings of various themes, which came from Löwen's possession and the foundation of a Stralsunders. The second room contained unsorted and uncategorized prehistoric finds, an Indian costume, 17th and 18th century furniture, hand tools, and natural history pieces. The fourth room contained faience from Stralsund production.
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The exhibitions in the former St. Catherine's Monastery address not only the history of the area and the history of the city, but also the handicraft of the region - here is the Hiddensee treasure - the Visual Arts - mainly paintings by Caspar David Friedrich as well as Philipp Otto Runge - as well as historical children's toys. Also on display are Faiences Stralsund Faience Factory and Paraments. In the "Historical Memory" of the museum, another exhibition building in the Böttcherstraße, the focus of the exhibition is on folklore Western Pomerania. Here, in particular, they devote themselves to regional traditions.
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The cities of Marseille, Toulon, Avignon and Aix-en-Provence saw the construction of boulevards and richly decorated private houses. At the beginning of the 18th century Provence suffered from the economic malaise of the end of the reign of Louis XIV. The plague struck the region between 1720 and 1722, beginning in Marseille, killing some 40,000 people. Still, by the end of the century, many artisanal industries began to flourish; making perfumes in Grasse; olive oil in Aix and the Alpilles; textiles in Orange, Avignon and Tarascon; faience pottery in Marseille, Apt, Aubagne, and Moustiers-Sainte-Marie.
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A Hispano-Moresque dish, approx diameter, with Christian monogram "IHS", decorated in cobalt blue and gold lustre. Valencia, 1500. Burrell Collection Ming Dynasty (13681644 CE) blue- and-white porcelain dish from the reign of the Jiajing Emperor (15211567 CE)Nanjing Museum collections Tin-glazed pottery, or faience, originated in Iraq in the 9th century, from where it spread to Egypt, Persia and Spain before reaching Italy in the Renaissance, Holland in the 16th century and England, France and other European countries shortly after. Important regional styles in Europe include: Hispano-Moresque, maiolica, Delftware, and English Delftware.
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Combined coats of arms of Johann Reinhard III of and Frederike Dorothea of Brandenburg-Ansbach, faience from Ansbach, probably made in 1724 on the occasion of their silver wedding Johann Reinhard III. died on 28 March 1736 in Schloss Philippsruhe in Hanau. On his deathbed, he was surrounded by the diplomatic and notarized representatives of his heirs.The student's song Alter Hanauer is said to be based on the circumstances of death of the Count, who was dying surrounded by the watchful representatives of his heirs He was buried in the family crypt in the St. Johann's Church in Hanau.
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The southern end of the burial chamber also had a recess meant to hold grave goods. Overall, the plan of the substructures of tomb S9 is similar to those found in the Pyramid of Khendjer. Small fragments of burned wood were uncovered there during the 1901 excavations suggest that the wooden coffin of the king was destroyed. Since then, burned bandages, small pieces of inscribed, gilded plaster from the king's mummy mask, and pieces of wood and faience inlay, stone jars, beads, and bone needles were unearthed in the substructures as well as in the rubbles of the enclosure wall.
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18th-century Delftware showing Chinese scenes Earthenware pottery including tin-glazed pottery, Victorian majolica, Delftware and faience, is made of clays or earths that give a soft paste. Earthenware is opaque, with a relatively coarse texture, while porcelain is semi-transparent, with a fine texture of minute crystals suspended in a transparent glassy ground. Industrial manufacturers of earthenware pottery biscuit-fire the body to the maturing range of the clay, typically , then apply glaze and glaze-fire the piece at a lower temperature of about . With very vitreous (glass-like) bodies the manufacturer may spray on the glaze.
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Another kind of faience model of the deceased as a mummy seems to anticipate the use of shabti figurines (also called shawabti or an ushabti) later in the Twelfth Dynasty. These early figurines do not have the text directing the figure to work in the place of the deceased that is found in later figurines. The richest people had stone figurines that seem to anticipate shabtis, though some scholars have seen them as mummy substitutes rather than servant figures. In the later Twelfth Dynasty, significant changes occurred in burials, perhaps reflecting administrative changes enacted by King Senwosret III (1836–1818 B.C.E.).
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Catherine further commissioned a landscape architect from Florence, Bernard de Carnesse, to create an Italian Renaissance garden, with fountains, a labyrinth, a grotto, and decorated with faience images of plants and animals, made by Bernard Palissy, whom Catherine had tasked to discover the secret of Chinese porcelain. The Tuileries Garden in 1615, where the Grand Basin is now located. The covered promenade can be seen, and the riding school established by Catherine. The garden of Catherine de' Medici was an enclosed space five hundred metres long and three hundred metres wide, separated from the new palace by a lane.
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In the spring of 1883, the theme of the exhibition was narrowed down to be an idea fostered by (1838-1922) who served as Chairman of the Association of Copenhagen Industrialists and Vice President of the expo. Philip Schou was the founding owner of the faience or earthenware pottery factory Aluminia in Christianshavn. In 1882, the owners of Aluminia purchased the Royal Copenhagen porcelain factory. It was pointed out by Philip Schou that the expo took place to create a platform foremost for the Danish citizens, so they would recognize the products, lifestyles, and arts from all of Denmark.
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Wazir Khan Mosque in Lahore, Pakistan, is considered to be the most ornately decorated Mughal-era mosque The Wazir Khan Mosque was commissioned during the reign of the Mughal Emperor Shah Jahan in 1634, and completed in 1642. Considered to be the most ornately decorated Mughal-era mosque, Wazir Khan Mosque is renowned for its intricate faience tile work known as kashi-kari, as well as its interior surfaces that are almost entirely embellished with elaborate Mughal- era frescoes. The mosque has been under extensive restoration since 2009 under the direction of the Aga Khan Trust for Culture and the Government of Punjab.
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In Strata VI and V, the building complex contained a large stone bath, a monolith, two stone pillar bases, and several hearths. In Stratum IV the plan of the building complex was reused and its cultic function continued, as attested by the finds, including a cache of ivory, faience, and stone objects, among them decorated earplugs and a ring depicting the Egyptian goddess Sekhmet. The destruction and abandonment of the Stratum IV lower city during the first quarter of the 10th century marked the end of both the early Philistine city and of the Iron I in general at Ekron.
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This very unusual building, originally built as St. James' Episcopal Chapel, is Grade II listed and is open to the public on Saturdays. Just to the south of St. Augustine's on Carlton Vale stood the Carlton Tavern, a pub built in 1920-21 for Charrington Brewery and thought to be the work of the architect Frank J Potter. The building, noted for its unaltered 1920s interiors and faience tile exterior, was being considered by Historic England for Grade II listing when it was unexpectedly demolished in March 2015 by the property developer CLTX Ltd to make way for a new block of flats.
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A worker in the Badon faience factory, she married Alphonse Adloff on 16 December 1922 and became manager of the Badon brasserie via her husband, who already held that job. World War I have made a lasting impression, she joined the resistance movement and, from the beginning of German occupation, provided shelter and support for hundreds of people evading the concentration camps.. She provided false documentation and clothes and sent them on the "evasion route" of Donon and Grande-Fontaine. Thus she saved several hundreds of people. She was arrested in August 1942 and went to several concentration camps like Mauthausen and Ravensbrück.
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Hathor was closely connected with the Sinai Peninsula, which was not considered part of Egypt proper but was the site of Egyptian mines for copper, turquoise, and malachite during the Middle and New Kingdoms. One of Hathor's epithets, "Lady of Mefkat", may have referred specifically to turquoise or to all blue-green minerals. She was also called "Lady of Faience", a blue-green ceramic that Egyptians likened to turquoise. Hathor was also worshipped at various quarries and mining sites in Egypt's Eastern Desert, such as the amethyst mines of Wadi el-Hudi, where she was sometimes called "Lady of Amethyst".
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Historically, glazing of ceramics developed rather slowly, as appropriate materials needed to be discovered, and also firing technology able to reliably reach the necessary temperatures was needed. Glazes first appeared on stone materials in the 4th millenium BC, and Ancient Egyptian faience (fritware rather than clay-based) was self-glazing, as the material naturally formed a glaze-like crust in firing. Glazing on true pottery followed the invention of glass around 1500 BC, in the Middle East and Egypt with alkali glazes including ash glaze, and in China, using ground feldspar. By around 100 BC lead-glazing was widespread in the Old World.
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In Morocco, similar artistic technique is known as zillij. Its use has been widespread in the decoration of the walls of the buildings in the Ottoman era, and this mosaical feature can also be seen in the Dome of the Rock in Jerusalem. Kashi, the abbreviated form of Qashani, was also introduced to Sindh, Kutch, and Multan where numerous examples of shrines and mosques embellished with blue, white and green tile work exist. Leadless Decorative Tiles, Faience, and Mosaic: William James Furnival - 1904 - This style of decoration is called Kashani, after Kashan in Persia, one of the chief seats of earthenware manufacture .
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In November 2018, an Egyptian archaeological excavation team uncovered the original entrance of the tomb; in addition to another tomb, that of Thaw-Rakht-If. Two huge wooden anthropoid sarcophagi were found, identified as Padiset and Nesmutamu; they are attributed to another occupant of the tomb of a later period and not Hori. The mission uncovered two wooden statues of the deceased, five painted wooden funerary masks, and a collection of ushabti figurines made of faience, wood, burnt clay, along with a papyrus containing Chapter 125 of the Book of the Dead. A cache of mummies were also found in the tomb.
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Relief of Djoser facing the temple of Horus of Behedet (modern Edfu) in a blue faience chamber of the south tomb. The South Tomb has been likened to the satellite pyramids of later Dynasties, and has been proposed to house the ka in the afterlife. Another proposal is that it may have held the canopic jar with the king's organs, but this does not follow later trends where the canopic jar is found in the same place as the body. These proposals stem from the fact that the granite burial vault is much too small to have facilitated an actual burial.
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60–63 After the poor results of the election, Chirac broke with Garaud and Juillet. Vexed Marie- France Garaud stated: "We thought Chirac was made of the same marble of which statues are carved in, we perceive he's of the same faience bidets are made of." His rivalry with Giscard d'Estaing intensified. Although it has been often interpreted by historians as the struggle between two rival French right-wing families (the Bonapartists, represented by Chirac, and the Orleanists, represented by VGE), both figures in fact were members of the liberal, Orleanist tradition, according to historian Alain-Gérard Slama.
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A faience manufactory at the village of Montereau-sur-le-Jard had been established by Jean Rognon, working there ca 1720-1740, but the manufacture of faïence fine, which requires a very white body under its colorless but glossy lead glaze, was begun in 1749, sited to the east of the village centre the quartier Saint-Nicolas. From 1755 to 1762 these kilns were operated by Etienne-François Mazois (1719-1762)Danielle and Daniel Bullot "La faïencerie du faubourg Saint-Nicolas de Montereau-fault- Yonne et ses entrepreneurs : François Doyard et Étienne-François Mazois (1739-1773)". Dossiers de la Faïence Fine n° 33. (Amis de la faïence fine) 2011.
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From above, the mosque is distinguished by its rows of sloped green-tiled roofs, as well as by its large and prominent minaret. The current minaret dates from the reign of the Alaouite sultan Moulay Mohammed ben Abdallah (ruled 1757-1790). Like other Moroccan minarets it has a long square shaft which is crowned by stylized merlons and topped by a much smaller and shorter tower, which in turn is topped by an iron finial holding up four golden copper balls. The four facades of the minaret are covered in a surface of gleaming green faience tiles, which are a distinctive trait of minarets in Meknes.
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These were relatively small scarabs (typically 2 cm to 3 cm long) made from a wide variety of hardstones and faience and are distinguished from other scarabs by having naturalistic carved "3D" bases, which often also include an integral suspension loop running widthways. Groups of these funerary scarabs, often made from different materials, formed part of the battery of amulets which protected mummies in the Late Period.Andrews, p.59 When a person died and went to their final judgement, the gods of the underworld would ask many detailed and intricate questions which had to be answered precisely and ritually, according to the Book of the Dead.
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Greek-style art was also created during this time and existed in parallel to the more traditional Egyptian art, which could not be altered significantly without changing its intrinsic, primarily-religious function. Art found outside of Egypt itself, though within the Ptolemaic Kingdom, sometimes used Egyptian iconography as it had been used previously, and sometimes adapted it.Faience sistrum with head of Hathor with bovine ears from the reign of Ptolemy I. Color is intermediate between traditional Egyptian color to colors more characteristic of Ptolemaic-era faience.For example, the faience sistrum inscribed with the name of Ptolemy has some deceptively Greek characteristics, such as the scrolls at the top.
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In 1815, Lady Hester Stanhope's expedition to Ashkelon constituted the first modern archaeological excavation in Palestine. Using a medieval Italian manuscript as her guide, she persuaded the Ottoman authorities to allow her to excavate the site in search of a large hoard of gold coins allegedly buried under the ruins of the Ashkelon mosque. The governor of Jaffa, Abu Nabbut (Father of the Cudgel) was ordered to accompany her. On the second day of digging, the lower foundation walls of the mosque were discovered at a depth of three or four feet, along with fragments of marble pillars, a Corinthian capital, a faience vessel, and two small pottery phials.
