Ceramics, mosaic and glass: artworks Books

Book SynopsisEdmund de Waal’s art speaks to his enduring fascination with the nature of objects and the attendant history of their collection and display. Confronting European and Asian traditions of intimate craftsmanship with the scale and sequence of minimalist art and music, Edmund de Waal’s ensembles of porcelain vessels evoke at once the delicate measure of Agnes Martin’s sublime abstract paintings and the rhythmic pulses of the music of Philip Glass and Steve Reich.

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Book SynopsisThis elegant monograph marks Shio Kusaka's first solo exhibition with Gagosian and her first exhibition in Italy.Shio Kusaka's ceramic work often incorporates playful details and subject matter, from basketballs and fruit to dinosaurs, raindrops, and wood grain. However, in this new body of work, she further explores her geometric abstractions, offering a more direct view of her technical mastery as she adheres to a single-process approach to study the possibility of endless permutations.In previous abstract works, Kusaka often ended a line or grid pattern once it became distorted by the curvature of the pot, producing fragmented, interlocking patterns that appear as overlapping drawings, contradicting the three-dimensional volume. In these new works, however, she takes an almost topographic approach by carving, painting, and even drawing with pencil intricate lines along the surfaces of each pot, allowing the shape of each vessel to dictate the curves of the lin

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Book SynopsisNicholas R. Bell is the Fleur and Charles Bresler Senior Curator of American Craft and Decorative Art, at the Renwick Gallery of the Smithsonian American Art Museum, Washington, DC, USA.Table of ContentsTable of Contents List of Contributors 1. (Dis) Organizing Principles Nicholas R. Bell: Introduction Glenn Adamson: Goodbye Craft 2. Aesthetic Transgressions Elissa Auther: He is Survived by His Longtime Companion: Feeling in the Work of Josh Faught Maria Buszek, Elaine Reichek, Sonya Clark, Michael Strand: Media, Process, History: Craft beyond Crafting Jenni Sorkin: Craft-Like: The Illusion of Authenticity 3. The Politics of Display Elizabeth McGoey: America at Home: Crafts and Craftsmanship in the 1939-1940 New York World’s Fair Shelter Exhibits Ulysses Dietz: Taste, Money, Museums and the Subversion of Craft Julie Muniz and Jennifer Scanlan: Institutionalized: Craft in the Museum 4. Enduring Conflicts Maria Shevzov: Making an Impression: The Material Culture Scholarship and Craft of Historical Reenactors Bibiana Obler: Craft as a Response to War 5. Education and Technology Garth Johnson: A Hackerspace of One’s Own: Curriculum and the Maker Movement Neil Gershenfeld, Stuart Kestenbaum, Phyllis Klein: Digital Fabrication: Implications for Craft and Community 6. Negotiating Industry Ezra Shales: The Politics of ‘Ordinary Manufacture’ in the Post-Industrial State Sandra Alfoldy: Craft Goes to Disney! Gabriel Craig: DIY Detroit List of illustrations/photography credits Index

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Book SynopsisThis anthology of written sources (dating from the seventh to the twentieth centuries) explores numerous aspects of the crafts of the Middle East from the processing of raw materials to the manufacture of finished artefacts.Table of ContentsList of Figures; Acknowledgements; Notes for the Reader; Image and Text Acknowledgements; Introduction; Part 1: Foundations; 1. Theoretical Formulations; Part 2: Human Dimensions; 2. The Organisation of Labour; 3. Rituals, Songs and Poems; 4. Biographical Information; 5. The Lives of Artisans and Artists; Part 3: Resources; 6. Raw Materials I: minerals; 7. Raw Materials II: plants; 8. Raw Materials III: animals; 9. Mining and Metal Preparation; 10. City Descriptions; Part 4: Inorganic Media; 11. Copper; 12. Iron and Steel; 13. Other Metals: Gold, Silver and Tin; 14. Pottery; 15. Glass; Part 5: Organic Media; 16. Wood; 17. Basketry and Matting; 18. Leather; 19. Spinning, Bleaching and Dyeing; 20. Weaving; 21. Rugs, Carpets and Felt; Part 6: Writing and Painting; 22. Papyrus and Paper; 23. Calligraphy; 24. Painting; Part 7: Architecture and Engineering; 25. Building Techniques; 26. Vaulting and Architectural Decoration; 27. Engineering; Part 8: Economic Considerations; 28. Recycling and Repair; 29. Crafts in an Age of Competition and Change; Glossary; Names of Craft Activities in Arabic and Persian; Bibliography; Index.

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Book SynopsisA fascinating look at an extraordinary collection of ceramic masterpieces by celebrated French ceramicist Ernest Chaplet. Over the last forty years, architect and collector Peter Marino has acquired a remarkable collection of pieces by French ceramicist, Ernest Chaplet. This collection is a precious testimony of a rare production - a new line of ceramics created by Chaplet in 1883 for the Limoges-based factory Haviland & Co. Ernest Chaplet sheds deserved light on this great artist, whose career exemplifies the evolution of artistic ceramics at the turn of the 20th century, and whose work entered the collections of many museums during his lifetime.

