tag:blogger.com,1999:blog-68751193938929436262024-03-06T00:25:34.672-08:00Titian Studio Pottery New ZealandA blog on the world of New Zealand's mid century Titian Studio pottery, produced c. 1950-1970.Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-6875119393892943626.post-9724243378403788452013-06-03T22:34:00.001-07:002013-06-07T00:18:41.329-07:00Piha Iron Sands Glaze (possibly)There has long been something of an orphan pot in this Titian collection. The pot is a standard form V119 (Vase shape number 19), probably from the late 1960s with a glaze that I am not familiar with. It was interesting enough to keep on the back of a shelf. It has a glaze more in keeping with what a 1960s New Zealand studio potter might have striven for, than anything approaching the art glazes Titian Studio is better known for.<br />
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Then, a couple of months ago, I received an email from Peter Savoy who is currently doing research for a possible book on Titian. He had found something in the archives at Auckland museum, and kindly sent me images of two pages out of the 2004 Titian Studio Retrospective Exhibition's visitor's book. The two pages had been written by Stephanie Buckle, daughter of Reg Taylor, who was one of the more important post-war English glaze makers employed by both Crown Lynn and Titian. The key piece of information Mrs Buckle imparts, that cause a penny to drop in this house, is that her father conducted experiments in the use of Piha iron sands for Cameron Brown, to achieve glaze effects. Could this pot be evidence for the use of Piha iron sand at Titian?<br />
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It certainly has the dark metallic lustre sheen in places than is similar to some of the Peter Stichbury plates I have seen which employ iron sands. For example:<br />
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It is very hard to see from these photos, but there are similarities in the flesh.<br />
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I would be interested to hear from anyone who knows if this theory might stand up. My sincere gratitude to Peter for providing this information, which suggests there might be a whole other range of Titian glazes out there. I will use more information Peter has found in a later post.<br />
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Postscript:<br />
Ev from <a href="http://newzealandpottery.forumotion.net/">newzealandpottery.forumotion.net</a> has sent me a photo of a pot with a glaze that has rutile in it, to compare with this one. The dark blue streaks from the rutile does appear to be similar to the one above.<br />
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<tr><td class="tr-caption" style="text-align: center;">Note: this is not a Titian shape</td></tr>
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<br />Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com10tag:blogger.com,1999:blog-6875119393892943626.post-11799255750170511292013-06-03T21:43:00.000-07:002013-06-05T02:12:04.396-07:00Titian's Leather Glaze: Mid-Century ceramic stylePerhaps one of the most stylish Titian Studio glazes was what Cameron Brown call his 'Leather Glaze".<br />
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Leather is from the same family of wonderful crackle glazes as the Lace Glaze, which was the subject of an earlier post on this <a href="http://titianpottery.blogspot.co.nz/2012/04/lace-glazecrackle-glaze.html">blog</a>. However, achieving the leather effect relies on a slightly different relationship between the two layers of glaze and their relative vitrification properties. In the course of the firing, the top matt black layer cures, hardens and shrinks first, while the white layer underneath remains molten, creating continents drifting apart.<br />
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The glaze effect is especially arresting when the kiln spirits bless a pot with roughly even overall jagged patination - the result is an object of art guided by man but determined by nature. </div>
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This may be ultimately true for all glazes, but I think more so for these difficult textured crackle-type glazes. For example, Titian's marble or woodgrain finishes demand the sustained attention of a skilled human hand to achieve. Leather and lace-glazed pots would have been consigned to Titian's kiln with little more than a muttered prayer for divine favour.<br />
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As can be seen in the picture above, the pots could emerge from the kiln with a wide variety of leather crackle effects, ranging from dense to medium to quite sparse. </div>
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There is sophistication to this glaze, which when applied to one of Titian's classical forms, results in an object of real beauty. So much so, that this glaze has just been revived by one of New Zealand's foremost craft potters, John Parker, who seems to favour a relatively sparse leather, or 'black crawled' crackle effect. Some examples can be found <a href="http://www.avidgallery.co.nz/jp634-black-and-white-textured-cylinder/">here,</a> <a href="http://www.milfordgalleries.co.nz/artwork/6053-Black-Crawled-Zig-Zag-Bottle-13-27-2013">here</a>, <a href="http://www.milfordgalleries.co.nz/artwork/6046-Assorted-Black-Crawled-Vessels-2012-13">here</a> and <a href="http://www.avidgallery.co.nz/jp650-black-and-white-crawled-grooved-orb/">here</a>.</div>
Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com0tag:blogger.com,1999:blog-6875119393892943626.post-16324655455556651432013-02-13T02:38:00.000-08:002013-07-06T00:19:56.674-07:00Marble GlazeSorry for the long silence. <br />
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This post looks at the marble glaze, another of Titian's excellent range of mid-century art glazes. 'Marble', as with 'woodgrain' was developed by Teddy Rennie, and built on knowledge and techniques passed to him from his father, a decorator of stately homes who trained before the first World War in England. This means that these two glazes are in all probability direct decendants of techniques, passed from artisan to artisan, father to son, developed for the neo-classical interior design schemes of eighteenth century European manor houses. I have not seen comparable examples of either glaze on English or foreign ceramics, making them extraordinary examples of the inventiveness and elegance Titian was capable of. <br />
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Within their own context of post-war mid-twentieth century suburban New Zealand bungalows, these vases must have looked exotic and aspirational, but oddly quite compatible with clean, uncluttered modernist interior design aesthtics. In an era of import controls and domestic preference, they would have been the New Zealand venacular equivalent of the neo-neo-classical Wedgewood ceramics that sold so well in 1950s and 60s Britain, filling a demand for elegant eighteenth century design references that softened the increasing architectural minimalism of popular taste.<br />
