Made in Mexico – Talavera.com

The production process of Talavera

July 3, 2015 by admin

The production process of Talavera has remained almost unchanged since colonial times. The process employs two different kinds of clay: white and black, combined in equal parts.

To prepare the clay, the first step is cleaning it, by putting it through a sieve, mixing it and placing in it in sedimentation tubs, until excess water is dried out. This “maturation” process increases the quality and plasticity of the clay.

Next, the clay is “stepped on”, that is, it is kneaded by having someone walk over it to obtain a uniform consistency and humidity. Afterwards, blocks are formed and the clay is stored.

Production can be done in one of two ways: by using the potter’s wheel, or through the use of molds, over which clay plates are placed. Once the pieces are completed, they are stored in unventilated spaces for a long period of time, so they can dry slowly and uniformly.

Afterwards, the pieces go into the kiln for the first time, for a period of about 10 hours.

Then, an enamel made of tin and lead is applied through an immersion process. This layer is the basis for the decoration.

The designs are selected along with the colors, which are prepared with mineral pigments, respecting the traditional colors of the Talavera of Puebla.

Finally, they go into the kiln for a second time. This is where colors obtain their characteristic shine and volume.

Talavera Jars for Color & Beauty

April 13, 2015 by admin

If you are in love with vibrant color or simply want to add some beauty to your interior design, our collection of Talavera Jars and Vases are sure to do the trick. Every jar and vase is handmade of clay in the classic Talavera style by specialized artists outside of Dolores Hidalgo, Mexico. Each Talavera design is painted by hand and is sure to make a wonderful addition to your home decor.

If you are in love with vibrant color or simply want to add some beauty to your interior design, our collection of Talavera Jars and Vases are sure to do the trick. Every jar and vase is handmade of clay in the classic Talavera style by specialized artists outside of Dolores Hidalgo, Mexico.

Using modern, high-temperature kilns each Talavera jar and vase has a strong and durable finish that resists chips and cracks. Talavera was introduced to Mexico by Spanish guild artisans of the Colonial period. Known as “majolica” in Spain, Mexican Talavera draws its name from the 16th century Spanish pottery center, Talavera de la Reina, where imagination and persistence led to enormous strides in the world’s knowledge of fine ceramics. Thus, while the intricate polychrome and more typical blue and white designs portray their old world legacy, the indigenous floral and celestial motifs featured on our site claim the ceramics as classically Mexican.

Talavera pottery is known for brilliant colors set against a pristine white background. Typically, the vivid patterns are slightly raised, and the entire piece is smoothed over by a glossy sheen. Yellow, green and mauve were traditionally the most prolific colors used to decorate Talavera, although cobalt blue was the most desired. Due to the expensive mineral pigments required for its use, this regal color became a way to identify the finest quality of Talavera ceramics.

Today, Talavera patterns can be simple and bold or elaborate and highly detailed. Floral patterns are perhaps the most common, but when it comes to Mexican Talavera, creativity is limitless. Although some patterns might appear similar, hand-painted Talavera is never identical. This should be no cause for concern, however, as color and pattern themes almost always exist, and the individual character of each piece will only enhance your Talavera collection or home decor.

The Talavera Serving Bowl

April 7, 2015 by admin

Having its origins in Puebla Mexico, and echoing that tradition, all of the paint used in our Talavera products are 100% lead free. Originally, only vegetable dyes and all natural pigments were used. Each artisan had their own unique style and only four different pigments were allowed to be used in order for a piece to qualify as Talavera. Today, several other colors have been added and since the pallet has expanded, so has the colorful festive nature of the pieces.

Our serving bowl is a perfect complement to any type of dining room table. If you have a minimalist table with a modern sleek design styling, this serving bowl with its punch of color would look perfect gracing the tabletop. Perhaps your design styles are more traditional in nature. If that is the case, this brightly colored festive bowl will perfectly complement the traditional flair of your dining room. You simply cannot go wrong using our Talavera serving bowl as a design element in your room.

Consider these other design ideas as well:

For your entryway. Place the serving bowl on your entryway or console table filled with potpourri to greet guests with a wonderful aroma as they enter your home. The aroma combined with the colorful presentation of the serving bowl is a wonderful way to welcome friends into your space.

Hallway table. Try filling the serving bowl with ornaments during the holiday season, or other items such as shells, or even pine cones during off seasons to create a fantastic display in your hallway. One of these bowls, positioned on a small side table at the end of a hallway, makes a great statement and also provides a fantay not place onestic focal point for the space.