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Book SynopsisThis comprehensive book is both a biographical exploration of the early life of Mary Seton Watts and a survey of the pottery she designed. Mary Seton Watt's (1849-1938) roots in Scotland, her artistic career and her marriage to the Victorian artist George Frederic Watts all influenced the design of the Grade 1 listed Cemetery Chapel at Compton. It also influenced the art potteries which she then set up, both in Compton (The Potters' Arts Guild) and in her home village near Inverness. The pottery at Compton was in business for more than fifty years, making terracotta garden ware, memorials and small decorative pieces. It remained open even through two World Wars and a trade depression. This highly illustrated publication showcases the beautiful and individual pieces of pottery. It is a fitting tribute to the ability of Mary Watts to coordinate both people and resources.Trade ReviewHilary Calvert's and Louise Boreham's monograph is not only an impeccably researched study of Mary Watt's distinctive enterprise as a ceramicist but also an important contribution to the growing corpus of scholarly literature on women in the Arts & Crafts Movement. It is profusely illustrated, with an invaluable picture-gallery of pieces manufactured by the Compton Pottery... With notable success, Calvert and Boreham have documented a remarkable and idealistic Arts & Crafts enterprise, and have sensitively portrayed its energetic and visionary founder. * The Victorian Magazine *Hilary Calvert and Louise Boreham give a real insight into the running of the two art potteries Watts set up ... There is much detailed information on those who worked on the project and one of the great strengths of this volume is the focus on people and processes which are often overlooked. This is complemented throughout by well-chosen photographs. -- Claire Blakey * The Decorative Arts Society *For collectors, the final section of the book would probably alone justify its purchase: a 24-page 'Picture Supplement' which is virtually a Compton Pottery illustrated catalogue. The range of items is astonishing, and the colours are both restrained and rich ... This is a lovely book, well produced, and it is whole-heartedly recommended. * Northern Ceramic Society *Table of ContentsAcknowledgements Foreword Introduction 1 Mary Seton Watts (née Fraser-Tytler) 2 Compton Cemetery Chapel 3 Compton Pottery – Early Days 4 Aldourie Pottery, Dores 5 The Potters’ Arts Guild, 1904–1936 6 The Potters’ Arts Guild Ltd and Compton Potteries Ltd 7 Garden Pots 8 Ornamental Ware 9 Grave Markers and Memorials 10 Church Interiors Picture Supplement Bibliography List of Abbreviations Notes Image Credits Index

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Book SynopsisA comprehensive exploration of the life and works of French ceramicist, Adrien Dalpayrat in a meticulously produced luxurious, oversized formatAdrien Dalpayrat was one of the most highly regarded ceramicists working in France in the late nineteenth century. Dalpayrat's recognition came relatively late in life, at age 45, when he first revealed the distinctive oxblood glazes for which he was best known, along with the variety of stoneware forms he employed — everything from gourds to fantastical marine creatures. Dalpayrat's works are included in global private and museum collections, including The Metropolitan Museum of Art, the Musée d'Orsay, the Victoria and Albert Museum, and the Cooper-Hewitt.In this book architect Peter Marino shares his collection of Dalpayrat masterpieces, each beautifully reproduced in a luxurious, oversized format with 270 color illustrations. Also included is a foreword by Peter Marino and insightful essays by curator Etienne Tornier as well as an extensive plates section with works by Dalpayrat.With the same trim size and overall design, the volume is the perfect companion to Peter Marino's previous book, Théodore Deck.Trade Review ‘This magnificent, large volume celebrates an innovative French ceramic artist, famous for his glazed stoneware vessels, as well as for his more sculptural production. The publication records the collection of the architect Peter Marino, who describes the glazes on Adrien Dalpayrat’s vases as “modern paintings in and of themselves”.’ – Decorative Arts Society ‘The outstanding feature of this sumptuous tome is the extraordinary photography that allows the reader to appreciate the tactile quality of the pots and sculptural creations and to absorb the forms and glazes of each piece. The full-page, sometimes double-page, full-bleed details do indeed appear like “modern paintings”, while the detailed shots of particular pieces emphasise the finer details of the designs … Despite requiring serious shelf space, this is a valuable volume that informs and gives pleasure.’ – Decorative Arts Society

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Book SynopsisSam Herman (1936-2020) stands at the very centre of the development of the international Studio Glass Movement. He was not only present for the birth of the Movement in the United States, but was its founding father in Great Britain and Australia. This book is the first to deal directly with the genesis of the Movement and the pioneering work of Herman within it, while also shedding light on his wider practice in sculpture and painting. The son of Polish immigrants, Mexican by birth, and brought up in the tougher New York boroughs, Herman travelled to London in the mid-1960s and went on to head up the Glass Department at the Royal College of Art. From there he inspired a generation of artists, created revolutionary techniques and was instrumental in the development of colour and texture in blown glass. For art historians, collectors and aficionados of glass, this book provides a welcome and comprehensive evaluation of Herman’s position within the Studio Glass Movement, the history of glass art, as well as the wider context of modern British art. While discussion of his sculpture and painting reveal further dimensions to Herman's ongoing, and indefatigable, explorations in form, composition and colour.Table of ContentsForeword, Marquess of Queensbury; Introduction, Rollo Campbell; Early Years, Lucy Abel Smith; The Pioneer, Mark Hill; The Educator, Greg Votolato; Periods of Glass, Mark Hill; Paintings & Sculpture, Michael Regan; Markings, Frestonian Gallery; Select Bibliography; Index

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Book SynopsisPueblo pottery is renowned for its extraordinary beauty and craftsmanship. 'Pueblo' is a Spanish word meaning 'town' or 'village'. When the Spanish arrived in 1540 in what is now known as the American Southwest, they referred to the Indigenous communities and their settlements as Pueblos. The Pueblos are among the oldest settlements in North America, and their pottery-making tradition is as old as the ancient Pueblos themselves. Pottery is used throughout the life of a Pueblo person, and various forms are made for cooking, gathering water, food storage and ceremonial use. The Coloring Book of Pueblo Pottery features more than 30 drawings for you to complete, whether by reproducing the traditional palettes or by finding inspiration in the swirling or geometric patterns and stylised motifs for a unique design of your own. Made predominantly by women, the pots are created from natural clay using a coil method; they are hand-painted and fired outdoors. Designs vary from one Pueblo to another, but symbols and motifs relating to the natural world - birds, deer, plants and water - are common. Today, such pottery is highly collectible and is found in museums and private collections around the world. This delightful colouring book allows you to create your very own masterpieces of this celebrated and cherished art form. AUTHOR: Brian Vallo is the Terri and Michael Smooke Curator and Department Head of Contemporary Art at the Los Angeles Museum of Art. 34 line drawings, 32 colour illustrations, 1 map