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As with other Titian art glazes, they have passed though an era in which they were viewed as irredeemably kitch, but they represent the charming continuity of a comparatively ancient decorative tradition, repurposed for a culturally Europe-oriented, prosperous New Zealand middle class.<br />
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The colour palate range for this glaze is surprisingly extensive. Undoubtedly the 'signature' type is 'grey marble', but rarer examples of other colour patterns can be found. The pot below is a lampbase designed for and retailed by Eunice Chick, who owned a famous early Auckland design shop. I can only describe the colour as a sort of 'pink marble' glaze.<br />
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The lampbase has an underglazed incised mark 'W.G.' I don't yet know who this is<br />
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'Green Marble' must be one of the rarest varieties. It is simply gorgeous. <br />
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UPDATE:<br />
Peter Savoy has located a great example of a Titian Black Marble glaze. I think this completes the range for this glaze. Thanks so much Peter!<br />
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Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com8tag:blogger.com,1999:blog-6875119393892943626.post-85516424775022471022012-06-09T18:44:00.000-07:002012-06-11T23:03:14.367-07:00Titian's Stonehenge and Lascaux caves decorationThe Stonehenge glaze was used extensively in conjunction with a design Cam Brown adapted from prehistoric art found in the Lascaux Caves in France.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcP8_AfhhAHj4vhL0sLWEN1LRdygO5vZ9bSf-eqcLHsWCzjdzJA_kcTb1XEFYT9ym4kc51Q-yzsUZBDoA2wMwtiPa6r0CGUJfiKkYcHpS6wmYS4p4VZuj_e8dzlUsz-AugiId5l_KScq9O/s1600/Titian+Stonehenge+Glaze+047.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcP8_AfhhAHj4vhL0sLWEN1LRdygO5vZ9bSf-eqcLHsWCzjdzJA_kcTb1XEFYT9ym4kc51Q-yzsUZBDoA2wMwtiPa6r0CGUJfiKkYcHpS6wmYS4p4VZuj_e8dzlUsz-AugiId5l_KScq9O/s640/Titian+Stonehenge+Glaze+047.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Foreground, B116 (Bowl number 16)</td></tr>
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To my knowledge Titian only used ONE cave art stencil, which was derived from the image in the following link: <a href="http://i33.tinypic.com/1zf61au.jpg">http://i33.tinypic.com/1zf61au.jpg</a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx8j6qMLJH29vRqwtHnK5Yg-Zxd7Y1mNE_haGa1VI-8BW9AAThzhYgLKQ_tLmFH-E0EIicefsFwEwjZQHoUy8j4du9E978oLcgyrp19wWF67ebw1u9Cyq8amf7LMd_nT2tXo2ZBM099xRA/s1600/Titian+Stonehenge+Glaze+061.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx8j6qMLJH29vRqwtHnK5Yg-Zxd7Y1mNE_haGa1VI-8BW9AAThzhYgLKQ_tLmFH-E0EIicefsFwEwjZQHoUy8j4du9E978oLcgyrp19wWF67ebw1u9Cyq8amf7LMd_nT2tXo2ZBM099xRA/s640/Titian+Stonehenge+Glaze+061.JPG" width="332" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Un-numbered Titian lamp base</td></tr>
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These designs are so redolent of the 1960s and it is such a high quality art glaze that I am certain they will be sought after by collectors of New Zealand pottery and mid-century design for years to come.<br />
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The above tennis sets are said to have been experimental and therefore un-numbered, according to the antique dealer in Auckland from whom they were bought years ago.<br />
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As with any topic, it you write a blog aiming for comprehensive coverage, occasionally you'll strike something that is a little bit controversial - even with Titian pottery!!! At the risk of getting into trouble with some collectors, I'm sticking my neck out here: The thing that needs to be said is that there are quite a lot of vases with cave art decoration sold as Titian, which are not. Even Gail Henry was caught out when she illustrated a vase as Titian, which I think is likely to have been made in Japan in the 1960s. You can find this mistake on page 11 of the colour photography section of her book (between pages 192 and 193 of the main text of her 1999 work). There are often vases from this foreign manufacturer sold as Titian on Trademe. The confusion is understandable because of the similar themes. However, the foreign vases have shapes that Titian didn't produce, along with different brown tones, and an attempt at producing a Stonehenge glaze that does not measure up to the quality of the effect Titian got. I have yet to see a Titian Lascaux pot with a stencil decoration different from those illustrated above.Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com0tag:blogger.com,1999:blog-6875119393892943626.post-46846678855227580792012-06-09T18:08:00.002-07:002012-06-11T23:03:37.635-07:00Titian's Stonehenge GlazeAnother highly successful innovative glaze achieved at Titian was what they called "Stonehenge". It was reportedly Cameron Brown's personal favourite. It looks like coloured, worked and weathered granite.<br />
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<tr><td class="tr-caption" style="text-align: center;">On the right, PJ101; center, SV202, left PV110</td></tr>
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The vase with ram's head corbel handles is numbered and PV110 (Paramount Vase number 10), and works particularly well with this glaze giving a real prehistoric effect.<br />
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The genius of the glaze effect is that it produces the optical illusion that it is a textured rough surface, when in fact, it is completely flat. Look closely at the glaze sample photos below and you will find yourself looking at peaks and troughs with shadows cast.<br />
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<tr><td class="tr-caption" style="text-align: center;">Brown Stonehenge glaze sample</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkIoChx9OrGShRYElQQpc-EYSl8N-wciSABSqGdvsNOmy2c0bzvrUaOjTvao4lm0RfOBpz21blnk1pPNdmb5TA6rgJT27s3-IAXnAbiCvwi-d62nt6Wgq8LC2mInKaaEOvszmo_aGkMsZC/s1600/Titian+Stonehenge+Blue+Glaze+sample+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkIoChx9OrGShRYElQQpc-EYSl8N-wciSABSqGdvsNOmy2c0bzvrUaOjTvao4lm0RfOBpz21blnk1pPNdmb5TA6rgJT27s3-IAXnAbiCvwi-d62nt6Wgq8LC2mInKaaEOvszmo_aGkMsZC/s400/Titian+Stonehenge+Blue+Glaze+sample+3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Blue Stonehenge glaze sample</td></tr>
