oxenblå glasyr - Oxenblå Konstkeramik

OXENBLÅ GLASYR
LJUSSTAKE / VAS / SKÅL
Oxenblå glasyr med utskuren dekor. H 32 cm D 40 cm. Drejad i 2 delar, fat och konad cylinder.
Tillverkad 2012. (I konstnärens ägo)
Som alla Konstkeramiker drömmer man en gång om att skapa en egen glasyr eller en variant av en
befintlig, det kan tyckas som en utopi med alla de fina glasyrer som skapats genom århundraden.
Så efter att jag lärt mig allt om Oxblodsglasyren och under en 7 års period experimenterat fram ett eget
recept, ansåg jag mig redo att försöka. Tillfället kom då en beståndsdel i Oxblodsreceptet ej längre
tillverkades ,jag var således tvungen att tillverka ett helt nytt Oxblod från grunden, under tiden som jag
fick fram den rent röda igen fick jag fram en variant på den som var blålila tonad. Här hade jag min
möjlighet till en ny glasyr/variant, så jag började att kombinera den röda och den blå på samma
föremål med flera olika glaseringstekniker och si den blev så spännande och mångskiftande att jag gav
den det Svenska namnet: ”OXENBLÅ” som också fick bilda mitt nya efternamn från 2001.
FLAMBÉ
Den Europeiska benämningen är Rouge Flambé och fina exempel på Flambé glasyren framställdes av
Doulton & Co Ltd i England och av porslinsfabriken Sévres i Frankrike
http://www.thepotteries.org/types/flambe.htm
A distinctive glaze which Royal Doulton make use of, it consists of a rich, deep-red glaze slashed with
streaks of purple and turquoise used to decorate pottery, particularly porcelain.
The effect results from a particular method of firing a glaze that incorporates copper; the method
was first discovered by the Chinese of the Ming dynasty,
probably during the reign of Wan-li (1573-1620).
Examples of this old flambé work are now extremely rare. The process was at first difficult to
control, but by the reign of Ch'ien-lung (1736-96) in the Ch'ing dynasty it had been mastered, and
ch'ui hung, or blown red glaze ware, as flambé work was called, became very popular.
The porcelain factory at Sèvres (France) produced a substantial amount
of flambé work in the late 19th century.
The process was revived in modern times by individual potters, notably Bernard Moore in England,
who worked at the beginning of the 20th century.
About the artwork - Doulton & Co Ltd
This Royal Doulton Flambe' Rhinoceros is a rare example
The marbling effect on this piece is exquisite. It measures approx. 9 1/2" tall and approx.
13 1/2" long. Designer Leslie Harradine. The Rhino is one of the four very fine 'Rouge Flambe'
models, introduced in 1970. The Rhinoceros is a worthy successor to Noke's Elephant
A new kind of British pottery flourished in the years around 1900, known as 'Art Pottery'. The term is used to describe
those wares produced from about the 1870s to the 1930s which were made in the spirit of the Arts and Crafts Movement. The movement was inspired by the work and views of the designer William Morris and the art critic and writer
John Ruskin. Their followers aimed to revive traditional handicrafts and avoid the machine-made look. The makers of
Art Pottery saw themselves as artists using the unpredictable effects of the kiln to create individual works of art.
Some makers were also influenced by the pots produced in China. They experimented with glazes and shapes to produce harmony between pot and decoration. The large manufacturer Doulton & Co Ltd, whilst producing dinnerware
and other items, including sanitary wares, experimented and made Art Pottery. Others makers such as Sir Edmund
Elton worked on a much smaller scale.