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There seems little doubt that Worth had amassed a fortune; an 1874 visitor to this villa (who called it a château) described an abundance of faience china; a conservatory full of exotic plants; a winter garden and stables full of immaculately turned out horses. The gardens contained statuary and stones retrieved from Tuileries Palace (former home of his foremost patron Empress Eugénie) that were about to be incorporated into a new hothouse. Charles Frederick Worth's funeral was held at the Protestant Church in the Avenue de la Grande Armée. He was buried in the grounds of his villa at Suresnes, according to the rites of the Church of England.
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In 2014, on the basis of the style of both the relief and the royal name, Aidan Dodson rejected the identification of this king with both the already-known kings Usermaatre Osorkon (Osorkon II and III) and stated that he was rather Osorkon IV with his true throne name. A long- known, archaizing "glassy faience" statuette fragment from Memphis now exhibited at the Petrie Museum (UC13128) which is inscribed for one King Usermaatre, had been tentatively attributed to several pharaohs from Piye to Rudamun of the Theban 23rd Dynasty and even to Amyrtaios of the 28th Dynasty, but may in fact represent Osorkon IV.
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In 1893 Weller attended the Chicago World's Fair, where he saw a line of decorative art pottery developed by a competitor, Lonhuda Pottery of Steubenville, Ohio. The name "Lonhuda" was a combination of the first letters of three partners' surnames: William A. Long, who had been a Steubenville druggist; and two investors, W.H Hunter, editor of the Steubenville Daily Gazette, and Alfred Day, secretary of the United States Potters Association. Long had based his high-gloss brown slip faience glaze on a process Laura A. Fry invented in 1886 at the Rookwood Pottery. Her process involved applying uniform background glazes with an atomizer, giving more possibilities for even shading.
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Built in 1936 on the former site of the Royal Cambridge Music Hall, it was originally a sleek and showier extension of the former tobacco works of Godfrey Philips & Son trading at 116 Commercial St. It was rebuilt and extended by W. Gilbee Scott and BWH Scott in 1922-5 and with faience facings in 1927. Above the central entrance, raised attic with Art Deco fluting and clock. The top storey was added in 1998-9 when converted to residential apartments. The building was the first in a wave of converted residential buildings in East London, as the Tower Hamlets area was gentrified at the turn of the 21st Century.
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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, Florence, Venice, and many other places." mainly small cities in northern and central Italy, were producing sophisticated pieces for a luxury market in Italy and beyond. In France maiolica developed as faience, in the Netherlands and England as delftware, and in Mexico as talavera. In English the spelling was anglicised to majolica but the pronunciation usually preserved the vowel with an i as in kite ().
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The two storey building was designed in 1936, and erected by day labour under supervising contractors ARP Crow & Sons in 1936, to replace the first town hall built in 1875. It adopts an unusual eclectic Romaneque or even Byzantine mode, which had previously influenced Plottel for his St Kilda Synagogue, arranged in a formal Palladian manner with a central classical portico with attached receding wings either side. It is the only example of this style applied to a town hall in Victoria. The exterior incorporates a finely detailed entrance loggia with Corinthian columns, variegated brown brickwork highlighted with intricately modelled buff faience work and a terracotta tile mansard roof.
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Whilst parts of the 1930s fielded wood panelling have been unsympathetically painted, the pub retains its fireplaces, bar-back (extending to the ceiling), bar and counter with round corner, and a rare example of a black and white chequered gutter ('spittoon trough') in the saloon. The Commercial continues to be a fine London example of an improved inter-war pub (rebuilt by breweries to increase size and appeal more to families and particularly women), of which increasingly few remain. The pub front is faience (now painted), which is also typical of the period. A blocked external doorway between the two sides of the pub may indicate a former off sales.
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Dragonfly symbol on a Hopi bowl from Sikyátki, Arizona Insects have often been taken to represent qualities, for good or ill, and accordingly have been used as amulets to ward off evil, or as omens that predict forthcoming events. A blue-glazed faience dragonfly amulet was found by Flinders Petrie at Lahun, from the Late Middle Kingdom of ancient Egypt. There is a photograph in the catalogue; it is free for non-commercial usage. During the Greek Archaic Era, the grasshopper was the symbol of the polis of Athens, possibly because they were among the most common insects on the dry plains of Attica.
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In 1576, a decision was made on September 28 to make a devotional piece for St. Eligius, since only St. Luke was now represented. This referred to the painting by Martin van Heemskerck, which does not display St. Eligius, but shows St. Luke painting the Virgin. This painting was quite large, and though it shows a pottery (faience) baker as St. Luke and sculptures and woodcarvings abound in it, there is no sign of any smith work in it. The signed paper attached at the bottom of the painting is recorded by Karel van Mander and states that Heemskerck painted it for his colleagues in the guild.
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The three other Astorias were in Streatham, Old Kent Road and Brixton. The Finsbury Park Astoria opened on 29 September 1930 and was in use as a cinema until September 1971 when it was permanently given over to live music – although rock concerts had been a feature throughout the 1960s. The plain faience exterior, designed by Edward A. Stone, acted as a foil to a lavish 'atmospheric interior' by Somerford & Barr, with decoration carried out by Marc-Henri and G. Laverdet. A Moorish foyer with a goldfish-filled fountain (which survives today) led to an auditorium recalling an Andalucian village at night, with seating for 3,040.
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The site was discovered by Flinders Petrie who dug there in 1884–1885. He was followed by Ernest Arthur Gardner and finally David George Hogarth, in 1899 and 1903. Petrie's sketch plan of Naucratis The archaeological focus fell into two areas of northern and southern quarters. Found farthest south was a large Egyptian storehouse or treasury (A on sketch at right—originally identified by Petrie as the "great temenos") and just north of that a Greek mud-brick Temple of Aphrodite roughly 14 m × 8 m (curiously not mentioned in Herodotus' list.) Directly east of this temple was unearthed a small factory for faience scarab seals.
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Typical CMP station nameplate during the interwar period, executed in blue and white faience at the Place Monge station on line 7. Iéna station on line 9, with its tiled nameplates and poster frames, is a classic example of the CMP's more elaborate interwar style. Between the 1920s and early 1950s, the CMP responded to the aesthetic challenge of the Nord-Sud stations by introducing a more elegant décor in newly constructed stations. Experiments were made with both tiled and enameled nameplates on line 8 stations between Porte d'Auteuil and Opéra, and in the newly constructed (in 1916) line 7 stations Pyramides and Palais-Royal.
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Ethnography was central to the museum's original underpinnings. José Leite de Vasconcelos traveled through numerous regions obtaining artifacts that now form the core of the National Museum of Archaeology and the National Museum of Ethnology's collections. Of particular note are the collections of popular religious art, which contain religious iconography, votive offerings, votive panels and amulets; pastoral arts (spoons, horns, gunpowder horns); items with keys; musical instruments (including an 18th century accordion) toys; smoking paraphernalia; Portuguese faience from the 17th to 20th centuries from several factories and periods; and pottery from Barcleos, Gaia, Caldas da Rainha, Mafra, Nisa, Estremoz, Redondo and the Algarve. There are also African artworks.
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Ground floor arcade, the Nicholas Building The Nicholas Building was built in a time of imposed height restrictions that lasted from 1916 to 1957 and stated a limit of 132 ft (40.3 m). It consists of 10 floors and is influenced by the Chicago style evident in Melbourne at the time. It has a terracotta faience façade which was designed to self-clean; the grey terracotta manufactured as ‘Granitex’ by Wunderlich was used due to its durability and ease of maintenance. The exterior has a variety of Classical Revival features, such as giant order ionic pilasters to divide the upper façade into bays and Doric columns defining the lower section.
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Early porcelain was largely restricted to underglaze blue, and a range of browns and reds. Other colours turned black in a high- temperature firing.Savage, 26-28 Examples of oxides that do not lose their colour during a glost firing are the cobalt blue made famous by Chinese Ming dynasty blue and white porcelain and the cobalt and turquoise blues, pale purple, sage green, and bole red characteristic of İznik pottery - only some European centres knew how to achieve a good red.Savage, 27 The painting styles used are covered at (among other articles): china painting, blue and white pottery, tin-glazed pottery, maiolica, Egyptian faience, Delftware.
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The cluster of factories in the south were generally the most innovative, while Strasbourg and other centres near the Rhine were much influenced by German porcelain. 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 glaze, and the style of decoration, faïence blanche being left in its undecorated fired white slip. Faïence parlante (especially from Nevers) bears mottoes often on decorative labels or banners. Apothecary wares, including albarelli, can bear the names of their intended contents, generally in Latin and often so abbreviated to be unrecognizable to the untutored eye.
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In the application method, formerly assumed to be the only one used for faience glazing; silica, lime and alkalis are ground in the raw state to a small particle size, thus mixed in water to form a slurry which is then applied to the quartz core. Partial fritting of the slurry favors the first stages of vitrification, which in turn lowers the final firing temperature. The slurry can be then applied to the body, through brushing or dipping, to create a fine, powdery coating. Upon firing, the water from the melting glaze partially diffuses in the sand body, sintering the quartz particles and thus creating some solid bridges in the body.
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The foundations were dug by S.M. McFarlane; the superstructure was erected by Armitage & Hodgson; the structural steel work was by J. Butler & Co.; stone carving was by W. Beveridge; the modelling of the terracotta was by Farmer & Brindley; the terracotta was manufactured by Burmantofts who also manufactured the faience used inside; internally the ceramic tiles were made by A. Whitehead who also laid the mosaic flooring; the furniture and fittings were made by Marsh Jones & Cribb. The building cost £45,110.Cunningham & Waterhouse, p. 270 Waterhouse designed the Pearl Life Assurance Building (1896–98), St John's Lane, Liverpool, clad in stone, with a corner turret, of three floors with gabled attic windows.
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Ceramic stoves are traditional in Northern Europe: an 18th-century faience stove at Łańcut Castle, Poland The development of the chimney and the fireplace allowed for more effective exhaustion of the smoke. Masonry heaters or stoves went a step further by capturing much of the heat of the fire and exhaust in a large thermal mass, becoming much more efficient than a fireplace alone. The metal stove was a technological development concurrent with the industrial revolution. Stoves were manufactured or constructed pieces of equipment that contained the fire on all sides and provided a means for controlling the draft --the amount of air allowed to reach the fire.
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Alison Sheridan is a British archaeologist and was Principal Curator of Early Prehistory at National Museums Scotland, where she worked from 1987 to 2019. She specialises in the Neolithic, Chalcolithic and Early Bronze Age of Britain and Ireland, and particularly in ceramics and stone axeheads. She was President of The Prehistoric Society from 2010 to 2014 and is Projet JADE Co- ordinator for Britain, Ireland, the Isle of Man and the Channel Islands as well as being the Chair of the Implement Petrology Group and a member of several Editorial Boards. Research topics include the Mesolithic–Neolithic transition and prehistoric jewellery of jet and jet-like materials, faience and amber.
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Minutes of Paddington Borough Council meeting of 5 October 1909 (page 646 for 1909), "Notices for Erection of New Buildings [in 1910]" includes No. 2,135: "A new block of flats.. on the west side of Portsdown Road [renamed Randolph Avenue in 1939] to be the third building from Carlton Vale and on the site between No. 223 Portsdown Road and Carlton Mansions." Among the buildings of architectural interest was the Carlton Tavern, a pub which stood on Carlton Vale. Built in 1920–21 for Charrington Brewery, it was thought to be the work of the architect Frank J Potter and was noted for its unaltered 1920s interiors and faience tiled exterior.
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Sèvres soup tureen and tray. Sèvres porcelain, National Gallery of Victoria, Australia Silver-gilt tureen, Paris, 1769–70 An Emile Gallé (1846–1904) tureen A tureen is a serving dish for foods such as soups or stews, often shaped as a broad, deep, oval vessel with fixed handles and a low domed cover with a knob or handle. Over the centuries, tureens have appeared in many different forms, some round, rectangular, or made into fanciful shapes such as animals or wildfowl. Tureens may be ceramic--either the glazed earthenware called faience or porcelain--or silver, and customarily they stand on an undertray or platter made en suite.
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Pescatore studied law at the University of Liège, but, instead of pursuing a career in the law, Pescatore attended a military academy in the Netherlands, and, upon returning to Luxembourg, in 1827, he was recruited as a lieutenant into the guard of Luxembourg City. However, after three years, Pescatore's anti-Orangist and pro-Belgian political sympathies forced him out of the military. Instead, he joined with his cousins to set up a faience factory in Eich, where his brother was mayor. After seven years, they merged into the Société d'industrie luxembourgeoise, and Pescatore helped set up Auguste Metz & Cie with Auguste Metz and his brothers Charles and Norbert.
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Wilson was replaced as chief architect by Nathaniel Martin in 1937. This Burton in-house architecture was Art Deco in style. Individual stores vary from the more restrained red-brick with neoclassical scroll headed columns to fully fledged Art Deco with glazed white faience tile, geometric patterns and stylised elephant heads. However, there are also many standard elements such as a wide polished black granite band above the shop windows for signage, metal vent grates bearing the company logo, billiard halls on the upper levels, window lights showing the locations of other Burton stores, and mosaic titles – sometimes including the company logo – in the doorways.
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Kirkstall Abbey, Leeds Town Hall or Harewood House), different sandstones in the Yorkshire Coal Measures, and limestone to the north and east, as is shown in older villages (now suburbs) in these directions. To the south of the city are substantial clay deposits, so that red brick has been the predominant building material for the extensive nineteenth century housing. The particularly fine clay found in Burmantofts led to a decorative covering of terracotta or glazed Architectural Faience being used on both interior and exterior walls of important buildings. In the twentieth century, new building methods, particularly concrete and steel were used, and the exterior was essentially facing.
