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Mae’r wefan hon yn newydd a dal yn cael ei datblygu.
Gweithiau Celf Themâu
Projectau ac Arddangosfeydd Erthyglau Cynfas Dysgu
Amdanom Ni Cysylltwch â ni
En
Gweithiau Celf Themâu Projectau ac Arddangosfeydd Erthyglau Cynfas Dysgu Amdanom Ni Cysylltwch â ni
Gwaith Celf Blaenorol Gwaith Celf Nesaf

Plate

Cambrian Pottery (Factory)
Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.

Plate, flat base, centre painted in enamels with a red bull's head in a gilt coronet; narrow underglaze blue border of gilt stars alternating with gilt dots; gilt rim.


Mae'r wefan hon yn tynnu ar ddata casgliadau hŷn. Rydyn ni'n cydnabod y gall peth o'r wybodaeth fod wedi dyddio neu'n gwahaniaethu, ac yn gweithio i ddiweddaru ein cofnodion. Os oes gennych gwestiwn neu sylw ar ddarn o gelf, cysylltwch â ni.

Datganiad hawlfraint wedi'i ddarparu gan Amgueddfa Cymru

Manylion


Collection

Amgueddfa Cymru

Rhif yr Eitem

NMW A 30865

Creu/Cynhyrchu

Cambrian Pottery
Established in Swansea in 1764, the Cambrian Pottery reached its creative peak under the proprietorship of Lewis Weston Dillwyn (1778-1855), who ran the Pottery (with a break between 1817 and 1824) from 1802 to 1836. Lewis Weston Dillwyn was a natural scientist, antiquarian, Member of Parliament, magistrate and landowner whose intellectual interests drove the Cambrian Pottery to become one of the most ambitious and artistically accomplished British potteries of the early 19th century. While the porcelain manufactured in Swansea between 1814 and 1825 justifies its reputation as among the finest of British porcelains, the pottery produced under Dillwyn’s ownership between 1802 and about 1809 was at its best an equally impressive achievement, most particularly that made for sale in the Pottery’s Cambrian Warehouse in London 1806-1808, the context for which this supper service was most likely created.
Rôl: Production
Rôl: Factory
Lle: Swansea
Cyfnod: 1800-1805

Derbyniad

Bequest, 10/12/1953

Mesuriadau

Uchder (cm): 2.3
diam (cm): 24.6
Uchder (in): 15
diam (in): 9

Techneg

Jiggered
Forming
Applied Art
Enamelled
Decoration
Applied Art
Gilded
Decoration
Applied Art

Deunydd

Pearlware

Lleoliad

In store
Mwy

Tags


  • Celf Gymhwysol
  • Cerameg

Rhannu


Mwy fel hyn


Amgueddfa Cymru
[No title]
CECIL, Roger
(1990 ca)
© Ystâd Roger Cecil/Amgueddfa Cymru
Amgueddfa Cymru
Golau Du â Llythyr
CAULFIELD, Patrick
(1990)
© Ystâd Patrick Caulfield. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
Paul, SANDBY,
(1775)
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
[No title]
PIPER, John
© Ystâd Piper/DACS 2025/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
PIPER, John
(1941)
© Ystâd Piper/DACS 2025/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
GIBSON, John
© Amgueddfa Cymru
Amgueddfa Cymru
Gwrogaeth i Beethoven
RICHARDS, Ceri
(1953)
© Ystâd Ceri Richards. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru
Amgueddfa Cymru
<p>Yn ôl yr artist (mewn sgwrs gyda Mark Evans, 12 Ionawr 1993), seiliwyd y darlun hwn ar lun o gylchgrawn o Saesnes mewn gwisg Sbaenaidd.</p>
CAULFIELD, Patrick
(1968)
© Ystâd Patrick Caulfield. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru
Amgueddfa Cymru
Bysys
JONES, Allen
(1964)
© Allen Jones/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
WOODFORD, David
© David Woodford/Amgueddfa Cymru
Amgueddfa Cymru
Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.
<p>Ganwyd Glyn Morgan ym Mhontypridd ym 1926. Mae’r paentiad hwn yn dangos y bryniau a’r awyr drawiadol sy’n amgylchynu Porth o safbwynt uchel uwchben y dref. Yn wahanol i artistiaid eraill oedd yn canolbwyntio ar realaeth galed y cymoedd diwydiannol, mae Morgan yn defnyddio gwaith brwsh mynegiannol a lliwiau dwysach i annog safbwynt gwahanol ar dirwedd yr oedd yn ei adnabod ers ei blentyndod.</p>
MORGAN, Glyn
(1946)
Amgueddfa Cymru
<p>View of Newport with river through centre</p>
RATHMELL, Thomas
© Thomas Rathmell/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
CRABTREE, Jack
© Jack Crabtree/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
ROWAN, Eric
(1974)
© Eric Rowan/Amgueddfa Cymru
Amgueddfa Cymru
<p>This figure of a naked youth stands on his right leg, his face is contorted with pain as he holds his raised left leg, bent at the knee. The source of the pain, a small crab, lies next to his right foot. The Indian sculptor, Bose, achieved exceptional success during his short lifetime, although he first had to travel to Scotland where he also receive Welsh support. During the nineteenth century, Indian art students were mainly taught through indoctrinated academic western systems. After attending the Calcutta Art School, Bose left India aged sixteen to further his education. Having failed to secure a place at an Italian or London academy, he was eventually offered a place at the Board of Manufacturers School of Art in Edinburgh. Here, he won several awards including a travel scholarship that allowed him to visit Paris and meet Rodin. His outstanding talents were clearly recognised by his examiners, including the Welsh sculptor, William Goscombe John. John was a keen supporter of Bose and purchased from him, Boy in Pain and The Hunter (also in AC-NMW collection). In 1926, just as the continuing Indian campaign for independence was gaining momentum, Bose was elected to the Scottish Royal Academy. During his acceptance speech, Bose claimed his honour was “proof […] that the Scottish people had no intention of restricting the legitimate aspirations of the people of India.”</p>
BOSE, Fanindra Nat
(1913)
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
<p>View across a field to village in the background</p>
DELHANTY, Denys
(1956)
© Denys Delhanty/Amgueddfa Cymru
Amgueddfa Cymru
Gweithiwr Anhysbys i Crawshay
CHAPMAN, W. J. (attributed to)
(1835-1840)
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.
[No title]
CRABTREE, Jack
(1974 ca)
Amgueddfa Cymru
<p>landscape</p>
PRENDERGAST, Peter
(1974)
© Ystâd Peter Prendergast. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru
Amgueddfa Cymru
Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.
[No title]
WRIGHT, John

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