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Book SynopsisA Passion for China is a personal celebration of the everyday beauty of tableware. Acclaimed ceramicist, artist and designer Molly Hatch explores the family stories behind beloved items; the bowls and cups we have inherited or chosen with love and care. Molly Hatch also brings the history of porcelain, potteries and patterns to life through her stunning, hand-drawn illustrations. 'As we move through our daily lives, eating breakfast, sipping an afternoon cup of tea or gathering for a family dinner, the patterned ceramic objects we live with are precious witnesses to our stories. We eat from them, they warm our hands after a cold walk outdoors and we pull them out to celebrate the births, marriages and lives of our loved ones.' A tribute to the rich heritage of the vintage plates, jugs and pots that make our homes our own.Trade Review`Looking at the family china, full of memory and meaning to her personally, she was driven back to the museums where she first studied as a young artist. Her research led to a new book, A Passion for China. And in the process she learned much about the subtle but powerful influence homeware has on us all - including what we search for to replace pieces that are lost or broken.’ The Guardian | ` We eat from them, they warm our hands after a cold walk outdoors, we pull them out to celebrate the births, marriages and lives of our loved ones, we sometimes drop them carelessly or smash them in anger, and then we work to delicately glue them back together. Their familiarity becomes a part of our sense of ourselves, a sense of our home.’ Molly Hatch quoted in iNews | `I love everything about it... Every page is covered with beautiful illustrations and snippets of text... I love it and I think you will too.’ Marmalade Pie | `Artist and ceramicist Molly Hatch makes whimsical, charming, yet undeniably special pottery... In her new, beautifully illustrated book, A Passion for China: A Little Book About the Objects We Eat From, Live with and Love, she explores the roots of her own fascination with fine ceramics (mainly objects in her grandmother's house) as well as the more immediate enjoyment that well-used porcelain can present (many of her grandmother's things were chipped from being used and not cabineted away - imbuing each piece with loving, happy memories).’ The Globe and Mail

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Book SynopsisEncompasses an impressive and engaging variety of fabulous objects from the most important faience centres, dating from the late sixteenth to the mid-eighteenth century. A feat of great technical achievement, French faience was introduced to Lyon in the second half of the sixteenth century by skilled Italian immigrants:mdash;the French word "faience" deriving from the northern Italian city of Faenza. Over the next two centuries, production spread throughout the provinces of metropolitan France. The fine decoration of French faience draws inspiration from multiple sources - Italian maiolica, Asian porcelain, and even contemporary engravings. The forms of its platters, bowls, plates, and ewers derive mostly from European ceramics and silver. This complex interplay of influences comes together in works of great originality. The Knafel Collection of French faience, the finest in private hands, includes outstanding examples of Nevers, Rouen, Moustiers, Moulins, and Marseilles production from the late sixteenth to the mid-eighteenth century. The quality of these masterpieces almost obscures the fact that French faience was essentially a provincial art, largely patronised and commissioned by a local aristocracy and made far from the centres of political power in Versailles and Paris. In this stunning new volume, Charlotte Vignon traces the history of French faience, offering detailed discussions of key centers of production. Illustrated with more than seventy examples, this valuable resource testifies to the creativity and beauty of an engagingly innovative tradition. AUTHOR: Charlotte Vignon is curator of Decorative Arts at The Frick Collection, as well as a Visiting Associate Professor at the Bard Graduate Center, New York. 88 colour images

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Book SynopsisWINNER OF THE AMERICAN CERAMIC CIRCLE AWARD 2021 A fascinating exploration of the inspiration behind, and development of, classically inspired sculpture and other ornamental wares in black basalt, the famous stoneware perfected by Josiah Wedgwood in 1768. Wedgwood, with prescience, said of his new creation: ‘Black is Sterling and will last forever.’ This volume presents approximately 120 examples of ornamental black basalt, including portrait busts, statues, and vases, ewers, and other fully three-dimensional, ornamental forms. Works in low relief include tablets, plaques, medallions, and cameos. The volume also features essays by renowned subject specialists and individual, fully illustrated catalogue entries which will be grouped into three chapters and organized according to the era—Classical Antiquity, 16th- and 17th-Centuries, 18th Century—of the design sources used by Wedgwood and his contemporaries to create their basalt wares.Trade Review"One of the most important works on 18th-century ceramics to be published in the last decade"—Anne Forschler-Tarrasch, The Art Newspaper; "A handsomely illustrated catalog written by Mr. Gallagher, with contributions by several eminent colleagues in the field"—Barrymore Laurence Scherer, The Wall Street Journal; "A scholarly study of classically inspired sculpture and utilitarian and ornamental stoneware in black basalt"—Andrew Lambirth, The London MagazineTable of ContentsForeword by Todd A. Herman, PhD, President & CEO, The Mint Museum; Acknowledgments by Brian D. Gallagher, Curator of Decorative Arts, The Mint Museum; Preface by Brian D. Gallagher; Classicism and the Design Business by Robin Emmerson; Josiah Wedgwood’s Production of Basalt Ornamental Wares by Gaye Blake-Roberts; Wedgwood’s Basalts within the Context of the 18th-Century English Sculpture Market by Dr. M.G. Sullivan; Catalogue of the Exhibition by Brian D. Gallagher; I. Works Based on Sources from Classical Antiquity: Wedgwood’s Sources from Classical Antiquity by Dr. Nancy H. Ramage; II. Works Based on 16th- and 17th-Century Sources; III. Works Based on 18th-Century Sources; Concordance (by Object Type); Selected Bibliography; Mint Museum Board of Trustees; Index

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Book SynopsisAll of the artists use the topic of Nature as a means of asking what it is to be human in a world increasingly chaotic and divorced from our physical landscape. Forces of Nature: Renwick Invitational 2020 features artists Lauren Fensterstock, Timothy Horn, Debora Moore, and Rowland Ricketts. Nature provides a way for these invited artists to ask what it means to be human in a world increasingly chaotic and divorced from our physical landscape. Representing craft media from fiber to mosaic to glass and metals, these artists approach the long history of art's engagement with the natural world through unconventional and highly personal perspectives. Forces of Nature: Renwick Invitational 2020 is the ninth installment of the Renwick Invitational. Established in 2000, this biennial showcase highlights midcareer and emerging makers who are deserving of wider national recognition. The featured artists work in a wide variety of media, from Lauren Fensterstock, who creates detailed, large-scale installations using intensive modes of making drawn from the decorative arts, including paper quilling and mosaic, and from whom SAAM has commissioned a site-specific work - inspired in part by the illustrated renaissance German manuscript The Book of Miracles - that will transform an entire gallery at the Renwick, to Timothy Horn, who creates exaggerated adornments that combine natural and constructed worlds, taking inspiration from objects as varied as baroque jewellery patterns and Victorian era detailed studies of lichen, coral, and seaweed, from bronze and glass, as well as unusual materials like crystalized rock sugar, to evoke the extravagant Amber Room in the Catherine the Great's palace of Tsarskoye Selo; and from Debora Moore, known for her exquisitely detailed glass renderings of orchids, and who is represented in this volume in her new series, Arboria (2018), in which Moore focuses less on realism and more on capturing an intensely personal experience of beauty and wonder, to Rowland Ricketts who creates immersive installations using handwoven and hand-dyed cloth, starting on his farm, where he cultivates the indigo plants he uses to colour his artwork, fully linking his material and process with the finished product. Participatory engagement from non-artists, forms a major part of Rickett's work, emphasising the relationship between nature, culture, the passage of time, and everyday life. AUTHOR: Nora Atkinson is the Lloyd Herman Curator of Craft Renwick Gallery, Smithsonian American Art Museum Washington, DC. 74 colour illustrations