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Set in gold, the gem was fashioned into beads, used as inlay, and often carved in a scarab motif, accompanied by carnelian, lapis lazuli, and in later pieces, coloured glass. Turquoise, associated with the goddess Hathor, was so liked by the Ancient Egyptians that it became (arguably) the first gemstone to be imitated, the fair structure created by an artificial glazed ceramic product known as faience. The French conducted archaeological excavations of Egypt from the mid-19th century through the early 20th. These excavations, including that of Tutankhamun's tomb, created great public interest in the western world, subsequently influencing jewellery, architecture, and art of the time.
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Salon des Artistes Rouennais, Musée des Beaux-Arts de Rouen, c.1930 The Rouen School (L'École de Rouen) is a term used for artists or artisans born or working in Rouen, or for all artistic products from Rouen, such as Rouen faience of the 16th to 18th centuries. The term was first used in 1902 by Arsène Alexandre in his catalogue to an exhibition by Joseph Delattre in the galerie Durand-Ruel in Paris. Alexandre used it to refer to Joseph Delattre, Léon-Jules Lemaître, Charles Angrand and Charles Frechon, four Post- Impressionist artists interested in Neo-Impressionism (and particularly Seurat's pointillism) towards the end of the 1880s.
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The exterior Amir al-Maridani's mosque is typical for an urban Mamluk mosque, characterized by "recesses crowned with stalactites including double-arched windows". The mosque has three entrances, with the west entrance on the same axis as that of the prayer niche and the main entrance on the north side of the mosque; each has the shape of an iwan with a pointed arch and is topped by a medallion of faience mosaics. The main entrance is a deep recess, crowned by a muqarnas cresting, panelled with marble and richly patterned. The joggled door lintels and the small window framed by colonettes are both common features in Mamluk architecture.
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Faience plate with the complete royal titulary of Ay, Egyptian Museum. Tutankhamun's death around the age of 18 or 19, together with the fact he had no living children, left a power vacuum that his Grand Vizier Ay was quick to fill: Ay is depicted conducting the funerary rites for the deceased monarch and assuming the role of heir. The grounds on which Ay based his successful claim to power are not entirely clear. The Commander of the Army, Horemheb, had actually been designated as the "idnw" or "Deputy of the Lord of the Two Lands" under Tutankhamun and was presumed to be the boy king's heir apparent and successor.
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At least 16 archaeological horizons have been distinguished, starting with the Neolithic and ending with the Feudal Age (since the 12th century a cemetery existed in this place) and with one of the clearest sequence of pottery development in Banat. A large collection of stone molds for metallurgy was found, along with inhumation cemeteries containing rich grave goods of gold, bronze and faience and amber beads. The most important layers belong to the Bronze Age Pecica culture and the Dacian times. Șanțul Mare is a mound located on the right bank of Mureş river, with an oval shape measuring 120 by 60–70 m.
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The house embodies the American Craftsman style of the Arts and Crafts Movement, a style Greene & Greene is known for incorporating in their projects (as is the case with Gamble House and Blacker House, both in Pasadena). The entry hall is paneled in Burmese Teak while the living and dining rooms are paneled in Honduras Mahogany with ebony pegs covering the screws. The fireplace in the living room is encased in mauve tile from the Grueby Faience Company. The front door contains leaded art glass in the pattern of a gnarled grape vine, executed by Emil Lange, who also worked on the Gamble House.
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Marcela Lobo on display at the Museo de Arte Popular, Mexico City. Talavera pottery (Spanish: Talavera poblana) is a Mexican and Spanish pottery tradition from Talavera de la Reina, in Spain. The Mexican pottery is a type of majolica (faience) or tin-glazed earthenware, with a white base glaze typical of the type. It comes from the town of San Pablo del Monte (in Tlaxcala) and the cities of Puebla, Atlixco, Cholula, and Tecali (all these four latter in the state of Puebla), because of the quality of the natural clay found there and the tradition of production which goes back to the 16th century.
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Roman cage cup from the 4th century CE The history of glass-making dates back to at least 3,600 BC in Mesopotamia, however some claim they may have been producing copies of glass objects from Egypt. Other archaeological evidence suggests that the first true glass was made in coastal north Syria, Mesopotamia or Egypt. The earliest known glass objects, of the mid 2,000 BC, were beads, perhaps initially created as the accidental by-products of metal- working (slags) or during the production of faience, a pre-glass vitreous material made by a process similar to glazing. Glass products remained a luxury until the disasters that overtook the late Bronze Age civilizations seemingly brought glass-making to a halt.
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All display slightly bulging eyes, a feature also present on selected stelae depicting the pharaoh. Based on style, a small limestone sphinx that resides at the National Museum of Scotland, Edinburgh, has also been tentatively identified as representing Ahmose I.Russman, Edna A. "Art in Transition: The Rise of the Eighteenth Dynasty and the Emergence of the Thutmoside Style in Sculpture and Relief", Hatshepsut: From Queen to Pharaoh. p.24–25. The Metropolitan Museum of Art. 2005. The art of glass making is thought to have developed during Ahmose's reign. The oldest samples of glass appear to have been defective pieces of faience, but intentional crafting of glass did not occur until the beginning of the 18th dynasty.
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Glasses, Nancy, after 1901 His early work was an imitation of what he produced while working for Deck, but by the 1890s, Lachenal's work showed the influences of the trends and fashions of the late nineteenth century: Japanese prints, the shift from faience pottery to grès, and the emergence of Art Nouveau. Unlike his peers, Lachenal did not produce matte glazed works, instead creating his matte effects with hydrofluoric acid, eating away the glossy surface to create a matte effect. This procedure was controversial at the time (Émile Gallé was one who disapproved), but allowed him to produce brightly colored work. During this period, Emile Decoeur was his apprentice and worked in his studio.
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Iuty was an ancient Egyptian vizier presumably of the Late New Kingdom whose family tomb made up of bricks was discovered in December 1964 by the Egyptian archaeologist Shafik Farid, in the so-called "Cemetery of the Nobles" of Bubastis (Tell Basta). The tomb was situated near to the family tombs of Hory I and Hory II, two viceroys of Kush during the 20th Dynasty. Iuty’s tomb architecture has remained unpublished, but some objects of the burial equipment including faience and calcite shabtis as well as a calcite model scribe's palette have recently been studied.Mohamed I. Bakr and Helmut Brandl with Faye Kalloniatis (eds.), Egyptian Antiquities from the Eastern Nile Delta ( = Museums in the Nile Delta, vol.
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The interior of the dome is lavishly decorated with mosaic, faience and marble, much of which was added several centuries after its completion. It also contains Qur'anic inscriptions. They vary from today's standard text (mainly changes from the first to the third person) and are mixed with pious inscriptions not in the Quran.Robert Schick, Archaeology and the Quran, Encyclopaedia of the Qur'an The dedicatory inscription in Kufic script placed around the dome contains the date believed to be the year the Dome was first completed, AH 72 (691/2 CE), while the name of the corresponding caliph and builder of the Dome, al-Malik, was deleted and replaced by the name of Abbasid caliph Al-Ma'mun (r.
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In archaeology and art history, "terracotta" is often used to describe objects such as figurines not made on a potter's wheel. Vessels and other objects that are or might be made on a wheel from the same material are called earthenware pottery; the choice of term depends on the type of object rather than the material or firing technique.Peek, Philip M., and Yankah, African Folklore: An Encyclopedia, 2004, Routledge, , 9781135948726, google books Unglazed pieces, and those made for building construction and industry, are also more likely to be referred to as terracotta, whereas tableware and other vessels are called earthenware (though sometimes terracotta if unglazed), or by a more precise term such as faience.
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Was scepters are often depicted in paintings, drawings, and carvings of gods, and remnants of real was-sceptres have been found constructed of Egyptian faience or wood. Both the Second Dynasty pharaohs Peribsen and Khasekhemwy, whose serekhs depict the sha, identified themselves as divine manifestations of Set on earth, as previous kings had identified themselves with Horus. During the Old Kingdom of Egypt, Horus and Set were generally viewed as twin supporters and defenders of the god Ra, head of the Egyptian pantheon; and they were often depicted anointing the king, as the divine source of his authority. The association of Horus and Set probably reflected the reconciliation of a struggle between two royal cults.
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Between 1891 and 1892 Alessandro Barsanti 'discovered' and cleared the king's tomb (although it was probably known to the local population from about 1880). Around the same time Sir Flinders Petrie worked for one season at Amarna, working independently of the Egypt Exploration Fund. He excavated primarily in the Central City, investigating the Great Temple of the Aten, the Great Official Palace, the King's House, the Bureau of Correspondence of Pharaoh and several private houses. Although frequently amounting to little more than a sondage (survey), Petrie's excavations revealed additional cuneiform tablets, the remains of several glass factories, and a great quantity of discarded faience, glass and ceramic in sifting the palace rubbish heaps (including Mycenaean sherds).
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These excavations have also recovered thousands of artifacts. Originally utilized as a "property identifier," a lead seal dated 1701 with the name of the "Company of Indies of France" and a fleur-de-lis provided evidence that the location of the settlement had been properly identified. Among other items discovered at the site included construction materials (fired wall clay known as bousillage, roof tiles), dishware (French faience, Mexican majolica, Chinese porcelain, kettle fragments, wine glasses), weaponry (French gun flints, lead shot, gun and sword parts), clothing remnants (brass and silver buttons, shoe and clothing buckles), currency (French and Spanish coins, glass trade beads), and ceremonial items (catlinite fragments from the bowl of a ceremonial pipe.).
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103 Dodson also writes that Psusennes II's royal status was confirmed when Jean Yoyotte realized "that a batch of crude faience shabtis bearing the name of a [king] Pasebkhanut (i.e., Psusennes) found in the antechamber of Tanis [Tomb] NRT-III did not belong to the tomb's original owner, Pasebkhanut I, as had originally been assumed, but to the later king of the [same] name."Jean Yoyotte, L'Or des pharaons, Paris, 1987, 136-7 [19]Dodson, pp.103-104 This means that Psusennes II's long-decayed coffin and mummy is located in the debris of this antechamber of Psusennes I's Tanis tomb where Heqakheperre Shoshenq II's coffin and mummy mask was also discovered.
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"Désormais, Nevers ne compte plus que deux faïenceries", Lara Payet, 1 April 2017, Le Journal du Centre (in French); "les faienciers actuels", faiencedenevers.fr – still the case in 2020 However the quality and prestige of the wares has gradually declined, from a fashionable luxury product for the court, to a traditional regional speciality using styles derived from the past. 17th-century plate with genteel party in a European-style landscape. The border has birds, flowers and a rabbit, all at the same size.Estienne, 52–54 Nevers faience was one of the centres where the istoriato style of Italian maiolica was transplanted in the 16th century, and flourished for rather longer than in Italy itself.
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The popularity of terracotta for exterior cladding waned in favour of glazed ceramic tiles known as glazed architectural terracotta (often called "faience" at the time). Outstanding examples include the Strand Palace Hotel (1909) and Regent Palace Hotel (1914), both clad in cream- coloured 'Marmo' tiles manufactured by Burmantofts Pottery; Michelin House (1911); and Debenham House (1907). London Underground stations built during the Edwardian years, namely those on the Piccadilly Line and Bakerloo Line, all employ glazed tile cladding designed by Leslie Green. The signature features of these stations are glazed oxblood red tiles for the station exteriors, ticket halls clad in green and white tiles, and platforms decorated in individual colour themes varying between stations.
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As for stemmed cups (or kylikes), they evolved from Ephyraean goblets and a large quantity was discovered at a site called the "Potter's Shop" located in Zygouries. Mycenaean drinking vessels such as the stemmed cups contained single decorative motifs such as a shell, an octopus or a flower painted on the side facing away from the drinker. The Mycenaean Greeks also painted entire scenes (called "Pictorial Style") on their vessels depicting warriors, chariots, horses and deities reminiscent of events described in Homer's Iliad. Other items developed by the Mycenaeans include clay lamps, as well as metallic vessels such as bronze tripod cauldrons (or basins).. A few examples of vessels in faience and ivory are also known..
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Wazir Khan Mosque is renowned for its intricate and extensive embellishment. The Wazir Khan Mosque (; Masjid Wazīr _Kh_ ān) is a 17th-century mosque near the Delhi Gate and Chitta Gate that was commissioned during the reign of the Mughal Emperor Shah Jahan as part of an ensemble of buildings that also included the nearby Shahi Hammam baths. Construction of Wazir Khan Mosque began in 1634 C.E., and was completed in 1641. Considered to be the most ornately decorated Mughal-era mosque, Wazir Khan Mosque is renowned for its intricate faience tile work known as kashi- kari, as well as its interior surfaces that are almost entirely embellished with elaborate Mughal-era frescoes.
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Recent excavations at the same site uncovered a large copper-based industry, with several associated crafts, namely bronze-casting, red-glass making, faience production, and Egyptian blue. Ceramic crucibles with adhering remains of Egyptian blue were found in the excavations, suggesting again it had been manufactured on site. These Egyptian blue ‘cakes’ possibly were later exported to other areas around the country to be worked, as a scarcity of finished Egyptian blue products existed on site. For example, Egyptian blue cakes were found at Zawiyet Umm el-Rakham, a Ramesside fort near the Libyan coast, indicating in fact that the cakes were traded, and worked at and reshaped away from their primary production site.