Bedroom. Wh of these on top of your dresser, or a side reading table in your bedroom, to create a more intimate space? You could fill the bowl with dried flower potpourri and a few decorative wooden balls to ground the reading nook or crown your dresser top.

Bathroom. Place one of these on a “his and hers” vanity in your bathroom to not only divide the space, but add a little bit of dramatic flair too. You could have fun with it and put washcloths or other small toiletry items inside for guests to use during their stay. The color and functionality will make for a great accessory item in the bathroom.

You could place these in outdoor seating areas, beside your sofa on a side table, place them on your sofa table, the possibilities are truly limited only by what you can come up with. You could go off-the-cuff and fill one of the serving bowls with oranges and place it on your kitchen counter. What a great way to add a bit of color and display as well as functionality, to your kitchen! As stated before, the design options are truly limitless..

We have several different styles and patterns to choose from, so you should have no trouble finding a bowl that suits your taste and tickles your fancy. Head over to La Fuente now and make one of these Talavera serving bowls yours today!

Authentic Talavera for Spring Entertaining

April 5, 2015 by admin

Warmer weather is just around the corner and it will soon be time to catch up with old friends, make new friends, and throw some spectacular parties. Whether the occasion is a casual barbeque filled with hot dogs and the perfect burger, or a formal occasion packed with relatives you have not seen in months, our Talavera place settings will make the affair festive and bright.

Made in the traditions of Talavera Pottery, each piece of the place setting is filled with vibrant bold color. The skill takes years to accomplish. Artisans undergo training and must complete an apprenticeship before they are free to produce Talavera on their own. This process is what has kept Talavera pottery alive and well for many years. The quality and skill show through in the pattern and color application. .

We have many distinct patterns to choose from that will offset your decor. Patterns that feature the traditional Talavera blues and greens pop nicely against outdoor wood grains or grand dining room tables. Patterns featuring reds and yellows will work with just about any bright upbeat design tone. Due to the fact that they are handmade, the individual pieces may vary slightly. Their color and design depend on the type of pottery used and the artisan who produced the piece. Yet, the slight variations are why we love Talavera pottery so much.

Not to mention, we love it because there are so many items to choose from. Everything from soup bowls, neck and readings, salad plates, cups and saucers, coffeepots, serving platters, and many more pieces of serving ware make design options almost limitless. Your guests are sure to feel right at home and you will certainly be viewed as the most gracious host. No party is truly complete without at least a few of our Talavera place settings. Order yours today and be the star of the show.

7 Ways to Distinguish an Authentic Versus a Fake Talavera

March 23, 2015 by admin

Are you interested to own and have been looking for genuine Talavera products? How would you know that the products offered by online distributors, and offline dealers and retailers are really authentic? Beware of imitations!

Talavera is a tin-enameled earthenware, Majolica pottery made and comes only from Puebla, Mexico, and its nearby communities of Atlixco, Cholula and Tecali.

This world-renowned hand-painted pottery is notable by a milky-white glaze. It comes in different forms, including both functional and decorative pieces such as plates, serving dishes, vases and tiles.

Here are some characteristics of genuine Talavera pottery:

Talavera is made from a mixture of only two clays, a dark clay and a light, slightly rose-colored clay.

The source of clay supply to make the Talavera comes from the Talavera geographic zone of Puebla and the communities of Atlixco, Cholula and Tecali.

Talavera is hand formed with a potter’s wheel or using molds, not poured. They are also hand-painted.

Talavera pieces have gone through two firings. The oven used to fire Talavera should be at least 800 degrees Celsius.

Talavera uses six color pigments, and its color combination enhances the workmanship sophistication of Talavera pieces.

The Talavera item is created by certified workshops in the state of Puebla Mexico using the traditional Talavera process.Workshops producing authentic Talavera are certified by passing an inspection and verification process at least every six months. The Mexican Talavera Regulatory Council regulates the production of Talavera and restricts the use of the term to items produced within the designated zone of Puebla. There are only less than 20 certified workshops producing genuine Talavera.

Certified Talavera pieces bear the signature of the potter, the logo of the workshop and the special hologram that certifies the piece’s authenticity. Only pieces from workshops that meet the standards are certified.

You can buy Talavera in many shops and throughout places in Mexico and globally. Some workshops also offer tours where you can see how it is being made.

There are also a number of shops now that offer non-certified and authentic but still high quality Talavera products.

Authentic Talavera is costly, as every piece is one of its kind and of excellent quality. However, imitations may be as pricey and seemingly unique. You need to be extra careful that your money is really worth the Talavera item you have with.

