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"Figbirds are part of a worldwide family that includes the orioles, of which Australia has two other members (the Yellow and Olive-backed Orioles). Males have bare, red skin around the eye, contrasting against a black crown and grey neck and throat. The remainder of the body is olive-green, except for a white under-tail area. Females have grey skin around the eye and lack distinctive head markings.
The Figbird lives in rainforests and wet sclerophyll forests, but is often found in urban parks and gardens, particularly those with figs and other fruit-producing trees."
Your comments and faves are greatly appreciated. Many thanks.
Olive-backed Oriole
Oriolus sagittatus
Olive-backed Orioles are excellent mimics of other birds, and are also 'ventriloquists', meaning they can 'throw' their voices to sound like they are calling from somewhere else.
Calls: Repeated, rolling 'ori-ori-oriole'.
Minimum Size: 26cm
Maximum Size: 28cm
Average size: 27cm
Average weight: 96g
Breeding season: September to January
Clutch Size: 2 to 3
Incubation: 18 days
Nestling Period: 17 days
Associated Plants: Plants associated with this species -
Small-fruited Fig
Ficus macrocarpa; White Cedar
Melia azaderach; Native Peach
Trema aspera
Description: The Olive-backed Oriole is part of a worldwide family, of which Australia has two other members (the Yellow Oriole and the Figbird). Males and females have an olive-green head and back, grey wings and tail, and cream underparts, streaked with brown. They both have a bright red eye and reddish beak. Females can be distinguished from males by a paler bill, duller-green back, and an extension of the streaked underparts up to the chin.
Similar species: Olive-backed Orioles have a reddish bill, which easily distinguishes the species from the similar Figbird Sphecotheres viridis, which has a blackish bill. It also lacks the Figbird's bare eye skin and has red rather than dark eyes. The Yellow Oriole O. flavocinctus is generally more yellow overall.
Distribution: The Olive-backed Oriole occurs across coastal regions of northern and eastern Australia from the Kimberley region in Western Australia, right around the east coast to Adelaide in South Australia.
Habitat: The Olive-backed Oriole lives in forests, woodlands and rainforests, as well as well-treed urban areas, particularly parks and golf courses.
Seasonal movements: Sedentary in the north of its range, but appears to be a summer migrant to the more southern part of its range. Small groups undertake nomadic movements, following fruiting trees during the autumn and winter.
Feeding: Olive-backed Orioles are less gregarious than Figbirds, with which they are often seen foraging. Although they are sometimes seen in small groups, particularly in autumn and winter, they more often occur alone or in pairs, feeding on insects and fruit in canopy trees.
Breeding: The female Olive-backed Oriole builds a cup-shaped nest which is attached by its rim to a horizontal fork on the outer-edge of the foliage of a tree or tall shrub. Nests are usually around 10 m above the ground, and built of strips of bark and grass, bound with spider web. The male does not build the nest, or incubate the eggs, but he feeds the young after the eggs hatch.
(Source: www.birdsinbackyards.net/species/Oriolus-sagittatus)
__________________________________________
© Chris Burns 2025
All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.
Wishing all my Flickr friends Merry Christmas
and a Happy, Safe and Prosperous New Year.
Another year of turmoil, stressful and even tragic for some. Let us hope for something a lot more joyful in 2022, although I do remember hoping for the same thing last year.
Again, thank you all for your visits, faves and comments throughout the year. I love the feeling of community and friendship within Flickr and it is a privilege to be part of this worldwide family. I just wish I had a little more time to post, this year has been worse than last - sigh.
Living Christmas Tree - Adelaide, South Australia
Taken at Sandy Camp Rd Wetlands Reserve, Lytton,Qld.
Figbirds are part of a worldwide family that includes the orioles, of which Australia has two other members (the Yellow and Olive-backed Orioles).
Males have bare, red skin around the eye, contrasting against a black crown and grey neck and throat. The remainder of the body is olive-green, except for a white under-tail area.
Females have grey skin around the eye and lack distinctive head markings. They are brown-green above and dull-white below, streaked with brown. Both sexes have a blackish bill. There are two distinct colour forms of the males of this species. Males north of Proserpine in Queensland have a yellow front
Merry Christmas 2015
Wishing all my Flickr friends a Merry Christmas and a Happy, Safe and Prosperous New Year
Thank you all for your visits, faves and real comments throughout the year.
Flickr has a real feeling of community and friendship and it is a privilege to be part of this worldwide family.
www.flickr.com/photos/eagle1effi/photolist-
Christmas...
Figbirds are part of a worldwide family that includes the orioles, of which Australia has two other members (the Yellow and Olive-backed Orioles). Males have bare, red skin around the eye, contrasting against a black crown and grey neck and throat. The remainder of the body is olive-green, except for a white under-tail area. Females have grey skin around the eye and lack distinctive head markings. They are brown-green above and dull-white below, streaked with brown. Both sexes have a blackish bill. There are two distinct colour forms of the males of this species. Males north of Proserpine in Queensland have a yellow front.
Many thanks for your visits, faves and comments. Cheers.
Australasian Figbird in Schinus terebinthifolius, a broadleaved pepper tree; also known as: broadleaved pepper, Brazilian holly, Brazilian pepper, broad leaf pepper tree, Christmas berry, Christmas berrytree, native to tropical South America (i.e. Brazil, Argentina and Uruguay). (Source: weeds.brisbane.qld.gov.au/weeds/broadleaved-pepper)
Scientific Name: Sphecotheres vieilloti
Description: Figbirds are part of a worldwide family that includes the orioles, of which Australia has two other members (the Yellow and Olive-backed Orioles). Males have bare, red skin around the eye, contrasting against a black crown and grey neck and throat. The remainder of the body is olive-green, except for a white under-tail area. Females have grey skin around the eye and lack distinctive head markings. They are brown-green above and dull-white below, streaked with brown. Both sexes have a blackish bill. There are two distinct colour forms of the males of this species. Males north of Proserpine in Queensland have a yellow front.
Similar species: Figbirds have a blackish bill, which easily distinguishes the species from the similar Olive-backed Oriole, which has a reddish bill. Both of the Australian orioles also lack the Figbird's bare eye skin and have red eyes (adults). The Figbird tends to be more gregarious than either of the orioles, living semi-colonially.
Distribution: The Figbird occurs across coastal regions of northern and eastern Australia from the Kimberley region in Western Australia around to the New South Wales/Victoria border.
Habitat: The Figbird lives in rainforests and wet sclerophyll forests, but is often found in urban parks and gardens, particularly those with figs and other fruit-producing trees
Seasonal movements: Mostly sedentary, but undergoes some nomadic movements, particularly southwards into Victoria.
Feeding: Figbirds feed in flocks, often of around 20 birds that are prepared to fly to isolated trees that are suitable for foraging. Figs are a particularly popular food item, although they will feed on most soft fruits and berries in canopy trees. Insects are also important components of their diet.
Breeding: The gregarious behaviour of Figbirds is maintained in the breeding season, with small groups of birds nesting semi-colonially in adjoining canopy trees. The nest is cup-shaped and built of vine tendrils and twigs. It is supported by its rim from the horizontal fork of an outer branch of the canopy, up to 20 m above the ground. Both males and females incubate the eggs and feed the young.
Calls: Loud, descending 'chiew'
Minimum Size: 28cm
Maximum Size: 29cm
Average size: 28cm
Average weight: 128g
Breeding season: September to January
Clutch Size: 2 to 3 eggs
Incubation: 18 days
Nestling Period: 17 days
(Source: www.birdsinbackyards.net)
__________________________________________
© Chris Burns 2019
All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.
Wishing all my Flickr friends Merry Christmas
and a Happy, Safe and Prosperous New Year.
What a year, stressful and even tragic for some. Let us hope for something a lot more joyful in 2021.
Again, thank you all for your visits, faves and comments throughout the year. I love the feeling of community and friendship within Flickr and it is a privilege to be part of this worldwide family. I just wish I had a little more time to post.
Little Christmas Tree - Adelaide, South Australia
Many thanks for the visits, faves and comments. Cheers
Olive-backed Oriole in a native black bean tree or Moreton Bay Chestnut (Castanospermum australe)
Scientific Name: Oriolus sagittatus
Description: The Olive-backed Oriole is part of a worldwide family, of which Australia has two other members (the Yellow Oriole and the Figbird). Males and females have an olive-green head and back, grey wings and tail, and cream underparts, streaked with brown. They both have a bright red eye and reddish beak. Females can be distinguished from males by a paler bill, duller-green back, and an extension of the streaked underparts up to the chin.
Similar species: Olive-backed Orioles have a reddish bill, which easily distinguishes the species from the similar Figbird Sphecotheres viridis, which has a blackish bill. It also lacks the Figbird's bare eye skin and has red rather than dark eyes. The Yellow Oriole O. flavocinctus is generally more yellow overall.
Distribution: The Olive-backed Oriole occurs across coastal regions of northern and eastern Australia from the Kimberley region in Western Australia, right around the east coast to Adelaide in South Australia.
Habitat: The Olive-backed Oriole lives in forests, woodlands and rainforests, as well as well-treed urban areas, particularly parks and golf courses.
Seasonal movements: Sedentary in the north of its range, but appears to be a summer migrant to the more southern part of its range. Small groups undertake nomadic movements, following fruiting trees during the autumn and winter.
Feeding: Olive-backed Orioles are less gregarious than Figbirds, with which they are often seen foraging. Although they are sometimes seen in small groups, particularly in autumn and winter, they more often occur alone or in pairs, feeding on insects and fruit in canopy trees.
Breeding: The female Olive-backed Oriole builds a cup-shaped nest which is attached by its rim to a horizontal fork on the outer-edge of the foliage of a tree or tall shrub. Nests are usually around 10 m above the ground, and built of strips of bark and grass, bound with spider web. The male does not build the nest, or incubate the eggs, but he feeds the young after the eggs hatch.
Calls: Repeated, rolling 'ori-ori-oriole'. Olive-backed Orioles are excellent mimics of other birds, and are also 'ventriloquists', meaning they can 'throw' their voices to sound like they are calling from somewhere else.
Minimum Size: 26cm
Maximum Size: 28cm
Average size: 27cm
Average weight: 96g
Breeding season: September to January
Clutch Size: 2 to 3
Incubation: 18 days
Nestling Period: 17 days
(Source: www.birdsinbackyards.net)
© Chris Burns 2017
__________________________________________
All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.
Only Australian species of this large, worldwide family. Common across the tropical north of the continent and down the east coast as far as Victoria.
Scouts from nearly every nation worldwide presented their colors at the opening arena show of the 2011 World Scout Jamboree in Rinkaby, Sweden.
This image was taken on assignment for Jamboree Today of the Boy Scouts of America.
PaÃses Bajos - Delft - Royal Delft - Porcelana azul
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ENGLISH:
Delftware or Delft pottery, also known as Delft Blue (Dutch: Delfts blauw) or as delf, is a general term now used for Dutch tin-glazed earthenware, a form of faience. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major centre of production, but the term covers wares with other colours, and made elsewhere. It is also used for similar pottery, English delftware. Delftware is one of the types of tin-glazed earthenware or faience in which a white glaze is applied, usually decorated with metal oxides, in particular the cobalt oxide that gives the usual blue, and can withstand high firing temperatures, allowing it to be applied under the glaze. Delftware forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th-century Chinese porcelain, and in great demand in Europe.