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The two women become an essential couple in the Parisian art scene and receive their artist friends: Henri Fantin-Latour, Auguste Rodin, and Edgar Degas, of whom Zillhardt wrote a biography. During the First World War, Madeleine Zillhardt distinguished herself in the decorative arts for her "patriotic faience", in support to Clemenceau or denouncing the bombing of civilians, like Fluctuat nec mergitur, Paris bombed , executed in 1918, now part of the collections of the French national Museum of Air and Space. She also went back to painting with Breslau. They painted the portraits of soldiers, nurses and doctors on the way to the front to give to their families before they leave.
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The style was much influenced by the astonishing successes of the voyages of discovery of Portuguese navigators, from the coastal areas of Africa to the discovery of Brazil and the ocean routes to the Far East, drawing heavily on the style and decorations of East Indian temples. Although the period of this style did not last long (from 1490 to 1520), it played an important part in the development of Portuguese art. The influence of the style outlived the king. Celebrating the newly maritime power, it manifested itself in architecture (churches, monasteries, palaces, castles) and extended into other arts such as sculpture, painting, works of art made of precious metals, faience and furniture.
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The station opened as Clapham Road on 3 June 1900 as part of an extension of the City and South London Railway to Clapham Common, one stop to the south. The station, designed by T. P. Figgis, is one of two remaining stations that has an island platform in the station tunnel, serving both the northbound and southbound lines; the other being Clapham Common. The original station building was replaced in 1924, when the line was modernised and the original building was remodelled by Charles Holden. The ticket hall was rebuilt after the installation of escalators and Figgis's station facade was replaced with biscuit-cream faience slabs and black coping tiles to the parapet walls.
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Rococo tureen, Marseille, ca 1770 The first northerners to imitate the tin-glazed earthenwares being imported from Italy were the Dutch. Delftware is a kind of faience, made at potteries round Delft in the Netherlands, characteristically decorated in blue on white. It began in the early sixteenth century on a relatively small scale, imitating Italian maiolica, but from around 1580 it began to imitate the highly sought-after blue and white Chinese export porcelain that was beginning to reach Europe, soon followed by Japanese export porcelain. From the later half of the century the Dutch were manufacturing and exporting very large quantities, some in its own recognisably Dutch style, as well as copying East Asian porcelain.
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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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Wucai plate, Chinese export porcelain, Kangxi period Imperial Porcelain Manufactory in Vienna Porcelain painting in Weimar, Germany in 1989 China painting, or porcelain painting, is the decoration of glazed porcelain objects such as plates, bowls, vases or statues. The body of the object may be hard- paste porcelain, developed in China in the 7th or 8th century, or soft-paste porcelain (often bone china), developed in 18th-century Europe. The broader term ceramic painting includes painted decoration on lead-glazed earthenware such as creamware or tin-glazed pottery such as maiolica or faience. Typically the body is first fired in a kiln to convert it into a hard porous biscuit or bisque.
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1115 In Godard's view, it is a normal, if spectacularly large dome, with a thin skin on top for the faience, and is not a double dome. However, its importance in the Muslim world is undoubted and it may be compared to that of Brunelleschi's cupola for Christian architecture. It is one of the largest brick domes in the world, just at the theoretical engineering limit for a brick dome and the third largest dome in the world after the domes of Florence Cathedral and Hagia Sophia. The Dome of Soltaniyeh paved the way for more daring Iranian- style cupola constructions in the Muslim world, such as the Mausoleum of Khoja Ahmed Yasavi and the Taj Mahal.
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According to The New York Times, by the early 1960s Kelleher's store was selling a wide variety of items ranging from the traditional museum merchandise, such as books, to the less traditional, such as jewelry, prints and other collectibles. "William", Egyptian faience hippopotamus now widely merchandised by the Met As the museum's merchandising business grew, Kelleher began to focus on producing high quality replicas of the Met's vast collection of historical and artistic objects. He began to travel overseas in order to find skilled artisans capable of reproducing the museum's collection for sale in the Met Store. Kelleher began commissioning a wide range of reproductions of the museum's artifacts in materials ranging from ceramic to bronze.
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The next phase (1890–95) was built by J. Wood & Sons; structural steelwork by A. Handyside & Co.; ceramic tiles by Craven Dunhill & Co.; faience work by Burmantofts; mosaic flooring by J.F. Ebner; chimneypieces by Hopton Wood Stone Co.; the furniture and fittings for the library by Carr Brother; ironwork by Hart Son Peard & Co.; cost £21,025. The (1898) phase was by J. Wood & Sons and Charles Myers; cost £9,640.Cunningham & Waterhouse, p252, 257, 258, 259, 272-273 Balliol College. Oxford (1866–71) a High Victorian Gothic design, using the local stone and plain red tiled roof Waterhouse began designing from 1881 buildings for what became University of Liverpool, with extensions to the former Liverpool Asylum to form University College.
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Celebrating the newly maritime power, it manifested itself in architecture (churches, monasteries, palaces, castles) and extended into other arts such as sculpture, painting, works of art made of precious metals, faience and furniture. The first known building in Manueline style is the Monastery of Jesus of Setúbal. The church of the monastery was built from 1490 to 1510 by Diogo Boitac, an architect considered one of the main creators of the style. The nave of the church has three aisles of equal height, revealing an attempt to unify inner space which reaches its climax in the nave of the church of the Jerónimos Monastery in Lisbon, finished in the 1520s by architect João de Castilho.
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The younger brother of the diplomat and collector François Cacault, Pierre worked as a painter at the family faience business and helped manage it for a while before leaving for Paris to study painting. In 1774, as bursar of the town of Nantes, he left for Rome, where he studied under Vien and began producing history paintings. He then painted for nearly 20 years, meeting many other artists such as Mathurin and Louis Crucy, Coste, David, Antonio Canova and François-Frédéric Lemot. From 1780 the town of Nantes petitioned him (in vain) to become its roads- architect as his father had been, but the anti-French riots of 1793 forced him to leave Rome and return to Nantes.
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The Linear B tablets often refer to men or to their work, although, there were also female artisans, who mainly worked in the textile industry. We also know from archaeological evidence that Minoan artisans practised a large range of craftsmanship jobs including: scribes, potters, metalworkers, leather workers, glass and faience artists, painters, sculptors, engravers and jewelers. Due to only a small amount of evidence about occupation, we do not know whether a worker might have mastered in several trades, or fully specialized in one profession. There was an area set aside for artisans and their workshops in every palace, and in town like Malia, they had both workshops in town and in the palace.
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Courtyard of the hosts' floor The palace's decoration is a mixture of the traditional local style and the Western one. This association can be noticed in the columns with Turkish capitals, Italian and Qallaline faience, and Hispano-Maghrebi ceilings. In Dar Djellouli you can find all parts of a typical Tunisian residence of that time: a driba, a skifa or corridor, a spacious courtyard surrounded by big suites with alcoves at the ground floor, and common parts at the first floor (like the kitchen, the hammam, service rooms, etc.) with two small halls, a floor for hosts or sraya and a resting room (kushk) for the house master on the top of the balcony.
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The central area of the complex consisted in the Pharaoh's apartments that were made up of a number of rooms and courts, all of which were oriented around a columned banquet hall. Accompanying the apartments, that presumably housed the royal cohort and foreign guests, was a large throne room connected to smaller chambers, for storage, waiting, and smaller audiences. The greater elements of this area of the complex are what have been come to be called the West Villas (just west of the King's Palace), the North Palace and Village, and Temple. The faience (glazed ceramic earthenware) tile (above) is a reconstruction of wall decoration fragments found at the Temple of Malkata in stacks at the southwest corner.
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Some of the burials are identified as secondary, multiple and symbolic burials. The age of the buried starts from 1–2 years and includes all age groups and both male and female. Grave goods generally consisted of odd number of vases/bowls (3, 5, 7, 9, 11 etc.) placed near the head, with dish-on-stand usually placed below the hip area as well as flask-shaped vessels, terracotta figurines, gold bracelets and copper bangles, beads of semi-precious stones (two necklaces of long barrel shape), steatite, faience, and glass. The two antennae swords from Sinauli, one found in situ in a grave with a copper sheath, has similarities to the Copper Hoard Type in a Late Harappan context.
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Of less frequent recourse was another kind of healer known as an asu, who corresponds more closely to a modern physician and treated physical symptoms using primarily folk remedies composed of various herbs, animal products, and minerals, as well as potions, enemas, and ointments or poultices. These physicians, who could be either male or female, also dressed wounds, set limbs, and performed simple surgeries. The ancient Mesopotamians also practiced prophylaxis and took measures to prevent the spread of disease. The ancient Mesopotamians had extensive knowledge about the chemical properties of clay, sand, metal ore, bitumen, stone, and other natural materials, and applied this knowledge to practical use in manufacturing pottery, faience, glass, soap, metals, lime plaster, and waterproofing.
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The Breton style had a strong revival between 1900 and the Second World War and it was used by the Seiz Breur movement. The Seiz Breur artists also tried to invent a modern Breton art by rejecting French standards and mixing traditional techniques with new materials. The leading artists of that period were the designer René- Yves Creston, the illustrators Jeanne Malivel and Xavier Haas, and the sculptors Raffig Tullou, Francis Renaud, Georges Robin, Joseph Savina, Jules- Charles Le Bozec and Jean Fréour. Brittany is also known for its needlework, which can be seen on its numerous headdress models, and for its faience production, which started at the beginning of the 18th century.
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The French 16th-century Saint-Porchaire ware is lead-glazed earthenware; an early European attempt at rivalling Chinese porcelains, it does not properly qualify as faience, which is a refined tin-glazed earthenware. In 16th-century France Bernard Palissy refined lead-glazed earthenwareBouquillon, A & Castaing, J & Barbe, F & Paine, S.R. & Christman, B & Crépin-Leblond, T & Heuer, A.H.. (2016). Lead-Glazed Rustiques Figulines [Rustic Ceramics] of Bernard Palissy [1510-90] and his Followers: Archaeometry. 59. 10.1111/arcm.12247. "Summary: Analysis confirms that Palissy used coloured lead glazes, lead silicates with added metal oxides of copper [for green], cobalt [for blue], manganese [for brown and black] or iron [for yellow ochre] with a small addition of tin [for opacity] to some of the glazes." to a high standard.
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Osorkon's throne name was thought to be Aakheperre Setepenamun from a few monuments naming a namesake pharaoh Osorkon, such as a faience seal and a relief–block, both in the Rijksmuseum van Oudheden in Leiden, but this attribution was questioned by Frederic Payraudeau in 2000. According to him, these findings could rather be assigned to an earlier Aakheperre Osorkon – i.e., the distant predecessor Osorkon the Elder of the 21st Dynasty – thus implying that Osorkon IV's real throne name was unknown. Furthermore, in 2010/11 a French expedition discovered in the Temple of Mut at Tanis two blocks bearing a relief of a King Usermaa(t)re Osorkonu, depicted in a quite archaizing style, which at first were attributed to Osorkon III.
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The faience is a terra cotta and porcelain altarpiece of the Annunciation, along with two side statues of St. John and St. Francis as well as two smaller side statues of floral arrangements in large vases. It was donated to St. Mary's according to church history in the 1920s by the founder of The Broadway and Bullocks department stores and was a fixture in the church when it was on New Hampshire Avenue. When the current church building for St. Mary's was built, it was installed outside as a permanent fixture in one of the walls of the small church courtyard garden before being moved inside during the mid-1900s. According to church records, the remodel of the sanctuary to accommodate the della Robbia required extensive flexibility.
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It is also used for similar pottery that it influenced made in England, but this should be called English delftware to avoid confusion. Delftware is one of the types of tin- glazed earthenware or faience in which a white glaze is applied, usually decorated with metal oxides, in particular the cobalt oxide that gives the usual blue, and can withstand high firing temperatures, allowing it to be applied under the glaze. It also forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th-century Chinese porcelain, and in great demand in Europe. Delftware includes pottery objects of all descriptions such as plates, vases and other ornamental forms and tiles.
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The earliest tin-glazed pottery in the Netherlands was made in Antwerp where the Italian potter Guido da Savino settled in 1500,La Céramique anversoise de la Renaissance, de Venise à Delft, Claire Dumortier, Anthèse, Paris, 1997 and in the 16th century Italian maiolica was the main influence on decorative styles.Savage, 157 The manufacture of painted pottery spread from Antwerp to the northern Netherlands, in particular because of the sack of Antwerp by the Spanish troops in 1576 (the Spanish Fury). Production developed in Middelburg and Haarlem in the 1570s and in Amsterdam in the 1580s.Caiger-Smith, Alan, Tin-Glaze Pottery in Europe and the Islamic World: The Tradition of 1000 Years in Maiolica, Faience and Delftware (Faber and Faber, 1973 , p.
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The Bocchoris vase is a ceramic container dating from ancient Egypt. It was found in 1895 in a tomb at Tarquinia, and is now in the National Museum at Tarquinia (22.2 cm high; Museum inv. no. RC 2010Joan Aruz, Sarah Graff, Yelena Rakic (editors): Assyria to Iberia: At the Dawn of the Classical Age, New York, New Haven 2014, , pp. 318-319). The vessel, often also labelled as situla and made of Egyptian faience, bears an inscription with the names of the 24th Dynasty pharaoh Wahkare Bakenrenef (Ancient Greek: Bocchoris) who ruled about 720 to 715 BC. It shows the king between the Egyptian goddess Neith and the god Horus in the middle register, on one side and on the other between Horus and Thoth.
