Tag Archives | casting

Rookwood Faience

Fountain of the Water Nymph, 1913

As promised, here are some of the pictures of the Rookwood architectural faience. The fountain in this first picture was originally installed in the Rookwood showroom and was displayed there until the company was relocated to Mississippi in 1960. When the Cincinnati facility was dismantled the fountain was purchased by a real estate developer and installed in a bowling alley, of all places! And here I thought I was brave displaying ceramic horses in a house with young boys. At least I didn’t have to worry about someone tossing a bowling ball.

The fountain is actually made of tiles, which is obvious in this photo. The woman is a separate figure set on a tile base and added to the composition. I found this concept fascinating. I have concepts drawn out for future projects that involve sculptural tiles that fit together like a puzzle, but it never occurred to me that the tiles did not have to assemble across a flat surface, or that three-dimensional sculptural elements might be added.

Here is a detail shot of the bas relief pieces on the back. I wish I had taken more detail shots of all of these pieces.

Chimneypiece, 1903

This mantel was a custom design done on commission. At the turn of the last century a simple stock mantel of fairly plain tiles could be ordered for $8.75 (that’s $166 in modern dollars), and an elaborate one with mantels, brackets, shelves and bas relief tiles could cost as much as $210 (equivalent to almost $4000 today).

I found this interesting because my first bas relief, the Celtic Pony, was designed for the corners of my own fireplace. He never was installed because I realized I needed to do a reverse design for it to look right on the two sides. Oh, to have the time to design a whole mantel of pony tiles!

This next piece was a carved wooden mantel created for Rookwood in 1851, the childhood home of Maria Longworth Nicols Storer, founder of the Rookwood Pottery. It isn’t ceramic, of course, but I thought it was interesting to see how fine craftsmanship was a part of her upbringing.

Angels, 1920

I found these two pieces interesting because they are such large ceramic castings. They are apparently the only two ever made from the mold, and were done for the Seventh Presbyterian Church in Cincinnati. They were among the things that survived unharmed the 1970 that destroyed the church, although the glaze was slightly discolored.

The description card stated that the angel had been sculpted in clay and then cast with a “multi-part plaster mold”. I have to imagine the angels were themselves assembled from pieces, too. I’d hate to think how heavy those molds would have been wet, or how difficult the greenware would have been to transport. Of course, it makes it easier when your kiln is big enough to sit a dinner party.

The other thing that was striking about the Rookwood Pottery pieces on display was how very different the ceramic world was at that time. The pottery rose to fame largely through wins at competitions for ceramics. The idea of high-profile competitions for ceramic products was interesting in itself, but even more so because the items were cast. That is, at least in the modern ceramic world, just not done. Cast ceramics are not considered a legitimate art form in that community. I have always thought that was a shame because relegating casting to the ceramic ghetto is a big reason why ceramic mold-making is a dying art. What I didn’t realize is that it wasn’t always that way, so perhaps there is hope that one day the skill involved will be appreciated again.

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Fixing the leak (mostly)

Thanks to the now-working mold straps and some tips from fellow ceramists, my Elsie mold has gone from extremely leaky (bottom) to a more normal amount of flashing (top). I had underestimated just how much I needed to thicken the slip when working with a much larger casting.

I also discovered that I got much better results by pouring successive castings. Because I live in a pretty humid climate, my molds have to sit for considerably longer before I remove a casting. Not wanting to wear my molds out – which getting them too damp too often will do – I had been spacing my castings out over a period of days. My typical routine was to pour one casting and then let the mold sit for one or two days, then casting another. Joan at Pour Horse had suggested doing two castings in a row and then resting the mold. That is working much better.

Now if I could just find enough uninterrupted time to glaze a set. As much as I would like to have a set finished before the end of the year, scheduling tends to conspire against me during the holidays when it comes to things like underglazing. I can do a lot of tasks (like art glaze giftware or clean greenware) in small bits of time with lots of interruptions, but not underglazing. The threat of being interrupted – which seems worse that usual during this time of year – is enough to make me avoid the spray booth. Perhaps I should ask for a day of isolation for Christmas!

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