Delftware includes pottery objects of all descriptions - such as plates, vases, figurines and other ornamental forms and tiles. The style originated around 1600, and the most highly regarded period of production is about 1640–1740, but Delftware continues to be produced. In the 17th and 18th centuries the manufacture of Delftware was a major industry, with product exported all over Europe.
The earliest tin-glazed pottery in the Netherlands was made in Antwerp where the Italian potter Guido da Savino settled in 1500, and in the 16th century Italian maiolica was the main influence on decorative styles. The manufacture of painted pottery spread from Antwerp to the northern Netherlands, in particular because of the sack of Antwerp by the Spanish troops in 1576 (the Spanish Fury). Production developed in Middelburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work was produced in Delft, but simple everyday tin-glazed pottery was made in places such as Gouda, Rotterdam, Haarlem, Amsterdam and Dordrecht.
The main period of tin-glaze pottery in the Netherlands was 1640–1740. From about 1640 Delft potters began using personal monograms and distinctive factory marks. The Guild of St Luke, to which painters in all media had to belong, admitted ten master potters in the thirty years between 1610 and 1640, and twenty in the nine years 1651 to 1660. In 1654 a gunpowder explosion in Delft destroyed many breweries and as the brewing industry was in decline, they became available to pottery makers looking for larger premises; some retained the old brewery names, e.g. The Double Tankard, The Young Moors' Head, and The Three Bells. The use of marl, a type of clay rich in calcium compounds, allowed the Dutch potters to refine their technique and to make finer items. The usual clay body of Delftware was a blend of three clays, one local, one from Tournai and one from the Rhineland.
From about 1615, the potters began to coat their pots completely in white tin glaze instead of covering only the painting surface and coating the rest with clear ceramic glaze. They then began to cover the tin-glaze with clear glaze, which gave depth to the fired surface and smoothness to cobalt blues, ultimately creating a good resemblance to porcelain.
During the Dutch Golden Age, the Dutch East India Company had a lively trade with the East and imported millions of pieces of Chinese porcelain in the early 17th century.[10] The Chinese workmanship and attention to detail impressed many. Only the richest could afford the early imports. Dutch potters did not immediately imitate Chinese porcelain; they began to do so after the death of the Wanli Emperor in 1620, when the supply to Europe was interrupted. "Potters now saw an opportunity to produce a cheap alternative for Chinese porcelain. After much experimenting they managed to make a thin type of earthenware which was covered with a white tin glaze. Although made of low-fired earthenware, it resembled porcelain amazingly well."
Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns. Around 1700 several factories were using enamel colours and gilding over the tin-glaze, requiring a third kiln firing at a lower temperature. Later, after Japanese Imari ware had become popular in the late 1600s and early 1700s (when it too tried to fill the gap of the Chinese shortage), Delft began making their own 'Imari ware' copying the classic 'flower vase on a terrace surrounded by three panels with cranes and pine design'. Oriental styles in Delftware remained popular into the early 1700s but then declined when Chinese porcelain became available again.
Delftware ranged from simple household items – plain white earthenware with little or no decoration – to fancy artwork. Most of the Delft factories made sets of jars, the kast-stel set. Pictorial plates were made in abundance, illustrated with religious motifs, native Dutch scenes with windmills and fishing boats, hunting scenes, landscapes and seascapes. Sets of plates were made with the words and music of songs; dessert was served on them and when the plates were clear the company started singing. The Delft potters also made tiles in vast numbers (estimated at eight hundred million) over a period of two hundred years; many Dutch houses still have tiles that were fixed in the 17th and 18th centuries. Delftware became popular and was widely exported in Europe and even reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware for export to Europe.
Some regard Delftware from about 1750 onwards as artistically inferior. Caiger-Smith says that most of the later wares "were painted with clever, ephemeral decoration. Little trace of feeling or originality remained to be lamented when, at the end of the eighteenth century, the Delftware potteries began to go out of business." By this time Delftware potters had lost their market to British porcelain and the new white earthenware. One or two remain: the Tichelaar factory in Makkum, Friesland, founded in 1594 and De Koninklijke Porceleyne Fles ("The Royal Porcelain Bottle") founded in 1653.
Today, Delfts Blauw (Delft Blue) is the brand name hand painted on the bottom of ceramic pieces identifying them as authentic and collectible. Although most Delft Blue borrows from the tin-glaze tradition, it is nearly all decorated in underglaze blue on a white clay body and very little uses tin glaze, a more expensive product. The Koninklijke Tichelaar Makkum factory in Makkum, Friesland continue the production of tin-glazed earthenware.
***
ESPAÑOL:
La cerámica de Delft es una alfarerÃa desarrollada desde finales del siglo XVI en la ciudad Delft en los PaÃses Bajos. Se hizo muy popular por la calidad del esmalte cerámico y el refinamiento de sus decoraciones pintadas. El esmalte blanco de estaño utilizado permitió a los ceramistas neerlandeses acercarse a la calidad y el aspecto de la porcelana china, muy valorada en el paÃs e introducida por la CompañÃa Neerlandesa de las Indias Orientales. La cerámica de Delft incluye piezas singulares, además de una importante producción de platos, jarrones y azulejerÃa de paramentos y el tÃpico azulejo figurativo holandés.
Alfareros italianos se instalaron en Amberes al inicio del siglo XVI.​ La destrucción de la ciudad por las tropas de Felipe II en 1576, conocida como la Furia Española, los llevó a abandonar la ciudad, y muchos de ellos se establecieron en Delft. A comienzos del siglo XVII, el siglo de oro de los PaÃses Bajos permitió a la CompañÃa Neerlandesa de las Indias Orientales aumentar su comercio con China y la importación de la porcelana como artÃculo de lujo solo al alcance de las clases más adineradas neerlandesas. En busca de un producto más accesible, los ceramistas de Delft desarrollaron una floreciente industria de loza fina capaz de hacerle la competencia a los objetos importados. La variada producción de vajillas, jarrones, azulejos y baldosas, y la decoración de las piezas con figuras y ambientes tÃpicos del paisaje holandés llegarÃan a rebasar la geografÃa flamenca e imponerse en otros paÃses con importante cultura azulejera como Portugal.
La poderosa expansión comercial de la cerámica holandesa contribuyó a que productos originados en Italia, España o Portugal, trascendieran y evolucionasen como capÃtulos monográficos en la historia de la industria azulejera. Ello llevarÃa a conocerse como azulejo de tipo Delft series de losetas como el azulejo de tema único,​ el azulejo de oficios o el de figura suelta (también llamado azulejo figurativo holandés),​ con una importante repercusión en el uso del azulejo como recurso arquitectónico y decorativo entre los siglos XVII y XIX.​
Las piezas modernas se identifican con la marca escrita: «Delfts Blauw» ('azul de Delft' en idioma neerlandés) que se suele observar en la parte inferior de las piezas.
Wishing all my Flickr friends Merry Christmas
and a Happy, Safe and Prosperous New Year.
Thank you all for your visits, faves and comments throughout the year. I love the feeling of community and friendship within Flickr and it is a privilege to be part of this worldwide family. I just wish I had a little more time to devote.
Little Christmas Tree decorated with chocolates - edible decorations, now you're talking - Adelaide, South Australia
Wishing all my Flickr friends Merry Christmas
and a Happy, Safe and Prosperous New Year.
Thank you all for your visits, faves and comments throughout the year. I love the feeling of community and friendship within Flickr and it is a privilege to be part of this worldwide family. I wish I could post, visit and comment more... perhaps next year.
A shot taken several years ago of a living Christmas Tree we used for many years. Sadly it has grown too large now to be moved inside - we can't lift the pot! - so it has a new life in the garden - it still scores some decorations though, even outside :-)
Adelaide, South Australia
PaÃses Bajos - Delft - Royal Delft - Tienda
***
***
ENGLISH:
Delftware or Delft pottery, also known as Delft Blue (Dutch: Delfts blauw) or as delf, is a general term now used for Dutch tin-glazed earthenware, a form of faience. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major centre of production, but the term covers wares with other colours, and made elsewhere. It is also used for similar pottery, English delftware. Delftware is one of the types of tin-glazed earthenware or faience in which a white glaze is applied, usually decorated with metal oxides, in particular the cobalt oxide that gives the usual blue, and can withstand high firing temperatures, allowing it to be applied under the glaze. Delftware forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th-century Chinese porcelain, and in great demand in Europe.
Delftware includes pottery objects of all descriptions - such as plates, vases, figurines and other ornamental forms and tiles. The style originated around 1600, and the most highly regarded period of production is about 1640–1740, but Delftware continues to be produced. In the 17th and 18th centuries the manufacture of Delftware was a major industry, with product exported all over Europe.
The earliest tin-glazed pottery in the Netherlands was made in Antwerp where the Italian potter Guido da Savino settled in 1500, and in the 16th century Italian maiolica was the main influence on decorative styles. The manufacture of painted pottery spread from Antwerp to the northern Netherlands, in particular because of the sack of Antwerp by the Spanish troops in 1576 (the Spanish Fury). Production developed in Middelburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work was produced in Delft, but simple everyday tin-glazed pottery was made in places such as Gouda, Rotterdam, Haarlem, Amsterdam and Dordrecht.
The main period of tin-glaze pottery in the Netherlands was 1640–1740. From about 1640 Delft potters began using personal monograms and distinctive factory marks. The Guild of St Luke, to which painters in all media had to belong, admitted ten master potters in the thirty years between 1610 and 1640, and twenty in the nine years 1651 to 1660. In 1654 a gunpowder explosion in Delft destroyed many breweries and as the brewing industry was in decline, they became available to pottery makers looking for larger premises; some retained the old brewery names, e.g. The Double Tankard, The Young Moors' Head, and The Three Bells. The use of marl, a type of clay rich in calcium compounds, allowed the Dutch potters to refine their technique and to make finer items. The usual clay body of Delftware was a blend of three clays, one local, one from Tournai and one from the Rhineland.
From about 1615, the potters began to coat their pots completely in white tin glaze instead of covering only the painting surface and coating the rest with clear ceramic glaze. They then began to cover the tin-glaze with clear glaze, which gave depth to the fired surface and smoothness to cobalt blues, ultimately creating a good resemblance to porcelain.
During the Dutch Golden Age, the Dutch East India Company had a lively trade with the East and imported millions of pieces of Chinese porcelain in the early 17th century.[10] The Chinese workmanship and attention to detail impressed many. Only the richest could afford the early imports. Dutch potters did not immediately imitate Chinese porcelain; they began to do so after the death of the Wanli Emperor in 1620, when the supply to Europe was interrupted. "Potters now saw an opportunity to produce a cheap alternative for Chinese porcelain. After much experimenting they managed to make a thin type of earthenware which was covered with a white tin glaze. Although made of low-fired earthenware, it resembled porcelain amazingly well."
Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns. Around 1700 several factories were using enamel colours and gilding over the tin-glaze, requiring a third kiln firing at a lower temperature. Later, after Japanese Imari ware had become popular in the late 1600s and early 1700s (when it too tried to fill the gap of the Chinese shortage), Delft began making their own 'Imari ware' copying the classic 'flower vase on a terrace surrounded by three panels with cranes and pine design'. Oriental styles in Delftware remained popular into the early 1700s but then declined when Chinese porcelain became available again.
Delftware ranged from simple household items – plain white earthenware with little or no decoration – to fancy artwork. Most of the Delft factories made sets of jars, the kast-stel set. Pictorial plates were made in abundance, illustrated with religious motifs, native Dutch scenes with windmills and fishing boats, hunting scenes, landscapes and seascapes. Sets of plates were made with the words and music of songs; dessert was served on them and when the plates were clear the company started singing. The Delft potters also made tiles in vast numbers (estimated at eight hundred million) over a period of two hundred years; many Dutch houses still have tiles that were fixed in the 17th and 18th centuries. Delftware became popular and was widely exported in Europe and even reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware for export to Europe.
Some regard Delftware from about 1750 onwards as artistically inferior. Caiger-Smith says that most of the later wares "were painted with clever, ephemeral decoration. Little trace of feeling or originality remained to be lamented when, at the end of the eighteenth century, the Delftware potteries began to go out of business." By this time Delftware potters had lost their market to British porcelain and the new white earthenware. One or two remain: the Tichelaar factory in Makkum, Friesland, founded in 1594 and De Koninklijke Porceleyne Fles ("The Royal Porcelain Bottle") founded in 1653.
Today, Delfts Blauw (Delft Blue) is the brand name hand painted on the bottom of ceramic pieces identifying them as authentic and collectible. Although most Delft Blue borrows from the tin-glaze tradition, it is nearly all decorated in underglaze blue on a white clay body and very little uses tin glaze, a more expensive product. The Koninklijke Tichelaar Makkum factory in Makkum, Friesland continue the production of tin-glazed earthenware.
***
ESPAÑOL:
La cerámica de Delft es una alfarerÃa desarrollada desde finales del siglo XVI en la ciudad Delft en los PaÃses Bajos. Se hizo muy popular por la calidad del esmalte cerámico y el refinamiento de sus decoraciones pintadas. El esmalte blanco de estaño utilizado permitió a los ceramistas neerlandeses acercarse a la calidad y el aspecto de la porcelana china, muy valorada en el paÃs e introducida por la CompañÃa Neerlandesa de las Indias Orientales. La cerámica de Delft incluye piezas singulares, además de una importante producción de platos, jarrones y azulejerÃa de paramentos y el tÃpico azulejo figurativo holandés.
Alfareros italianos se instalaron en Amberes al inicio del siglo XVI.​ La destrucción de la ciudad por las tropas de Felipe II en 1576, conocida como la Furia Española, los llevó a abandonar la ciudad, y muchos de ellos se establecieron en Delft. A comienzos del siglo XVII, el siglo de oro de los PaÃses Bajos permitió a la CompañÃa Neerlandesa de las Indias Orientales aumentar su comercio con China y la importación de la porcelana como artÃculo de lujo solo al alcance de las clases más adineradas neerlandesas. En busca de un producto más accesible, los ceramistas de Delft desarrollaron una floreciente industria de loza fina capaz de hacerle la competencia a los objetos importados. La variada producción de vajillas, jarrones, azulejos y baldosas, y la decoración de las piezas con figuras y ambientes tÃpicos del paisaje holandés llegarÃan a rebasar la geografÃa flamenca e imponerse en otros paÃses con importante cultura azulejera como Portugal.
La poderosa expansión comercial de la cerámica holandesa contribuyó a que productos originados en Italia, España o Portugal, trascendieran y evolucionasen como capÃtulos monográficos en la historia de la industria azulejera. Ello llevarÃa a conocerse como azulejo de tipo Delft series de losetas como el azulejo de tema único,​ el azulejo de oficios o el de figura suelta (también llamado azulejo figurativo holandés),​ con una importante repercusión en el uso del azulejo como recurso arquitectónico y decorativo entre los siglos XVII y XIX.​
Las piezas modernas se identifican con la marca escrita: «Delfts Blauw» ('azul de Delft' en idioma neerlandés) que se suele observar en la parte inferior de las piezas.
These beetles belong to a worldwide family of about 30,000 species. Longhorns can generally be found between April and August in Europe and are very important to the ecosystem they live in, the larvae eating decaying matter and the adults providing pollination services, particularly to hawthorn, dogwood, hogweed and other umbellifers.
PaÃses Bajos - Delft - Royal Delft
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***
ENGLISH:
Delftware or Delft pottery, also known as Delft Blue (Dutch: Delfts blauw) or as delf, is a general term now used for Dutch tin-glazed earthenware, a form of faience. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major centre of production, but the term covers wares with other colours, and made elsewhere. It is also used for similar pottery, English delftware. Delftware is one of the types of tin-glazed earthenware or faience in which a white glaze is applied, usually decorated with metal oxides, in particular the cobalt oxide that gives the usual blue, and can withstand high firing temperatures, allowing it to be applied under the glaze. Delftware forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th-century Chinese porcelain, and in great demand in Europe.
Delftware includes pottery objects of all descriptions - such as plates, vases, figurines and other ornamental forms and tiles. The style originated around 1600, and the most highly regarded period of production is about 1640–1740, but Delftware continues to be produced. In the 17th and 18th centuries the manufacture of Delftware was a major industry, with product exported all over Europe.
The earliest tin-glazed pottery in the Netherlands was made in Antwerp where the Italian potter Guido da Savino settled in 1500, and in the 16th century Italian maiolica was the main influence on decorative styles. The manufacture of painted pottery spread from Antwerp to the northern Netherlands, in particular because of the sack of Antwerp by the Spanish troops in 1576 (the Spanish Fury). Production developed in Middelburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work was produced in Delft, but simple everyday tin-glazed pottery was made in places such as Gouda, Rotterdam, Haarlem, Amsterdam and Dordrecht.
The main period of tin-glaze pottery in the Netherlands was 1640–1740. From about 1640 Delft potters began using personal monograms and distinctive factory marks. The Guild of St Luke, to which painters in all media had to belong, admitted ten master potters in the thirty years between 1610 and 1640, and twenty in the nine years 1651 to 1660. In 1654 a gunpowder explosion in Delft destroyed many breweries and as the brewing industry was in decline, they became available to pottery makers looking for larger premises; some retained the old brewery names, e.g. The Double Tankard, The Young Moors' Head, and The Three Bells. The use of marl, a type of clay rich in calcium compounds, allowed the Dutch potters to refine their technique and to make finer items. The usual clay body of Delftware was a blend of three clays, one local, one from Tournai and one from the Rhineland.
From about 1615, the potters began to coat their pots completely in white tin glaze instead of covering only the painting surface and coating the rest with clear ceramic glaze. They then began to cover the tin-glaze with clear glaze, which gave depth to the fired surface and smoothness to cobalt blues, ultimately creating a good resemblance to porcelain.
During the Dutch Golden Age, the Dutch East India Company had a lively trade with the East and imported millions of pieces of Chinese porcelain in the early 17th century.[10] The Chinese workmanship and attention to detail impressed many. Only the richest could afford the early imports. Dutch potters did not immediately imitate Chinese porcelain; they began to do so after the death of the Wanli Emperor in 1620, when the supply to Europe was interrupted. "Potters now saw an opportunity to produce a cheap alternative for Chinese porcelain. After much experimenting they managed to make a thin type of earthenware which was covered with a white tin glaze. Although made of low-fired earthenware, it resembled porcelain amazingly well."
Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns. Around 1700 several factories were using enamel colours and gilding over the tin-glaze, requiring a third kiln firing at a lower temperature. Later, after Japanese Imari ware had become popular in the late 1600s and early 1700s (when it too tried to fill the gap of the Chinese shortage), Delft began making their own 'Imari ware' copying the classic 'flower vase on a terrace surrounded by three panels with cranes and pine design'. Oriental styles in Delftware remained popular into the early 1700s but then declined when Chinese porcelain became available again.
Delftware ranged from simple household items – plain white earthenware with little or no decoration – to fancy artwork. Most of the Delft factories made sets of jars, the kast-stel set. Pictorial plates were made in abundance, illustrated with religious motifs, native Dutch scenes with windmills and fishing boats, hunting scenes, landscapes and seascapes. Sets of plates were made with the words and music of songs; dessert was served on them and when the plates were clear the company started singing. The Delft potters also made tiles in vast numbers (estimated at eight hundred million) over a period of two hundred years; many Dutch houses still have tiles that were fixed in the 17th and 18th centuries. Delftware became popular and was widely exported in Europe and even reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware for export to Europe.
Some regard Delftware from about 1750 onwards as artistically inferior. Caiger-Smith says that most of the later wares "were painted with clever, ephemeral decoration. Little trace of feeling or originality remained to be lamented when, at the end of the eighteenth century, the Delftware potteries began to go out of business." By this time Delftware potters had lost their market to British porcelain and the new white earthenware. One or two remain: the Tichelaar factory in Makkum, Friesland, founded in 1594 and De Koninklijke Porceleyne Fles ("The Royal Porcelain Bottle") founded in 1653.
Today, Delfts Blauw (Delft Blue) is the brand name hand painted on the bottom of ceramic pieces identifying them as authentic and collectible. Although most Delft Blue borrows from the tin-glaze tradition, it is nearly all decorated in underglaze blue on a white clay body and very little uses tin glaze, a more expensive product. The Koninklijke Tichelaar Makkum factory in Makkum, Friesland continue the production of tin-glazed earthenware.
***
ESPAÑOL:
La cerámica de Delft es una alfarerÃa desarrollada desde finales del siglo XVI en la ciudad Delft en los PaÃses Bajos. Se hizo muy popular por la calidad del esmalte cerámico y el refinamiento de sus decoraciones pintadas. El esmalte blanco de estaño utilizado permitió a los ceramistas neerlandeses acercarse a la calidad y el aspecto de la porcelana china, muy valorada en el paÃs e introducida por la CompañÃa Neerlandesa de las Indias Orientales. La cerámica de Delft incluye piezas singulares, además de una importante producción de platos, jarrones y azulejerÃa de paramentos y el tÃpico azulejo figurativo holandés.
Alfareros italianos se instalaron en Amberes al inicio del siglo XVI.​ La destrucción de la ciudad por las tropas de Felipe II en 1576, conocida como la Furia Española, los llevó a abandonar la ciudad, y muchos de ellos se establecieron en Delft. A comienzos del siglo XVII, el siglo de oro de los PaÃses Bajos permitió a la CompañÃa Neerlandesa de las Indias Orientales aumentar su comercio con China y la importación de la porcelana como artÃculo de lujo solo al alcance de las clases más adineradas neerlandesas. En busca de un producto más accesible, los ceramistas de Delft desarrollaron una floreciente industria de loza fina capaz de hacerle la competencia a los objetos importados. La variada producción de vajillas, jarrones, azulejos y baldosas, y la decoración de las piezas con figuras y ambientes tÃpicos del paisaje holandés llegarÃan a rebasar la geografÃa flamenca e imponerse en otros paÃses con importante cultura azulejera como Portugal.