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Among her most successful designs are the Boligens Byggeskabe storage system (1954–59), named for the firm for which it was originally designed, which she developed together with Børge Mogensen, and the Stub & Stamme series of drinking glasses ( Kastrup Glasværk /Holmegaard, 1958–60) in cooperation with Ibi Trier Mørch. But above all she is remembered for her designs for the Royal Copenhagen porcelain factory, especially her Blåkant (Blue Line) faience dinner service (1965), her Hvidpot (White Pot) porcelain dinner service (1972) and her Ildpot (Fire Pot) ovenware (1976). In 1991, she designed the set of cutlery known as Copenhagen for Georg Jensen. Meyer had an analytical eye, studying how people interacted within the home, researching eating habits and space limitations.
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Frederick Otto Wunderlich (28 June 1861 – 12 May 1951), known as Otto, along with his two brothers, Alfred and Ernest created the well known Wunderlich brand of building products in early 20th century Australia, based in Sydney. Wunderlich was best known as a manufacturer of pressed metal, used to create decorative domestic and commercial ceilings and dados, and of the red ‘Marseilles’ patterned roof tile, a ubiquitous and defining characteristic of the Federation house. The company also manufactured Faience, and asbestos cement pipes, as well as roof tiles and wall sheets, inexpensive and popular material for houses in Australia from the 1920s into the 1950s. Like his brothers, Otto was born in Islington, London, to German born parents, and was educated in London, Germany and Switzerland.
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Has historic significance at a State level. The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. AMA House has high aesthetic significance as a particularly fine and rare example of early Sydney "skyscraper" designed in an exuberant and idiosyncratic Art Deco style embellished with "Medieval" and "Gothic" decoration. While providing important evidence of the strong influence of American styles and building techniques on Sydney's interwar commercial buildings, AMA House is notable for its use of both local materials and technologies - including particularly the faience cladding by Wunderlich and maple joinery - and its flamboyant incorporation of Australian iconography - including particularly the Koala bears at the top of the front facade.
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Edmé Samson: copyist or forger? Buenos Aires Herald 18th-century designs from the factories of Meissen, Sèvres, Chelsea, Worcester and Derby were among the reproductions Samson, Edmé et Cie produced, among designs copied from the other major European factories. Kakiemon style covered Jar, c. 1850-1900, Samson & Cie, Paris or Montreuil, hard-paste porcelain with overglaze enamels During the 19th century, the collectors' market for antique fine china was considerable, and Samson’s firm reproduced ceramics in a breadth of styles including the faience and maiolica types of Italian pottery, Persian style dishes, Hispano-Moresque pottery (a blending of Islamic and European motifs, produced during the 13th to 15th centuries), plates in the FitzHugh pattern, as well as plates in the manner associated with Bernard Palissy.
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The tradition owes its origin to Louis Gonzaga, Duke of Nevers (1539–1595), a half-French and half Italian politician and courtier who married the heiress of the Duchy of Nevers, which then still gave him great powers in the County and Duchy of Nevers. He had been born in Mantua, near several centres for Italian maiolica, which had already spread to Rouen and Lyons, and encouraged some Italian potters to move to the city. Giulio Gambin was already in Lyons and the Conrade brothers (Corrado in Italy) came from Albisola, who would found the dynasty that dominated Nevers production for a century.Coutts, 28; Moon; McNab, 12; Britannica Nevers already had a local unglazed pottery industry, and was a very suitable location for making faience.
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Counts of Ameal, from the bilingual catalogue Collections Comte de Ameal, published in Coimbra in 1921. Towards the end of his life, the Count came to assemble a large collection of gothic sculpture and painting, as well as one of late-medieval and early-modern Portuguese religious painting (the latter chiefly purchased after the suppression of the property of the religious orders by the Republicans in 1910). Other important parts of the Count's collection were his selection of porcelain and Islamic faience, mostly Iberian and late-medieval, which amounted to around 800 pieces, and his numismatics collection, begun already by his father, which comprised 3558 coins.Alberto de Sousa, "Obras de Arte do Palácio Ameal", in Gazeta de Coimbra (Year XI, nº 1176, July 9, 1921), p. 1.
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Upon the Count's death in 1920, his widow and heirs decided to sell most of the collection, as well as to donate the palace that housed it to a religious order. For that purpose, a major auction was hastily organized in July 1921, the biggest event of the kind in the history of auctioneering in Portugal. Both the British Museum and the Louvre sent emissaries to the event, the latter having acquired a large number of porcelain pieces and most of the Count's collection of Islamic faience. The sale of Ameal's immense library in 1924 was described in a series of chronicles by Gustavo de Matos Sequeira in the periodical O Mundo, later compiled in the book No Leilão Ameal (1925).
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The colours applied on top of the glaze blended into it during firing (the technique thereby differing from underglaze painting used with transparent glazes).McNab, 11; Lane, 1 The disadvantage was that only a narrow group of pigments produced good colours after firing at the relatively high temperatures of up to 1000 ℃. These included cobalt blue, manganese dark purple, copper green, antimony yellow, and the very tricky iron reds and brown, which only some potters were able to make as a good red.Lane, 1; Varella, 4; Coutts, 15-17; Moon In the 18th century overglaze enamels began to be used in the same way as on porcelain; this technique is often called petit feu in English when talking about faience (the Italian name is piccolo fuoco).
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By the mid-18th centuries many French factories produced (as well as simpler wares) pieces that followed the Rococo styles of the French porcelain factories and often hired and trained painters with the skill to produce work of a quality that sometimes approached them. The products of French faience manufactories, rarely marked, are identified by the usual methods of ceramic connoisseurship: the character of the body, the character and palette of the glaze, and the style of decoration, faïence blanche being left in its undecorated fired white slip. Faïence parlante bears mottoes often on decorative labels or banners. Wares for apothecaries, including albarello, can bear the names of their intended contents, generally in Latin and often so abbreviated to be unrecognizable to the untutored eye.
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Mottoes of fellowships and associations became popular in the 18th century, leading to the Faïence patriotique that was a specialty of the years of the French Revolution. By the mid-18th century, glazed earthenware made in Liguria was imitating decors of its Dutch and French rivals In the course of the later 18th century, cheaper porcelain, and the refined earthenwares first developed in Staffordshire pottery such as creamware took over the market for refined faience. The French industry was given a nearly fatal blow by a commercial treaty with Great Britain in 1786, much lobbied for by Josiah Wedgwood, which set the import duty on English earthenware at a nominal level.Coutts, Howard, The Art of Ceramics: European Ceramic Design, 1500-1830, p.
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Osorkon's ancestors are unknown; however, one of his close predecessors was prince Pimay, son of pharaoh Shoshenq III of the 22nd Dynasty. Osorkon is best known from the so-called "talisman of Osorkon" (Louvre E10943) – a faience amulet depicting the creation of the world with the god Ra-Horakhty as in infant, sitting on a lotus flower which rises from the primal waters – and also by some ushabti now in London. On the talisman, he is called Great Chief of the Ma, Army leader, Prophet of Neith, Prophet of Wadjet and of the Lady of Yamu (i.e. Hathor), showing that he ruled over the cities of Sais, Buto and Yamu respectively, in the end a considerable part of the Western Nile Delta.
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Other grave goods found include kohl tubes and applicators, bronze tweezers, a mirror wrapped in fabric, a model oar, and an adze. Amulets or other items of jewelry are rare but when they do occur take the form of protective deities such as Taweret, necklaces of faience beads, scarabs, including ones inscribed for Thutmose III or Amenhotep III, copper toe rings, or more unusually, a gold bracelet on the wrist of a baby. The graves were covered by a cairn of stones, now mostly destroyed, and some were topped with a grave marker; the occasional scatter of mud brick may indicate some tombs had a brick superstructure. Two limestone pyramidions were recovered, along with 15 stelae which mostly had a pointed, triangular shape.
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Cunningham & Waterhouse, p. 131 The building also incorporated a medical school, linked to the University of Liverpool and a nurses' home. The cost of the building was £123,500 (approx £15,500,000 in 2019). The main building contractor was Holme & Green; the structural steel was by W.H. Lindasy & Co.; heating and ventilation by W.W. Phipson; terracotta was provided by J.C. Edwards the modelling of the terracotta was by Farmer & Brindley; tiles were provided by Johnson & Co. and Craven Dunhill & Co.; faience was by Burmantofts; chimneypieces were provided by J & H Patterson & Co., Blackmore & Co. and the Hopton Wood Co.; iron work was by W.H. Peake & Co. and Hart Son Peard & Co. The hospital closed in 1978 and is now used by the University of Liverpool.
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The Smoking Room has faience covered walls, Ionic columns and ceiling, easy to clean nicotine stains off, the ceilings in the rest of the building are plaster. The rest of the entrance level known as the lower ground floor is taken up with a reception lobby, cloak rooms, billiard room and other ancillary spaces. The next floor up, the upper ground floor, contains the Grill Room overlooking Whitehall Place, the main dining room overlooking the Embankment, the Writing Room that overlooks Northumberland Avenue, these are all double height rooms. The terrace outside the dining room runs the full length of the building and is above the former billiards room on the lower floor, this contained six full sized billiard tables.
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Peaches in a pierced white faience basket (1578–1630) Portrait of Paolo Morigia (1592–1596) Close-up of reflection in the glass lenses of Portrait of Paolo Morigia (1596) The style of her painting derived from the naturalistic traditions of the Renaissance in Italy with a sharply realistic approach. Galizia's artistic skills are evident in her portrait of Paolo Morigia, a Jesuit scholar, writer and historian, and one of her earliest patrons and supporters. Her 1596 Portrait of Paolo Morigia depicts the subject writing a poem about the picture Galizia was painting. She received several public commissions for altarpieces in Milanese churches, including the Noli me tangere (1616; Milan, S Stefano) made for the altar of Santa Maria Maddalena Church.
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The former Belvoir Road Co-operative Store is a three-storey building which stands as an expression of interwar social and economic confidence in the town, being the organisation's fourth town centre premises, opened in 1916 and designed by Thomas Ignatius McCarthy.The Architect and Building News, volume 3, page 224, 1915. Despite alterations to its ground floor and a modern addition at its southern end, the building maintains a significant presence in the street scene with its brick and faience triple gabled frontage. The former Co-operative Bakery near Mantle Lane is a large three-storey stone and brick building, built by the Coalville and District Working Men's Co-operative Society to provide bread and confectionery to the local district.
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Architect Harry Norris incorporated many American styles into his work. He was inspired by the then popular Spanish Colonial Revival style after visits to the United States. The building is laden with Spanish/Moorish features, including blue faience tiles; foliated (leaf shaped) and rope moulded ornament, painted in gold and a foyer featuring terrazzo and inlaid stone. A Heritage Victoria database entry for Majorca House, says: "The Moorish influence in its terracotta façade places it firmly within the Melbourne tradition of exotic architecture in the late 1920s." The Majorca Building is a natural progression from Norris’s other celebrated building in this style, the Kellow Houses (Former Kellow Falkiner Showrooms) at St Kilda, South Yarra, a car showroom completed in 1928.
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During the Late Bronze Age, Cyprus was producing copper on a colossal scale and exporting it throughout the entire Eastern Mediterranean to be bartered for commodities and luxury goods. Various works of alabaster and faience, displayed within The Cesnola Collection, were imported from Egypt during the first half of the 14th century BC. The recent archaeological discovery off the Anatolian coast of ten tonnes of copper in a 14th-century BC shipwreck at Ulu Burun show the large scope of Cyprus’ seafaring commerce. Jars holding Cypriot pottery and products of agriculture such as coriander were also found in the excavation. 229x229px By the Late Bronze Age, Cypriot art could be seen as a mixture of both domestic pressures and foreign influences.
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At the Central School of Arts and Crafts, London, Dora Billington encouraged her students, including William Newland and Alan Caiger-Smith, to use tin-glaze decoration. In Britain during the 1950s Caiger-Smith, Margaret Hine, Nicholas Vergette and others including the Rye Pottery made tin-glazed pottery, going against the trend in studio pottery towards stoneware. 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, Alan, Lustre Pottery: Technique, Tradition and Innovation in Islam and the Western World(Faber and Faber, 1985) Caiger-Smith trained several potters at his Aldermaston Pottery and published Tin-glaze Pottery which gives a history of maiolica, delftware and faience in Europe and the Islamic world.
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The Rennweg street below the Lindenhof hill was the main street of the medieval city, entering by the Rennweg gate through the western city wall which is now marked by the course of Bahnhofstrasse. Augustinergasse is a small street leading from St. Peterhofstatt situated at the St. Peter church, passing the former Augustinians monastery below the Lindenhof hill, towards the Kecinstürlin gate at the southern Fröschengraben moat, Bahnhofstrasse as of today. Zunfthaus zur Meisen at Münsterhof plaza near Fraumünster church houses the porcelain and faience collection of the Swiss National Museum. Lindenhof also contains the former Augustinian abbey, and formerly the Oetenbach nunnery north of the Lindenhof hill, demolished in 1903 to make way for the Uraniastrasse as part the partially built «Urania- axis» Sihlporte–Uraniastrasse–Zähringerplatz by Gustav Gull, and the Urania Sternwarte.
