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Rosario Tableware

AN ARTISAN PROCESS OF 19 DAYS AND 10 STEPS

A collection inspired by our mother, named in her honour.

Our Rosario tableware collection, made for Villa Las Perelli, is produced in small quantities in Spain through a traditional and artisanal process that combines the use of the hydraulic press with the manual work of the craftsman. It is composed of different pieces that share a design inspired by the past.

The pieces of the Rosario dinnerware are made for Villa Las Perelli in a family workshop in Spain using white earthenware produced in Manises (Valencia) and formulated in England.

White earthenware pieces and the Villa Las Perelli hallmark that the artisan puts on each piece one by one

 

PREPARATION OF THE EARTHENWARE

To prepare the earthenware, the air is extracted from the earthenware cakes by introducing them into a kneading machine, thus obtaining blocks of earthenware of different sizes that will be used according to the size of the piece that we want to produce.

FIRST MOULDING

The next step is the moulding of the piece with the hydraulic press.
The craftsman uses the same hydraulic press to make the different pieces, changing the mould for each one. The mould is made up of two parts: the female part is placed at the bottom and the male part at the top. The process of changing the moulds in the press can take up to a day between replacement and cleaning. The artisan carries out this process every time he changes the piece or the type of earthenware.

To obtain the first moulding of the piece, he inserts the piece of earthenware into the female part of the mould. This rises upwards, flattening the piece against the upper part, generating a surplus of earthenware that comes out of the sides (burr) and is removed when the lower piece is lowered. The burr accumulates in a container to be reused (it will be reintroduced in the process described in the first step). The piece of earthenware sticks to the top of the press. At this point, the artisan puts our stamp on the bottom of the piece by hand. He removes it by pressing the pedal that activates the air passage of the compressor, which removes it and lets it fall onto a wooden board that he holds in his hand. This process is repeated numerous times as many times as pieces are produced in the run.

Craftsman removing the excess of the pressed piece (burr) and putting the stamp on it before removing it from the press



DRYING

Once the pieces have been moulded, they are left to dry so that they become more rigid and can be worked with. They are left for two days in a damp drying room. It is important that the pieces do not dry outside the drying room and that they are not near the heat to prevent the piece from cracking.

  

First shape of the Rosario trays size L, ready to be taken to the drying room

Artisan introducing the trays into the wet dryer for the first drying process

 

 

FINISHING AND SMOOTHING

Once the pieces have hardened, the potter smoothes them one by one by hand. He places the piece on a turning wheel that rotates on itself and with a blade he removes the excess earthenware from the edge of the piece. He then smoothes the piece with a damp sponge to make it smooth and finished.

Refinishing area where the potter touches up each piece one by one with a knife, sandpaper and sponge



SECOND DRYING

Once the pieces have been retouched, they are left to dry again, this time in a less humid drying area. The piece remains there for about a week until it is completely dry. This time varies according to the season of the year, taking longer in winter and less in summer.

FIRST BAKING

Once dry, the pieces are placed in the kiln cars. The gas oven is approximately 2 cubic metres in size and reaches a temperature of 1040 degrees. The pieces are baked for 14 hours and then cool for two and a half days. This is how we obtain the baked earthenware pieces ready for glazing.

Pieces after the first baking from tray size L of our Rosario collection.



GLAZING

Before glazing, the pieces are checked one by one for any imperfections. If any piece needs to be touched up, the potter sands the area very smoothly with fine sandpaper and a well-drained sponge.

Once ready to glaze, the potter prepares the glaze mixture with water by stirring with a paddle or whisk to make it liquid. He immerses the piece in glaze holding it with a pair of glazing tongs and holds it for a second or several seconds, depending on the piece. He takes it out and lets it drain a little, and places it on a shelf to let it dry.

The piece takes a few hours to dry. Once dry, the excess glaze is removed from the bottom. This phase is very important because if the part of the piece that is going to rest in the kiln has some glaze on it, the piece will stick to the kiln plate.

 

SECOND BAKING

Once the glaze has been removed from the bottom, the pieces are put back into the oven, taking great care to ensure that the pieces do not touch each other, otherwise they will stick together. The pieces are fired at 950 degrees for 7 hours. The cooling time is approximately 12 hours.



Each piece of our Rosario dinnerware takes a minimum of 19 days to make and goes through 10 different steps: preparation of the earthenware, placing the moulds in the press, making the pieces in the press, first drying, retouching and smoothing, second drying, first kiln, retouching and glazing, second kiln and last drying.

First molding of the trays with the hydraulic press.

Thanksgiving

Thanksgiving

Origin and tradition of the celebration

Thanksgiving is one of the most important celebrations of the year in the United States. A special day when family and friends gather around the table to celebrate gratitude.The origin of Thanksgiving dates back to 1621, when English settlers and the Wampanoag tribe held a feast as a sign of thanks for the autumn harvest. The first year in the ‘New World’ had been hard, and the Indians had been crucial in helping them learn farming and hunting techniques. The feast lasted three consecutive days and was held in Plymouth (now Massachusetts).From then on, thanksgiving feasts were celebrated in different communities over the years. In the 19th century, during the Civil War, Republican President Abraham Lincoln decided to declare Thanksgiving Day a bank holiday in 1863, celebrated thereafter on the last Thursday of November. In 1939, as the last Thursday of the month was the 30th, President Franklin D. Roosevelt wanted to move Thanksgiving to the second-to-last Thursday in November in order to add an extra week of Christmas shopping and give the economy a boost. This caused an uproar and citizens protested, calling it ‘Franksgiving’. However, this change was only in effect for two years until 1941, when Congress approved the return of the holiday to the fourth Thursday in November.The traditional Thanksgiving meal is turkey with mashed potatoes and cranberry sauce. Although it has not been proven with certainty that turkey was eaten at the 1621 feast, it is said to have been chosen because of its larger size compared to chickens, ducks and geese, ideal for serving at a large meal. We share the beauty of the moments around the table, the way of turning every meal into a special moment, the love in the small details.