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This is an optical illusion - it is actually completely smooth and flat. I don't know how this effect was produced. No doubt there are experienced potters on the web who could explain the chemistry of how this might have been achieved. If you have any ideas, I would love to hear them...<br />
The blue Stonehenge is harder to find than the brown, and seems to have been used on only a very limited range of articles, including B115 (Bowl number 15) below.<br />
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In semi-profile:<br />
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<br />Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com0tag:blogger.com,1999:blog-6875119393892943626.post-33784562971777106392012-05-25T21:49:00.003-07:002012-05-25T22:44:47.047-07:00Vase lucky number 13Some shapes saw interesting evolutions and adaptations in design over Titian's life time. One such was the large V113 (Vase number 13), one of which can be found in the previous post in its guise of a lamp base. However, it can also be found as a normal vase, and even more uncommonly, as a lamp base with all the whistles and bells including a beefed up square base and monumental handles. Below in a line-up of the three forms, all derived from the same basic shape. The smallest is 31 cm tall, and the largest, a mighty 50 cm to the top of the light fitting.<br />
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The middle lamp base is done in the stonehenge glaze, with the very well executed profile of the fourteenth century BC Egyptian Queen Nefertiti.Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com0tag:blogger.com,1999:blog-6875119393892943626.post-20323276566499481042012-05-25T21:32:00.000-07:002013-02-14T19:25:12.250-08:00Titian's Woodgrain Glaze: Oak & MahoganyOne of the most successful of Titian's art glazes has to have been the wood grain glaze. More specifically, the Mahogany glaze, because they also tried to emulate an Oak wood grain too.<br />
As Gail Henry (page 64) writes: <i>Woodgrain [was] inspired by Teddy Rennie </i>(a mould-maker and decorator employed by Titian)<i> whose father was a decorator of coaches and stately homes in Britain. </i><br />
On page 157 Henry continues, <i>Teddy Rennie was an English employee whose background was in commercial art... Teddy specialised in airbrushing and unusual finishes and also in printing.</i><br />
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This glaze gives such a close appearance of highly polished mahogany that it is hard to believe it is a hand-finished ceramic glaze effect. They look like the type of thing you would find in a very palatial house.<br />
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<tr><td class="tr-caption" style="text-align: center;">Titian Mahogany Glaze sample</td></tr>
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The large urn at the back of the top photo is numbered B109 (Bowl number 9) and is 17 cm tall by 22 cm from handle to handle. It was one of the biggest bowl forms Titian produced.<br />
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The urn is unusually well marked. First it has <i>Titian Studio B109</i> impressed into the mould. It also has a "b" inscribed into the base <i>and</i> it has "A1" painted on under the glaze. I surmise that the "b" represents the name of the glazer of this work, and "A1", means that as far has he was concerned, this was going to be a superior quality piece. And so it is.<br />
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The large lamp base is a variation on the vase that was numbered V113, and is 40 cm tall, from base to light fitting.<br />
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The Oak glaze is slightly less common than the Mahogany although I do prefer Mahogany.<br />
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<tr><td class="tr-caption" style="text-align: center;">Titian's Oak glaze sample</td></tr>
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It is lighter in colour and as can be seen in the below example, was glazed in a way that suggests the krater form was made of 2 pieces of turned wood that were then joined together.<br />
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This vase is numbered B 107-2 (Bowl number 7 size 3). The "2" is, counter-intuitively, actually telling us that this is size three (the largest) of a form that comes in three sizes.<br />
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B107-2 is 22 cm tall; B107-1 is 18 cm tall; B107-0 is 14 cm tall. The middle vase is in the grey marble finish which will be the subject of a later post.Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com8tag:blogger.com,1999:blog-6875119393892943626.post-66143194035303415642012-05-18T21:11:00.001-07:002012-05-18T21:13:03.648-07:00Experimental innovation: Use of glass enamels on CeramicsOne of the most simple yet elegant Titian glazes was the cobalt blue. This was often finished with gilt highlights. Less often, a very interesting transfer was applied, resulting in a fine two toned cameo-relief effect.<br />
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This transfer was in fact originally designed for used on glassware, so its application to ceramics was somewhat innovative for Titian.<br />
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The above vase is 27 cm tall and is numbered V 118 (Vase number 18).Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com0tag:blogger.com,1999:blog-6875119393892943626.post-66609904191693542832012-05-18T21:01:00.001-07:002012-05-26T21:36:24.787-07:00Titian's Wedgewood experimentAs far as I know, Cameron Brown only ever once tried to emulate the famous powdered eggshell blue Wedgewood body. Gail Henry (page 169) describes this product:<br />
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<i>Fluted shape in Wedgwood blue vitreous body, not glazed, about 10" tall, made at the request of Ken Lord, approximately 200 made. Body produced by Cameron Brown Sr by trial and error using an old recipe book bought by his grandfather for one pound from William Bourne, a Burslem potter noted as being the first to produce bone china.</i></div>
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The interesting thing about this vase is that it is not numbered KV*** as you would expect for a vase designed and made for Ken Lord. It is actually numbered SV 201 (Sargoods Vase number 1). Does this mean that Gail Henry's information about this vase was incorrect? Maybe Cam Brown just mis-remembered who he made it for?<br />
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<br /></div>Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com3tag:blogger.com,1999:blog-6875119393892943626.post-64518604319425697892012-05-18T20:43:00.002-07:002012-05-18T22:58:53.227-07:00Fantails: An iconic Titian motifOver the years, Titian Studio produced a number of products with flora and fauna motifs. One of the most popular of these motifs appears to have been the humble fantail which appears on a number of different forms, some of which are harder to find than others.<br />
