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Authentic Talavera Pottery

April 23, 2015 by admin

Talavera is a type of maiolica earthenware, distinguished by its white base glaze. Authentic Talavera pottery only comes from the city of Puebla and the communities of Atlixco, Cholula and Tecali, as the clays needed and the history of this craft are both centered there. All pieces are hand-thrown on a potter’s wheel and the glazes contain tin and lead, as they have since colonial times. This glaze must craze, be slightly porous and milky-white, but not pure white. There are only six permitted colors: blue, yellow, black, green, orange and mauve, and these colors must be made from natural pigments. The painted designs have a blurred appearance as they fuse slightly into the glaze. The base, the part that touches the table, is not glazed but exposes the terra cotta underneath. An inscription is required on the bottom that contains the following information: the logo of the manufacturer, the initials of the artist and the location of the manufacturer in Puebla.

The design of the pieces is highly regulated by tradition. The paint ends up slightly raised over the base. In the early days, only a cobalt blue was used, as this was the most expensive pigment, making it highly sought after not only for prestige but also because it ensured the quality of the entire piece. Only natural clays are used, rather than chemically treated and dyed clays and the handcrafting process takes three to four months. The process is risky because a piece can break at any point. This makes Talavera three times more costly than other types of pottery. Because of this, Talavera manufacturers have been under pressure from imitations, commonly from China,[8]and similar ceramics from other parts of Mexico, especially Guanajuato. Guanajuato state petitioned the federal government for the right to share the Talavera demonimation with Puebla, but, since 1997, this has been denied and glazed ceramics from other parts of Mexico are called Maiolica or Mayolica.

Today, only pieces made by designated areas and from workshops that have been certified are permitted to call their work “Talavera.”

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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Mexican Pottery, Pride of Mexico

March 20, 2015 by admin

We live in a world where technology, Internet and LCD screens are everyday conversation. But some people like to take us a break and enjoy the simple things that have been with us for many centuries. In Mexico we are very proud of our Mexican pottery

The pottery was used by our ancestors for everyday use, but also as part of their religious rites. So we can find a wide variety of ways, because although they could be used to bring water, were also placed proudly in the center of the ceremonies that took place.

An authentic pottery is made entirely by hand, using techniques that our ancestors discovered and that even today are passed by tradition from grandfather to childs. While today are manufactured in serie the fake ceramic, for do a real ceramic is required about a month of work.

Clay usually used for processing, so we can ensure a very strong product that will stand the test of time. Originally this material was used to keep water cool, then before the intense heat of this country, they had a way to maintain a good temperature this vital liquid.

The crafts used for daily use are usually brown, keeping the color of the earth. But for decorating the home is unusual to keep that color, it is common that is decorated with colors that give it new life.

There are different types of Mexican pottery throughout the country, each region has its own style that characterizes it. For example, there Talavera Puebla, which is valued worldwide for its beauty and level of complexity in their development.

If you come to Mexico, you can visit the many states out there. Everyone has their own style, so you probably end up finding something according to your tastes and needs. We have crafts of all sizes and colors for your home.

In conclusion, in Mexico we are very proud of our ceramics. Has a unique globally which is prized by people who know art. Do not be fooled by imitations, the real is reality by craftsmen who are still using ancient methods.

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Talavera Pottery

February 16, 2015 by admin

Talavera Poblana is an exquisite type of pottery whose history goes back hundreds of years. The lovely and beautiful colonial city of Puebla, located just 70 miles from Mexico City, is home to this world-renowned art form. In addition to purchasing authentic Talavera pottery in Puebla, there are many reasons to visit the city, including sampling its fabulous regional cuisine. Some of Puebla’s delectable dishes include their famous mole poblana sauce as well as the seasonal delicious dish of chiles en nogada. Additionally, the historic center of Puebla has been named a UNESCO World Heritage Site. Undoubtedly, one of the reasons for this honor is due to the absolutely stunning tile work that decorates the town’s historic colonial buildings.