This piece was made by Doulton & Co Ltd. The sumptuous colours that make this pot so beautiful are the result of a
glaze known as 'rouge flambé', produced by Doulton and Co Ltd between 1900 - 1914. The firm began in 1858 and
were based in Lambeth, London. They also had a factory in Burslem, Staffordshire where this particular type of ware
was produced. A similar kind of glaze had been used by the Chinese for hundreds of years and was reproduced by
John Slater and Charles J Noke, at Doulton, from the late 1890s. Like the Chinese, Slater and Noke added copper
oxide to the glaze and experimented with the effects of reducing oxygen in the kiln during firing. This resulted in the
beautiful red to purple colouring on the pot. In earlier times the Chinese thought that to be able to reproduce these
gorgeous glazes the kiln had to be fired at a certain phase of the moon. A Chinese writer once wrote concerning the
influence of the planet Mars on the 'rouge flambé glaze', 'When the planet approaches its greatest brightness, things
happen magically and contrary to the usual order'. Hundreds of years later Doulton managed to reproduce a similar
glaze by rather more analytical means.
Also in the exhibition is work by Sir Edmund Elton. He began his factory in Clevedon, Somerset in 1879 and continued
in production until 1930. Elton was a semi-professional who worked as much for his own amusement as to earn a living. He used pattern as well as experimental glazes to interesting effect. It is said that after the pot was thrown, a
previously designed pattern by Sir Edmund, which had been transferred to tracing paper, was applied to it. This was
done by wrapping the paper around the pot and then with a slightly blunt tool an indent was made by going over the
tracing. The indents were then softened with a camelhair brush. The pot was placed upside down on a board and a
dark blue slip was then poured over it. Slip is liquid clay watered down to a creamy consistency and in this case coloured with a metal oxide to produce the blue colouring. Splashes of slips in differing colours were then applied with
the fingers and the pot was then shaken in various directions to marble the colours. When the pot had hardened,
more slip was painted on to form petals and leaves. It was then fired, glazed to make it shiny and non-porous, and
fired again. This method of production ensured that no two pots were identical. Sir Edmund favoured flower decoration and his firm was eventually known as the Sunflower Pottery.
This large pot was made by the Pilkington's Tile and Pottery Company in 1906 at their factory at Clifton Junction near
Manchester. The firm was established in 1891 with Laurence Pilkington on the board of Directors and managed by
William Burton, a chemist, formerly from Josiah Wedgwood & Sons. The firm began by making tiles and then went on
to make pots. Unlike Doulton, they did not make for the more commercial end of the market as well, but concentrated on experimenting with shapes and glazes to produce Art Pottery. This particular pot has a form of decoration
known as Fiery Chrystalline or Sunstone. This is so called because the sparkling golden colour is produced by a scattering of metallic crystals in the glaze. When illuminated the crystals look like a mineral known as sunstone - a variety
of aventurine.This type of glaze was also produced in other colours. The Pilkington's Tile & Pottery Company continued in production making different types of wares until their closure in 1957.
Differing types of Art Pottery were produced by a number of firms up until the 1930s when tastes changed and the
fashion for more highly decorated pieces became the order of the day.
CHRISTIES AUKTIONER
Lot Description
A RARE FLAMBE-GLAZED PEAR-SHAPED ARCHAISTIC VASE, HU
YONGZHENG INCISED FOUR-CHARACTER SEALMARK AND OF THE PERIOD (1723-1735)
Sturdily potted with a full rounded body rising to a waisted, slightly flared cylindrical neck applied
with a single bow string, flanked on each side with a mythical dragon handle, each suspending a mock
circular ring, covered in a characteristically thick and bright purple glaze with turquoise streaks
thinning to brown over the extremities and mouth rim, the base covered in a mottled
mushroom-brown wash 8 1/8 in. (20.4 cm.) high, box
PRIZE REALIZED
HK$ 2,420,000
Sale Information
Sale 2711
The Imperial Sale, Important Chinese
Ceramics and Works of Art
27 May 2009
Hong Kong
Lot Notes
Few flambé-glazed vases of this form and design are known. The only two published examples appear
to be a Yongzheng vase of near-identical form and size in the Palace Museum collection, illustrated in
Qingdai yuyao ciqi bowuguan cang, Palace Museum collection of Chinese Ceramics in the Qing Dynasty: Official Ware of the Qing Dyansty, Beijing, 2005, pp. 306-307, no. 139 (fig.1); and another formerly in the N.H.P Huth and E.T. Chow collections and now in the Meiyintang collection, illustrated in
Chinese Ceramics from the Meiyintang Collection, Vol. 2, London, 1994, p. 186, no. 834.