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Natural History Museum, 1881, designed by Alfred Waterhouse Events in the Life of John Wesley, porch of the Methodist Central Hall, Birmingham, c. 1900-1903 Gibbs and Canning Limited was an English manufacturer of terracotta and, in particular, architectural terracotta, located in Glascote, Tamworth, and founded in 1847. The company manufactured a wide range of terracotta and faience: statues of lions and pelicans to adorn the Natural History Museum in London; architectural terracotta for banks and schools; and garden urns and planters. By the 1950s, when the factory finally closed, it was best known for more practical items, such as drainage pipes, sinks, vases and jars. Today, there is little evidence of the factory in Glascote, but the legacy lives on in the decoration and plumbing of many buildings in Britain’s major towns and cities.
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The Japanese kakiemon style, and other Japanese styles, used the technique from at least the second half of the 17th century. The technique was also developing in Europe, firstly in what the French called petit feu faience, and in the 18th century in porcelain, and there appears to have been some influence in both directions between Asia and Europe. From about 1770 to the mid 20th century it was the dominant decorative technique in expensive pottery, mostly porcelain, made in Europe, East Asia,Vainker, 202-207 and (to a lesser extent) North America. In 18th-century England, where the technique was developed, the earliest forms of transfer printing on pottery, for example by Sadler & Green in Liverpool, were overglaze, although by the end of the century it was normal to print as underglaze.
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Gabriel Yacoub and Marie Yacoub formed Malicorne on 5 September 1973 (naming it after the town of Malicorne in north-western France, famous for its porcelain and faience). For two years, Gabriel had been a member of Alan Stivell's band, playing folk-rock based on Breton music. He sang and played acoustic guitar, banjo and dulcimer with Stivell, appearing on his 1972 À l'Olympia breakthrough (live) album and his 1973 Chemins de Terre (studio) album, before leaving at the end of Summer 1973 to form his own band, intending to popularise French music the way Stivell had popularised Breton music. Since several of their albums are called simply Malicorne it had become the custom to refer to them by number, even though no number appears on the cover at all.
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Chicago's Tribune Tower, an influence on the Manchester Unity Building Barlow's design clearly draws heavily on the Tribune Tower in Chicago, Illinois. This design by Raymond Hood won an international competition in 1922, was completed in 1925, and has very similar vertical ribbing, buff coloured cladding, and a stepped Gothic crown complete with flying buttresses also seen on the Manchester Unity. Another more direct inspiration might have been the very similar but less ornate Grace Building in York Street, Sydney designed by Morrow and Gordon, which was completed in 1930 before the Manchester Unity started construction, but both are said to have been inspired by the Tribune Tower. The building is of concrete-encased steel construction, with the exterior cladding consisting of two hundred and fifty tons of terracotta faience tiles.
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The quality of original finishes and detailing both externally and internally and the high degree of intactness of significant original fabric enhance the building's architectural and aesthetic significance. The building is also of importance as a fine, award-winning example of the work of a prominent firm of Sydney architects, Fowell and McConnel and was one of only two office buildings designed by this firm in the Interwar period. The building's technical significance arises primarily from its generous and varied use of new materials, detailing and technologies characteristic of the new commercial "skyscrapers" of the Interwar period and the high degree of intactness of these elements. The perforations in the spandrel panels - highlighted by decorative faience work - are also unusual innovations to improve air circulation (prior to air conditioning).
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The development of the middle-class home decor from the Renaissance to the Classicism can be seen in several rooms, which are partially made of Lübeck's private town-houses. In front of the background of contemporary art – amongst others by Godfrey Kneller and Thomas Quellinus, who made the bust of the councilman Thomas Fredenhagen in the baroque high altar of St. Mary's Church —, which reflects the taste of Lübeck's citizens, and the appropriate decor, made of porcelain by Fürstenberg and Meissen, one can well emphasize the depicted era. The greatest influence has a completely conserved baroque floorboard made in 1736. Annexed to this part of the exhibition is a special collection of Faience from Northern Germany in the upper floor, emphasizing the manufactures in Kellinghusen, Stockelsdorf, and Stralsund.
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Plan of the Tuileries garden from 1576 At the beginning of the 17th century there was one royal French Renaissance garden in Paris, the Jardin des Tuileries, created for Catherine de' Medici in 1564 to the west of her new Tuileries Palace. It was inspired by the gardens of her native Florence, particularly the Boboli Gardens, The garden was divided into squares of fruit trees and vegetable gardens divided by perpendicular alleys and by boxwood hedges and rows of cypress trees. Like Boboli, it featured a grotto, with faience "monsters." Original design of the Medici Fountain in the Luxembourg Garden (1660 engraving) Under Henry IV the old garden was rebuilt, following a design of Claude Mollet, with the participation of Pierre Le Nôtre, the father of the famous garden architect.
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So, during excavations of the Tyutrinsky grave field near the village Suerka in 1981, Natalya and Alexander Matveevs found beads from blue spinel, which is produced only in Hindustan, Sri Lanka and Borneo, and also a miniature (less than 2 cm in length) faience amulet of Harpocrates (Hellenistic tradition of an image of the Ancient Egyptian god Horus). According to Alexander Matveev, the wealth of the Sargats' kurgans may indicate the Ingala Valley was a burial place of representatives of one or more Sargat "royal" families at the beginning of the Common Era, which had a source of enrichment from control of the supply of strategic goods along the Silk Road. A Sargat village discovered in the tract Copper Borok covers an area of 15.5 ha that makes it considered as a town.
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The new structure comprised five wood-framed pavilions decorated with blue and white ceramic tiles, in what was considered to be a Chinese style, emulating accounts that had been received of the Porcelain Tower of Nanjing. In the absence of a European source of true porcelain, the tiles were made of faience (tin-glazed earthenware) produced by potteries in the Netherlands (Delftware) and France, mostly decorated with blue glazes but also including some with green or yellow. The decorative scheme included pottery vases arranged along the ridge of the main building. The interior decoration - ceramic tiles, woodwork, stucco, other surfaces, and furniture - were all painted white and blue, "à la chinoise", with ceilings painted by François Francart, a painter at the Gobelins Manufactory, and his brother Gilbert Francart.
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Chinese porcelain white ware bowl, not tin-glazed (left), found in Iran, and Iraqi tin-glazed earthenware bowl (right) found in Iraq, both 9-10th century, an example of Chinese influences on Islamic pottery. British Museum. The earliest tin-glazed pottery appears to have been made in Abbasid Iraq (750-1258 AD)/Mesopotamia in the 8th century, fragments having been excavated during the First World War from the palace of Samarra about fifty miles north of Baghdad.Caiger-Smith, Alan, Tin-Glaze Pottery in Europe and the Islamic World: The Tradition of 1000 Years in Maiolica, Faience and Delftware, London, Faber and Faber, 1973 From Mesopotamia, tin glazes spread to Islamic Egypt (868–905 AD) during the 10th century, and then to Andalusian Spain (711-1492 AD), leading to the maximum development of Islamic lusterware.
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The exterior is faced with Indiana limestone and it has an 8-foot bronze clock on the façade. The main entrance leading to the former waiting room is furnished in Formosa, a soft, pinkish-yellow Italian marble. Its Grand Lobby, two and a half stories tall, has an ornamented mosaic tile floor, a barrel-vaulted Tiffany stained-glass ceiling, rare Siena marble walls, and 36 unique Grueby Faience tile murals. The tiles are styled after the work of American artist Clark Greenwood Voorhees, and represent scenes along the DL&W;'s Phoebe Snow main line from Hoboken, N.J., to Buffalo, N.Y. A tall radio antenna was installed after a while on the roof; the railroad was a pioneer in the use of wireless communications between trains and terminals.
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For discussion, see the article on Vampires, particularly "Creating vampires" and "Protection." uadjet The placement of the coin on the mouth can be compared to practices pertaining to the disposition of the dead in the Near East. An Egyptian custom is indicated by a burial at Abydos, dating from the 22nd Dynasty (945–720 BC) or later, for which the deceased woman's mouth was covered with a faience uadjet, or protective eye amulet.Mistress of the House, Mistress of Heaven: Women in Ancient Egypt (Cincinnati Art Museum, 1996), p. 74 online. Oval mouth coverings, perforated for fastening, are found in burials throughout the Near East from the 1st century BC through the 1st century AD, providing evidence of an analogous practice for sealing the mouths of the dead in regions not under Roman Imperial control.
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The County and Cross Arcades were built as part of the Leeds Estates Company's redevelopment of the east side of Briggate and west side of Vicar Lane between 1898 and 1904, and designed by the theatre architect Frank Matcham. They were notable for glazed barrel roofing decorated with copious amounts of faience from the Burmantofts Pottery, a number of mosaics and plentiful use of marble. Matcham's development included the Empire Theatre and all three constructions were in the same style: three storeys decorated in a free baroque style with pink and buff terracotta. Detail of the stained glass canopy by Brian Clarke which spans the length of the Victoria Quarter's Queen Victoria Street arcade In 1961, the Empire Theatre was demolished to make way for another arcade in contemporary style.
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The ACA Building is a clear example of Art-Deco; in Melbourne the vertically ribbed examples are described as "Commercial Gothic", due to their similarity with the first examples of this style, the strongly Gothic Manchester Unity Building. The ACA Building is unusual in that the material used on the facade is not the then typical cement render or faience, but rather "Benedict Stone", an artificial stone product manufactured by a company owned by the Brisbane Diocese of the Catholic Church. The stone shades in colour from darker at the base to lighter at the top of the tower. The design is strikingly vertical, dominated by the stepped silhouette of the central tower-like element, a continuation of the separately expressed central bay above the interwar height limit.
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Fritware refers to a type of pottery which was first developed in the Near East, where production is dated to the late first millennium AD through the second millennium AD. Frit was a significant ingredient. A recipe for “fritware” dating to c. 1300 AD written by Abu’l Qasim reports that the ratio of quartz to “frit-glass” to white clay is 10:1:1.A.K. Bernsted 2003, Early Islamic Pottery: Materials and Techniques, London: Archetype Publications Ltd., 25; R.B. Mason and M.S. Tite 1994, "The Beginnings of Islamic Stonepaste Technology," Archaeometry 36.1: 77 This type of pottery has also been referred to as “stonepaste” and “faience” among other names.Mason and Tite 1994, 77. A ninth-century corpus of “proto-stonepaste” from Baghdad has “relict glass fragments” in its fabric.Mason and Tite 1994, 79-80.
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Also is the terracotta gorgoneion dated from the 4th century BC which belonged to the decoration of the House with the Mosaics at Eretria. Aerial view of the archaic temple of Apollo Daphnephoros Excavation at Eretria has unearthed some notable sculptures which are on display in the museum, including those from the west pediment of the archaic temple of Apollo Daphnephoros that depict an Amazonomachy. Of particular note is the sculpture representing Theseus and Antiope, believed to have been made by the famous Athenian sculptor Antenor in the 6th century BC. The museum also contains Archaic relief pithos fragments decorated with representations of birds devouring bodies dated to the 7th century BC and a necklace made of faience beads representing Isis and Horos possibly from Cyprus and dating from the Protogeometric period, 11th-10th centuries BC.
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Clavering was unhappy with the classical detailing that was required for the cinemas, however - feeling that such ostentatious decoration was inappropriate in poor areas and also presented practical problems when reproduced in terracotta or faience - and concluded that "the answer appeared to be the new architecture advocated by Le Corbusier and the Germans". Clavering's opportunity came when Harry Weedon was commissioned to redesign the interior of a cinema being built in Warley for Oscar Deutsch, owner of the expanding Odeon Cinemas chain. Weedon's practice at the time numbered only six architects, none of whom except Weedon himself had any experience of cinema design, so Clavering was recruited to complete the job. He next worked on the Odeon, Kingstanding, then examples in Sutton Coldfield, Colwyn Bay and Scarborough, "one masterpiece after the other" considered "the finest expressions of the Odeon circuit style".
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The Musée des arts décoratifs (Museum of Decorative arts) is on the ground floor. It was established in its current form in the years 1920–1924, when the collections of the Kunstgewerbe-Museum Hohenlohe, originally established in 1887, were relocated in the stables wing adjacent to the palace apartments. The collections had previously been in the Renaissance former municipal slaughterhouse Grandes Boucheries or Große Metzig, which now hosts the Musée historique de Strasbourg.) The Musée des arts décoratifs suffered in the World War II bombing raids of 1944 but the building has since been restored and the collections replenished. Besides the furniture and decoration of the cardinals' apartments, the collections focus on the local production of porcelain (Strasbourg faience), silver-gilt, and clockmaking, with original parts of the medieval Strasbourg astronomical clock including the automaton rooster from 1354.
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UCLA Armenian History and Culture Series: Historic Armenian Cities and Provinces, 13. Costa Mesa, CA: Mazda Publishers, 2014, pp. 32-34. Kütahya emerged as a renowned center for the Ottoman ceramic industry, producing tiles and faience for mosques, churches, and official buildings in places all over the Middle East.See Dickran Kouymjian, "The Role of Armenian Potters of Kutahia in the Ottoman Ceramic Industry," in Armenian Communities of Asia Minor, pp. 107-30. It was initially the center of Anatolia Eyalet till 1827, when Hüdavendigâr Eyalet was formed. It was later sanjak centre in Hüdavendigâr Vilayet in 1867. Troops of Ibrahim Pasha of Egypt briefly occupied it in 1833. The fortifications of the city and its environs, which were vital to the security and economic prosperity of the region, were built and rebuilt from antiquity through the Ottoman Period.