Mexico has a rich and long history with producing ceramics, predating the arrival of the Spanish by several centuries. Stunning pre-Columbian artifacts from its many civilizations attest to this fact. The indigenous peoples of Mexico, long acquainted with making items from clay, had their own distinct method of producing earthenware, one which did not involve glazing or the use of the potter’s wheel.

Shortly after Puebla was founded in 1531, the Spanish feverishly began building churches, monasteries and convents. To decorate these buildings, craftsman from the city of Talavera de la Reina, located in Spain, were commissioned to come to the New World to produce fine tiles as well as other ceramic ware. In addition, these same craftsman were to teach the indigenous artisans their technique of Majolica pottery, in order to increase production levels.

The tradition that the Spanish craftsmen brought from Talavera de la Reina to the New World has a fascinating history. During the 8th century, the Moors from Northern Africa conquered Spain and with their arrival, the customary blending of cultures occurred. One such consequence was the introduction of Majolica pottery, an art form known for its beautiful glazes and intricate design work. A major component of Majolica is its glazing technique which contains tin as an ingredient. This particular type of glaze provides a creamy white background that is ideal for applying design.

Spanish craftsman from Talavera de la Reina embraced the techniques of Majolica and also added to the art form. Chinese and Italian influences were incorporated and guilds of craftsmanship, where strict adherence to technique were required, were formed. This dedication was brought from Spain to Mexico. Guilds were summarily established in Mexico with appropriate standards and regulations. The indigenous craftsmen incorporated their artistic heritage with the techniques of Majolica pottery. A beautiful marriage was formed between the old world and the new, and Puebla became the birthplace of an exquisite art form known as Talavera Poblana.

An elaborate process is involved in making a piece of Talavera pottery. First, comes the selection of the clay, which is chosen from the area of Puebla and nearby vicinities. The clay found in this region is known for its fine quality. After a detailed process of washing and soaking the clay, it is then hand-formed or shaped on a potter’s wheel into its desired form. Next, it is allowed to dry in the sun for a matter of days, after which it is fired at 2,000 degrees Fahrenheit. A test is performed at this point, making sure there are no cracks in the object. This is followed by an initial glazing process after which the hand-painted design is applied. This stage differs in length, dependent upon the intricacy of the design work involved. A final firing is performed. Before being offered for sell, a certification process is next on the agenda. This is to ensure that the piece meets regulations and the level of excellence in craftsmanship has been achieved. It is at this time, provided all conditions have been met, that the piece is stamped with the maker’s mark along with a registration number.

One characteristic of authentic Talavera pottery is the quality of detail in the painting, expertly applied. There is a raised appearance to the painted line, accompanied by a glossy sheen. Only natural earth pigments are used for the colors found in true Talavera. In its early days, the finest pottery was painted with a deep blue mineral, the most expensive pigment. This color motif, placed on the creamy white of the fired clay, was much sought after. It also provided a quality measure, reassuring the buyer that the piece they were purchasing was of the highest caliber. Other colors were introduced in 18th century, including yellow, green and mauve.

Today, when visiting the city of Puebla, you will be able to purchase authentic Talavera tiles, vases and dishes, along with many other fine Talavera objects. As well, you can see first-hand how Talavera tiles were used extensively in the decoration of the city’s historic churches, monasteries and ex-convents.

Article source: MexOnline.com

Talavera Production

January 15, 2015 by admin

The process to create Talavera pottery is elaborate and it has basically not changed since the early colonial period when the craft was first introduced. The first step is to mix black sand from Amozoc and white sand from Tecali. It is then washed and filtered to keep only the finest particles. This can reduce the volume by fifty percent. Next the piece is shaped by hand on a potter’s wheel, then left to dry for a number of days. Then comes the first firing, done at 850 °C (1,560 °F). The piece is tested to see if there are any cracks in it. The initial glazing, which creates the milky-white background, is applied. After this, the design is hand painted. Finally, a second firing is applied to harden the glaze. This process takes about three months for most pieces, but some pieces can take up to six months.

This process is so complicated and plagued with the possibility of irreparable damage that during colonial times, artisans prayed special prayers, especially during the firing process.