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Book SynopsisThe ultimate illustrated guide to the sculpture parks and trails of England, Scotland, Ireland and Wales. This exciting guide to the sculpture parks, trails and gardens of England, Ireland, Scotland and Wales is the perfect book if you like art and the outdoors. Divided up into countries and regions, the book is informative as well as beautifully illustrated with fabulous images of sculptures by a broad array of international artists. The book gives you information on all the major sculpture venues of interest, featuring the best and most established, while also providing a wide range of other interesting places to visit and explore. Each feature provides directions of how to get there, along with an overview of the park or trail, and lists sculptures of particular interest and quality, while maps of each area will help you find places close by to visit. This makes it easy to see which places are suited to you depending on your preferences, level of interest and time available. This fully revised 2nd edition provides updated information and new entries for England, as well as brand new sections providing thorough coverage of Scotland, Ireland and Wales. It is an ideal guide if you have a passion for both nature and sculptures, or if you are looking for ideas for a fun family day out.Trade ReviewThis comprehensively illustrated guide provides both an idea of where you might want to go, how to get there and what to see when you do ... This is a well thought-out and attractively-presented guide that should be of interest to the serious student or the curious traveller. * Art Book Review *This guide contains all the information you could want in order to plan a visit. Arranged geographically, it provides location information as well as details of opening times, prices and a summary of what to look out for when you're there. For me, though, the real treat is the generous illustrations. If you like modern sculpture, they're a pure feast and provide a real sense of what's out there. For all those parks you maybe can't get to, this book is not a bad substitute. It will, however, also whet your appetite. Sixty-six parks are included, from the can't-miss Yorkshire Sculpture Park to the hadn't-thought-of-that Derek Jarman's garden at Dungeness. The only problem is: do you keep it in the house or in the car? -- Henry Malt * The Artist *Table of ContentsIntroduction 1. England The North-East The North-West The Midlands The South-East The West Country 2. Scotland 3. Northern Ireland & Republic of Ireland Northern Ireland Republic of Ireland 4. Wales Index

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Book SynopsisA major figure in the Arte Povera movement of the late 1960s, the renowned Italian artist Giuseppe Penone is known for his exploration of the relationship between art and the natural world in a body of work that includes sculpture, performance, works on paper, and even garden design. His first works in porcelain, the exquisite disks presented here draw attention to the moment of touch—the convergence of surface and skin—that underpins so much of his work. Published to accompany The Frick Collection, New York’s temporary installation of works by Penone, this new volume comprises eleven porcelain disks that the artist made during his 2013 residency at the Manufacture Nationale de Sèvres, the influential porcelain factory founded in the 18th century. A continuation of his Propagazioni (Propagations) series, begun in 1995, which includes various media, each disk bears the imprint of one of the artist’s fingertips. One of them is in gold, its imprint a variation on the artist’s index finger. Never before presented to the public, the installation of the disks in a gallery adjacent to the Frick’s early Italian paintings on gold grounds and the porcelain room kindles a rich artistic dialogue with both porcelain and gold.Table of ContentsDirector’s Foreword by Ian Wardropper; Introduction: “But there on the shining shield”: Giuseppe Penone’s Propagazioni at the Frick by Xavier F. Salomon; Propagazioni in Porcelain: Ripples of Thought after a conversation with Giuseppe Penone by Giulio Dalvit; Installation; Bibliography

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Book SynopsisThis is the first comprehensive look in English at the Seifu Yohei Ceramic Studio in Kyoto, from the Meiji period (1868 1912) to the mid Showa period (1926 89), the James and Christine Heusinger Collection at the Cleveland Museum of Art as its core material. The principal essay provides a biography of Seifu Yohei III, the star of the studio and the first ceramist to be named an Imperial Household Artist, as well as an overview of the studio that contextualises it in the world of literati painting, sencha (steeped green tea) and international trade. A second essay offers a brief history of porcelain production in Kyoto, as well as a discussion of objects produced by the Seifu studio for sencha. This catalogue of a hundred works examines the wide variety of forms, decorative techniques and glazes that made the studio's works unique. AUTHORS: Shinya Maezaki is a professor at Kyoto Women's University. Sinead Vilbar is curator of Japanese Art at the Cleveland Museum of Art. SELLING POINTS: . Features the Seifu Yohei Ceramic Studio in Kyoto from the Meiji period (1868-1912) to early Showa period (1926-89) . Focuses on the domestic market vs. international market, modernization vs. Westernization, and China as a cultural model . Biographical essay on Seifu Yohei III . Essay on sencha . Great photography of Seifu works displaying a great variety of techniques, glazes, and forms 160 colour illustrationsTable of ContentsDirector’s Foreword; Preface: Pursuit of Perfection by Marjorie L. Williams; Acknowledgements; Establishing Ceramics of Imperial Japan: The Life and Art of Seifū Yohei III by Shinya Maezaki; Porcelain in Kyoto by Sinéad Vilbar; Entries by Sinéad Vilbar; Appendix: Seals and signatures by Sinéad Vilbar; Concordance of Terms by Sinéad Vilbar; Bibliography; Index; The Cleveland Museum of Art Board of Trustees

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Book SynopsisThe Benaki Museum of Islamic Art in Athens has a substantial collection of Iznik ceramics (tableware, tiles and sherds). Although well-known to those who visit the museum, this collection has never been fully published. John Carswell first studied the objects in the 1980s and started cataloguing them with a view to publication. The project was revived and guided to fruition by the curator of the museum, Mina Moraitou. She has contributed a chapter on Antonis Benakis and the formation of the Iznik collection as well as working on the catalogue which includes 111 objects, 83 tiles and 143 sherds. All the objects are illustrated in colour, some with line drawings.