Compare with a guan-type Yongzheng-marked vase of the same form in the Palace Museum Collection, Beijing, illustrated in Kangxi, Yongzheng, Qianlong, Hong Kong, 1989, pp. 249, pl. 78 and
another relief decorated example in a celadon glaze illustrated, ibid, p. 276, pl. 105.
Cf. other related flambé-glazed vases bearing Yongzheng marks, although none of this exact form, in
the Palace Museum, Beijing, illustrated ibid, pp. 278-281, pls. 107-110. Two slightly larger flambéglazed examples of related form but both with flattened taotie handles have been sold: the first from
the Jingguantang collection, sold at Christie's, 3 November 1996, lot 564; the other sold at Christie's
Hong Kong, 30 May 2006, lot 1366.
CHRISTIES AUKTIONER
Lot Description
A LARGE FLAMBE-GLAZED BOTTLE VASE
QIANLONG IMPRESSED SIX-CHARACTER SEAL MARK AND OF THE PERIOD (1736-1795)
With ovoid body rising from the slightly flared foot to a tall cylindrical neck, covered all over with a
brilliant streaked flambé glaze varying from mauve to lavender and thinning to a pale mushroom at
the rim, the base covered with a mottled brown and pale celadon glaze
17 7/8 in. (45.5 cm) high, box
Provenance
Christie's, London, 8-9 December 1986, lot 422.
Price Realized $362,500
Sale Information
Sale 2339
Fine Chinese Ceramics and Works of Art
16 - 17 September 2010
New York, Rockefeller Plaza
Lot Notes
The three great Qing emperors, Kangxi, Yongzheng and Qianlong, were all enthusiastic collectors of
antiques, and required that certain of the ceramics made for their courts were made in the ancient style.
This distinctive glaze seeks to recreate the famous classical Jun wares of the Song period. The splashes and
streaks characteristic of this glaze are described as yao bian, or 'transmutation glaze', which has been the
subject of much research. For a discussion of this topic see R. Kerr, Chinese Ceramics: Porcelain of the
Qing Dynasty 1644-1911, p. 75, and N. Wood, "The Evolution of the Chinese Copper Red", in R. Scott (ed.),
Chinese Copper Red Wares, Percival David Foundation of Art, London, 1992, pp. 29-30.
The potters at the imperial Jingdezhen kilns were charged with the task of reproducing these glazes on
porcelain. Such was the enthusiasm of the Yongzheng emperor for Jun glazes that the important Taocheng
jishi bei ji (Commemorative Stele on Ceramic Production), composed by the famous imperial kiln director
Tang Ying in 1735, lists no fewer than nine different Jun-type glazes, and noted that five of these were based
upon ancient examples that had been sent from the palace in Beijing to the imperial kilns hundreds of miles
to the south at Jingdezhen, in Jiangxi province. In order to achieve successful imitation of Jun glazes, Tang
Ying went to considerable lengths, including sending his secretary Wu Yaopu to Junzhou in 1729 to try and
obtain the recipe for Jun glazes. This dedication to the accurate recreation of Song dynasty glazes on
porcelain continued well into the Qianlong period, when the present vase was made,
and into succesive reign periods thereafter.
Vase, Pierre-Adrien Dalpayrat, 1896. Museum
no. 497-1896. Stoneware with hightemperature flambé glaze. Made at the workshop of Adèle Lesbros et Cie,
Bourg-la-Reine, France