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Talavera Poblana: Nomenclature & Production

December 22, 2014 by admin

The eighteenth-century chronicler Ferrindez de Echeverria y Veytia claimed that Talavera was the finest pottery produced in the City of Puebla, and wrote about ‘these workshops of white earthenware called Talavera that can be found within the city limits. With a white clay…they make all kinds of pieces that are so polished and original, so well glazed and painted that they are just as good as any imported from Europe, which are copied perfectly.

Today, tin-glazed pottery from Puebla is still referred to as Talavera, but no one seems to agree about the origin of this term. A rather obsolete theory affirms Talavera was the surname of the first potter in Puebla to produce a ceramic piece of this kind, but this theory has yet to produce any documentary evidence. Another states that it was given this name in honor of those potters who came from Talavera de la Reina in Toledo to teach techniques to their counterparts in Puebla.

Resorting to oral tradition, some scholars have affirmed that Dominican friars in Puebla, who were aware of a lack in local skills (and were anxious to tile their monastery) asked the Order in Tdlavera de la Reina to send friars who could teach potters the art of tin-glazed ceramics. There are no documents, however, to support this belief. The most widely held opinion is that Talavera was given this name very simply because of its similarity to the earthenware produced in Talavera de la Reina.

The most recent theory is that the term was first used in 1682 when clauses were added to the Ordinances laid down by the potter’s guild in Puebla. One of these clauses stated that ‘fine pottery should imitate earthenware from Talavera…’ which is to say that the object should be so similar to the other that only with great difficulty can one tell the original apart from the counterfeit.” Other scholars claim, however, that not one of these theories or legends proves why pottery from Puebla is called Talavera. and have consequently insisted on the term majolica or white earthen ware. Majolica was the Italian name given to glazed porous pottery from Mallorca, which soon came to designate any similar ceramic piece. Though the term Talavera is no longer used in Spain, it is still very much alive in Mexico, especially in Puebla where potters continue to use essentially the same methods as their ancestors.

Indeed, the techniques involved in the making of Talavera have hardly changed at all since colonial times. Potters used two kinds of clay: a black variety extracted from deposits in the hills of Loreto and Guadalupe and a pink clay which was found near Totimehuacan. Once the clay’s had been sifted to get rid of all foreign matter—such as plant debris and pebbles—they were mixed and then left in water tanks “to rot”. The plasticity and quality of the clay improved the longer they were left. Before the potter could work the clay he had to remove all excess water. He then began to wedge the clay by plating it on a brick floor in a covered area where it was “treaded” barefoot to achieve an even consistency.

The wedging was finished-off by hand and the clay was then divided into lumps of different sizes: the bigger ones were called tallos (reeds) and the smaller ones hulas (bullets). The potter worked the smaller lumps on the wheel to create numerous objects and used molds for making tiles. Once the pieces were completed. they were left in a closed room for a long period of time to ensure that they dried evenly. They were then fired in a wood-fueled kiln. After this firing—which lasted from ten to twelve hours each piece was examined carefully in order to separate the good pieces from those with imperfections or those that had been fired unevenly_ net-were then covered with a white glaze—made of a tin and lead base—which gave the enamel finish to each piece, According to the seventeenth-century ordinances, the proportion of glaze lo be used was 1 arroba (25 lbs.) of lead to 6 afro-bas of tin for extra-fine pieces, and 1 arroba of lead to 2 of tin for ordinary white earthenware.

Once the glaze had dried, pieces were decorated with different designs. The range of choices was also designated by the Ordinances and would vary depending on the quality of the ceramic piece. Potters prepared paints from x-ariaus mineral pigments. Pieces were then ready for the last firing which would take up to forty hours.

Article excerpt from Artes de Mexico Magazine – June 1992

Talavera: A Lesson in Fantasy and Sensibility

December 22, 2014December 17, 2014 by admin

A glass pitcher, a wicker basket, a buipii of coarse cotton cloth, a wooden bowl—handsome objects not in spite of, but because of their usefulness. Their beauty is an added quality, like the scent and color of flowers. Their beauty is inseparable from their function: they are handsome because they are useful. Handicrafts belong to a world existing before the separation of the useful and the beautiful.

The industrial object tends to disappear as a form and become one with its function. Its being is its meaning, and its meaning is to be useful. It lies at the other extreme from the work of art. Craftsmanship is a mediation; its forms are not governed by the economy of function but by pleasure, which is always wasteful expenditure and has no rules. The industrial object forbids the superfluous; the work of craftsmanship delights in embellishments. Its predilection for decoration violates the principle of usefulness.