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Book SynopsisDas dreibändige Werk widmet sich den Jahren, als die KPM Berlin als „Staatliche Porzellan-Manufaktur Berlin" firmierte, und schließt damit eine markante Forschungslücke. Der Autor Tim D. Gonert führt in die Geschichte der Manufaktur im 20. Jahrhundert ein und ermöglicht anhand von über 2.000 zusammengetragenen Objekten einen Überblick über die enorme Formenvielfalt und die künstlerischen Dekore aus der modernen Berliner Porzellanproduktion. Begleitet werden die komplett neu fotografierten Objekte von wissenschaftlich fundierten Texten sowie Archivfotografien als ein Ergebnis jahrelanger Quellen- und Recherchearbeit. Der Biografieband beschreibt in über 60 Aufsätzen Leben und Arbeit der wichtigsten Entwerfer und komplettiert somit dieses wunderbare Nachschlagewerk für Kunsthandwerk und Design. .

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Book SynopsisThis unique reference book compares the artistic glass enamels of Samuel and Gottlob Mohn with those of Anton Kothgasser. The book explores the differences and similarities in decoration and painting by showing important glasses in museums and otherwise inaccessible private collections, with never-before-seen essays, photographs and enlarged details.

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Book SynopsisIn the times when the Ukrainian art sphere was regulated by the Soviet institutions, local monumental and decorative arts existed at the frontier of the Party’s propaganda and the artistic thirst to experiments. Nowadays, Ukrainian mosaics are wrested out of the architectural context of the country in both literal and metaphorical ways. The artworks are liquidated from the buildings they were specifically created for and indiscriminately despised as ideological pieces of no value. Furthermore, in legal terms mosaics are not defined as objects of art that makes them unguarded in the face of the decommunization process. Initially incepted as a guide, this book is an equally beneficial companion for the journey through space (in the context of the geographical area of modern Ukraine) and hitchhiking through time (in terms of Ukrainian cultural history). It incorporates the selection of Ukrainian mosaics which undermines the simplified perspective on the Soviet art heritage in Ukraine. The volume is generously supplemented with unique photographs of the documentary photographer Yevgen Nikiforov who continues the research, initially presented in the book Decommunized: Ukrainian Soviet Mosaics (2017). Together with the art historian Polina Baitsym who reveals striking linkages of the mosaics’ plots with broader historical context, he will guide you through the testimonies of the genuine creativity of Ukrainian monumental artists which managed to flourish on the most infertile soil.

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Book SynopsisIn 2008 and 2013 the GRASSI Museum of Applied Arts in Leipzig presented two representative inventory publications under the title Vessel / Sculpture. German and International Ceramics since 1946, which attracted great interest from across the globe and were regarded as standard reference works. This third volume continues the series, against a backdrop of a renewed and extensive increase of modern studio ceramics in the museum's collection. As in the previous publications, the objects in the book enter into aesthetic dialogues, thus facilitating interesting perspectives in the development of artistic ceramics up to the present day. In doing so it becomes clear how ceramic objects are developing from a servient-functional gesture into ever consistent autonomous artworks yet without necessarily losing the vessel theme. Its multitude of current artists' biographies and illustrations of makers' marks make this a highly recommendable reference work. Text in English and German.Table of ContentsContents: Contributions from selected artists: Felicity Aylieff, Thomas Bohle, Werner Bunck, Carmen Dionyse, Allesandro Gallo, Louise Hindsgavl, Beate Kuhn, Sonngard Marcks, Ken Mihara, Sarah Pschorn, Elke Sada, Carolein Smit, Julian Stair, Robert Sturm and Henk Wolvers.

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Book SynopsisEver since at least the ninth century, the Chinese province of Zhejiang has been known for its fine celadon porcelain with wonderful shimmering surfaces in qing, the magnificent shades of green. Chinese celadon enjoyed its golden age from the eleventh to the fourteenth century, a time when it found its way into the Imperial collections and was exported worldwide. A decline of craftsmanship followed, and by the end of the nineteenth century celadon had almost completely disappeared. It was not until the 1950s that this style of pottery was successfully brought back to life. In the 1990s changes to the market economy forced porcelain artisans to reorient; to this day they have been able to successfully align themselves, similar to the UNESCO World Cultural Heritage system, as 'Living State Treasures' with their unparalleled celadon glazes. Seladon im Augenmerk offers an exciting social anthropological insight into the cultural history, technology and sociality of celadon production in the porcelain metropolis of Longquan, PR, China, up to the present day. Text in German.

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Book SynopsisIn 1924, five young Italians founded the Studio Ars et Labor Industrie Riunite (S.A.L.I.R.) with the aim of modernising the ancient art of glass-decorating: Giuseppe D’Alpaos, Decio Toso, Guglielmo Barbini, Dino Martens, and Gino Francesconi. In 1928, the emergence of Franz Pelzel, a Bohemian glass engraver, and Guido Balsamo Stella, an all-round artist, marked the start of the production for which S.A.L.I.R. is most remembered today: contemporary glass-engraving. After Balsamo Stella’s departure in 1932, Franz Pelzel took the lead role of designer, occasionally also executing designs by other reputed artists. Based on the factory’s archives, Marc Heiremans illustrates the artistic evolution of S.A.L.I.R. through numerous drawings and period photographs. As well as being a catalogue raisonné, it is also an in-depth study shedding light on paramount developments in Murano’s glass-making history.

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Book SynopsisThe Frenchman Claude Champy (*1944) brings together man and the cosmos in his ceramics. In his studio, mechanical, geological, and chemical processes fuse to form a ceramic total work of art - guided by the barely visible yet influential human gesture. Despite the ceramicist wishing to capture the great forces of the universe in his work, he consciously consigns this part to trial and error, to an intentional loss of control, relying instead on the inherent logic of the material and fire. In Stardust Champy permits insights into his studio practice, his more recent artworks, and his work philosophy by providing commentary on his own sculptures and having them contextualised by experts. What results is a personal book on a unique artist, a retrospective on an oeuvre that is as powerful as it is elemental. Text in English and French.

