Dish, Serving
Bradley Museum
Tous droits réservés.
| Nom de l'objet : | Dish, Serving |
| Classification de l'objet : | Outils et équipements, Alimentation T&E Materials, Food T&E, Food Service T&E |
| Matériaux : | ceramic céramique |
| Numéro d'accession : | C.8.67 b |
| Date de début de production : | 1835 |
| Description : | A set of three dishes with scalloped edges. (a-b) Two dishes have two open handles, one on each side of the dish. ( c) One dish has one handle and is leaf-shaped. The handles are moulded with scroll work. Overall, the interior of the dish has a green vermicular transfer-print on a white background. |
| Fonctions : | Accessioned 19 April 1967. The term 'vermicular' comes from the Latin noun 'vermis' meaning 'worm'. The design of the transfer print is marked with wavy lines resembling worms. _English transferware_ refers to ceramics (china, ironstone, etc.) which has been glazed using a specific decorative treatment, and traditionally produced in Staffordshire, England. Popular manufacturers of transferware include Spode, Ridgway, Adams, Clews, Johnson Brothers, and Wedgwood. The transfer printing process was developed by John Sadler and Guy Green of Liverpool in 1756. The process uses copper plates on which a pattern or design is etched. The copper plate is inked and the pattern _transferred_ to a special tissue. The inked tissue is then laid onto a bisque-fired ceramic item, which is then glazed and fired again. Initially, patterns were transferred to the ceramic items after glazing, but the ink often wore off. This _underprinting_ is characteristic to transferware; if you look closely at a transferware item, you can often see where the transfer design ends. Often these are the areas where the pattern doesn't quite match. The transfer printing process caught on quickly was later adopted by Josiah Wedgwood to create his popular, ivory based _Creamware_. Prior to the development of transfer printing, only the most affluent English families could afford complete dinnerware sets, because every dish was carefully hand painted by an artisan and thus, very expensive. Transfer printing allowed hundreds of sets of plateware to be produced in a fraction of the time and cost of their hand painted counterparts, and allowed middle-class families to have both utilitarian and decorative pieces for their homes. Transfer printing was originally produced in single-color items only, with the favorite hues in blue, red, black, brown, purple and green. Brown tended to be rather a common and inexpensive color, while blue was the most sought after and expensive color. Later, technology developed to allow double or triple color transfers. Often, the rim of a plate was in one color and the center design in another. The first transferware patterns were inspired by the Orient, often featuring pagodas; Cobalt Blue pieces exported from China were favorites among the Victorians in particular, perhaps to designate wealth as only the affluent could afford to travel to the East. Commemorative wares depicting scenes of historical significance, like royal coronations or the launching of ships, were also popular. Pastoral themes featured scenes of rural life, farming, cattle, and animals. Today, the most identifiable transferware patterns are French-inspired and romantic, often featuring a woman in a long dress with a parasol, with a young suitor by her side, placed in a garden or gazebo. From http://www.erasofelegance.com/home/transferware.html |
| Hauteur : | 4.50 |
| Longueur : | 27.90 |
| Largeur : | 25.40 |
| Unité de mesure linéaire : | cm |
| Nombre de parties composantes : | 3 |
| Établissement : |
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| Ville de l'établissement : | Mississauga |
| Province de l'établissement : | Ontario |
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