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The first of these takes up all of the third floor of the Neuer Hauptbau except the apartment of Duke Charles Eugene, a space of containing more than 4,500 exhibits of porcelain, ceramics, faience and pottery, and of their history, making it one of the largest collections of ceramics in Europe. It includes 2,000 pieces of original Ludwigsburg porcelain and 800 pieces of maiolica, purchased by Charles Eugene from dealers in Augsburg and Nuremberg. It also includes porcelain from the manufactories at Meissen, Berlin, Sèvres, and Vienna, and 20th century Art Nouveau pieces purchased from six countries since 1950. The Fashion Museum, housed in the Festinbau and West Kavalierbau, displays about 700 pieces of clothing and accessories from the 1750s to the 1960s, including works by Charles Frederick Worth, Paul Poiret, Christian Dior, and Issey Miyake.
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A box inscribed for Hatshepsut as pharaoh, containing the remains of a mummified liver or spleen was recovered from the DB320 royal cache.Reeves, C.N., Valley of the Kings, (kegan Paul, 1990) p.17 Other items associated with Hatshepsut, including the legs and footboard of a couch or bed and a fragmentary cartouche-shaped lid are of uncertain origin, but might come from either the Deir el Bahari cache or KV6 (tomb of Ramesses IX). Fragments of at least one anthropoid coffin belonging to a mid-eighteenth dynasty female ruler (presumably Hatshepsut), fragmentary wooden panels with decoration that links them to objects found in KV20, and a faience vessel, possibly belonging to Thutmose I, were recovered from the shaft in the burial chamber of KV4, together with remains of royal funerary equipment belonging to several other New Kingdom rulers.
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137 and 135 Macquarie Street, were demolished in 1929 and the BMA commissioned the winners of a vigorous competition, Fowell and McConnel, and their contractors, Hutcherson Bros, to erect a prestigious high-rise building on the double site. The new building was completed in April 1930, acclaimed, along with Grace Bros' new store in King Street, as "the first two local examples that can be said to really follow the dictates of skyscraper and modern American architecture generally".Building, 12 April 1947 Its qualities of design were recognised when in 1933 its architects were the first recipients of the Royal Institute of British Architects Street medal and diploma. The faience terracotta panelling of the exterior by Wunderlich was matched in the principal public interior spaces and the six full-size medieval knights in armour along with two koalas perched high on the facade were manufactured by the same firm.
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Plan of the Tuileries garden from 1576 The Tuileries Gardens, created for Queen Catherine de' Medici in 1564 and remade by Andre le Notre for Louis XIV in 1664 The Jardin des Tuileries painted by Claude Monet (1876) The first royal garden of the Renaissance in Paris was the Jardin des Tuileries, created for Catherine de' Medici in 1564 to the west of her new Tuileries Palace. It was inspired by the gardens of her native Florence, particularly the Boboli Gardens, and made by a Florentine gardener, Bernard de Carnesecchi. The garden was laid out along the Seine, and divided into squares of fruit trees and vegetable gardens divided by perpendicular alleys and by boxwood hedges and rows of cypress trees. Like Boboli, it featured a grotto, with faience "monsters" designed by Bernard Palissy, whom Catherine had assigned to discover the secret of Chinese porcelain.
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At 14 stories tall, the Prince George Hotel at 14 East 28th Street, was one of New York's largest early 20th century hotels. It was constructed in two phases, with the main building going up in 1904 and a northern wing added in 1912. The exterior of the hotel has a Beaux-Arts character, with a rusticated limestone base, red brick and white terra-cotta trim above, and three-dimensional sculptural ornaments. Its ground floor included the Lady's Tearoom, the English Tap Room, and the Hunt Room. One of the centerpieces of the original building is The Ladies’ Tea Room, with its trellised piers and arches, Rook wood faience fountain, lighting set within opalescent glass cartouches, and murals by George Inness, Jr. The Ballroom at the Prince George is part of the Madison Square North Historic District and listed on the National Register of Historic Places.
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The next phase was the Great Hall of (1890–95), of brick with stone bands and large perpendicular window in the gable end flanked by towers. The interior has an impressive staircase decorated with Burmantofts faience. The floors beneath the Great Hall originally contained a library and a refectory. In 1898 a new engine house and Leather Industries Laboratories was added.page 471-472, The Buildings of England: Yorkshire West Riding, Leeds, Bradford and the north, Peter Leach & Nicholas Pevsner, 2009, Yale University Press The first phase of (1878–81) was built by Wooley & Sons; structural steelwork was by J.S. Bergheim and Fairburn, Kennedy & Naylor; heating and ventilation was by G.N. Haden and D.O. Boyd; stone carving by Farmer & Brindley; ceramic tiles were by W. Godwin; iron work by Hart Son Peard & Co. and R. Jones; chimneypieces by the Hopton Wood Stone Co.; cost £9,785.
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The classical phase of the Indus Civilization (Mature Harappan) was indicated at the site by the presence of well-planned mud-brick structures, beads of carnelian, faience, steatite and terracotta, toy-cart wheels, wheeled toys, sling balls, discs with tapering ends, marbles and triangular cakes of terracotta as well as stone objects such as balls, hammer stones, saddle querns and mullers, and cubical stone weights. The uppermost level (IIB) was designated the "Mitathal" culture (Late Harappan). Some Siswal/Kalibangan ceramic traditions survived and important finds from this phase include a celt, a parasu or axe, copper harpoon and a copper ring, which are known as Copper Hoards. Bhan suggested that Indus culture transformed into the Ochre Coloured Pottery culture (OCP) and hinted that the possible genesis of the OCP lay in the Siswal phase (Bhan 1975: 3). Mitathal’s twin mounds were christened as 1 and 2 by Suraj Bhan.
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Example of Maltsov banknote of 50 kopeck produced in 1744 Malt'sov was a russian industrialist, who created his own Maltsovsky factory district, covering an area of about 215,000 hectares, was located along the Bolva River, the tributary of the Desna and the Zhizdre River, to the Oka tributary on the lands of adjacent districts of the Oryol province (which included the then Bryansk), Kaluga and Smolensk provinces. In general, the industry of a multi- populated district was a conglomerate of a wide variety of enterprises - iron foundries and machine-building plants, glass, crystal and faience, paper- making and even distilleries, breweries and honeymakers, not to mention small subsidiary enterprises. During the heyday of the Maltsov industrial district, there were more than 20 large factories alone. Maltsov factories gave earnings to almost one hundred thousand people, counting not only the indigenous population, but also the surrounding peasantry, which was hired for side work in factories - for the transportation of ore, fuel, coal, for forest work, and so on.
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An overwhelmingly large number of faience amulets at Amarna also show that talismans of the household-and-childbirth gods Bes and Taweret, the eye of Horus, and amulets of other traditional deities, were openly worn by its citizens. Indeed, a cache of royal jewelry found buried near the Amarna royal tombs (now in the National Museum of Scotland) includes a finger ring referring to Mut, the wife of Amun. Such evidence suggests that though Akhenaten shifted funding away from traditional temples, his policies were fairly tolerant until some point, perhaps a particular event as yet unknown, toward the end of the reign. Archaeological discoveries at Akhetaten show that many ordinary residents of this city chose to gouge or chisel out all references to the god Amun on even minor personal items that they owned, such as commemorative scarabs or make-up pots, perhaps for fear of being accused of having Amunist sympathies.
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The AMA House has high aesthetic significance as a particularly fine and rare example of early Sydney "skyscraper" designed in an exuberant and idiosyncratic Inter-war Art Deco style embellished with "Medieval" and "Gothic" decoration. While providing important evidence of the strong influence of American styles and building techniques on Sydney's interwar commercial buildings, AMA House is notable for its use of both local materials and technologies - including particularly the faience cladding by Wunderlich and maple joinery - and its flamboyant incorporation of Australian iconography - including particularly the Koala bears at the top of the front facade. The quality of original finishes and detailing both externally and internally and the high degree of intactness of significant original fabric enhance the building's architectural and aesthetic significance. The building is also of importance as a fine, award-winning example of the work of a prominent firm of Sydney architects, Fowell and McConnel was one of only two office buildings designed by this firm in the Interwar period.
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The stela, the top of which was originally coated with golf leaf, depicts Osiris enthroned with Isis and Anubis while Siaspiqa's is shown adoring the god.Dows Dunham, Nuri, Boston (1955), p. 176 Another granite offering table likely originating from the chapel of Nuri 4, was discovered in the Coptic church Nuri 100, where it was used as construction material.Dows Dunham, Nuri, Boston (1955), p. 272 The church doorway and stair housed two further granite offering stands with the cartouches of the king.Dows Dunham, Nuri, Boston (1955), p. 177 These objects are now in the National Museum of Sudan, Khartoum. His tomb, the 4th pyramid of Nuri, was excavated in 1917 under the aegis of a joint Harvard University-Boston Museum of Fine Arts Expedition. These works have yielded at least 11 fragmentary faience shawabtis found in debris left by thieves, the upper half of one of which is currently housed in the Boston Museum of Fine Arts.
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An English delftware jug has been found in East Malling, Kent, with a silver mount hallmarked 1550, which is presumed to be the earliest date of manufacture. (Malling jugs may be seen in the Museum of London and the Victoria and Albert Museum.) John Stow's Survey of London (1598) records the arrival in 1567 of two Antwerp potters, Jasper Andries and Jacob Jansen, in Norwich, where they made "Gally Paving Tiles, and vessels for Apothecaries and others, very artificially".Caiger-Smith, Alan, Tin-glazed Pottery in Europe and the Islamic World: The Tradition of 1000 Years in Maiolica, Faience and Delftware, Faber and Faber, 1973, In 1570 Jansen applied to Queen Elizabeth I for the sole right to practice "galleypotting" in London and soon set up a workshop at Aldgate to the east of the city. There were already other Flemish potters in London, two of them in Southwark recorded in 1571 as "painters of pottes".
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Pyxis made out of "Egyptian blue" (a misnomer; actually Egyptian faience): Imported to Italy from northern Syria, it was produced 750-700 BC. (Shown at Altes Museum in Berlin) Egyptian blue is a synthetic blue pigment made up of a mixture of silica, lime, copper, and an alkali. Its color is due to a calcium-copper tetrasilicate CaCuSi4O10 of the same composition as the naturally occurring mineral cuprorivaite. It was first synthesized in Egypt during the Fourth Dynasty and used extensively until the end of the Roman period in Europe, after which its use declined significantly. The term for it in the Egyptian language is ḫsbḏ-ỉrjt, which means artificial lapis lazuli (ḫsbḏ).Pagès-Camagna S, (1998) "Bleu et vert égyptiens en question: vocabulaire et analyses" in La couleur dans la peinture et l’émaillage de l’Egypte Ancienne, CUEBC, Ravello, 20–22 mars 1997 (Colinart S, Menu M, eds), Ed. Edipuglia, Bari, 51–59.
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134, 272 Waterhouse designed the corporate headquarters of the Refuge Assurance Building (1891–96), in Oxford Street, Manchester, in a Jacobethan style. It is five floors high of red brick and plum coloured terracotta, this first phase cost £86,525, the clock tower and wing to its right were added later by Paul Waterhouse. The foundations were dug by the company of C.H. Normanton, the superstructure was erected by William Southern & Sons., with the structural steel work by A. Handyside & Co.; heating and ventilation was by G.N. Haden; the terracotta was manufactured by Doulton & Co.; the modelling of the terracotta was by Earp & Hobbs; ceramic tiles were made by William de Morgan and D. Conway; the faience was by Burmantofts; the mosaic flooring was by J.F. Ebner; chimney-pieces were provided by J. & H. Patterson and W. Wilson; internal decoration was executed by Heighway & Son; furniture and fittings were made by G. Goodall & Co.; the decorative iron work was by Hart Son Peard & Co. and R. Jones.
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When it came to the decoration and furnishing, the contractors involved were, the stone carving mainly on the exterior of the building was by Farmer and Brindley, and C. Smith; the faience decoration, used extensively internally, was manufactured by Wilcock & Co.; the interior tiling was provided by Carter Johnson & Co.; mosaic flooring was installed by J.F. Ebner & Son; chimney-pieces were manufactured by the Hopton Wood Stone Co, with fire grates provided by D.O. Boyd; the decorative ironwork was forged by Hart, Son, Peard and Co.; the ornamental plaster-work was the work of G. Jackson; furniture and furnishings were manufactured by Morris & Norton, W. James & Co., Maple & Co., who also provided the carpets for the building. The clerk of works for the building was Thomas Warburton.Cunningham & Waterhouse, p. 259 Since 1985 the Club has only used the Upper Ground Floor the rest of the building is now part of The Royal Horseguards Hotel.
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According to mythology, the name of the first settlement, Faoentia, had Etruscan and Celtic roots, meaning in Latin "Splendeo inter deos" or "I shine among the gods," in modern English. The very name, coming from the Romans who developed this center under the name of Faventia, has become synonymous with ceramics (majolica) in various languages, including French (faïence) and English (faience). Here Quintus Caecilius Metellus Pius defeated populares army of Gnaeus Papirius Carbo in 82 BC. From the second half of the 1st century AD the city flourished considerably as a result of its agricultural propensities and the development of industrial activities such as the production of everyday pottery and brickwork objects and linen textiles. Here Totila and an Ostrogothic army defeated the Byzantine army in Italy in the Battle of Faventia in 542 CE. After a period of decadence from the 2nd century to the early Middle Ages it regained prosperity from the 8th century on.