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Book SynopsisThe core of the collection of Greek vases at Harrow School is the gift of Sir John. Gardner Wilkinson, a leading Egyptologist of the mid nineteenth century whose wide range of interests is well demonstrated by his skill in collecting Greek vases, as well as his still influential books on Egypt. The collection is by no means an ordinary one, since it contains more than its share of Athenian masterpieces as well as a full range of wares from other parts of Greece and Italy. It includes the name vase of the Harrow Painter, an outstanding amphora by the Kleophrades Painter, and many hitherto unpublished pieces of more than ordinary merit.

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Book SynopsisThis volume makes available the fascinating yet under-publicised vases in the Marischal museum, University of Aberdeen. The range includes Attic black and red figure of extremely high quality, Etruscan bucchero, and South Italian red figure. A detailed introduction discusses the history of the acquisition of the collections, collection management and display.Trade Review[An] excellent addition to the series * K.W. Arafat, The Classical Review *...the CVA is an all important guide. * Michael M. Eisman and Keri Ecker, Bryn Mawr Classical Review *

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Book SynopsisTrade ReviewThroughout this book, Glassie provides a vivid, on-the-ground sense of Johnston's evolving work, from journeyman pottery to installation art. His close observations, high-quality photographs, and liberal quotations from interviews offer a rich document of the potter's aesthetic and technical decisions in the context of the Seagrove vernacular tradition and other artistic realms. Glassie concludes his study with further reflections on friendship, fieldwork, and artistic biography. This excellent book will appeal to a range of scholars and general readers with an interest in folklore, material culture, art history, and the American South. * Journal of Folklore Research *Table of Contents1. Beginnings 2. Apprenticeship 3. East and West 4. Building a Shop and Making a Pot 5. Firing 6. Selling 7. New Directions Afterword Notes Oral Sources Bibliography Index

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Book SynopsisTrade Review"In the context of previous studies of American ceramic traditions, both historic and recent, McGriff makes a substantial contribution to this field of scholarship by offering a fresh way of thinking about handcraft in postmodern America. One of her study's potential strengths [is] as a model to point the way for similar studies in other parts of the country."—John A. Burrison, author of Global Clay: Themes in World Ceramic Traditions"McGriff breaks important new ground that will enrich the understanding of the creative processes associated with object making [and] enables the reader to better understand how the study of potters working together can be a powerful tool for understanding regions and groups."—C. Kurt Dewhurst, author of Folklife and Museums: Twenty-First Century PerspectivesTable of ContentsAcknowledgments1. Michiana Connections: An Introduction2. Education, Identity, and Vocational Habitus3. The Michiana Aesthetic and the Collaborative Process of Wood Firing4. Collection Practices: Maintaining the Aesthetic5. More Than Pottery in Michiana; More than Michiana in Pottery6. The Potter's Social LifeEpilogue: Constant ChangeAppendix I: Michiana Pottery Tour MapsAppendix II: Apprentices, Assistants, and/or InternsWorks CitedIndex

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Book SynopsisTrade Review"In the context of previous studies of American ceramic traditions, both historic and recent, McGriff makes a substantial contribution to this field of scholarship by offering a fresh way of thinking about handcraft in postmodern America. One of her study's potential strengths [is] as a model to point the way for similar studies in other parts of the country."—John A. Burrison, author of Global Clay: Themes in World Ceramic Traditions"McGriff breaks important new ground that will enrich the understanding of the creative processes associated with object making [and] enables the reader to better understand how the study of potters working together can be a powerful tool for understanding regions and groups."—C. Kurt Dewhurst, author of Folklife and Museums: Twenty-First Century PerspectivesTable of ContentsAcknowledgments1. Michiana Connections: An Introduction2. Education, Identity, and Vocational Habitus3. The Michiana Aesthetic and the Collaborative Process of Wood Firing4. Collection Practices: Maintaining the Aesthetic5. More Than Pottery in Michiana; More than Michiana in Pottery6. The Potter's Social LifeEpilogue: Constant ChangeAppendix I: Michiana Pottery Tour MapsAppendix II: Apprentices, Assistants, and/or InternsWorks CitedIndex

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Book SynopsisA trade in Athenian pottery flourished from the early sixth until the late fifth century BCE, finding a market in Etruria. Most studies of these painted vases focus on the artistry and worldview of the Greeks who made them, but Sheramy Bundrick shifts attention to their Etruscan customers, ancient trade networks, and archaeological contexts.Trade ReviewChallenges and enriches our understanding of the ancient economy, the Athenian vase trade and its Etruscan customers, the iconography of Attic vases, and Etruscan funerary practices."" - Denise Demetriou, author of Negotiating Identity in the Ancient Mediterranean""Bundrick's emphasis on consumer choice is original and groundbreaking. She does not examine vases as isolated creations. By reconstructing Etruscan funerary assemblages, she demonstrates a coherence in the choice of iconographical subjects adorning the various vases deposited in a grave."" - Athéna Tsingarida, Université libre de BruxellesTable of Contents List of Illustrations Acknowledgments List of Abbreviations 1 The Many Lives of Athenian Vases 2 The Nature of the Athenian Vase Trade Findspots and Distribution Data Pottery Workshop Deposits in Athens Trademarks, Batch Notations, and Price Inscriptions Shipwrecks with Commercial Cargo Conclusions 3 Context, Consumption, and Attic Vases in Etruria Liminality, Performativity, and Attic Vases in Etruscan Tombs A Tale of Two Assemblages Conclusions 4 Athenian Eye Cups Abroad Apotropaion vs. Symposion Athenian Eye Cups at Etruscan Vulci Conclusions 5 The Mastery of Water Herakles Meets the Merman Fountainhouse Hydriai and the Etruscan Culto dell’Acqua Conclusions 6 Attic Vases as Etruscan Cineraria Tarquinia Caere Vulci Foiano della Chiana Conclusions 7 The Etruscanization of Attic Figured Pottery Notes References Index