Some workshops in Puebla offer guided tours and explain the processes involved. The oldest certified, continuously operating workshop is in Uriarte. It was founded in 1824 by Dimas Uriarte, and specialized in traditional colonial-era designs. Another certified workshop, Talavera de la Reina, is known for revitalizing the decoration of the ceramics with the work of 1990s Mexican artists.

Hand Thrown Talavera from Mexico

January 12, 2015 by admin

Talavera: all pieces are hand-thrown on a potter’s wheel and the glazes contain tin and lead, as they have since colonial times. This glaze must craze, be slightly porous and milky-white, but not pure white. There are only six permitted colors: blue, yellow, black, green, orange and mauve, and these colors must be made from natural pigments. The painted designs have a blurred appearance as they fuse slightly into the glaze. The base, the part that touches the table, is not glazed but exposes the terra cotta underneath. An inscription is required on the bottom that contains the following information: the logo of the manufacturer, the initials of the artist and the location of the manufacturer in Puebla.

The design of the pieces is highly regulated by tradition. The paint ends up slightly raised over the base. In the early days, only a cobalt blue was used, as this was the most expensive pigment, making it highly sought after not only for prestige but also because it ensured the quality of the entire piece. Only natural clays are used, rather than chemically treated and dyed clays and the handcrafting process takes three to four months. The process is risky because a piece can break at any point. This makes Talavera three times more costly than other types of pottery. Because of this, Talavera manufacturers have been under pressure from imitations, commonly from China,and similar ceramics from other parts of Mexico, especially Guanajuato. Guanajuato state petitioned the federal government for the right to share the Talavera demonimation with Puebla, but, since 1997, this has been denied and glazed ceramics from other parts of Mexico are called Maiolica or Mayolica.

Today, only pieces made by designated areas and from workshops that have been certified are permitted to call their work “Talavera.” Certification is issued by the Consejo Regulador de la Talavera, a special regulatory body. Only nine workshops have so far been certified: Uriarte Talavera, Talavera La Reyna, Talavera Armando, Talavera Celia, Talavera Santa Catarina, Talavera de la Nueva España, Talavera de la Luz, Talavera de las Americas, and Talavera Virglio Perez. Each of these needs to pass a twice-yearly inspection of the manufacturing processes. Pieces are subject to sixteen laboratory tests with internationally certified labs. In addition, there is a test done by the Faculty of Sciences of the University of Puebla to ensure that the glaze does not have lead content of more than 2.5 parts per million or cadmium content of more than 0.25 parts per million, as many of the pieces are used to serve food. Only pieces from workshops that meet the standards are authorized to have the signature of the potter, the logo of the workshop and the special hologram that certifies the piece’s authenticity.

Authentic Talavera Pottery

January 9, 2015 by admin

Authentic Talavera pottery only comes from the city of Puebla and the nearby communities of Atlixco, Cholula, and Tecali, because of the quality of the natural clay found there and the tradition of production which goes back to the 16th century. Much of this pottery was decorated only in blue, but colors such as yellow, black, green, orange and mauve have also been used.

Maiolica pottery was brought to Mexico by the Spanish in the first century of the colonial period. Production of this ceramic became highly developed in Puebla because of the availability of fine clays and the demand for tiles from the newly established churches and monasteries in the area. The industry had grown sufficiently that by the mid-17th century, standards and guilds had been established which further improved the quality, leading Puebla into what is called the “golden age” of Talavera pottery (from 1650 to 1750). Formally, the tradition that developed there is called Talavera Poblana to distinguish it from the similarly named Talavera pottery of Spain. It is a mixture of Italian, Spanish and indigenous ceramic techniques.

The tradition has struggled since the Mexican War of Independence in the early 19th century, during which the number of workshops were less than eight in the state of Puebla. Later efforts by artists and collectors revived the craft somewhat in the early 20th century and there are now significant collections of Talavera pottery in Puebla, Mexico City and New York City. Further efforts to preserve and promote the craft have occurred in the late 20th century, with the introduction of new, decorative designs and the passage of the Denominación de Origen de la Talavera law to protect authentic, Talavera pieces made with the original, 16th-century methods.