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The two small scraffito-decorated dishes in the centre were mainstays of Titian's souvenir range. The ashtray on the left was numbered S 100 (Souvenir number 0), and the pin dish on the right was numbered S101 (Souvenir number 1). There are two interesting points to remember about these small dishes. First, both forms went though two generations of mould, and secondly, the Bluff Oyster Shell form was given two other numbers depending on its decoration, without any alteration of the mould. This may have been for excise tax reasons. If you find a shell pin dish decorated with painted colourful native flowers like kaka beak or kowhai, these were given the number S106. If you find one decorated with a colourful painted native bird (including a fantail, a kiwi and a wood pigeon), these have the administrative number S107.<br />
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The fantail wall vase is a gorgeous piece of kiwiana design, and is one of the earliest of Titian wall vases (1950s). It was made before the numbering system was introduced.<br />
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Interestingly, these fantails are only found in an early mould form with three raised dots on the reverse. Other wall vases, such as the famous Titian "Swoose", are found in both early three-pointed forms and a later second generation mould form, where the whole rim of the reverse is raised.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Hf7Zcrd69POy8Yg9SgOuV-sUkDtfPl_sAWMzRuTfZs13HeH5IkKsKlWQCr3YmfME0T0iVSCzuSX0IEYkw1fpYNbsboT5VaNFiYdWPbpQgjxAAArMdWCSjA_x0YWw30ktPZetKbgYMaBC/s1600/Gregs+Pics+Fantails+etc+050.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Hf7Zcrd69POy8Yg9SgOuV-sUkDtfPl_sAWMzRuTfZs13HeH5IkKsKlWQCr3YmfME0T0iVSCzuSX0IEYkw1fpYNbsboT5VaNFiYdWPbpQgjxAAArMdWCSjA_x0YWw30ktPZetKbgYMaBC/s640/Gregs+Pics+Fantails+etc+050.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Reverse showing first gen wall vase mould with raised dots</td></tr>
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Perhaps the rarest fantail themed pot put out by Titian was a modelled pond looked over by an applied fantail. This was conceived as an ashtray and is numbered A 11 (Ashtray number 1). As many Titian collectors will rightly point out, Titian numbers were almost always letters followed by <i>three</i> digits, and this leads some to question whether this one really is Titian. However, if you have a small Swordfish ashtray you will see that that was numbered A 12, putting the fantail ashtray in this range. It is however, much harder to find than the small swordfish.<br />
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<tr><td class="tr-caption" style="text-align: center;">The words "New Zealand" were inscribed in the mould and can be seen around the front rim of the dish.</td></tr>
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These are quite kitsch, but do evoke a folk arty, post war New Zealand like nothing else.Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com0tag:blogger.com,1999:blog-6875119393892943626.post-74924288537536596722012-05-01T21:06:00.004-07:002012-05-02T20:13:17.476-07:00Lustre Glaze - 1960s ModernThe second glaze I want to highlight is the near psychedelic Lustre Glaze produced mainly for the Presley Ware range in the 1960s. Some vases also received a Paramount sticker. According to Gail Henry's book, this glaze was introduced by one of Titian's skilled crafts-people - Mary Baillie. Mary Baillie had learned these techniques at, of all places, Royal Doulton in the UK.<br />
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The glaze came in three main colours - Cerise Red Lustre, Blue Lustre and a wondrous Avocado Green Lustre<br />
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Deep Cerise Red Lustre Glaze sample:<br />
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Blue Lustre Glaze Sample:<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiSSBaseKixUbKtu-4J-tdfAal36Fa0FmvqZ09_LdXnP3JCXp6-qa4U7vorTGNyoRrVfvljInfXJ_SymCBSjVsBvmG1x-s3y7USQJpeRN8wB3PShYBEdveVvWMrQolDyzQNePqgW1X4Yqp/s1600/Gregs+Photos+Lustre+different+colours+2+036.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiSSBaseKixUbKtu-4J-tdfAal36Fa0FmvqZ09_LdXnP3JCXp6-qa4U7vorTGNyoRrVfvljInfXJ_SymCBSjVsBvmG1x-s3y7USQJpeRN8wB3PShYBEdveVvWMrQolDyzQNePqgW1X4Yqp/s320/Gregs+Photos+Lustre+different+colours+2+036.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This glaze is hard to photograph. It looks grey here but is a <br />
much more vivid blue in the flesh</td></tr>
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Green Lustre Glaze sample:<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcQkpn32PpqSw77yk7OpwU-sMiNHi6RkNlP_c8s4WJFqNvuOTbQp-opjGTh0thTeqFqccAC8i0YV10E24FvwQhKgGTCjRVbCobtST0Ie4NpzH0NPNygDac5C_CepI5_MkborTtst4rEcno/s1600/Gregs+Photos+Lustre+different+colours+2+018.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcQkpn32PpqSw77yk7OpwU-sMiNHi6RkNlP_c8s4WJFqNvuOTbQp-opjGTh0thTeqFqccAC8i0YV10E24FvwQhKgGTCjRVbCobtST0Ie4NpzH0NPNygDac5C_CepI5_MkborTtst4rEcno/s320/Gregs+Photos+Lustre+different+colours+2+018.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The vitrification properties of this glaze seem to give it a tendency to<br />
have yellow/gold highlights which makes it exceptionally attractive</td></tr>
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This glaze range lends itself to being collected in threes of the same shape, giving a pleasing interior design effect in certain contexts.<br />
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The above shape is numbered T 103 (Titian article number 3).<br />
The largest vase in the range displayed above is the Large Urn with fluted sides numbered ***.<br />
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As can be seen, the size of the oil-on-water like effect of this glaze can vary considerably. Some prefer a finer texture to the glaze (as above) and some a bigger globual coverage as in the following example.<br />
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Numbered V 117 (Vase number 17).<br />
Or:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigRQtFt9lI60Po2M0GrFwFCqi2MhmD3pWfJGOgZ3IHKKyLnFQ_BpaGdZ3GpId8_oRF3lTdxr9AAtHmivbzY0eCXCO3g3j2g5BscRZrtzP9pZOZo3Y15VRbqACb-8BXD44k1W49szB4OIxN/s1600/Gregs+Photos+Lustre+different+colours+2+028.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigRQtFt9lI60Po2M0GrFwFCqi2MhmD3pWfJGOgZ3IHKKyLnFQ_BpaGdZ3GpId8_oRF3lTdxr9AAtHmivbzY0eCXCO3g3j2g5BscRZrtzP9pZOZo3Y15VRbqACb-8BXD44k1W49szB4OIxN/s640/Gregs+Photos+Lustre+different+colours+2+028.JPG" width="360" /></a></div>