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Book SynopsisAn in-depth analysis of Frans Wildenhain and his role in mid-century studio ceramics.Steeped in modernist ceramic aesthetics, Frans Wildenhain studied under Gerhard Marcks and Max Krehan at the Bauhaus pottery workshop in Dornburg, Germany. There, Wildenhain met another potter, Marguerite Friedlaender, his futurewife. Following World War II, Wildenhain emigrated to the U.S. Earning prizes for his art at the 1939 International Exposition in Paris and the 1958 Brussels World's Fair, Wildenhain also received a Guggenheim Fellowship in 1958,became a Fellow of the American Crafts Council and his work is in the collections of the Smithsonian Institution, Everson Museum and the Art Institute of Chicago.This book features archival images as well as more than 150rich, color photographs of the ceramics exhibited in 2012 at the Rochester Institute of Technology, NY. Six chapters offer contributions to scholarship on the artist, mid-century studio pottery and modern design, monetizing and commercial acceptance of mid-century handcrafted art at an innovative artists' cooperative, university education at the School for American Craftsmen, and an interview with collector Robert Johnson who donated his Wildenhain collection to RIT. The book is an essential document of the exhibition and an excellent reference for those interested in ceramics, crafts, mid-century design and art entrepreneurship.Trade ReviewGoing well beyond the traditional biography of the artist and his works, the catalog contextualizes the cultural, academic, and economic factors of the mid-twentieth century that influenced not only Wildenhain's career, but also the state of contemporary American craft...exhaustively researched and stunningly presented...highly recommended for any library collecting materials on ceramics, mod-century decorative arts and design, and the post WWII arts marketplace. * ART LIBRARIES SOCIETY *The photographs of the pots inspire a wish to hold them. The large number of great photographs will stand as a testimony to Wildenhain's career and serve as a reference. * MAINE ANTIQUE DIGEST *After the RIT exhibition and Bruce Austin's accompanying book...Frans Wildenhain may finally be ready for his close-up. * ANTIQUES ROADSHOW INSIDER (USA) *

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Book SynopsisThis work consists of three illustrated sections presenting the ceramic finds excavated at Sardis, but produced in the mainland Greek centers of Corinth, Athens, and Sparta. The authors' study of this material from the Harvard-Cornell excavations offers new evidence of the taste for Greek wares and shapes in Anatolia before the time of Alexander.Trade ReviewThis volume, the tenth in the monograph series Archaeological Exploration of Sardis, is the first to be devoted exclusively to pottery from the site...[It presents] some of the most easily identified and most prominent classes of Greek pottery of the Archaic period found in Sardis: the Corinthian, Attic and Lakonian...The volume provides as up-to-date an overview of these relevant classes of pottery as possible...The plates, 66 in all, many combining line-drawings with photographs, are of good quality and the volume itself is well edited and handsomely produced. The volume will quickly find its place as an important reference tool in any archaeological library. -- John K. Papadopoulos * Bryn Mawr Classical Review *The prestigious series of monographs on the results of the Harvard-Cornell excavations at Sardis, nine volumes of which have already appeared, is now enriched by the publication of a tenth, devoted to the imported Corinthian, Attic, and Lakonian pottery. Written by three scholars whose prose styles are refreshingly different, yet compatible, this volume catalogues finds from more than 30 years of excavation...This book is a pleasure to read and use. It is logically organized and written with clarity and insight. The catalogue entries are both concise and complete, with up-to-date references. A useful concordance of finds by inventory number and a comprehensive index accompany the text. The plates include plans of the site of Sardis and photographs, often accompanied by profile drawings, of the majority of the catalogued items. The overall quality of the illustrations is excellent...This volume makes a significant contribution to our knowledge of the nature and distribution of imported mainland Greek pottery in western Anatolia. It should prove a valuable tool for vase specialists, as well as for those interested in ancient Mediterranean trade patterns and the chronological application of stratified pottery. We eagerly await further monographs on the pottery from Sardis. -- Evelyn E. Bell * American Journal of Archaeology *Table of ContentsEDITOR'S PREFACE AUTHORS' PREFACE ABBREVIATIONS THE CORINTHIAN POTTERY by Judith Snyder Schaeffer INTRODUCTION Chronology Distribution of the Finds at Sardis Stratigraphy Shapes Kotylai with Linear Decoration CATALOGUE Use of the Catalogue Corinthian Geometric: Cor 1-Cor 3 Early Protocorinthian: Cor 4-Cor 9 Middle Protocorinthian: Cor 10-Cor 25 Late Protocorinthian: Cor 26-Cor 51 Transitional: Cor 52-Cor 79 Early Corinthian: Cor 80-Cor 114 Middle Corinthian: Cor 115-Cor 138 Late Corinthian: Cor 139-Cor 143 Corinthianizing: Cor 144-Cor 148 APPENDIX: Corinthian Pottery from Sardis Found by the Butler Expedition THE ATTIC POTTERY by Nancy H. Rarnage INTRODUCTION Imports and Trade Relations The Painters Condition, Findspots, and Stratigraphy Graffiti and Dipinti Shapes Reuse of Attic Fragments CATALOGUE Use of the Catalogue ATTIC BLACK FIGURE Amphorai: Alt 1-Att 17 Hydria: Aft 18 Olpai: Att 19-Att 20 Lekythoi: Aft 21-Alt 34 Dinoi: Aft 35-Att 39 Column-kraters: Att 40-Att 43 Lekanides: An 44-Att 45 Cups: Aft 46-Att 78 Skyphoi: Aft 79-Alt 87 Plate: Att 88 Indeterminable Shapes: Att 89-Att 90 ATTIC BLACK PATTERN Floral Band Cups: Alt 91-Att 107 ATTIC RED FIGURE Pelike: Att 108 Oixiochoe (?):Att 109 Lekythoi: Aft 110-Att 112 Askoi: Alt 113-114 Head Vases: Alt 115-Att 116 Closed Shape: Alt 117 Kraters: Att 118-Att 123 Lekanides: Att 124-Att 125 Cups: Att 126-Att 129 Skyphoi: Att 130-Att 135 Fish-plate: Att 136 ATTIC BLACK GLAZE Amphorai: Att 137-Att 139 Hydriai or Other Large, Closed Vessels: Att 140-Att 143 Oinochoai (?): Att 144-Att 148 Mug: Att 149 Lekythoi: Att 150-Att 157 Amphoriskoi: Att 158-Att 160 Kraters: Att 161-Att 166 Lekanides: Att 167-Att 170 Stemmed Dishes: Att 171-Att 177 Cups: Att 178-Att 299 Stemless Cups: Att 300-Att 321 Skyphoi: Att 322-Att 336 Cup-skyphoi: Att 337-Att 344 Kantharoi: Att 345-Att 357 Cup-kantharoi: Att 358-Att 377 Bolsals: Att 378-Att 392 Phialai: Att 393-Att 394 Bowls: Aft 395-Att 537 Bowls or Other Open Shapes: Aft 538-Att 546 Plates: Att 547-Att 559 Fish-plates: Att 560-Att 569 Small Bowls: Att 570-Att 576 Saltcellars: Att 577-Att 584 Miniature Kothon: Att 585 Kothon: Aft 586 APPENDIX 1: Attic Pottery from Sardis Found by the Butler Expedition APPENDIX 2: Chemical Analysis of Some Pottery from Sardis by R.E. Jones THE LAKONIAN POTTERY by Crawford H. Creenewalt, Jr. INTRODUCTION CATALOGUE Lakonian II Cups: Lak 1-Lak 4 Black-figure Cups: Lak 5-Lak 8 Kraters: Lak 9-Lak 15 APPENDIX: Lakonian Pottery from Sardis Found by the Butler Expedition CONCORDANCE INDEX PLATES