La poderosa expansión comercial de la cerámica holandesa contribuyó a que productos originados en Italia, España o Portugal, trascendieran y evolucionasen como capÃtulos monográficos en la historia de la industria azulejera. Ello llevarÃa a conocerse como azulejo de tipo Delft series de losetas como el azulejo de tema único,​ el azulejo de oficios o el de figura suelta (también llamado azulejo figurativo holandés),​ con una importante repercusión en el uso del azulejo como recurso arquitectónico y decorativo entre los siglos XVII y XIX.​
Las piezas modernas se identifican con la marca escrita: «Delfts Blauw» ('azul de Delft' en idioma neerlandés) que se suele observar en la parte inferior de las piezas.
Many thanks for your visits, faves and comments. Cheers.
Australasian Figbird
Scientific Name: Sphecotheres vieilloti
Description: Figbirds are part of a worldwide family that includes the orioles, of which Australia has two other members (the Yellow and Olive-backed Orioles). Males have bare, red skin around the eye, contrasting against a black crown and grey neck and throat. The remainder of the body is olive-green, except for a white under-tail area. Females have grey skin around the eye and lack distinctive head markings. They are brown-green above and dull-white below, streaked with brown. Both sexes have a blackish bill. There are two distinct colour forms of the males of this species. Males north of Proserpine in Queensland have a yellow front.
Similar species: Figbirds have a blackish bill, which easily distinguishes the species from the similar Olive-backed Oriole, which has a reddish bill. Both of the Australian orioles also lack the Figbird's bare eye skin and have red eyes (adults). The Figbird tends to be more gregarious than either of the orioles, living semi-colonially.
Distribution: The Figbird occurs across coastal regions of northern and eastern Australia from the Kimberley region in Western Australia around to the New South Wales/Victoria border.
Habitat: The Figbird lives in rainforests and wet sclerophyll forests, but is often found in urban parks and gardens, particularly those with figs and other fruit-producing trees
Seasonal movements: Mostly sedentary, but undergoes some nomadic movements, particularly southwards into Victoria.
Feeding: Figbirds feed in flocks, often of around 20 birds that are prepared to fly to isolated trees that are suitable for foraging. Figs are a particularly popular food item, although they will feed on most soft fruits and berries in canopy trees. Insects are also important components of their diet.
Breeding: The gregarious behaviour of Figbirds is maintained in the breeding season, with small groups of birds nesting semi-colonially in adjoining canopy trees. The nest is cup-shaped and built of vine tendrils and twigs. It is supported by its rim from the horizontal fork of an outer branch of the canopy, up to 20 m above the ground. Both males and females incubate the eggs and feed the young.
Calls: Loud, descending 'chiew'
Minimum Size: 28cm
Maximum Size: 29cm
Average size: 28cm
Average weight: 128g
Breeding season: September to January
Clutch Size: 2 to 3 eggs
Incubation: 18 days
Nestling Period: 17 days
(Source: www.birdsinbackyards.net)
© Chris Burns 2016
__________________________________________
All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.
PaÃses Bajos - Delft - Coche Royal Delft
***
***
ENGLISH:
Delftware or Delft pottery, also known as Delft Blue (Dutch: Delfts blauw) or as delf, is a general term now used for Dutch tin-glazed earthenware, a form of faience. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major centre of production, but the term covers wares with other colours, and made elsewhere. It is also used for similar pottery, English delftware. Delftware is one of the types of tin-glazed earthenware or faience in which a white glaze is applied, usually decorated with metal oxides, in particular the cobalt oxide that gives the usual blue, and can withstand high firing temperatures, allowing it to be applied under the glaze. Delftware forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th-century Chinese porcelain, and in great demand in Europe.
Delftware includes pottery objects of all descriptions - such as plates, vases, figurines and other ornamental forms and tiles. The style originated around 1600, and the most highly regarded period of production is about 1640–1740, but Delftware continues to be produced. In the 17th and 18th centuries the manufacture of Delftware was a major industry, with product exported all over Europe.
The earliest tin-glazed pottery in the Netherlands was made in Antwerp where the Italian potter Guido da Savino settled in 1500, and in the 16th century Italian maiolica was the main influence on decorative styles. The manufacture of painted pottery spread from Antwerp to the northern Netherlands, in particular because of the sack of Antwerp by the Spanish troops in 1576 (the Spanish Fury). Production developed in Middelburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work was produced in Delft, but simple everyday tin-glazed pottery was made in places such as Gouda, Rotterdam, Haarlem, Amsterdam and Dordrecht.
The main period of tin-glaze pottery in the Netherlands was 1640–1740. From about 1640 Delft potters began using personal monograms and distinctive factory marks. The Guild of St Luke, to which painters in all media had to belong, admitted ten master potters in the thirty years between 1610 and 1640, and twenty in the nine years 1651 to 1660. In 1654 a gunpowder explosion in Delft destroyed many breweries and as the brewing industry was in decline, they became available to pottery makers looking for larger premises; some retained the old brewery names, e.g. The Double Tankard, The Young Moors' Head, and The Three Bells. The use of marl, a type of clay rich in calcium compounds, allowed the Dutch potters to refine their technique and to make finer items. The usual clay body of Delftware was a blend of three clays, one local, one from Tournai and one from the Rhineland.
From about 1615, the potters began to coat their pots completely in white tin glaze instead of covering only the painting surface and coating the rest with clear ceramic glaze. They then began to cover the tin-glaze with clear glaze, which gave depth to the fired surface and smoothness to cobalt blues, ultimately creating a good resemblance to porcelain.
During the Dutch Golden Age, the Dutch East India Company had a lively trade with the East and imported millions of pieces of Chinese porcelain in the early 17th century.[10] The Chinese workmanship and attention to detail impressed many. Only the richest could afford the early imports. Dutch potters did not immediately imitate Chinese porcelain; they began to do so after the death of the Wanli Emperor in 1620, when the supply to Europe was interrupted. "Potters now saw an opportunity to produce a cheap alternative for Chinese porcelain. After much experimenting they managed to make a thin type of earthenware which was covered with a white tin glaze. Although made of low-fired earthenware, it resembled porcelain amazingly well."
Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns. Around 1700 several factories were using enamel colours and gilding over the tin-glaze, requiring a third kiln firing at a lower temperature. Later, after Japanese Imari ware had become popular in the late 1600s and early 1700s (when it too tried to fill the gap of the Chinese shortage), Delft began making their own 'Imari ware' copying the classic 'flower vase on a terrace surrounded by three panels with cranes and pine design'. Oriental styles in Delftware remained popular into the early 1700s but then declined when Chinese porcelain became available again.
Delftware ranged from simple household items – plain white earthenware with little or no decoration – to fancy artwork. Most of the Delft factories made sets of jars, the kast-stel set. Pictorial plates were made in abundance, illustrated with religious motifs, native Dutch scenes with windmills and fishing boats, hunting scenes, landscapes and seascapes. Sets of plates were made with the words and music of songs; dessert was served on them and when the plates were clear the company started singing. The Delft potters also made tiles in vast numbers (estimated at eight hundred million) over a period of two hundred years; many Dutch houses still have tiles that were fixed in the 17th and 18th centuries. Delftware became popular and was widely exported in Europe and even reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware for export to Europe.
Some regard Delftware from about 1750 onwards as artistically inferior. Caiger-Smith says that most of the later wares "were painted with clever, ephemeral decoration. Little trace of feeling or originality remained to be lamented when, at the end of the eighteenth century, the Delftware potteries began to go out of business." By this time Delftware potters had lost their market to British porcelain and the new white earthenware. One or two remain: the Tichelaar factory in Makkum, Friesland, founded in 1594 and De Koninklijke Porceleyne Fles ("The Royal Porcelain Bottle") founded in 1653.
Today, Delfts Blauw (Delft Blue) is the brand name hand painted on the bottom of ceramic pieces identifying them as authentic and collectible. Although most Delft Blue borrows from the tin-glaze tradition, it is nearly all decorated in underglaze blue on a white clay body and very little uses tin glaze, a more expensive product. The Koninklijke Tichelaar Makkum factory in Makkum, Friesland continue the production of tin-glazed earthenware.
***
ESPAÑOL:
La cerámica de Delft es una alfarerÃa desarrollada desde finales del siglo XVI en la ciudad Delft en los PaÃses Bajos. Se hizo muy popular por la calidad del esmalte cerámico y el refinamiento de sus decoraciones pintadas. El esmalte blanco de estaño utilizado permitió a los ceramistas neerlandeses acercarse a la calidad y el aspecto de la porcelana china, muy valorada en el paÃs e introducida por la CompañÃa Neerlandesa de las Indias Orientales. La cerámica de Delft incluye piezas singulares, además de una importante producción de platos, jarrones y azulejerÃa de paramentos y el tÃpico azulejo figurativo holandés.
Alfareros italianos se instalaron en Amberes al inicio del siglo XVI.​ La destrucción de la ciudad por las tropas de Felipe II en 1576, conocida como la Furia Española, los llevó a abandonar la ciudad, y muchos de ellos se establecieron en Delft. A comienzos del siglo XVII, el siglo de oro de los PaÃses Bajos permitió a la CompañÃa Neerlandesa de las Indias Orientales aumentar su comercio con China y la importación de la porcelana como artÃculo de lujo solo al alcance de las clases más adineradas neerlandesas. En busca de un producto más accesible, los ceramistas de Delft desarrollaron una floreciente industria de loza fina capaz de hacerle la competencia a los objetos importados. La variada producción de vajillas, jarrones, azulejos y baldosas, y la decoración de las piezas con figuras y ambientes tÃpicos del paisaje holandés llegarÃan a rebasar la geografÃa flamenca e imponerse en otros paÃses con importante cultura azulejera como Portugal.
La poderosa expansión comercial de la cerámica holandesa contribuyó a que productos originados en Italia, España o Portugal, trascendieran y evolucionasen como capÃtulos monográficos en la historia de la industria azulejera. Ello llevarÃa a conocerse como azulejo de tipo Delft series de losetas como el azulejo de tema único,​ el azulejo de oficios o el de figura suelta (también llamado azulejo figurativo holandés),​ con una importante repercusión en el uso del azulejo como recurso arquitectónico y decorativo entre los siglos XVII y XIX.​
Las piezas modernas se identifican con la marca escrita: «Delfts Blauw» ('azul de Delft' en idioma neerlandés) que se suele observar en la parte inferior de las piezas.
Eating a dainty... (brush fire smoke filled background, hoping FF's get it under control)
Tropical Kingbird - Although a widespread bird and a seemingly typical kingbird, the Tropical Kingbird is among the most specialized of flycatchers. It forages almost exclusively by sallying after large flying insects.