Article excerpt from Wikipedia

Five Centuries of Talavera

December 30, 2014 by admin

Of the tin-glazed earthenware made in colonial Spanish America, the variety known as Talavera Poblana is perhaps the most important. It has certainly enjoyed the longest continuous tradition and is still manufactured today as it was .several centuries ago. It was also the pottery that achieved the widest distribution in America, precisely because it was one of the most important products in the trade established between colonies.

Puebla’s pottery workshops were held in especially high esteem and their production included objects of everyday use, as well as ornamental pieces of particular artistic value. During the eighteenth century some workshops in Puebla even took part in decorating certain buildings in tile which consequently gave the city’s architecture its unmistakably local color.

The origin of earthenware production in Puebla has interested authors for decades. In his book entitled The Majolica of Mexico (1908), Edwin Atlee Barber upheld the popular belief that Talavera was instituted in the recently founded City of Puebla by monks at the Santo Domingo Monastery. It was thought these friars had sent for potters from Talavera de la Reina in Spain to circulate their techniques for producing ceramics. This theory has long been prevalent and is still reiterated, if often spiced with a dash of legend.

The archival research published by Enrique Cervantes affirms that the production of earthenware in Puebla began in the sixteenth century. Cervantes appropriated the hypothesis advanced by Antonio Peirafiel which states that among the first citizens of Puebla were several artisans from Toledo who established the pottery industry in 1531. Completely discarding the myth that the first potters were commissioned by monks at the Santo Domingo Monastery, Cervantes concludes (without citing his sources), that there is enough information to assume that pottery began to be manufactured between 1550 and 1570; and that moreover, between 1580 and 1585, Gaspar de Encinas, a potter from Puebla, had already set up a workshop on the Calle de los Herreros. Closely examining these documents, however, we can only affirm that by 1573 the potter Alberto de Ojeda began working in Puebla and that the following year he and Bartolame de Reina established a business partnership to make earthenware of all varieties, including tiles.” In 1573, another artisan from Puebla by the name of Diego Rodriguez (referring to himself as a master potter), effected a contract in Mexico City with the friar Hernando de Morales to make 1500 tiles and verduguillos (rectangular tile pieces) for the Santo Domingo Monastery. That same year Rodriguez made arrangements for ceramics-painter Domingo de los Angeles to decorate the tiles that had been bought for the monastery. Rodriguez remained in Mexico City until at least 1582 which allows us to assume that he was the first to bring earthenware and tiles to Mexico City, and later to Puebla.

In 1579, “a master potter” by the name of Antonio Xinoves began working in Puebla and by the following year formed a seven-month partnership with JerOnimo Perez to do business, and profit from making earthenware.” That same year he contracted the services of someone named Juan Portuguez to help him with the work.

By 1580 many other potters had begun to settle in Puebla where they not only found the materials needed to produce quality earthenware, but were also furnished with a business center which facilitated the sale of their products to various cities in New Spain.

The production of earthenware became so important that by the late sixteenth century it sparked the interest of ecclesiastical authorities at the Bishopric of Tlaxcala who wanted to impose a tithe on these products. Potters were naturally opposed and eventually won the dispute by arguing that in Spain earthenware was not subject to any tithe.

It is hard to determine exactly how many “white ceramic workshops” could be counted in Puebla during the first half of the seventeenth century. Though quite a number of potters and craftsmen are mentioned in archives, many of them established companies to produce pottery and tiles for varying—often very short lengths of time—which makes it difficult to specify how many workshops there were, and how long each lasted. Nonetheless, documents regarding commercial operations and services (as well as personal letters and those drawn up to contract apprentices) give us a partial idea of their activities.

In the early seventeenth century, some potters must have produced their earthenware with the help of only a few apprentices and craftsmen. By the end of the century, however, this began to change as the number of craftsmen gradually began to increase. These artisans were primarily Indian and in some rare cases, black or mulatto slaves. By the eighteenth century, workshops began evolving into actual factories, including a master potter and artisans and apprentices under the control of an owner who wasn’t always a potter himself—or herself, as was often true when ceramic workshops were run by the widowed wives of potters with the help of craftsmen and servants.

Article excerpt from Artes de Mexico Magazine – June 1992

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