Pipkins

I have been researching and writing notes on cooking pots used in the Middle Ages and Renaissance. It is a huge subject. One of the types of cooking pots are pipkins. I have a few other pictures of pipkins in this blog and just wanted to show a few other varieties of pipkins I have made. What seems to make a pot a pipkin is the tripod feet and a handle on only one side of the pot. Lids are not always seen, although there are some. I like using lids when using these to cook, especially over coals, and many people who have my pottery distinctly prefer pots with lids, so I will keep making them.

This style of pipkin has one loop handle, what I have seen most commonly. The lid has a little inside ring, it makes it sit in the pot very well and is quite helpful for cooking. I've seen an example of this style of lid only in an Archaeologist's drawing.  The feet are funny, there are a number of  period examples of little animal paws on the pipkin legs.

A pulled handle. this pipkin has long tripod legs and a flat lid that fits inside on a "gallery" to hold it there. Not an uncommon way they made lids. The little flat knob is common for the lids.

This kind of pipkin is my favorite, Medium length tripod legs, a hollow handle which was thrown on the wheel that kind of a handle is easy to grasp and insulates from the heat somewhat. When the pot is really boiling away some sort of pot holder is required even with the extra insulation of air.

Oops, not a pipkin, the handles on opposite sides make this a cauldron. The short little legs can be either on pipkins or cauldrons.

My Aquamanilles

During the Medieval Era Aquamanilles were vessels shaped like animals or human's riding horses. These were used for pouring liquids. During feasts servants poured liquid on diners hands for washing, then offered a linen towel for drying. In the churches they were used for religious ritual. The wealthy churches and most wealthy hosts used metal aquamanilles. The middle class, in attempts to emulate the wealthy had aquamanilles made of ceramic. There are extant examples of these found in many  museums. 

My research has also found some wonderful aquamanilles in the Middle East and in the Far East.

My reenactment aquamaniles are here:

I saw this aquamanille in the L.A.C.M.A. It was made in Syria in the 10th Century.

You will see examples of Ram Aquamanilles in the Victoria and Albert.

Another little Ram, this one has found a home.

Different attitudes on these aquamanilles.

A friend bought this one from me, so I get to see it on occasion.

November

I have really been doing a lot of work, and a lot of new work. But you wouldn't know it from my lack of blogging.
In addition to pottery, one of my newer projects was to start an Etsy shop. You can see it here (and I hope you will):
http://www.etsy.com/shop/jeannepottery
It has been quite a learning experience as so much of it appears to be a combination of patience and networking. Both of which are rather difficult.

Here are my new style of bowls, bright colors and hand carved design.

Wild bright colors. These are some of the pottery I had on display during the months of August and September with members of the PWA at the Waiwai Canyon Winery. The title of our show was "Wine, Women and Song."

This bowl is sold. I wish I had more photos of it, but I got it out of the kiln just in time to do a very quick photo session, then pack it for the show.

They made a nice set of nesting bowls.

The glazes and carving on this remind me of a pond during winter, partially frozen over.

Traditional maiolica jars

Although I have been throwing pots, always, always. Quite a bit of my work recently has been painting designs on pottery surfaces, both with underglazes and with maiolica (over) glazes.
The following pictures are my most recent maiolica jars. The style of jar is either refered to as a "drug" jar, "apothocary" jar, or "abaraello". They were traditionally used to hold medicines and herbal mixtures. They were covered by use of a waxed parchment, tied on with waxed linen thread. These will be covered by a waxed piece of linen fabric tied on with waxed linen thread. Works just like seran wrap, only re-useable!

 

This is the "before" picture.

 

After they have been fired.

These were made for Master Eduardo/David Waldon. He is creating a period Italian Renaissance Kitchen and these jars will hold foods. "Strutto" means pig fat, the smaller jar's function is undecided at this time. They are both glazed with low-fire maiolica glazes. The base white glaze is a glaze I mixed to be similar to low-fire traditional maiolica but without use of lead. I would like to find more low-fire maiolica bases as I had a bit of difficulty with pinholing, although I took the precautions advised to eliminate pinholing.

Mud and Spirits Ceramic Show, 2010

Mud and Spirits organized and produced by C.A.G.N.I. (Clay Arts Guild of North Idaho) was held several weeks earlier than usual this year. It was nice not to have to drive there in the snow.
It's a fair of all ceramic artists.
My display this year contained some new designs and some of my regular best sellers.

Dragons in the Center.

                                       

 

A new item for me are the "holeless salt shakers" they really do have an opening for the salt, but it is hidden underneath the ball.

Side view of my display. The side of the cave animals done in underglaze and some in maiolica.

More cave animals, this time showing the third platter with what is called the "Chinese Horses" painted. This also shows the vase and the small bowl more clearly.

Animal ware

This is a small plate with a large, friendly bear done with Underglazes

The original idea for this design was the following set of dishes, an order made for a child whose family raise sheep. It was hand drawn using underglazes on a white stoneware, which was then covered with my favorite transparent glaze. Because it was for a little child, I curved the plate rim in so he would be able to scoop the food next to the rim making it easier for him to learn to use silverware.

Drawing on pottery

I have always loved drawing. As a small child I drew on anything that was standing still and continued drawing throughout my life. Most of my drawings have never been seen by others, it is an exercise in personal enjoyment.

If I think of it that way it is strange that I have done so little drawing on my pottery pieces. Lately I have been considering that and have begun to do more drawing on pottery. Right now I am putting the designs on the pots first by drawing with pencil directly on the pot, then using a very small brush to cover the graphite lines with bright under glazes.

When the painted drawing is completed it is covered with transparent glaze and fired. The positive aspects of the transparent glaze I use is there is room for temperature variation in the firing.

This tree design is a slightly different technique. For this bowl I used an under glaze pencil to draw the design, the under glaze pencil marks stayed and I added touches of under glaze for the color of the leaves and color in the trunk and lawn.

A variation on the use of under glaze is using the maiolica technique. For these designs I cover a pot with a maiolica glaze, draw the design on the powdery maiolica glaze then cover the graphite lines with over glaze using a tiny brush for the color.

I use the Roy-Hesselbreth recipe for maiolica, so these are in the mid-range temperatures, rather than the traditional low-fire maiolica. Variations in temperature for this glaze are not an option, with this glaze it is cone six or nothing. The aspect I like with maiolica is the background color that is the result.