Dragon fly - Common Green Darner, these common green darners are Aeshnids, a worldwide family of mostly large, brightly-colored dragonflies (as in the related blue-eyed darner) that are even more specialized for flight than the rest of the order. Most dragonflies occasionally perch on twigs or leaves, but Aeshnids spend hours on end in continuous flight.
PaÃses Bajos - Delft - Royal Delft - Azulejos azules
***
***
ENGLISH:
Delftware or Delft pottery, also known as Delft Blue (Dutch: Delfts blauw) or as delf, is a general term now used for Dutch tin-glazed earthenware, a form of faience. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major centre of production, but the term covers wares with other colours, and made elsewhere. It is also used for similar pottery, English delftware. Delftware is one of the types of tin-glazed earthenware or faience in which a white glaze is applied, usually decorated with metal oxides, in particular the cobalt oxide that gives the usual blue, and can withstand high firing temperatures, allowing it to be applied under the glaze. Delftware forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th-century Chinese porcelain, and in great demand in Europe.
Delftware includes pottery objects of all descriptions - such as plates, vases, figurines and other ornamental forms and tiles. The style originated around 1600, and the most highly regarded period of production is about 1640–1740, but Delftware continues to be produced. In the 17th and 18th centuries the manufacture of Delftware was a major industry, with product exported all over Europe.
The earliest tin-glazed pottery in the Netherlands was made in Antwerp where the Italian potter Guido da Savino settled in 1500, and in the 16th century Italian maiolica was the main influence on decorative styles. The manufacture of painted pottery spread from Antwerp to the northern Netherlands, in particular because of the sack of Antwerp by the Spanish troops in 1576 (the Spanish Fury). Production developed in Middelburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work was produced in Delft, but simple everyday tin-glazed pottery was made in places such as Gouda, Rotterdam, Haarlem, Amsterdam and Dordrecht.
The main period of tin-glaze pottery in the Netherlands was 1640–1740. From about 1640 Delft potters began using personal monograms and distinctive factory marks. The Guild of St Luke, to which painters in all media had to belong, admitted ten master potters in the thirty years between 1610 and 1640, and twenty in the nine years 1651 to 1660. In 1654 a gunpowder explosion in Delft destroyed many breweries and as the brewing industry was in decline, they became available to pottery makers looking for larger premises; some retained the old brewery names, e.g. The Double Tankard, The Young Moors' Head, and The Three Bells. The use of marl, a type of clay rich in calcium compounds, allowed the Dutch potters to refine their technique and to make finer items. The usual clay body of Delftware was a blend of three clays, one local, one from Tournai and one from the Rhineland.
From about 1615, the potters began to coat their pots completely in white tin glaze instead of covering only the painting surface and coating the rest with clear ceramic glaze. They then began to cover the tin-glaze with clear glaze, which gave depth to the fired surface and smoothness to cobalt blues, ultimately creating a good resemblance to porcelain.
During the Dutch Golden Age, the Dutch East India Company had a lively trade with the East and imported millions of pieces of Chinese porcelain in the early 17th century.[10] The Chinese workmanship and attention to detail impressed many. Only the richest could afford the early imports. Dutch potters did not immediately imitate Chinese porcelain; they began to do so after the death of the Wanli Emperor in 1620, when the supply to Europe was interrupted. "Potters now saw an opportunity to produce a cheap alternative for Chinese porcelain. After much experimenting they managed to make a thin type of earthenware which was covered with a white tin glaze. Although made of low-fired earthenware, it resembled porcelain amazingly well."
Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns. Around 1700 several factories were using enamel colours and gilding over the tin-glaze, requiring a third kiln firing at a lower temperature. Later, after Japanese Imari ware had become popular in the late 1600s and early 1700s (when it too tried to fill the gap of the Chinese shortage), Delft began making their own 'Imari ware' copying the classic 'flower vase on a terrace surrounded by three panels with cranes and pine design'. Oriental styles in Delftware remained popular into the early 1700s but then declined when Chinese porcelain became available again.
Delftware ranged from simple household items – plain white earthenware with little or no decoration – to fancy artwork. Most of the Delft factories made sets of jars, the kast-stel set. Pictorial plates were made in abundance, illustrated with religious motifs, native Dutch scenes with windmills and fishing boats, hunting scenes, landscapes and seascapes. Sets of plates were made with the words and music of songs; dessert was served on them and when the plates were clear the company started singing. The Delft potters also made tiles in vast numbers (estimated at eight hundred million) over a period of two hundred years; many Dutch houses still have tiles that were fixed in the 17th and 18th centuries. Delftware became popular and was widely exported in Europe and even reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware for export to Europe.
Some regard Delftware from about 1750 onwards as artistically inferior. Caiger-Smith says that most of the later wares "were painted with clever, ephemeral decoration. Little trace of feeling or originality remained to be lamented when, at the end of the eighteenth century, the Delftware potteries began to go out of business." By this time Delftware potters had lost their market to British porcelain and the new white earthenware. One or two remain: the Tichelaar factory in Makkum, Friesland, founded in 1594 and De Koninklijke Porceleyne Fles ("The Royal Porcelain Bottle") founded in 1653.
Today, Delfts Blauw (Delft Blue) is the brand name hand painted on the bottom of ceramic pieces identifying them as authentic and collectible. Although most Delft Blue borrows from the tin-glaze tradition, it is nearly all decorated in underglaze blue on a white clay body and very little uses tin glaze, a more expensive product. The Koninklijke Tichelaar Makkum factory in Makkum, Friesland continue the production of tin-glazed earthenware.
***
ESPAÑOL:
La cerámica de Delft es una alfarerÃa desarrollada desde finales del siglo XVI en la ciudad Delft en los PaÃses Bajos. Se hizo muy popular por la calidad del esmalte cerámico y el refinamiento de sus decoraciones pintadas. El esmalte blanco de estaño utilizado permitió a los ceramistas neerlandeses acercarse a la calidad y el aspecto de la porcelana china, muy valorada en el paÃs e introducida por la CompañÃa Neerlandesa de las Indias Orientales. La cerámica de Delft incluye piezas singulares, además de una importante producción de platos, jarrones y azulejerÃa de paramentos y el tÃpico azulejo figurativo holandés.
Alfareros italianos se instalaron en Amberes al inicio del siglo XVI.​ La destrucción de la ciudad por las tropas de Felipe II en 1576, conocida como la Furia Española, los llevó a abandonar la ciudad, y muchos de ellos se establecieron en Delft. A comienzos del siglo XVII, el siglo de oro de los PaÃses Bajos permitió a la CompañÃa Neerlandesa de las Indias Orientales aumentar su comercio con China y la importación de la porcelana como artÃculo de lujo solo al alcance de las clases más adineradas neerlandesas. En busca de un producto más accesible, los ceramistas de Delft desarrollaron una floreciente industria de loza fina capaz de hacerle la competencia a los objetos importados. La variada producción de vajillas, jarrones, azulejos y baldosas, y la decoración de las piezas con figuras y ambientes tÃpicos del paisaje holandés llegarÃan a rebasar la geografÃa flamenca e imponerse en otros paÃses con importante cultura azulejera como Portugal.
La poderosa expansión comercial de la cerámica holandesa contribuyó a que productos originados en Italia, España o Portugal, trascendieran y evolucionasen como capÃtulos monográficos en la historia de la industria azulejera. Ello llevarÃa a conocerse como azulejo de tipo Delft series de losetas como el azulejo de tema único,​ el azulejo de oficios o el de figura suelta (también llamado azulejo figurativo holandés),​ con una importante repercusión en el uso del azulejo como recurso arquitectónico y decorativo entre los siglos XVII y XIX.​
Las piezas modernas se identifican con la marca escrita: «Delfts Blauw» ('azul de Delft' en idioma neerlandés) que se suele observar en la parte inferior de las piezas.
PaÃses Bajos - Delft - Royal Delft
***
***
ENGLISH:
Delftware or Delft pottery, also known as Delft Blue (Dutch: Delfts blauw) or as delf, is a general term now used for Dutch tin-glazed earthenware, a form of faience. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major centre of production, but the term covers wares with other colours, and made elsewhere. It is also used for similar pottery, English delftware. Delftware is one of the types of tin-glazed earthenware or faience in which a white glaze is applied, usually decorated with metal oxides, in particular the cobalt oxide that gives the usual blue, and can withstand high firing temperatures, allowing it to be applied under the glaze. Delftware forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th-century Chinese porcelain, and in great demand in Europe.
Delftware includes pottery objects of all descriptions - such as plates, vases, figurines and other ornamental forms and tiles. The style originated around 1600, and the most highly regarded period of production is about 1640–1740, but Delftware continues to be produced. In the 17th and 18th centuries the manufacture of Delftware was a major industry, with product exported all over Europe.
The earliest tin-glazed pottery in the Netherlands was made in Antwerp where the Italian potter Guido da Savino settled in 1500, and in the 16th century Italian maiolica was the main influence on decorative styles. The manufacture of painted pottery spread from Antwerp to the northern Netherlands, in particular because of the sack of Antwerp by the Spanish troops in 1576 (the Spanish Fury). Production developed in Middelburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work was produced in Delft, but simple everyday tin-glazed pottery was made in places such as Gouda, Rotterdam, Haarlem, Amsterdam and Dordrecht.
The main period of tin-glaze pottery in the Netherlands was 1640–1740. From about 1640 Delft potters began using personal monograms and distinctive factory marks. The Guild of St Luke, to which painters in all media had to belong, admitted ten master potters in the thirty years between 1610 and 1640, and twenty in the nine years 1651 to 1660. In 1654 a gunpowder explosion in Delft destroyed many breweries and as the brewing industry was in decline, they became available to pottery makers looking for larger premises; some retained the old brewery names, e.g. The Double Tankard, The Young Moors' Head, and The Three Bells. The use of marl, a type of clay rich in calcium compounds, allowed the Dutch potters to refine their technique and to make finer items. The usual clay body of Delftware was a blend of three clays, one local, one from Tournai and one from the Rhineland.
From about 1615, the potters began to coat their pots completely in white tin glaze instead of covering only the painting surface and coating the rest with clear ceramic glaze. They then began to cover the tin-glaze with clear glaze, which gave depth to the fired surface and smoothness to cobalt blues, ultimately creating a good resemblance to porcelain.
During the Dutch Golden Age, the Dutch East India Company had a lively trade with the East and imported millions of pieces of Chinese porcelain in the early 17th century.[10] The Chinese workmanship and attention to detail impressed many. Only the richest could afford the early imports. Dutch potters did not immediately imitate Chinese porcelain; they began to do so after the death of the Wanli Emperor in 1620, when the supply to Europe was interrupted. "Potters now saw an opportunity to produce a cheap alternative for Chinese porcelain. After much experimenting they managed to make a thin type of earthenware which was covered with a white tin glaze. Although made of low-fired earthenware, it resembled porcelain amazingly well."
Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns. Around 1700 several factories were using enamel colours and gilding over the tin-glaze, requiring a third kiln firing at a lower temperature. Later, after Japanese Imari ware had become popular in the late 1600s and early 1700s (when it too tried to fill the gap of the Chinese shortage), Delft began making their own 'Imari ware' copying the classic 'flower vase on a terrace surrounded by three panels with cranes and pine design'. Oriental styles in Delftware remained popular into the early 1700s but then declined when Chinese porcelain became available again.
Delftware ranged from simple household items – plain white earthenware with little or no decoration – to fancy artwork. Most of the Delft factories made sets of jars, the kast-stel set. Pictorial plates were made in abundance, illustrated with religious motifs, native Dutch scenes with windmills and fishing boats, hunting scenes, landscapes and seascapes. Sets of plates were made with the words and music of songs; dessert was served on them and when the plates were clear the company started singing. The Delft potters also made tiles in vast numbers (estimated at eight hundred million) over a period of two hundred years; many Dutch houses still have tiles that were fixed in the 17th and 18th centuries. Delftware became popular and was widely exported in Europe and even reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware for export to Europe.
Some regard Delftware from about 1750 onwards as artistically inferior. Caiger-Smith says that most of the later wares "were painted with clever, ephemeral decoration. Little trace of feeling or originality remained to be lamented when, at the end of the eighteenth century, the Delftware potteries began to go out of business." By this time Delftware potters had lost their market to British porcelain and the new white earthenware. One or two remain: the Tichelaar factory in Makkum, Friesland, founded in 1594 and De Koninklijke Porceleyne Fles ("The Royal Porcelain Bottle") founded in 1653.
Today, Delfts Blauw (Delft Blue) is the brand name hand painted on the bottom of ceramic pieces identifying them as authentic and collectible. Although most Delft Blue borrows from the tin-glaze tradition, it is nearly all decorated in underglaze blue on a white clay body and very little uses tin glaze, a more expensive product. The Koninklijke Tichelaar Makkum factory in Makkum, Friesland continue the production of tin-glazed earthenware.
***
ESPAÑOL:
La cerámica de Delft es una alfarerÃa desarrollada desde finales del siglo XVI en la ciudad Delft en los PaÃses Bajos. Se hizo muy popular por la calidad del esmalte cerámico y el refinamiento de sus decoraciones pintadas. El esmalte blanco de estaño utilizado permitió a los ceramistas neerlandeses acercarse a la calidad y el aspecto de la porcelana china, muy valorada en el paÃs e introducida por la CompañÃa Neerlandesa de las Indias Orientales. La cerámica de Delft incluye piezas singulares, además de una importante producción de platos, jarrones y azulejerÃa de paramentos y el tÃpico azulejo figurativo holandés.
Alfareros italianos se instalaron en Amberes al inicio del siglo XVI.​ La destrucción de la ciudad por las tropas de Felipe II en 1576, conocida como la Furia Española, los llevó a abandonar la ciudad, y muchos de ellos se establecieron en Delft. A comienzos del siglo XVII, el siglo de oro de los PaÃses Bajos permitió a la CompañÃa Neerlandesa de las Indias Orientales aumentar su comercio con China y la importación de la porcelana como artÃculo de lujo solo al alcance de las clases más adineradas neerlandesas. En busca de un producto más accesible, los ceramistas de Delft desarrollaron una floreciente industria de loza fina capaz de hacerle la competencia a los objetos importados. La variada producción de vajillas, jarrones, azulejos y baldosas, y la decoración de las piezas con figuras y ambientes tÃpicos del paisaje holandés llegarÃan a rebasar la geografÃa flamenca e imponerse en otros paÃses con importante cultura azulejera como Portugal.
La poderosa expansión comercial de la cerámica holandesa contribuyó a que productos originados en Italia, España o Portugal, trascendieran y evolucionasen como capÃtulos monográficos en la historia de la industria azulejera. Ello llevarÃa a conocerse como azulejo de tipo Delft series de losetas como el azulejo de tema único,​ el azulejo de oficios o el de figura suelta (también llamado azulejo figurativo holandés),​ con una importante repercusión en el uso del azulejo como recurso arquitectónico y decorativo entre los siglos XVII y XIX.​
Las piezas modernas se identifican con la marca escrita: «Delfts Blauw» ('azul de Delft' en idioma neerlandés) que se suele observar en la parte inferior de las piezas.
Wishing all my Flickr friends Merry Christmas
and a Happy, Safe and Prosperous New Year.
Thank you all for your visits, faves and comments throughout the year. I love the feeling of community and friendship within Flickr and it is a privilege to be part of this worldwide family. I just wish I had a little more time to post.
Little Christmas Tree decorated with chocolates - edible decorations, now you're talking - Adelaide, South Australia
I've opened a new facebook group aiming to bring film photography shooters together. This is the first local group entirely dedicated to analogue photography and process. Join today if you're still shooting film or interested to learn and join the worldwide family of film shooters.
Wishing all my Flickr friends a Merry Christmas and a Happy, Safe and Prosperous New Year
Thank you all for your visits, faves and comments throughout the year. Flickr has a real feeling of community and friendship and it is a privilege to be part of this worldwide family.
Little Christmas Tree decorated with chocolates, Adelaide, South Australia
feliz año nuevo 2018
-
â—¾Celebrate this New Year with lots of fireworks and welcome it with a blast!
Enjoy your time with friends and family
◾Feiern Sie das neue Jahr mit viele Feuerwerk und begrüßen Sie es mit einem lauten Knall!
Genießen Sie Ihre Zeit mit Freunden und Familie
-
Wieder ist nun ein neues Jahr gekommen, das alte still und leis‘ verronnen – hat Gedanken und Erinnerungen mit sich genommen.
Doch sollten wir nicht bedauern, dass Bekanntes und Bewährtes von uns geht, da mit jedem Abschied auch ein vielversprechender Anfang ansteht.
...
Thank you all for your visits 28.800.800,
faves and comments.
I love the feeling of community and friendship within Flickr and it is a privilege to be part of this worldwide Family
from RIKX
PaÃses Bajos - Delft - Royal Delft
***
***
ENGLISH:
Delftware or Delft pottery, also known as Delft Blue (Dutch: Delfts blauw) or as delf, is a general term now used for Dutch tin-glazed earthenware, a form of faience. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major centre of production, but the term covers wares with other colours, and made elsewhere. It is also used for similar pottery, English delftware. Delftware is one of the types of tin-glazed earthenware or faience in which a white glaze is applied, usually decorated with metal oxides, in particular the cobalt oxide that gives the usual blue, and can withstand high firing temperatures, allowing it to be applied under the glaze. Delftware forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th-century Chinese porcelain, and in great demand in Europe.
Delftware includes pottery objects of all descriptions - such as plates, vases, figurines and other ornamental forms and tiles. The style originated around 1600, and the most highly regarded period of production is about 1640–1740, but Delftware continues to be produced. In the 17th and 18th centuries the manufacture of Delftware was a major industry, with product exported all over Europe.
The earliest tin-glazed pottery in the Netherlands was made in Antwerp where the Italian potter Guido da Savino settled in 1500, and in the 16th century Italian maiolica was the main influence on decorative styles. The manufacture of painted pottery spread from Antwerp to the northern Netherlands, in particular because of the sack of Antwerp by the Spanish troops in 1576 (the Spanish Fury). Production developed in Middelburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work was produced in Delft, but simple everyday tin-glazed pottery was made in places such as Gouda, Rotterdam, Haarlem, Amsterdam and Dordrecht.
The main period of tin-glaze pottery in the Netherlands was 1640–1740. From about 1640 Delft potters began using personal monograms and distinctive factory marks. The Guild of St Luke, to which painters in all media had to belong, admitted ten master potters in the thirty years between 1610 and 1640, and twenty in the nine years 1651 to 1660. In 1654 a gunpowder explosion in Delft destroyed many breweries and as the brewing industry was in decline, they became available to pottery makers looking for larger premises; some retained the old brewery names, e.g. The Double Tankard, The Young Moors' Head, and The Three Bells. The use of marl, a type of clay rich in calcium compounds, allowed the Dutch potters to refine their technique and to make finer items. The usual clay body of Delftware was a blend of three clays, one local, one from Tournai and one from the Rhineland.
From about 1615, the potters began to coat their pots completely in white tin glaze instead of covering only the painting surface and coating the rest with clear ceramic glaze. They then began to cover the tin-glaze with clear glaze, which gave depth to the fired surface and smoothness to cobalt blues, ultimately creating a good resemblance to porcelain.
During the Dutch Golden Age, the Dutch East India Company had a lively trade with the East and imported millions of pieces of Chinese porcelain in the early 17th century.[10] The Chinese workmanship and attention to detail impressed many. Only the richest could afford the early imports. Dutch potters did not immediately imitate Chinese porcelain; they began to do so after the death of the Wanli Emperor in 1620, when the supply to Europe was interrupted. "Potters now saw an opportunity to produce a cheap alternative for Chinese porcelain. After much experimenting they managed to make a thin type of earthenware which was covered with a white tin glaze. Although made of low-fired earthenware, it resembled porcelain amazingly well."
Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns. Around 1700 several factories were using enamel colours and gilding over the tin-glaze, requiring a third kiln firing at a lower temperature. Later, after Japanese Imari ware had become popular in the late 1600s and early 1700s (when it too tried to fill the gap of the Chinese shortage), Delft began making their own 'Imari ware' copying the classic 'flower vase on a terrace surrounded by three panels with cranes and pine design'. Oriental styles in Delftware remained popular into the early 1700s but then declined when Chinese porcelain became available again.
Delftware ranged from simple household items – plain white earthenware with little or no decoration – to fancy artwork. Most of the Delft factories made sets of jars, the kast-stel set. Pictorial plates were made in abundance, illustrated with religious motifs, native Dutch scenes with windmills and fishing boats, hunting scenes, landscapes and seascapes. Sets of plates were made with the words and music of songs; dessert was served on them and when the plates were clear the company started singing. The Delft potters also made tiles in vast numbers (estimated at eight hundred million) over a period of two hundred years; many Dutch houses still have tiles that were fixed in the 17th and 18th centuries. Delftware became popular and was widely exported in Europe and even reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware for export to Europe.
Some regard Delftware from about 1750 onwards as artistically inferior. Caiger-Smith says that most of the later wares "were painted with clever, ephemeral decoration. Little trace of feeling or originality remained to be lamented when, at the end of the eighteenth century, the Delftware potteries began to go out of business." By this time Delftware potters had lost their market to British porcelain and the new white earthenware. One or two remain: the Tichelaar factory in Makkum, Friesland, founded in 1594 and De Koninklijke Porceleyne Fles ("The Royal Porcelain Bottle") founded in 1653.
Today, Delfts Blauw (Delft Blue) is the brand name hand painted on the bottom of ceramic pieces identifying them as authentic and collectible. Although most Delft Blue borrows from the tin-glaze tradition, it is nearly all decorated in underglaze blue on a white clay body and very little uses tin glaze, a more expensive product. The Koninklijke Tichelaar Makkum factory in Makkum, Friesland continue the production of tin-glazed earthenware.
