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Cheese-stand

Owen, Trefor (Maker)
Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.

Cheese dish and cover, coarse red/brown gritty clay, dish with slightly concave foot, flat well, everted stepped rim; cover dome shaped, three small moulded discs placed equidistantly on shoulder above incised vertical lines running to base, short grooved spiral from shoulder to neck, small air hole, angular mushroom shaped finial with a peaked top. Speckled, crazed and crystallised semi transparent celadon glaze in yellow/green and blue/grey: yellow/green around cavetto and in well, on convex throwing lines inside dome, and on lower half of dome exterior; fading into blue grey around outer part of well, on concave throwing lines of interior and around upper part of dome exterior. Small areas of plum coloured glaze under neck and running down underneath discs, small plum dot in interior. Dish underside and rim, and cover rim unglazed.


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 32733

Creu/Cynhyrchu

Owen, Trefor
Rôl: Production
Rôl: Maker
Lle: Maentwrog, Blaenau Ffestinog
Cyfnod: 1996

Derbyniad

Purchase

Mesuriadau

Uchder (cm): 14.2
diam (cm): 22.4
Uchder (in): 5
diam (in): 8
Uchder (cm): 3
Uchder (in): 1
Uchder (cm): 12.3
Uchder (in): 4
Dyfnder (cm): 19.4
diam (in): 7

Techneg

Wheel-thrown
Forming
Applied Art
Celadon glaze
Glazed
Decoration
Applied Art
Reduction fired
Decoration
Applied Art

Deunydd

Stoneware

Lleoliad

in store - verified by JD
Mwy

Tags


  • Celf Gymhwysol
  • Celf Gymhwysol
  • Celf Gymhwysol
  • Cerameg
  • Cerameg
  • Cerameg
  • Cerameg Stiwdio
  • Crochenwaith Caled
  • Priddwaith
  • Priddwaith Cymru

Rhannu


Mwy fel hyn


Amgueddfa Cymru
<p>A study of a wood with an owl flying top centre and a sign which reads "Keep Out", lower right. The owl's face is very similar to the face on the plaster cast, owned by Sutherland (by Picasso?). The composition is similar to Path in a wood, but here the area of light at the bottom seems to be an enclosed space, light by an artificial source. A red lamp is also visible.</p>
SUTHERLAND, Graham Vivian
(1979)
© Ystâd Graham Sutherland/Amgueddfa Cymru
Amgueddfa Cymru
<p>Study of head facing left with hat</p>
SUTHERLAND, Graham Vivian
(1956)
© Ystâd Graham Sutherland/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
SUTHERLAND, Graham Vivian
© Ystâd Graham Sutherland/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
SUTHERLAND, Graham Vivian
© Ystâd Graham Sutherland/Amgueddfa Cymru
Amgueddfa Cymru
Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.
[No title]
Photographer: MORGAN, Llew. E.
Amgueddfa Cymru
[No title]
BRANGWYN, Frank William
© Ystâd Sir Frank William Brangwyn. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
HOWARD-JONES, Ray
© Nicola Howard-Jones/Amgueddfa Cymru
Amgueddfa Cymru
Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.
[No title]
SHORT, Sir Frank TURNER, Joseph Mallord William (after)
(1920)
Amgueddfa Cymru
[No title]
STEEGMAN, John
(1946)
© John Steegman/Amgueddfa Cymru
Amgueddfa Cymru
Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.
[No title]
Photographer: MORGAN, Llew. E.
Amgueddfa Cymru
[No title]
HOWARD-JONES, Ray
(1966)
© Nicola Howard-Jones/Amgueddfa Cymru
Amgueddfa Cymru
<p>Information provided by the estate of Ronald Moody:</p> <p>'By the time he finished Self-Portrait 2 in June 1937, the artist was utterly dedicated to wood and had virtually abandoned bronze. He therefore decided to try another version and, within a month, produced this mask in elm. The difference between the two versions is remarkable, even though they are almost identical in concept. The earlier, though life-size, gives the impression of being much smaller, and the smooth stylisation of the material seems to add impassivity and sombreness to the whole. The second is more expansive, both in size and feeling, and the grain of the wood subtly underlines the contour of the face, giving it animation and character. Greatly encouraged by this, Moody eagerly turned to wood for future portraits and for the next nine years used nothing else. </p> <p>On 4.1.39, it was shipped from Paris to the Harmon Foundation in New York, for inclusion in exhibitions in America, where it was shownas A Mask. It remained in the Foundation's custody throughout the war and for some time afterwards.</p> <p>On 2.3.49, the artist wrote to Marie Seton listing the works he wished her to bring back to England. Amongst these was: "Another mask, wood, based on my head (about life size)".'</p>
MOODY, Ronald Clive
(1937)
© The Ronald Moody Trust/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
HOWARD-JONES, Ray
© Nicola Howard-Jones/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
FORAIN, Jean-Louis
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
[No title]
EVANS, Merlyn
(1953)
© Merlyn Oliver Evans/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
SUTHERLAND, Graham Vivian
(1947)
© Ystâd Graham Sutherland/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
SUTHERLAND, Graham Vivian
© Ystâd Graham Sutherland/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
TAYLOR, Robert
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
[No title]
JONES, David
(1926)
© Ystâd David Jones. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
HANCOCK, John
Trwy ganiatâd Amgueddfa Cymru

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