A very elegant and it seems popular shape at the time, numbered PV. 113 (Paramount Vase number 13)<br />
My personal favourite of the glazes it the avocado green, which is just beautiful.<br />
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<br />Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com0tag:blogger.com,1999:blog-6875119393892943626.post-64975469209579027292012-04-27T16:37:00.002-07:002012-05-18T22:55:08.402-07:00Titian's Iconic Tiki Dish S 105This is one of Titian's more iconic pieces of folk-art kiwiana. This sits alongside the famous Wahine Toby Jug as perhaps the most well-known of Cameron Brown's souvenir ware with Maori themes. When considering these pieces, these days we need to point out that they were produced with minimal Tangata Whenua input. They are products of their own time (1950s and 60s) and hopefully can be enjoyed for what they are - joyful, though unreflective celebrations of New Zealand's important Maori dimension by a Pakeha craftsman who liked and admired Maori culture.<br />
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The three on the right are all Titian tiki dishes, and the one on the left is the Crown Lynn Wharetana equivalent, put here by way of comparison. I will mention a few more interesting facts about the second lives of these objects, and the greater cultural significance they have assumed, when I put up the post on the famous Wahine Toby Jug. The latter is now used in New Zealand schools as a teaching resource for cultural appropriateness. </div>
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Here I just want to highlight a couple of points for collectors about these tiki dishes. Firstly, the moulds come in two different forms - first generation and second generation. They can be distinguished by the first generation products being slightly smaller and not having the in-mould makers mark and number on the reverse (only a mark <i>Titian</i> or <i>Titian Studio</i> scratched into a slash of green or black). The air hole on the back is smaller and in a slightly different position as can be seen here:</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizIxClLTIQgPAiiURtYb7Z5o-jf3JcnBRDFx21t7TqFhesAuF3tTe67JJU5PYuLVTZU4YYG07EkIZWGCwNzyMhr9Asv7aCyYzmACES0nsK1pbUt0oorXT3l4JRvtWhPQSOkgcKkr4RDk7w/s1600/Gregs+Photos+Tiki+pics+018.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizIxClLTIQgPAiiURtYb7Z5o-jf3JcnBRDFx21t7TqFhesAuF3tTe67JJU5PYuLVTZU4YYG07EkIZWGCwNzyMhr9Asv7aCyYzmACES0nsK1pbUt0oorXT3l4JRvtWhPQSOkgcKkr4RDk7w/s640/Gregs+Photos+Tiki+pics+018.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">First Generation mould on right c.1950s; second generation moulds centre and left c.1960s</td></tr>
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The interesting thing about the second generation tiki dishes, which were given the mould number S 105 (Souvenir number 5), is that at some stage they began receiving their own special black underglaze stamped marks. The Maori Mere form also had its own special mark similar to this. </div>
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These are pure Kiwiana whatever complex cultural baggage they carry these days. Iconic and again, very much in a folk art tradition. Enjoy! </div>Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com0tag:blogger.com,1999:blog-6875119393892943626.post-55504145262026748592012-04-24T21:22:00.002-07:002013-06-04T16:24:34.465-07:00The Mystery of the Marine PlateSeveral years before Cameron Brown's death in 2002 (see the following link to read his NZ Herald Obituary:
<a href="http://www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=2848145">http://www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=2848145</a> ), Mary Morrison interviewed him a number of times. Mary is the probably the expert on Titian. Among her aims was to establish what some of the earlier and rarer objects he produced may have been. Cameron Brown tantalisingly recalled making a plate with a nautical theme in very small numbers. Is this it?<br />
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This small dish is moulded in relief, airbrush decorated and the details hand finished in fine black lines. The border takes the form of a ships wheel. It has the feel of the mid-1950s about it, although I can't be sure. Until recently I was in little doubt that this was the plate Cameron Brown was referring to. However, a larger relief decorated and painted plate has come to light and was sold at auction in Auckland not long ago. A picture of this on can be found here: <a href="http://img.carters.com.au/164019.jpg">http://img.carters.com.au/164019.jpg</a> </div>
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What do you think? I think both of them are probably Titian. This is one of those numerous interesting obscure details of Titian production that is so rewarding for the collector. Again I want to emphasis the folk art character of these souvenir pieces of Titian - so different from what Crown Lynn was all about.</div>
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Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com2tag:blogger.com,1999:blog-6875119393892943626.post-3923285811089708582012-04-23T01:40:00.002-07:002012-05-03T18:30:10.637-07:00Lace Glaze/Crackle GlazeThe first post on Titian's excellent art glazes deals with what Cameron Brown called his "Lace glaze". Other people know it as a crackle glaze. However, because Titian's "Leather glaze" is also a crackle glaze, we'll continue to call this glaze "Lace".<br />
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The production of this distinctive glaze involved first applying a colour glaze slip and then a thick white overglaze that hardened, shrank and cracked when fired, while the underglaze became molten, ideally producing an even all-over textured effect. These pots are a joy to hold because of this textured, tanned stingray skin-like result.<br />
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This glaze is most commonly found as white on black. For a reason not known to me, these white on black pots were most commonly given a rose-pink interior glaze. This may have been because the contract for the production of these pieces stipulated that they should have this pink interior, although this is only a guess. It is much more difficult to find white on blacks with a plain white interior.<br />
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Oddly, the other lace glaze colours, which are much less common, were all given plain white interiors, with the exception of the blues, which were also glazed blue inside. These colour schemes include a delicious white on rhubarb-red, white on cobalt blue, white on sage green, and white on lemon yellow.<br />
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<b>GLAZES</b><br />