***
ESPAÑOL:
La cerámica de Delft es una alfarerÃa desarrollada desde finales del siglo XVI en la ciudad Delft en los PaÃses Bajos. Se hizo muy popular por la calidad del esmalte cerámico y el refinamiento de sus decoraciones pintadas. El esmalte blanco de estaño utilizado permitió a los ceramistas neerlandeses acercarse a la calidad y el aspecto de la porcelana china, muy valorada en el paÃs e introducida por la CompañÃa Neerlandesa de las Indias Orientales. La cerámica de Delft incluye piezas singulares, además de una importante producción de platos, jarrones y azulejerÃa de paramentos y el tÃpico azulejo figurativo holandés.
Alfareros italianos se instalaron en Amberes al inicio del siglo XVI.​ La destrucción de la ciudad por las tropas de Felipe II en 1576, conocida como la Furia Española, los llevó a abandonar la ciudad, y muchos de ellos se establecieron en Delft. A comienzos del siglo XVII, el siglo de oro de los PaÃses Bajos permitió a la CompañÃa Neerlandesa de las Indias Orientales aumentar su comercio con China y la importación de la porcelana como artÃculo de lujo solo al alcance de las clases más adineradas neerlandesas. En busca de un producto más accesible, los ceramistas de Delft desarrollaron una floreciente industria de loza fina capaz de hacerle la competencia a los objetos importados. La variada producción de vajillas, jarrones, azulejos y baldosas, y la decoración de las piezas con figuras y ambientes tÃpicos del paisaje holandés llegarÃan a rebasar la geografÃa flamenca e imponerse en otros paÃses con importante cultura azulejera como Portugal.
La poderosa expansión comercial de la cerámica holandesa contribuyó a que productos originados en Italia, España o Portugal, trascendieran y evolucionasen como capÃtulos monográficos en la historia de la industria azulejera. Ello llevarÃa a conocerse como azulejo de tipo Delft series de losetas como el azulejo de tema único,​ el azulejo de oficios o el de figura suelta (también llamado azulejo figurativo holandés),​ con una importante repercusión en el uso del azulejo como recurso arquitectónico y decorativo entre los siglos XVII y XIX.​
Las piezas modernas se identifican con la marca escrita: «Delfts Blauw» ('azul de Delft' en idioma neerlandés) que se suele observar en la parte inferior de las piezas.
A worker carefully engraves pottery in the city of Delft, Netherlands. Delftware or Delft pottery, also known as Delft Blue is a general term used for Dutch tin-glazed earthenware, a form of 'faience' (decoration with opaque colored glazes). Most of it is blue and white pottery, and the city of Delft is the major center of production. Delft pottery was introduced to the Netherlands by Italian migrant potters who brought with them their Majolica (Italian tin-glazed pottery) pottery skills.
A white glaze is first applied to the pottery, and then as seen in this photo, it is decorated with metal oxides, in particular the cobalt oxide that gives the usual blue, and can withstand high firing temperatures, allowing it to be applied under the glaze. It also forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th-century Chinese porcelain.
Delftware includes pottery objects of all descriptions such as plates, vases, figurines and other ornamental forms and tiles. The start of the style was around 1600. In the 17th and 18th centuries Delftware was a major industry, exporting all over Europe.
Many thanks for your visits, faves and comments. Cheers.
....from a walk through Oxley Creek Common. Oxley Creek Common is home to a remarkable variety of birds. An experienced observer can find as many as 70 species in one hour of observation during the spring about 10% of all Australia's bird species and several times the diversity one could find walking the suburbs. In the past eleven years over 190 species have been recorded on the Common. (Source: University of Queensland)
Olive-backed Oriole
Scientific Name: Oriolus sagittatus
Description: The Olive-backed Oriole is part of a worldwide family, of which Australia has two other members (the Yellow Oriole and the Figbird). Males and females have an olive-green head and back, grey wings and tail, and cream underparts, streaked with brown. They both have a bright red eye and reddish beak. Females can be distinguished from males by a paler bill, duller-green back, and an extension of the streaked underparts up to the chin.
Similar species: Olive-backed Orioles have a reddish bill, which easily distinguishes the species from the similar Figbird Sphecotheres viridis, which has a blackish bill. It also lacks the Figbird's bare eye skin and has red rather than dark eyes. The Yellow Oriole O. flavocinctus is generally more yellow overall.
Distribution: The Olive-backed Oriole occurs across coastal regions of northern and eastern Australia from the Kimberley region in Western Australia, right around the east coast to Adelaide in South Australia.
Habitat: The Olive-backed Oriole lives in forests, woodlands and rainforests, as well as well-treed urban areas, particularly parks and golf courses.
Seasonal movements: Sedentary in the north of its range, but appears to be a summer migrant to the more southern part of its range. Small groups undertake nomadic movements, following fruiting trees during the autumn and winter.
Feeding: Olive-backed Orioles are less gregarious than Figbirds, with which they are often seen foraging. Although they are sometimes seen in small groups, particularly in autumn and winter, they more often occur alone or in pairs, feeding on insects and fruit in canopy trees.
Breeding: The female Olive-backed Oriole builds a cup-shaped nest which is attached by its rim to a horizontal fork on the outer-edge of the foliage of a tree or tall shrub. Nests are usually around 10 m above the ground, and built of strips of bark and grass, bound with spider web. The male does not build the nest, or incubate the eggs, but he feeds the young after the eggs hatch.
Calls: Repeated, rolling 'ori-ori-oriole'. Olive-backed Orioles are excellent mimics of other birds, and are also 'ventriloquists', meaning they can 'throw' their voices to sound like they are calling from somewhere else.
Minimum Size: 26cm
Maximum Size: 28cm
Average size: 27cm
Average weight: 96g
Breeding season: September to January
Clutch Size: 2 to 3
Incubation: 18 days
Nestling Period: 17 days
(Source: www.birdsinbackyards.net)
© Chris Burns 2015
__________________________________________
All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.
There are 50 AONBs in England, Wales and Northern Ireland – the largest being the Cotswolds and the smallest the Isles of Scilly. AONBs are part of a worldwide family of protected landscapes that are valued for their cultural richness, aesthetic quality and wildlife. In Britain, these landscapes are designated as AONB, National Park or Heritage Coast..
Many thanks for the visits, faves and comments. Cheers
....from a walk through Oxley Creek Common. Oxley Creek Common is home to a remarkable variety of birds. An experienced observer can find as many as 70 species in one hour of observation during the spring about 10% of all Australia's bird species and several times the diversity one could find walking the suburbs. In the past eleven years over 190 species have been recorded on the Common. (Source: University of Queensland)
Olive-backed Oriole
Scientific Name: Oriolus sagittatus
Description: The Olive-backed Oriole is part of a worldwide family, of which Australia has two other members (the Yellow Oriole and the Figbird). Males and females have an olive-green head and back, grey wings and tail, and cream underparts, streaked with brown. They both have a bright red eye and reddish beak. Females can be distinguished from males by a paler bill, duller-green back, and an extension of the streaked underparts up to the chin.
Similar species: Olive-backed Orioles have a reddish bill, which easily distinguishes the species from the similar Figbird Sphecotheres viridis, which has a blackish bill. It also lacks the Figbird's bare eye skin and has red rather than dark eyes. The Yellow Oriole O. flavocinctus is generally more yellow overall.
Distribution: The Olive-backed Oriole occurs across coastal regions of northern and eastern Australia from the Kimberley region in Western Australia, right around the east coast to Adelaide in South Australia.
Habitat: The Olive-backed Oriole lives in forests, woodlands and rainforests, as well as well-treed urban areas, particularly parks and golf courses.
Seasonal movements: Sedentary in the north of its range, but appears to be a summer migrant to the more southern part of its range. Small groups undertake nomadic movements, following fruiting trees during the autumn and winter.
Feeding: Olive-backed Orioles are less gregarious than Figbirds, with which they are often seen foraging. Although they are sometimes seen in small groups, particularly in autumn and winter, they more often occur alone or in pairs, feeding on insects and fruit in canopy trees.
Breeding: The female Olive-backed Oriole builds a cup-shaped nest which is attached by its rim to a horizontal fork on the outer-edge of the foliage of a tree or tall shrub. Nests are usually around 10 m above the ground, and built of strips of bark and grass, bound with spider web. The male does not build the nest, or incubate the eggs, but he feeds the young after the eggs hatch.
Calls: Repeated, rolling 'ori-ori-oriole'. Olive-backed Orioles are excellent mimics of other birds, and are also 'ventriloquists', meaning they can 'throw' their voices to sound like they are calling from somewhere else.
Minimum Size: 26cm
Maximum Size: 28cm
Average size: 27cm
Average weight: 96g
Breeding season: September to January
Clutch Size: 2 to 3
Incubation: 18 days
Nestling Period: 17 days
(Source: www.birdsinbackyards.net)
© Chris Burns 2015
__________________________________________
All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.
Many thanks for your visits, faves and comments. Cheers.
Australasian Figbird
Scientific Name: Sphecotheres vieilloti
Description: Figbirds are part of a worldwide family that includes the orioles, of which Australia has two other members (the Yellow and Olive-backed Orioles). Males have bare, red skin around the eye, contrasting against a black crown and grey neck and throat. The remainder of the body is olive-green, except for a white under-tail area. Females have grey skin around the eye and lack distinctive head markings. They are brown-green above and dull-white below, streaked with brown. Both sexes have a blackish bill. There are two distinct colour forms of the males of this species. Males north of Proserpine in Queensland have a yellow front.
Similar species: Figbirds have a blackish bill, which easily distinguishes the species from the similar Olive-backed Oriole, which has a reddish bill. Both of the Australian orioles also lack the Figbird's bare eye skin and have red eyes (adults). The Figbird tends to be more gregarious than either of the orioles, living semi-colonially.
Distribution: The Figbird occurs across coastal regions of northern and eastern Australia from the Kimberley region in Western Australia around to the New South Wales/Victoria border.
Habitat: The Figbird lives in rainforests and wet sclerophyll forests, but is often found in urban parks and gardens, particularly those with figs and other fruit-producing trees
Seasonal movements: Mostly sedentary, but undergoes some nomadic movements, particularly southwards into Victoria.
Feeding: Figbirds feed in flocks, often of around 20 birds that are prepared to fly to isolated trees that are suitable for foraging. Figs are a particularly popular food item, although they will feed on most soft fruits and berries in canopy trees. Insects are also important components of their diet.
Breeding: The gregarious behaviour of Figbirds is maintained in the breeding season, with small groups of birds nesting semi-colonially in adjoining canopy trees. The nest is cup-shaped and built of vine tendrils and twigs. It is supported by its rim from the horizontal fork of an outer branch of the canopy, up to 20 m above the ground. Both males and females incubate the eggs and feed the young.
Calls: Loud, descending 'chiew'
Minimum Size: 28cm
Maximum Size: 29cm
Average size: 28cm
Average weight: 128g
Breeding season: September to January
Clutch Size: 2 to 3 eggs
Incubation: 18 days
Nestling Period: 17 days
(Source: www.birdsinbackyards.net)
© Chris Burns 2016
__________________________________________
All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.