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Some natural blue to blue-green materials, such as this botryoidal chrysocolla with drusy quartz, are occasionally confused with or used to imitate turquoise. The Egyptians were the first to produce an artificial imitation of turquoise, in the glazed earthenware product faience. Later glass and enamel were also used, and in modern times more sophisticated porcelain, plastics, and various assembled, pressed, bonded, and sintered products (composed of various copper and aluminium compounds) have been developed: examples of the latter include "Viennese turquoise", made from precipitated aluminium phosphate coloured by copper oleate; and "neolith", a mixture of bayerite and copper(II) phosphate. Most of these products differ markedly from natural turquoise in both physical and chemical properties, but in 1972 Pierre Gilson introduced one fairly close to a true synthetic (it does differ in chemical composition owing to a binder used, meaning it is best described as a simulant rather than a synthetic).
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Dorothea Friederike of Brandenburg-Ansbach (12 August 1676there are 7 documents relating to her birthdays in the 1715-1719 time frame in Hessian State Archive in Marburg, file 15, box 242, No. 9 - 13 March 1731) was the daughter of Margrave John Frederick of Brandenburg-Ansbach (1654-1686) and his first wife, Margravine Johanna Elisabeth of Baden-Durlach (1651-1680). She was a half-sister of Queen Caroline of Great Britain, the wife of King George II. Alliance coat of arms of Johann Reinhard III of Hanau-Lichtenberg and Frederike Dorothea of Brandenburg-Ansbach, faience from Ansbach, probably made in 1724 on the occasion of their silver wedding On 20 (or 30) August 1699, Dorothea Friederike married Count Johann Reinhard III of Hanau-Lichtenberg.for the dower, see: Hessian State Archive in Marburg, file: 81, government Hanau A45,1 She was the last Countess of Hanau. The marriage produced one daughter: Charlotte Christine Magdalene Johanna (1700-1726).
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The sides depict the king with Anubis, accompanied by text. The sarcophagus contained two wooden figures \- the king's mummy had been found five years earlier among the royal mummies cached in KV35. The burial chamber also contained the body of a chariot decorated with scenes of the king slaying enemies, an archer's gauntlet made of red and green leather, parts of a tapestry-woven garment with the name of Amenhotep II, bitumen-coated statuettes of the king, fragments of stone vases, broken fan handles, and portions of a cedar wood throne. Inspection of the side chambers yielded varying results: Chamber Ja (see plan) only contained the a mass of linen wrappings from a mummy; Chamber Jb contained victual mummies of meat and birds; Chamber Jc contained broken jars and large quantities of grain; Chamber Jd contained masses of broken faience vessels and shabti, along with the unwrapped mummy of a young boy propped up against the wall.
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Tile by J. & J. G. Low Art Tile Works, between 1879-1883 J. & J. G. Low Art Tile Works, also known as J. & J. F. Low Art Tile Works or Low Art Tile Works, was an American manufacturer of decorative ceramic tiles, active from 1877-1902 in Chelsea, Massachusetts. The company was founded by John Gardner Low, along with his father John Low, after seeing European tiles at the 1876 Centennial Exhibition in Philadelphia. (Its name later changed when J. F. Low, son of John Gardner Low, replaced his retired grandfather.) During the 1880s, the company won awards in the United States and Europe for its high relief decorative art tiles, which ornamented such objects as candlesticks, cast-iron stoves, clocks, fireplace surrounds, soda fountains, trivets, and walls. Several chemists and designers who worked for Low Art Tile Works later started their own companies, including William H. Grueby of the Grueby Faience Company, Arthur Osborne of Ivorex plaques, and George W. Robertson of the Robertson Art Tile Company.
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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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The predictable flooding and controlled irrigation of the fertile valley produced surplus crops, which supported a more dense population, and social development and culture. With resources to spare, the administration sponsored mineral exploitation of the valley and surrounding desert regions, the early development of an independent writing system, the organization of collective construction and agricultural projects, trade with surrounding regions, and a military intended to assert Egyptian dominance. Motivating and organizing these activities was a bureaucracy of elite scribes, religious leaders, and administrators under the control of a pharaoh, who ensured the cooperation and unity of the Egyptian people in the context of an elaborate system of religious beliefs. The many achievements of the ancient Egyptians include the quarrying, surveying and construction techniques that supported the building of monumental pyramids, temples, and obelisks; a system of mathematics, a practical and effective system of medicine, irrigation systems and agricultural production techniques, the first known planked boats, Egyptian faience and glass technology, new forms of literature, and the earliest known peace treaty, made with the Hittites.
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Augsburg hausmalerei cup 1725-40 Meissen teapot of c. 1725, painted in Delft c. 1730 In pottery hausmaler () is a term for the artist, the style, and the pieces in hausmalerei, the process of buying pieces of pottery as plain "blanks", and then painting them in small workshops, or the homes of painters, before a final firing. In European pottery of the 17th to 19th centuries this was at certain times and places a significant part of production, and the decoration could be of very high quality. Hausmalerei began with freelance enamelers on glass in Bohemia but developed in Germany on white tin-glazed earthenware in the 17th century, when glazed and fired but unpainted wares "in the white" were purchased on speculation by unsupervised freelance ateliers of china painters, who decorated them in overglaze enamel colours and gilding, which were fixed by further firing in their own kilns. A few such freelance decorators of faience operated in Nuremberg in the late 17th century,John Fleming and Hugh Honour, Dictionary of the Decorative Arts (1977)s.v. "Hausmaler".
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Along with Jean de Garancières, who was also maître des eaux et forêts at the time, he began in 1402 the general inspection of the king's forests in Normandy. According to a recent publication by Ch. Maneuvrier, D. Gardelle and B. Nardeux, it was Jean de Garancières, and not Hector de Chartres, who visited Rouvray, along with most forest in the region. However, by the beginning of the sixteenth century, the forest had been decimated: a municipal decree of Rouen, of 24 April 1506, estimated, perhaps with some exaggeration, that if demands were met, within the space of three years the forest of Rouvray would be gone; the pressures came from timber needed for house construction and shipbuilding downstream, and for charcoal. In 1613 a decree from the Conseil du Roi specified that the products of Rouvray and other woods nearby should be limited to the uses of Rouen, but in the seventeenth century, tile-works and pottery kilnsIn the late seventeenth century, Rouen became a center of faience manufacture.
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260page 76, Rochdale Town Hall, James L. Maxim, 1959, G. & A.N. Scott Ltd Alloa Town Hall (1886–89), in Alloa, Clackmannanshire, Scotland, is French Renaissance in style. Built of Polmaise stone with a slate roof, of three floors, designed to contain not just the council, but a public library and art school, as well as a large hall. The building was paid for by local mill owner John Thompson Paton, it cost £18,008. The builders were G. & R. Cousin; heating and ventilation was installed by W.W. Phipson and D.O. Boyd; faience decoration was by Burmantofts; the mosiac flooring was made by W.H. Burke & Co.; the stained glass was made by R.B. Edmundson & Sons; the internal decoration was executed by Reed & Downie of Edinburgh; the enamelled and painted ceiling lights were made by Edmeston of Manchester; gas fittings were installed by Hart Son Peard & Co.; furniture and fittings were by Taylor & Sons and Whitlock & Reed of Edinburgh; the organ in the main hall was built by Forster and Andrews.
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Since then, Freemasonry's political influence has diminished, and its historical conflict with France's Roman Catholic church (also now less politically powerful) has been if not resolved then at least appeased. This climate has been more favourable to the application of classic historical principles and methods to Masonic historiography, allowing it to develop and form a discipline of its own, "Masonology", devoted to a wider and more neutral study of the highly varied cultural and intellectual universe formed by European Freemasonry in general and French Freemasonry in particular. French Freemasonry offers the historian several documents (manuscripts, diplomas, engravings, caricatures, journal articles and other printed material) as well as a large number of objects relating to both ritual (Masonic aprons, tablets, vessels, medals) and everyday life (pipes, clocks, tobacco boxes and faience decorative art) that have been put on show in many museums and permanent exhibitions. However, the main sources in this area remain the manuscripts, especially the manuscripts cabinet at the Bibliothèque nationale de France and the municipal library of Lyon.
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In 1991, the British Airports Authority commissioned a second, smaller stained glass project from Clarke for Stansted Airport in place of his and Sir Norman Foster's original 1988 proposal. The artist designed two friezes and a 6-metre high tower of stained glass for a circulation area in centre of the terminal which, in their composition, echoed elements of Foster's structure; by 1994 the tower had been removed to 'allow greater flow of traffic through the space', and later the friezes were likewise removed. In 1992, Clarke first collaborated with architect Will Alsop, on Le Grand Bleu, the Hôtel du département des Bouches-du-Rhône (the county government office of Bouches-du-Rhône) in Marseille. The building, now considered a major work of late 20th century architecture and a Marseille landmark, developed its visual identity through the design process, with Clarke and Alsop's final version externally clad in Yves Klein blue glass, with one elevation formed of a 1,200 m2 artwork by Clarke screenprinted in ceramic glaze, paralleling Edwardian faience, onto the facade.
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To date, three courtyard houses and parts of another two very monumental elaborate buildings north and south of the area have been excavated. On the floor of the monumental building in the north of area I, in an area of one and a half meters by one and a half meters, twenty-three cylinder seals of varying quality and image type were found (in the surroundings five others). It would seem that the seals, together with a silver pendant decorated with a standing figure (5.8 x 3.4 centimeters), a large scarab amulet (3.7 x 2.4 x 1.4 centimeters) and dozens of beads, fell to the ground from a higher surface (a table, cupboard or shelf) during the destruction of the house and were left scattered over the floor. The wealth of the city and its wide-reaching trade links are reflected in the manifold finds of this period (scarabs, terracotta figurines, outstanding bronze objects, a calcite vessel carved with figures of birds, imported faience wares from Egypt include vessels with papyrus images and rings with seals, imported pottery from Cyprus and Mycenaean Greece).
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View of Delft seen from the west; one of the earliest cityscapes in the Netherlands, and the earliest of Delft Arrival of a Dutch Three master at Kronborg Castle, Helsingør Vroom was born in Haarlem. Much of what is known of his life comes from his biography by Karel van Mander, who devoted four pages to him in his "Schilder-boeck", which reads as an adventure story, complete with freezing his pants to a mountain top and nearly starving to death on a rock with a group that discussed cannibalism as a possible survival strategy. Though it is unknown at what age he started on his travels, Vroom was born into a family of artists and began his career as a pottery (faience) painter and when his mother remarried, was no older than 19 when he rebelled against his stepfather who insisted he stick to pottery painting, by boarding a ship for Spain (Sevilla) and from thence via Livorno and Florence to Rome. Hendrick Cornelisz Vroom in Karel van Mander's Schilderboeck, 1604, courtesy of the Digital library for Dutch literature In Florence he was patronized around 1585–87 by Cardinal Ferdinando de' Medici, later Grand Duke of Tuscany.
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Rusticware platter (detail shown above) In Alexandre Dumas's The Count of Monte Cristo, Palissy is mentioned when the author describes the opulence of a character's apartment: "The rest of the furniture of this privileged apartment consisted of old cabinets, filled with Chinese porcelain and Japanese vases, Lucca della Robbia faience, and Palissy platters; of old arm-chairs, in which perhaps had sat Henry IV." Marcel Proust mentions Palissy in the third volume of Remembrance of Things Past: "...and a fish cooked in a court-bouillon was brought in on a long earthenware platter, on which, standing out in relief on a bed of bluish herbs, intact but still contorted from having been dropped alive into boiling water, surrounded by a ring of satellite shell-fish, of animalcules, crabs, shrimps, and mussels, it had the appearance of a ceramic dish by Bernard Palissy."Marcel Proust, In Search of Lost Time, Volume 3, The Guermantes Way, Modern Library edition, p 152. Palissy's life and work are described in A.S. Byatt's The Children's Book. Palissy serves as an inspiration to the potter Benedict Fludd and his apprentice, Philip Warren.
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The artifact was donated to The Art Institute of Chicago by Henry H. Getty, Charles Hutchinson, Robert H. Flemming, and Norman W. Harris in 1894. These donors have also contributed many other Ancient Egyptian works to the Art Institute of Chicago. Some of which are as follows: Statuette of Imhotep, Egyptian Ptolemaic Period (332-30 B.C.) Bronze h. 11.7 cm (4 5/8 in.), Amulet of the God Horus as a Falcon, Late Period - Ptolemaic Period, (664-30 B.C.) Faience, 6.9 x 2.8 x 6.8 cm (2 3/4 x 1 1/8 x 2 5/8 in.) Ointment Vessel with Lid, New Kingdom, Dynasty 18 (c. 1570–1293 B.C.) Egyptian alabaster and steatite, Vessel: 12.3 x 11.4 x 11.4 cm (4 7/8 x 4 1/2 x 4 1/2 in.); lid: 0.7 x 6.7 x 6.7 cm (5/16 x 2 5/8 x 2 5/8 in.) Around the time of this scroll's donation in 1894, large contributions were made by a few of the men seen as creators of the "advent" of Egyptian artifacts in the Midwest through Anthropological and Archaeological work.
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