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Rhubarb Red: Glaze sample<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheiNG2Ef8hVeJS632wn1QM4A9axivSfuez4X5lj7Wc4tUZxcuYcFm-Se8r43JijwMGgP0DkNOYHbI2Lz4Egfuh35trQXlnLC-uBDWnV97BWWMd4N56URVRCFlyIij1eSvaxN0oXW1cyYov/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+007.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheiNG2Ef8hVeJS632wn1QM4A9axivSfuez4X5lj7Wc4tUZxcuYcFm-Se8r43JijwMGgP0DkNOYHbI2Lz4Egfuh35trQXlnLC-uBDWnV97BWWMd4N56URVRCFlyIij1eSvaxN0oXW1cyYov/s320/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+007.JPG" width="320" /></a></div>
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Example: Form V.109 (Vase number 9)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvLH3bSnoRyZ0Y9t1-hK_ii3yw3i5RYp5V075slT7NIA-icslxnpM-nmCiEXW44sPEulqrkRZuDqrRoBvluDs9mYa5TFK58mmbVpv7SaBcBIB3STtkD-kucgIcxIjOis2Et0aqRrRMvNQt/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+011.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvLH3bSnoRyZ0Y9t1-hK_ii3yw3i5RYp5V075slT7NIA-icslxnpM-nmCiEXW44sPEulqrkRZuDqrRoBvluDs9mYa5TFK58mmbVpv7SaBcBIB3STtkD-kucgIcxIjOis2Et0aqRrRMvNQt/s640/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+011.JPG" width="504" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFAS5l8y8tuWlqXqmGucN0zN_JLpWkEnRMi5h-EKyqEDO2wdI3XPEOU7fMzmdRymyG8h1oXqBBh2MIJGcWuMJFjOVWMHKC9eoTadZHjXDtW4Wrr3r798XIOpKc5KH2hDTMIm1QVhMtbBGD/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+016.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFAS5l8y8tuWlqXqmGucN0zN_JLpWkEnRMi5h-EKyqEDO2wdI3XPEOU7fMzmdRymyG8h1oXqBBh2MIJGcWuMJFjOVWMHKC9eoTadZHjXDtW4Wrr3r798XIOpKc5KH2hDTMIm1QVhMtbBGD/s320/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+016.JPG" width="320" /></a></div>
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Sage Green: Glaze sample<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPEKlw248lnKnVxNjQ5z2-2JSR8gyZXOX9rOQFwiXrlvWOpHi3q5-VpXl4O0XXCFsu9UVrKYAd94cDIPQu_t8e3wy6hUWW06inaxiv-HD9qj74CybDN_gecjRL15_qDnrXZZgSUJ4cTZGW/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+023.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPEKlw248lnKnVxNjQ5z2-2JSR8gyZXOX9rOQFwiXrlvWOpHi3q5-VpXl4O0XXCFsu9UVrKYAd94cDIPQu_t8e3wy6hUWW06inaxiv-HD9qj74CybDN_gecjRL15_qDnrXZZgSUJ4cTZGW/s320/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+023.JPG" width="320" /></a></div>
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Example: Form KV. 102 (Ken Lord Vase number 2)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpT5d5HsaLkyMcIw0lfl6lKdDdALY9DkMTJ4gH542tpS1ijMxa4pgENZD9YW6feHQS3XISCd1Nyr9f2CxT3BvH2iYL70iBoirlaWbtsp7VvOt2O55ybQoN6Z2KaeJd4C0qomGLP9IH_xqO/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+018.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpT5d5HsaLkyMcIw0lfl6lKdDdALY9DkMTJ4gH542tpS1ijMxa4pgENZD9YW6feHQS3XISCd1Nyr9f2CxT3BvH2iYL70iBoirlaWbtsp7VvOt2O55ybQoN6Z2KaeJd4C0qomGLP9IH_xqO/s640/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+018.JPG" width="432" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Xu45i2xAf0nJ7rgskNlVdM4sSMF4X3ECRwb4q97C4ga2Ik6ek87m8-rXk11_dw5Dw-HcBl4jij9u4E58r3tf3lv-F0jEcVR56DVEFI4x5QDf_0wyCtSRccU14xpn4c71U6aFAT7NCmgq/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+028.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Xu45i2xAf0nJ7rgskNlVdM4sSMF4X3ECRwb4q97C4ga2Ik6ek87m8-rXk11_dw5Dw-HcBl4jij9u4E58r3tf3lv-F0jEcVR56DVEFI4x5QDf_0wyCtSRccU14xpn4c71U6aFAT7NCmgq/s320/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+028.JPG" width="320" /></a></div>
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Lemon Yellow: Glaze sample<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAmQTBkjTmzoDDoE25nKwZCOGvtpOPTvsGGpJiKB_5AvaoTTR_sYbsxSI96r4nAzSrLl9T4rGbQUWyJ4wRoey2YN5wL8_P8yZcGjNg8DcPYAiX8f7iz9Y66W8pfCY9goqTG8r1KbjbwwSH/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+042.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAmQTBkjTmzoDDoE25nKwZCOGvtpOPTvsGGpJiKB_5AvaoTTR_sYbsxSI96r4nAzSrLl9T4rGbQUWyJ4wRoey2YN5wL8_P8yZcGjNg8DcPYAiX8f7iz9Y66W8pfCY9goqTG8r1KbjbwwSH/s320/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+042.JPG" width="314" /></a></div>
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Example: Form KV. 100 (Ken Lord Vase 0)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3MWi-jxLfZJiy33l9EU1e9J1CIOzbwaoeC_V5aLQAV-ZrotkYtmEMN53g9am3EhyrIArotXyvWUbEyKJju7Djf13u0yKjEEBkdpFAUEiwETKg7G2l09aGPDjaQTK0LC2_ppXoNPAR_ddQ/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+037.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3MWi-jxLfZJiy33l9EU1e9J1CIOzbwaoeC_V5aLQAV-ZrotkYtmEMN53g9am3EhyrIArotXyvWUbEyKJju7Djf13u0yKjEEBkdpFAUEiwETKg7G2l09aGPDjaQTK0LC2_ppXoNPAR_ddQ/s640/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+037.JPG" width="314" /></a></div>
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Glaze Sample: Cobalt Blue<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ny04AEOEk-xj4yEFV1VWqS4z2xWqyKjpiLXBBDQC4w01wM0a32mdSI0AHadGohEmq7s6XhgzSoYrosULD2aBRf4h3A90o3HqkcstY70ow3_mAe4dLaC3wgrr45HJBimAoUXKqMzyIaGL/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+066.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ny04AEOEk-xj4yEFV1VWqS4z2xWqyKjpiLXBBDQC4w01wM0a32mdSI0AHadGohEmq7s6XhgzSoYrosULD2aBRf4h3A90o3HqkcstY70ow3_mAe4dLaC3wgrr45HJBimAoUXKqMzyIaGL/s320/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+066.JPG" width="320" /></a></div>
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Example: Form S 202. (Sargoods Vase, number 2.)<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8KTBHT2Ub4xiq2chEtPFagkHwr-o0eiQ8rZIyATDSc7_St3NO1UKw8WsXajsMNuwTR5yZlqy_1mKcglc5Z47e1OpfxoYXoN4Ntd6Si4ON6O5Btnbsk45SrAZWU5GIWxTeSjfe-gxmgybA/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+062.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8KTBHT2Ub4xiq2chEtPFagkHwr-o0eiQ8rZIyATDSc7_St3NO1UKw8WsXajsMNuwTR5yZlqy_1mKcglc5Z47e1OpfxoYXoN4Ntd6Si4ON6O5Btnbsk45SrAZWU5GIWxTeSjfe-gxmgybA/s640/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+062.JPG" width="404" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Note that vases designed for Sargoods seem to have all been numbered in the 200s </td></tr>
</tbody></table>
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Some pots with Lace glaze were converted into lamp bases and can be seen in the following photo, where this has happened to a KV 100. In this case the fittings are polished copper which goes very well with the lemon curd glaze.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuVGZNc0g4WvXa-WdTotyz4O_9kQFsWVw13yMKhkV3qLVpEroSyhD5C6JGCEwsOPuXlERcPBSb-7gju1eHeakawQlqvZpff09k_5rn5selGVSMNq_W-p8-zHtn60Jx3o3M24Y4-hVdegIj/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+048.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuVGZNc0g4WvXa-WdTotyz4O_9kQFsWVw13yMKhkV3qLVpEroSyhD5C6JGCEwsOPuXlERcPBSb-7gju1eHeakawQlqvZpff09k_5rn5selGVSMNq_W-p8-zHtn60Jx3o3M24Y4-hVdegIj/s320/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+048.JPG" width="271" /></a></div>