Photographer: Binya
Model: Inna Nadina
Taken in 2013
Edited for publication in 2016
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Delftware or Delft pottery, also known as Delft Blue[1] (Dutch: Delfts blauw), is blue and white pottery made in and around Delft in the Netherlands and the tin-glazed pottery made in the Netherlands from the 16th century.
Delftware in the latter sense is one of the types of tin-glazed earthenware or faience in which a white glaze is applied, usually decorated with metal oxides. It also forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th century Chinese porcelain, and in great demand in Europe. Delftware includes pottery objects of all descriptions such as plates, ornaments and tiles. The most highly-regarded period of production is about 1640–1740.
Many thanks for your visits, faves and comments. Cheers.
....from a walk through Oxley Creek Common. Oxley Creek Common is home to a remarkable variety of birds. An experienced observer can find as many as 70 species in one hour of observation during the spring about 10% of all Australia's bird species and several times the diversity one could find walking the suburbs. In the past eleven years over 190 species have been recorded on the Common. (Source: University of Queensland)
Australasian Figbird
Scientific Name: Sphecotheres vieilloti; Oriolidae
As its name implies, the Australasian Figbird predominantly eats figs, although a wide variety of other fruits are eaten as well. Figbirds usually forage high in the canopy, sometimes in the company of Olive-backed Orioles. Large flocks may congregate noisily at prolifically fruiting trees, and remain until the supply of fruit is exhausted. The seeds of the figs often pass undigested through the gut of figbirds, so they are able to germinate, though in some cases they provide pigeons with a convenient source of food.
Description: Figbirds are part of a worldwide family that includes the orioles, of which Australia has two other members (the Yellow and Olive-backed Orioles). Males have bare, red skin around the eye, contrasting against a black crown and grey neck and throat. The remainder of the body is olive-green, except for a white under-tail area. Females have grey skin around the eye and lack distinctive head markings. They are brown-green above and dull-white below, streaked with brown. Both sexes have a blackish bill. There are two distinct colour forms of the males of this species. Males north of Proserpine in Queensland have a yellow front.
Similar Species: Figbirds have a blackish bill, which easily distinguishes the species from the similar Olive-backed Oriole, which has a reddish bill. Both of the Australian orioles also lack the Figbird's bare eye skin and have red eyes (adults). The Figbird tends to be more gregarious than either of the orioles, living semi-colonially.
Distribution: The Figbird occurs across coastal regions of northern and eastern Australia from the Kimberley region in Western Australia around to the New South Wales/Victoria border.
Habitat: The Figbird lives in rainforests and wet sclerophyll forests, but is often found in urban parks and gardens, particularly those with figs and other fruit-producing trees
Feeding: Figbirds feed in flocks, often of around 20 birds that are prepared to fly to isolated trees that are suitable for foraging. Figs are a particularly popular food item, although they will feed on most soft fruits and berries in canopy trees. Insects are also important components of their diet.
Breeding: The gregarious behaviour of Figbirds is maintained in the breeding season, with small groups of birds nesting semi-colonially in adjoining canopy trees. The nest is cup-shaped and built of vine tendrils and twigs. It is supported by its rim from the horizontal fork of an outer branch of the canopy, up to 20 m above the ground. Both males and females incubate the eggs and feed the young.
(Source: www.birdlife.org.au)
© Chris Burns 2015
__________________________________________
All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.
Good morning.
#klcc #morningshot #my_genggua #architecture #igevolusibina #evolusibina #evolusibinacontest1
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ashleighgrams: Love this! Love your feed!
akmal_c: @ashleighgrams tyvm 😃😃
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Australasian Figbird
Sphecotheres vieilloti
Oriolidae
"As its name implies, the Australasian Figbird predominantly eats figs, although a wide variety of other fruits are eaten as well. Figbirds usually forage high in the canopy, sometimes in the company of Olive-backed Orioles. Large flocks may congregate noisily at prolifically fruiting trees, and remain until the supply of fruit is exhausted.
Figbirds are part of a worldwide family that includes the orioles, of which Australia has two other members (the Yellow and Olive-backed Orioles). Males have bare, red skin around the eye, contrasting against a black crown and grey neck and throat. The remainder of the body is olive-green, except for a white under-tail area. Females have grey skin around the eye and lack distinctive head markings. They are brown-green above and dull-white below, streaked with brown. Both sexes have a blackish bill. There are two distinct colour forms of the males of this species. Males north of Proserpine in Queensland have a yellow front."
Restoring the almost permanently deleted photos I was.
White/1.
#skyporn #skypornpics #sky
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hiijle: 💯
akmal_c: @hiijle 😃😊
Old school scroll tribute and role call of worldwide family. Disclaimer* if you want to be stupid enough to go over this, it may go beyond just naming and shaming, as this has already gone way beyond just my feelings on the situation...
Mesti dia buat pukul sembilan malam masa tu.
#thecikmatstravel #travel #travelogue
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syahirgraphy: Caption win! 😂
akmal_c: @syahirgraphy hehehehehe
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#viewbugfeature #shuttoutcom #projekkontest #wow_havoc #projekwaghih #ikutcarakita #beautiful #broninart #featuremeinstagood #instagood #instadaily #igers_brother #malaysianIG #igersgersang #misterflopatrickfeatureme #nature #photooftheday #streetphotography #gengVSCOcam #vscocam #worldbestgram #WORLDWIDE_FAMILY #silentcollective
(Explore in/out, 7/12/13) Thank you very much for the visit and comments. Cheers.
Olive-backed Oriole
Scientific Name: Oriolus sagittatus
Description: The Olive-backed Oriole is part of a worldwide family, of which Australia has two other members (the Yellow Oriole and the Figbird). Males and females have an olive-green head and back, grey wings and tail, and cream underparts, streaked with brown. They both have a bright red eye and reddish beak. Females can be distinguished from males by a paler bill, duller-green back, and an extension of the streaked underparts up to the chin. Olive-backed Orioles are excellent mimics of other birds, and are also 'ventriloquists', meaning they can 'throw' their voices to sound like they are calling from somewhere else. Certainly fooled the photographer on a number of occasions - looking in the wrong direction, but finally got a shot.
Similar species: Olive-backed Orioles have a reddish bill, which easily distinguishes the species from the similar Figbird Sphecotheres viridis, which has a blackish bill. It also lacks the Figbird's bare eye skin and has red rather than dark eyes. The Yellow Oriole O. flavocinctus is generally more yellow overall.
Where does it live?
Distribution: The Olive-backed Oriole occurs across coastal regions of northern and eastern Australia from the Kimberley region in Western Australia, right around the east coast to Adelaide in South Australia.
Habitat: The Olive-backed Oriole lives in forests, woodlands and rainforests, as well as well-treed urban areas, particularly parks and golf courses.
Seasonal movements: Sedentary in the north of its range, but appears to be a summer migrant to the more southern part of its range. Small groups undertake nomadic movements, following fruiting trees during the autumn and winter.
What does it do?
Feeding: Olive-backed Orioles are less gregarious than Figbirds, with which they are often seen foraging. Although they are sometimes seen in small groups, particularly in autumn and winter, they more often occur alone or in pairs, feeding on insects and fruit in canopy trees.
Breeding: The female Olive-backed Oriole builds a cup-shaped nest which is attached by its rim to a horizontal fork on the outer-edge of the foliage of a tree or tall shrub. Nests are usually around 10 m above the ground, and built of strips of bark and grass, bound with spider web. The male does not build the nest, or incubate the eggs, but he feeds the young after the eggs hatch.
Minimum Size: 26cm
Maximum Size: 28cm
Average size: 27cm
Average weight: 96g
Breeding season: September to January
Clutch Size: 2 to 3
Incubation: 18 days
Nestling Period: 17 days
(Sources: www.birdsinbackyards.net and "The Slater Field Guide to Australian Birds - Second Edition")
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mylittleodyssey: 🔥
akmal_c: @joliefolie 😄😄
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acap_majok: Gie mana ni?
akmal_c: @acap_majok jejalan kt johor
Another bird from my Garden.
The Olive-backed Oriole is part of a worldwide family, of which Australia has two other members (the Yellow Oriole and the Figbird). Males and females have an olive-green head and back, grey wings and tail, and cream underparts, streaked with brown. They both have a bright red eye and reddish beak. Females can be distinguished from males by a paler bill, duller-green back, and an extension of the streaked underparts up to the chin.
Info- Birdinbackyards.com
Well fed visitor to the Bangalow Palm, attracted by the bounty of the red berries.
ID appreciated. Pretty voice. Speckled breast. Brown head and feathers. Pale blue eye ring. Back view in comments.
Latest thought is that it is the female green fig bird, as we have seen a couple visiting recently, one of them like this and the other a male green fig bird.
Figbirds are part of a worldwide family that includes the orioles, of which Australia has two other members (the Yellow and Olive-backed Orioles). Males have bare, red skin around the eye, contrasting against a black crown and grey neck and throat. The remainder of the body is olive-green, except for a white under-tail area. Females have grey skin around the eye and lack distinctive head markings. They are brown-green above and dull-white below, streaked with brown. Both sexes have a blackish bill.
birdsinbackyard.net
Noosa Hinterland, Queensland.
7/30 Pale Green/Brown September 365D
(Sphecotheres viridis)
Our garden.
Maroochydore Qld. Australia.
Figbirds are part of a worldwide family that includes the orioles, of which
Australia has two other members (the Yellow and Olive-backed Orioles). They
are about 29 cm long and the males have bare, red skin around the eye,
contrasting against a black crown and grey neck and throat. The remainder of
the body is olive-green, except for a white under-tail area. Females have
grey skin around the eye and lack distinctive head markings. They are
brown-green above and dull-white below, streaked with brown. Both sexes have
a blackish bill. There are two distinct colour forms of the males of this
species. Males north of Proserpine in Queensland have a yellow front.
The Figbird lives in rainforests and wet sclerophyll forests, but is often
found in urban parks and gardens, particularly those with figs and other
fruit-producing trees.
Source:
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#projekkontest #wow_havoc #projekwaghih #ikutcarakita #beautiful #broninart #featuremeinstagood #instagood #instadaily #igers_brother #malaysianIG #igersgersang #misterflopatrickfeatureme #nature #photooftheday #streetphotography #gengVSCOcam #vscocam #worldbestgram #WORLDWIDE_FAMILY
#nacreousclouds.
On a side note, watching #sundogs and other atm. Phenomena before my very eyes has been on my bucket list for quite some time and yet to be checked off. Still waiting for the right time and chance to photograph one of those.
#tpssony @thephotosociety @sonyalpha
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I don't need you. I just need 8 million dollars.
#skyporn #sky #skypornpics
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#exploreeverything #featuremeinstagood #canon #igrecommend #followme #skyporn #canonmy ##featuremebest #igworldclub #justgoshoot #lifeofadventure #majesticmoments #neverstopexploring #explorersclub #peoplescreatives #socality #shuttoutcom #thecoolmagazine #vscofolk #WORLDWIDE_FAMILY #wanderfolk #broninart #viewbugfeature #instagramers