The decoration of the Talavera object ordinarily has no function whatsoever, so the industrial designer, obeying his implacable aesthetic, does away with it. The persistence and proliferation of ornamentation in handicrafts reveal an intermediate zone between utility and aesthetic contemplation. In craftsmanship there is a continuous movement back and forth between usefulness and beauty; this backand-forth motion has a name: pleasure. Things are pleasing because they are useful and beautiful. The copulative conjunction and defines craftsmanship, just as the disjunctive defines art and technology: utility or beauty. The handmade object satisfies a need no less imperative than hunger and thirst; the need to take delight in the things we see and touch, whatever their everyday uses. This need is not reducible to the mathematical ideal that rules industrial design, nor is it reducible to the rigor of the religion of art. The pleasure that works of craftsmanship give us has its source in a double transgression: against the cult of utility and against the religion of art.

In general, the evolution of the Talavera industrial object for daily use has followed that of artistic styles. Almost invariably, industrial design has been a derivation—sometimes a caricature, sometimes a felicitous copy—of the artistic vogue of the moment. It has lagged behind contemporary art and has imitated styles at a time when they had already lost their initial novelty and were becoming aesthetic cliches.

Contemporary Talavera design has endeavored in other ways—its own—to find a compromise between usefulness and aesthetics. At times it has managed to do so, but the result has been paradoxical. The aesthetic ideal of functional art is based on the principal that the usefulness of an object increases in direct proportion to the paring down of its materiality. The simplification of forms may be expressed by the following equation: the minimum of presence equals the maximum of efficiency. This aesthetic is borrowed from the world of mathematics: the elegance of an equation lies in the simplicity and necessity of its solution. The ideal of design is invisibility: the less visible a functional object, the more beautiful it is. A curious transposition of fairy tales and Arab legends to a world ruled by science and the notions of utility and maximum efficiency: the designer dreams of objects that, like genies, are intangible servants. This is the contrary to the work of craftsmanship, a physical presence that enters us through our senses and in which the principle of usefulness is constantly violated in • favor of tradition, imagination and even sheer caprice. The beauty of industrial design is of a conceptual order, if it expresses anything at all, it is the accuracy of a formula. It is the sign of a function. Its rationality makes it fall within an either/or dichotomy: either it is good for something or it isn’t, In the second case it goes into the trash bin. The handmade Talavera object does not charm us simply because of its usefulness. It lives in complicity with our senses, and that is why it is so hard to get rid of—it is like throwing a friend out of the house.

Article excerpt from Artes de Mexico Magazine – June 1992

Admiring Talavera: Made by Hand

December 12, 2014 by admin

Talavera – Made by hand, the craft object bears the finger prints, real or metaphorical, of the person who fashioned it. These fingerprints are not the equivalent of the artist’s signature, for they are not a name. Nor are they a mark or brand. They are a sign: the almost invisible scar commemorating our original brotherhood and sisterhood, made by hand, the craft object is made for hands, Not only can we see it; we can also finger it, feel it. We see the work of art but we do not touch it. The religious taboo that forbids us to touch saints=you’ll bum your hands if you touch the Tabernacle,’ we were told as children—also applies to paintings and sculptures. Our relation to the industrial object is functional; our relation to the work of art is semi-religious; our relation to the work of craftsmanship is corporeal. In reality, this last is not a relationship but a contact.

The trans-personal nature of Talavera craftsmanship finds direct and immediate expression in sensation: the body is participation. To feel is primarily to feel something or someone not ourselves. And above all, to feel with someone. Even to feel itself, the body seeks another body we feel through others. The physical and bodily ties that bind us to others are no less powerful than the legal, economic and religious ties that unite us, Craftsmanship is a sign that expresses society not as work (technique) or as symbol (art, religion) but as shared physical life.

The pitcher of water or wine in the middle of the table is a point of convergence, a little sun that unites everyone present. But my wife can transform that pitcher pouring forth our drink at the table into a flower vase. Personal sensibility and imagination divert the object from its ordinary function and create a break in its meaning: it is no longer a recipient to contain liquid but one in which to display a carnation. This diversion and break link the object to another realm of sensibility: imagination. This imagination is social: the carnation in the pitcher is also a metaphorical sun shared by everyone.

In its perpetual movement back and forth between beauty and utility, pleasure and service, the work of craftsmanship teaches us lessons in sociability. At fiestas and ceremonies its radiation is still more intense and total. At fiestas the collectivity communes with itself, and this communion takes place through ritual objects that almost always are handmade objects. If fiesta is participation in primordial time—the collectivity literally shares out among its members, like sacred bread, the date being commemorated—craftsmanship is a sort of fiesta of the object: it transforms a utensil into a sign of participation.

Article excerpt from Artes de Mexico Magazine – June 1992