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Book SynopsisExcavation of the ancient city of Morgantina in southeastern Sicily since 1955 has recovered an extraordinary quantity and variety of pottery, both locally made and imported. This title presents advanced information about the sources of the clay used by the Morgantina potters, as revealed by X-ray fluorescence analysis of selected vases.Trade Review"This is a magisterial work, huge in its scope, exhaustively documented, and thoroughly authoritative. By virtue of its size and the manner of its excavation, with context carefully recorded, this body of ceramics is one of the most important excavated in Sicily for the period. The book will be tremendously useful for those excavating and studying the ceramics of Sicilian sites; I venture to predict that it will become a bible, much like the famous Agora XII of Brian Sparkes and Lucy Talcott. Because Morgantina imported a variety of wares, it will also become a source of dated comparanda for sites in other parts of the Mediterranean. This is a welcome addition to the library of works that present large and well-dated collections of Greek and Roman pottery."—Susan I. Rotroff, Washington University in St. LouisTable of Contents*Frontmatter, pg. i*Contents, pg. v*List of Text Figures, Tables, and Charts, pg. xiv*List of Plates, pg. xv*Editors' Preface, pg. xx*Preface, pg. xxi*Bibliography and Abbreviations, pg. xxiii*1. Introduction, pg. 3*2. Historical Sketch of Morgantina, 340 BCE-ca. 50 CE, pg. 6*3. The Pottery Deposits and Contexts, pg. 27*4. Regional Pottery Production Represented at Morgantina: Fabrics and Gloss, pg. 72*1. Introduction: Fine Pottery in Sicily in the Later 4th and 3rd Centuries BCE, pg. 81*2. Black-Gloss Pottery, Including Vases with Overpainted Decoration, pg. 83*3. East Sicilian Polychrome Wares, pg. 132*1. Introduction: The 2nd and 1st Centuries to ca. 35 BCE, pg. 139*2. Fine Wares of the First Half of the 2nd Century BCE, pg. 145*3. Campana C Black-Gloss Pottery, pg. 146*4. Other Black-Gloss and Miscellaneous Fine Wares, pg. 164*5. Republican Red-Gloss Pottery of the 1st Century BCE, pg. 169*6. Imported Eastern Sigillata A, pg. 193*7. Decoration on Tablewares, ca. 211-ca. 35 BCE, pg. 200*1. Introduction: The Last Decades of the 1st Century BCE and the First Half of the 1st Century CE, pg. 207*2. Early Italian Terra Sigillata, pg. 209*3. Regional Terra Sigillatas: Campanian Orange and Sicilian (?), pg. 223*1. Introduction: Moldmade Pottery at Morgantina from the Late 4th Century BCE to the First Half of the 1st Century CE, pg. 229*2. Medallion Wares, pg. 231*3. Vessels with Relief Appliques and Other Moldmade Ornament, pg. 270*4. Moldmade Hemispherical Relief Cups ("Megarian Bowls") and Related Relief Wares, pg. 274*5. Early Italian Terra Sigillata Relief Wares, pg. 282*6. Green-Glazed Wares, pg. 290*1. Fabrics and Origins, pg. 291*2. Chronology, pg. 294*3. Shape Typology and Decoration, pg. 296*VII. Catalogue, pg. 305*Appendix 1: The Evidence for Pottery Manufacture at Morgantina from the Later 4th Century BCE to the 1st Century CE, pg. 408*Appendix 2: The Provenance of Ceramics at Morgantina from the 3rd Century BCe through the 1st Century Ce as Defined by Portable eDXRF Analysis, by Malia Johnson and Maury Morgenstein, pg. 416*Appendix 3: Concordance of Shapes Found at Morgantina with Those Commonly Found in the Tombs of the 4th and the First Half of the 3rd Century BCE on Lipari, pg. 451*Appendix 4: The Morgantina Silver Treasure, pg. 458*Concordance of Inventory Numbers, pg. 462*Subject Index, pg. 470*Index of Deposits and Contexts, pg. 484*Plates, pg. 486

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Book SynopsisTrade Review"The inclusion of ninety-nine color illustrations of extremely high quality makes this book visually appealing. . . . They significantly enhance the reader’s appreciation of the analysis of the letter and textile in question."---Rebecca Corbett, CAA Reviews

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Book SynopsisIn this lavishly illustrated volume, Christine Kondoleon conducts us through the House of Dionysos, showing us what its interior decoration discloses about its inhabitants and their time.Trade Review"Christine Kondoleon presents the extraordinary mosaics of the House of Dionysos on Cyprus in a multifaceted study that explores their technique, style, iconography, architectural setting, chronology, and social import. This richly textured exploration provides a compelling reconstruction of the social and political aspirations of Romanized aristocratic patrons of the first and second centuries. It will be a landmark for the contextual study of Roman art." -- Elaine K. Gazda, editor of Roman Art in the Private Sphere

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book Synopsis

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