The process of industrialisation and its effects on traditional crafts can be studied archaeologically particularly well in the area of pottery production, as extensive production remains in the form ...of misfired pottery can be excavated in addition to workshops and kilns, and provide a good insight into the range of forms and decorations produced at the location. Archaeological research thus provides an insight that archival documents and museum collections can only offer in exceptional cases, as company archives are seldom preserved and everyday tablewares rarely become part of museum collections. Using two case studies from Frechen and Bedburg-Königshoven, this article shows how craftspeople retained their traditional vessel forms and tried to adapt to the changing tastes of consumers and compete with industrially produced ceramics. Excavations in Bonn-Poppelsdorf provide an insight into the emergence and development of a ceramic factory, which developed from a small faience pottery in the mid-18th century to an internationally operating company by the beginning of the 20th century, producing industrial whitewares and porcelain. The fourth example concerns a small factory in Bonn-Duisdorf, founded in 1908 as the Kunsttöpferei Gerhards & Wittelsberger and later renamed as the Lapitesta Werk Duisdorf. Here, research can be based not only on finds from archaeological excavation but also on objects in the Bonn City Museum and extensive archival sources dealing with the first 10 years of production.
The Mardi Gras Shipwreck, the remains of an approximately 16 m (52 ft.) long vessel that sank roughly 65 km (40 mi.) southeast of the Mississippi Delta during the early 19th century, yielded a ...substantial number of intact and nearly intact glass and ceramic artifacts. The majority of the glass and ceramic artifacts consists of bottles and creamware tableware, but other items, such as stoneware jugs and an inkwell, are also present. Analysis of the glass and ceramic artifacts helped to date the shipwreck and provided insights regarding consumer choice and shipboard life in the 19th-century Gulf of Mexico.
El buque naufragado Mardi Gras, los restos de un barco grande de 16 m (52 pies) aproximadamente que se hundió a unos 65 km (40 millas) al sureste del Delta de Misisipi a principios del siglo XIX, produjo un número sustancial de objetos de cerámica y vidrio intactos y casi intactos. La mayoría de los objetos de cerámica y vidrio consisten en botellas y vajillas, pero también hay otros artículos, tales como jarras de piedra y un tintero. El análisis de los objetos de cerámica y vidrio ayudó a datar el naufragio y proporcionó percepciones relativas a la elección de los consumidores y la vida a bordo de barcos en el Golfo de Méjico en el siglo XIX.
L’épave du Mardi Gras, les vestiges d’un navire long d’environ 16 m qui a coulé à environ 65 km au sud-est du Delta du Mississippi au début du XIXe siècle, a permis d’obtenir un nombre important de verres intacts et presque intacts et des objets en céramique. La plupart des objets en verre et en céramique comprend des bouteilles et de la vaisselle en faïence de couleur crème, mais d’autres éléments tels que des cruches en grès et un encrier sont également présents. L’analyse des objets en verre et en céramique a permis de dater l’épave et a livré des renseignements sur les choix des consommateurs et la vie à bord des navires dans le golfe du Mexique du 19e siècle.
Discolored lead-rich glazes on phosphatic porcelain sherds from the sites of the Bartlam (Cain Hoy, SC), Bonnin & Morris (Philadelphia, PA), and Chelsea (London, UK) factory sites record the effects ...of alteration after two centuries of burial. The alteration presents as a dark brown to black scale on the American samples, and as pale brown crazing of the Chelsea glaze. Backscattered electron images of this material show the development of Liesegang rings and a sharp corrosion boundary where in contact with (relatively) unaltered glaze material. Compared with their unaltered counterparts, the altered glazes are variably but in some instances massively (≥ 90%) depleted in SiO
2
and alkalis, and enriched in P
2
O
5
, CaO, PbO, and various trace elements, notably V. Some of the Bonnin & Morris samples have had bone ash components—especially CaO—leached from the now-porous phosphatic paste, so their CaO/P
2
O
5
(molecular proportions) ratios (~ 2) are much lower than those of the relatively unaltered Bonnin & Morris samples (3.1–3.5). The ceramic body is not, however, the source of phosphate (and calcium) enriched in the altered glazes because phosphate enrichment characterizes glaze alteration even when there is no evidence of bone ash dissolution. Anthropogenic sources are likely for this and other components enriched in the altered glazes. Glaze alteration is interpreted in terms of leaching (de-alkalization) and silica-network dissolution in the presence of subsurface alkaline aqueous fluids (pH ≥ 9). Unaltered glazes on both creamware and phosphatic porcelain sherds from Cain Hoy have overlapping trace element concentrations, supporting the hypothesis that John Bartlam manufactured porcelain there, despite the apparent absence of biscuit wasters at this site.
A substantial assemblage of material culture deposited ca. 1843–45 in Cambridge, England, is examined from a biographical perspective in terms of what it tells us of the preceding century or so—ca. ...1730-1845—rather than the contemporary 1840s. It reveals a materialized temporality, bound up principally with the lives of the college cooks Richard and Sarah Hopkins but also numerous other individuals. The assemblage is also viewed from the perspective of the processes of discard and deposition, and the likely relationship of those involved in this to Richard and Sarah Hopkins.
In 1822, a devastating town fire sealed a large ceramic assemblage from a store in the town of Oulu in northern Finland. Excavations of the merchant's stock recovered over a hundred kilograms of ...ceramics that was almost entirely composed of undecorated creamware, a ware and decorative type whose popularity had faded significantly by the 1820's. The assemblage reveals the global complexities in the international ceramics trade in the early nineteenth century, provides insight into some of the mass-produced commodities reaching geographically peripheral markets, underscores distinctive European market influences, and illuminates marketing and social practices that shaped consumption in markets like Oulu.
By 1787, Josiah Wedgwood's earthenware and ornamental jaspers and basalts had been exported throughout the United States and Europe for more than a decade. Correspondence between the marchand-mercier ...Dominique Daguerre and Wedgwood documents Wedgwood's penetration of the French market, where his blue-and-white tableware became the height of fashion during the years immediately following the French Revolution.