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The other pot in the above photo is a large PV 111 which is 29.5 cm tall. (Paramount Vase number 11)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhlBVM7LrMsrog9kN18uSgCT8KyOO0-D44Tv5cqyLP0NClNGgPZvlgDrDs3TzBZ5BuLcdjA_PUnSYbeGPastAJpQFg5EwHzGB0bi8FJXTtfOPjoMOmZfGzlbUGtv7M5GCdrvUE_cWCr-KA/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+035.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhlBVM7LrMsrog9kN18uSgCT8KyOO0-D44Tv5cqyLP0NClNGgPZvlgDrDs3TzBZ5BuLcdjA_PUnSYbeGPastAJpQFg5EwHzGB0bi8FJXTtfOPjoMOmZfGzlbUGtv7M5GCdrvUE_cWCr-KA/s640/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+035.JPG" width="267" /></a></div>
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My personal favourite glaze is the White on Cobalt Blue.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwYDV8xz92izzIc7nYw_AfOC5pzizYs_VviUarNHuwTHI5u7FYxN6RmJMQTgZmmzoWnWNO8YdCbHZ9NPM7_Mb9GvvPZRXKP9e5videfDNY34PC0wy2g5k3wDSv9Vvf9MGoSUx6NGydJScg/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+061.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwYDV8xz92izzIc7nYw_AfOC5pzizYs_VviUarNHuwTHI5u7FYxN6RmJMQTgZmmzoWnWNO8YdCbHZ9NPM7_Mb9GvvPZRXKP9e5videfDNY34PC0wy2g5k3wDSv9Vvf9MGoSUx6NGydJScg/s640/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+061.JPG" width="512" /></a></div>
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The large vase in the above photo is one of the largest regular production vases put out by Titian, being 31 cm tall. Numbered V 113 (Vase number 13).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSx_yf0ynDdbgwHc2wtD0URL40DqaTCFUjeY6B4Y99pAy6iXEkRYLVf6cgy77qVKs41DTwfg0wg2AbsTT_SI2v3RyT1d5UxI6Ayd5Nm_Hfuht6PCXiNYz8-afqQs06Avu1aFDSq7jP9vGT/s1600/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+084.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSx_yf0ynDdbgwHc2wtD0URL40DqaTCFUjeY6B4Y99pAy6iXEkRYLVf6cgy77qVKs41DTwfg0wg2AbsTT_SI2v3RyT1d5UxI6Ayd5Nm_Hfuht6PCXiNYz8-afqQs06Avu1aFDSq7jP9vGT/s640/24+April+2012+Gregs+Photos+Colours+of+Crackle+glaze+084.JPG" width="368" /></a></div>
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This is a glaze that for sheer decorative effect compares favourably, and is sometimes mistaken on Trademe, for mid century German art vases. However, many of these colour combinations and moulds were unique to Titian.<br />
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These are 60s mod glazes that are the product of New Zealand genius. Not European or American. Crown Lynn did nothing like them. They are so good they deserve to be as iconic as CL art vases, yet they still don't attract the interest CL products do.Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com0tag:blogger.com,1999:blog-6875119393892943626.post-23646474941028214292012-04-21T16:42:00.000-07:002013-06-06T16:38:19.736-07:00The Fortune Teller by SherwoodPerhaps the single most iconic piece produced in those early years at Waitakere - the experimental Sherwood years - was a large figurine called <i>the Fortune Teller</i>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_MfCFpQKDorRV5h8wGkNT5YNQ1Ry5FHTgd_K2YSRgvN4Wz5osP9PtAUPgoAAXkjefVUtfshm9CITvhBoA5BUtK52Z2rJUR40rTjqGpsE1_1lBHx3fj4qPhA8whYTDHCiKqMw6SgocneV-/s1600/Gregs+Photos+Marine+souvenir+Titian+011.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_MfCFpQKDorRV5h8wGkNT5YNQ1Ry5FHTgd_K2YSRgvN4Wz5osP9PtAUPgoAAXkjefVUtfshm9CITvhBoA5BUtK52Z2rJUR40rTjqGpsE1_1lBHx3fj4qPhA8whYTDHCiKqMw6SgocneV-/s640/Gregs+Photos+Marine+souvenir+Titian+011.JPG" width="460" /></a></div>
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As with many things, there is more of a story here than initially meets the eye. The Fortune Teller was made in 1953, the year New Zealand became enthralled with everything royal. Cameron Brown modelled her on Queen Mary, Queen Elizabeth II's grandmother. Elizabeth II's coronation was the happening thing at the time, and a Royal Tour of New Zealand was in the offing and much anticipated by the general public.<br />
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In New Zealand ceramic history, 1953 also saw the production of one of the most iconic (some say infamous) pieces of Crown Lynn, also with a royal theme. At the time, the great Dutch designer Frank Carpay was employed by Crown Lynn, producing the now much sought-after <i>Handwerk</i> line of decorated art-house pottery. The design he came up with was a clean modernist line drawing on square plaque, of the young Queen wearing a shear silk gown through which one could distinctly make out a carefully rendered bosom replete with nipple. There is one in the Auckland War Memorial Museum's collection:<br />
<a href="http://muse.aucklandmuseum.com/databases/image/dish-Handwerk-ceramics-61742-710744.jpg?730x530">http://muse.aucklandmuseum.com/databases/image/dish-Handwerk-ceramics-61742-710744.jpg?730x530</a>
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By the standards of the day, Cameron Brown's royal gambit was only a touch more respectful, given that he was representing a dowager British Empress as an itinerant circus medium. Crucially, the style remains faithful to the potter's folk art style, eschewing the modernist take on the 1953 royal phenomenon executed by Carpay.<br />
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The colours of this object are among the best I've seen and the decoration among the most careful. It is said that Cameron Brown's wife, Dorothy sat for hours as he modelled the body, so he could get the posture and fall of the clothing just right (thanks newzealandpottery). This particular Fortune Teller can be identified as one of the first two or three produced because of the dainty ceramic earrings which were very fiddly to apply and apparently replaced on later models.<br />
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You can find images of a couple of later models from the collection of Manos at the website run by Ev and Heather, <a href="http://www.newzealandpottery.forumotion.net/">www.newzealandpottery.forumotion.net</a>.<br />
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Sadly only about 20 Fortune Tellers were produced, making it one of the most desirable and collectable pieces of early Titian. The marks are shown below. The first is on the bottom and the second on the base around the back.<br />
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<br />Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com0tag:blogger.com,1999:blog-6875119393892943626.post-40175612967461703132012-04-20T20:55:00.001-07:002013-06-06T16:27:50.705-07:00The Very Beginning: Sherwood Pottery, WaitakereFor the first post I thought I'd start at the very beginning -when Cameron and Dorothy Brown were setting up their first pottery in rural Waitakere in the late 1940s-early 1950s.<br />