El kipferl austríaco, Maria Antonieta y el croissant francés

The Austrian kipferl, Marie Antoinette and the French croissant

Some legends about its origin

It is said that the Austrian kipferl could be the grandfather of the croissant because of its similar crescent shape. A debate supported by different stories and legends that, believe it or not, add a curious and lively touch to the history of these pastries. The supposed origin of the Austrian kipferl dates back to the 17th century. The story goes that the Ottoman Empire, with the intention of invading Vienna, began to dig a passageway that would allow them to enter the city under the city walls. They dug at night while the Viennese slept, unaware that the bakers, who worked at night, heard the noises. They alerted the authorities, preventing the invasion, and to celebrate they created the kipferl, a bread whose crescent moon shape mimics the crescent moon of the enemy’s Ottoman flag. The world-famous French croissant is thought to be inspired by the Austrian kipferl that Marie Antoinette, Austrian archduchess and queen consort of Louis XVI, had brought to France for breakfast in the 18th century. A century later, the Austrian entrepreneur August Zang opened Boulangerie Viennoise in Paris. He soon made kipferl and pain viennois famous among the gentry. Zang actually modified the original recipe by making a much flakier dough, thus initiating the first version of today’s French croissant. We share a curiosity for the past, customs and traditions. The way to delve into history and discover the origins of things. We don’t know whether or not this is the true origin of the croissant, but it would be a very nice story if it were.

Las primeras cuberterías de acero inoxidable

The first stainless steel cutlery

A material that is just over 100 years old

The origin of the first stainless steel cutlery dates back to the beginning of the 20th century. Before their invention, tableware was usually made of metals such as silver, iron or ordinary steel, which were prone to corrosion and required special care to avoid stains and rust.It was in 1913 that the British metallurgist Harry Brearley came up with an alloy of chromium and carbon steel that did not tarnish or rust and remained the same. A century earlier, experiments had already been carried out with different alloys, with the aim of achieving a rust-resistant material.The first brand to market stainless steel cutlery was Firth-Vickers, a British company based in Sheffield, England. In fact, Brearley worked in one of the company's subsidiaries. Following his discovery, Firth-Vickers was a pioneer in recognising the potential of stainless steel for the production of cookware and cutlery, due to its corrosion resistance and low maintenance. They began to develop and market cutlery made from this material in the 1910s and 1920s. Sheffield continued to establish itself as a centre for the production of stainless steel cutlery, exporting pieces all over the world and laying the foundations for its widespread use in everyday life. Stainless steel revolutionised the cookware and cutlery industry, offering durability, easy cleaning and a shiny finish. The first cutlery made from this material appeared soon after, quickly gaining popularity due to its hygienic properties and low maintenance. Until the beginning of the 20th century, all metal cutlery rusted. It was a very heavy task for the people who had to keep them clean and shiny, to the point of warning them at the time of their hiring, even stating ‘doing no cutlery’ on their letter of introduction. Although stainless steel became the preferred choice for everyday use due to its durability, low maintenance and affordable price, silver cutlery and other silver-plated alloys remained symbols of luxury, sophistication and tradition.Silver cutlery, whether solid silver or silver plated metal, is associated with formal events, celebrations and special occasions. Their distinctive lustre, weight and elegant aesthetics have maintained their popularity in high-end settings, such as luxury hotels, top restaurants and in family collections that are passed down from generation to generation.Several brands have continued to be benchmarks in the production and marketing of silver cutlery, standing out for their quality, history and prestige. Today, in Europe, the French goldsmith Christofle, founded in 1830, whose silver and silver-plated cutlery is still a symbol of sophistication on tables all over the world; and Puiforcat, founded in 1820 by Emile Puiforcat, a house that is synonymous with elegance and excellence in goldsmithing.

El bollo Suizo

The ‘bollo Suizo’

A lifelong sweet from Madrid

The ‘bollo Suizo’ is a classic pastry from Madrid that dates back to the 19th century. Despite its name, it is not of Swiss origin, but is a Spanish creation, specifically from Madrid.It owes its name to the Confitería Suiza, a very popular establishment in the Spanish capital at the time. Opened in 1845, this confectionery was located at number 6 Puerta del Sol and became famous for the production of this pastry. Over time, the Suizo became one of the most popular products in Madrid's pastry shops, becoming part of the traditional breakfast or afternoon snack of many families. Behind the Confitería Suiza was a family of Swiss origin, the Fundérichs, who decided to settle in Madrid and open their own confectionery business. The surname Fundérich has remained associated with the prestige of the establishment, which not only offered confectionery, but also chocolates and sweets with European influences, something that was highly appreciated by Madrid's high society at the time. The confectionery was an important social meeting point in Madrid. During the second half of the 19th century and the beginning of the 20th century, it was frequented by intellectuals, politicians and people from high society who went there not only to enjoy its sweets, but also to participate in gatherings and conversations in an elegant atmosphere. Gustavo Adolfo Bécquer, who attended this café until the end of his life, used to sit at one of the tables next to the doors of the confectionery. The legacy of the Confitería Suiza lasted for decades, and although the original establishment closed its doors in the mid-20th century, it left an indelible mark on Madrid's confectionery tradition.