Originally published in 1877, this early work on Pottery Painting is a practical guide which will appeal to all who are interested in the history of Pottery. With much of the information still being useful and practical today. Many of the earliest books, particularly those dating back to the 1900's and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
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From the Introduction.
The singular interest that has been excited in late years in the subject of Pottery is at this time bearing remarkable fruit in the shape of a widespread effort to produce forms, and surface decoration on forms, that shall rival those done in such old times as are regarded as being peculiarly rich in artistic light and insight. The rivals to the ancient works are seen daily in increasing numbers and in varying beauty, and of most diverse colours and characters. Scarcely a month now passes but some addition is made to the number of wares decorated by new methods, which take the impress of the individual minds that have invented them. We thus have had revivals in Majolica, Faience, Lustered ware, &c. &c., and with all we may say truly, that as examples of pottery -- that is, more especially in the mechanical and material construction of the new wares -- they greatly exceed the old ones in perfect finish, durability, and chemical combination of their parts, both in body and glaze. But this is not everything; and it is well known and seen that the ancient works, and those of the Renaissance, excel our own in their taste, artistic freedom, and wealth of ideas; and in thesa particulars we have still much to do to equal, still more to do to excel, these old-world productions of the potter's art.
But the spirit is abroad, and in all European countries the same active interest in pottery is perceived. Among a large class of amateurs in this country there is a want of practical information on the methods of work in pottery decoration; and no doubt the absence of this practical knowledge is the reason why so much less china and pottery painting is done by amateurs in this country compared with Germany, for instance.
For these this little handbook is mainly intended, and the writer will feel well rewarded for his work in putting it together, if it should conduce to the spread of a wider appreciation and practice of the beautiful fictile art, that has from the most ancient times been the object of admiration to legions of persons of taste and of cultivated mind.
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