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These first two pieces come from a time when production was still very small scale and experimental. The scope for giving free reign to Cameron Brown's sense of humour was therefore probably much greater - something implied in these two small objects.<br />
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These two ashtrays both have a bone china body with applied moulded decoration. The main body of the ashtray is a basic form that would come to be standard throughout the high years of Titian production. The mould later received the number S100 ("Souvenir 100"), though these ashtrays were made some years before the numbering system was put in place.<br />
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The Sherwood monkeys are so early that bits of grit have fallen onto the piece during firing and are rough when you run your finger over the top surface. The phrase "Oh What a Party!" has been inscribed in ghost sgraffito around the rim.<br />
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An interesting aspect of the applied monkeys' piece is the very early mark on its base.<br />
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The second ashtray is here because it is the first Sherwood piece listed, though not illustrated, in Gail Henry's 1999 book <i>New Zealand Pottery, </i>on page 165. This is the famous "Drunken Man" ashtray.<br />
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Well modelled given the limited tools and facilities Cameron Brown had at the time.<br />
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Other rare and early Sherwood pieces from the collection of Manos can be found online at the good website <a href="http://www.newzealandpottery.forumotion.net/">www.newzealandpottery.forumotion.net</a>.Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com0tag:blogger.com,1999:blog-6875119393892943626.post-81541714777912656502012-04-20T19:52:00.002-07:002012-04-22T16:47:09.033-07:00<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLyX5WGh6_zhqFWnENZSjnQV3rBG8EfkFsJJOqNbnVL9yYeT2O91o1gCw_Kfp5buzbdfaXq1M_MCSukLOsJ5dT7TqJn9g_C7bguY1ryfd8zXYA9wiFoqs5IOrYs0bwD7VejhgjYZhaHr8V/s1600/31+March+2009+Titian+Glaze+samples+037.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="596" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLyX5WGh6_zhqFWnENZSjnQV3rBG8EfkFsJJOqNbnVL9yYeT2O91o1gCw_Kfp5buzbdfaXq1M_MCSukLOsJ5dT7TqJn9g_C7bguY1ryfd8zXYA9wiFoqs5IOrYs0bwD7VejhgjYZhaHr8V/s640/31+March+2009+Titian+Glaze+samples+037.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Blue Lustre Glaze c. mid 1960s</td></tr>
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Mould number T103, second mould form (hollow base), 15x18 cm in size. This is a test photo.Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com0tag:blogger.com,1999:blog-6875119393892943626.post-52263683111386057082012-04-20T19:09:00.002-07:002012-06-11T03:06:13.234-07:00Welcome to a blog celebrating New Zealand's Titian Studio PotteryTitian Studio Pottery was a commercial pottery noted for its decorative ware, produced in the mid-twentieth century in New Zealand. For many years its repute in New Zealand was overshadowed by the work of the enormous company that would eventually take it over - the ubiquitous Crown Lynn. With the exception of a retrospective exhibition at the Auckland War Memorial Museum in 2004, little has been published on Titian's finer, interesting and sometimes, delightfully obscure aspects. To be sure, it received a reasonable treatment in both of Gail Henry (formerly Lambert)'s seminal books (1985 and 1999), which are currently the standard texts on the history of New Zealand commercial ceramics. However, much of the Brown family's work at Titian, particularly that of its late scion Cameron Brown, remains unknown to the wider collecting and potting community in New Zealand.<br />
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This blog aims to rectify, in small part, the gap that exists in the public's knowledge about this important pottery, its innovative glazes and the folk art aesthetic found in its important souvenir range, produced in the 1950s and 60s at a time when there was little tourism to far off New Zealand.<br />
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Some Crown Lynn forms, such as the Swan and the McAlpine fridge jug have become so iconic in recent years, that it scarcely seems possible to plug oneself into the New Zealand zeitgeist without possessing these two articles. For adroit interior decorators and design opinion makers they have become a symbolic shorthand for the essence of modern New Zealandness<i>.</i> This is an honour that some Titian forms could deservingly aspire to, were they but better known in this country.<br />
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I will post short articles occasionally, well illustrated with photos. As everyone knows, "pics" for a collector are the most helpful thing around. I'm not aiming to be comprehensive in my coverage of Titian. As at any pottery, much was produced there that was mediocre. Other pieces have been illustrated on the web elsewhere. This means that I'm not going to provide lists or photos of all the mould shape numbers, although there will be a bit of commentary on some aspects that are either hard to understand or a bit interesting. As all experienced collectors know, Titian's numbering system was not as simple or systematic as that at Crown Lynn. <br />
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In my view, Titian has two souls as far as a collector goes. The first is in its extraordinary range of good mid-century art glazes, the best of which are right up there with the best German and French art pottery of the same period. Therefore, photo spreads will concentrate on these glazes as exemplars of the work of Titian Studios.<br />
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Titian's second soul is to be found in its range of souvenir ware, produced as much for the domestic market as for overseas tourists. It was entirely different in character from the famous Wharetana Maori ware produced by its big competitor Crown Lynn. The style is much more that of the folk artist in its painted decorative and sgraffito work. Cameron Brown also designed his own transfers for use on ceramic articles, and these too are part of that story.<br />
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The aim is to compile a good resource for Titian and New Zealand pottery collectors, so here's hoping you enjoy the blog!<br />
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<br />Titian Potteryhttp://www.blogger.com/profile/00325870632160607076noreply@blogger.com7