–→ Table of Contents 12 Introduction duced. This technique was patented by Bourgoing and his partner Alexis Sylvain du Tremblay (1796–1868) as a “distinct form of ceramic art.” Unlike lithophanes, émaux ombrants are opaque products, which means they have no translucent character. The term Lithoponie is a combination of the Greek noun lithos meaning “stone” and the Latin verb ponere meaning “to place” or “to put (on)” in reference to the production process, which involves the application of a glaze. This book aims to provide an extensive exploration of the production and history of lithophanes, incorporating the latest findings on this subject. One important objective is to correct the misinformation that has been circulating for decades. Furthermore, it is hoped that the information provided here will stimulate and facilitate further research in this area. Due to the complex factual situation, this book makes no claim to be comprehensive. The author also refrains from art-historical interpretation, which would require a different approach. Seldom has an art form received so little attention as the lithophane. In the standard literature on porcelain, it is generally mentioned only briefly, or not at all. As a result, only very little information is available for the interested enthusiast and even the porcelain expert. The following publications have been particularly valuable in the research for this book: contributions by the authors Georg Lenz, Laurel G. Blair, Rüdiger van Dick, Robert A. Elder, Joachim Kunze, Hans Leichter, and Hans Simmler, the master’s thesis of Karola Rattner(-Krauss), the thesis and subsequent dissertation of Kirsten D. Rather-Pliquet, and the dissertation of Bärbel Kovalevski.2 In addition, the author conducted an extensive review of the international literature on porcelain, as well as relevant documents, certificates, patent specifications, price lists, process files, etc. Information was also collected from the manufacturers who are still in business and from museums. In this research, it became clear that very few detailed records on the production of lithophanes have survived. A great deal of knowledge has been lost through carelessness, theft, frequent factory fires, and wars. Furthermore, some facts were only shared by word of mouth and have therefore passed into oblivion over the years. Fig. 2 Lithophane Meissen 28 Gothisches Gebäude in Mondschein (Gothic Building in Moonlight) · 16.0×11.9 cm (6 5⁄16 × 4 11⁄16 in.) · FE 1829 · left: in reflected light · right: in transmitted light (backlit) · (Collection “S” Wuppertal) –→ Object description p. 64
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