Bricks, one of the earliest materials associated with both housing and the body, are the subject and object of this publication. In terms of human agency, bricks are the basic unit through which the artist introduces his designs in the landscape. Kaufmann uses this simple, yet tough, material to build up an imaginative world that is not linked solely to the bricks as such, but also to the symbolic charge they possess (the concept of transparency, physical and metaphorical walls, and their associated imaginative world). A total of ten works will be exhibited and Kaufmann himself presents each in the book. The introduction is edited by Anne-Claire Schumacher, who discusses Kaufmann's development and his place in the history of ceramic art and in contemporary art as a whole. This is followed by a contribution by Luca Pattaroni, who views the topic from a socio-political perspective. The five main works set in the park of the Ariana Museum and the continuation into the museum's basement are described and commented by the artist. Text in English and French.

These 100 examples, from various Neolithic cultures throughout the region known today as China, are described in this catalogue by the collector himself, focusing on their design and engineering ingenuities and their artistic merits. After a 50-year career in consumer product design, author Ronald W. Longsdorf applies the principles of that discipline to these marvellous pots. This is the only book currently available in the market for collectors who wish to study Neolithic ceramics from China from this exquisite collection. It includes lots of information and comparisons from other pieces in museums. Text in English and Chinese.

San Nicola reMade: nine thousand Polaroid films by Maurizio Galimberti that recreate the mystical splendour of the Cappellone di San Nicola in Tolentino through a contemporary mosaic. A one-of-a-kind work in the history of photography, for its technique and difficulty, begun in 2010 and continued even after the earthquake of 2016. Text in English, Italian and French.

In this catalogue of works by Lucio Fontana, one of the greatest Italian artists of the 20th Century, you will find an impressive selection of iconic tagli and pietre paintings as well as ceramics and sculptures spanning the breadth of Fontana's career as an artist. The featured ceramics are a less well known facet of Fontana's oeuvre but a medium he continued to explore from his early days right through to the end of his life. Included in this catalogue is Concetto Spaziale (1962), the only ceramic which was exhibited in the acclaimed 1977 Guggenheim retrospective. The Lucio Fontana exhibition at the Hayward Gallery in 1999 went some way to rectifying this underrepresentation, as have other recent museum shows including the beautiful exhibition at the Musee d'Art Moderne de La Ville de Paris in 2014. This project is the result of many years' work and of the collaboration between Amedeo Porro Fine Arts and Ben Brown Fine Arts, with their in-depth knowledge of Fontana's work and close relationship with the Fondazione Fontana. Text in English and Italian.

For centuries ceramics have been a central feature of Chinese art and culture. They were employed in everyday life and served as both ritualistic and funerary objects. Dr Heribert Meurer's pre-eminent collection of 174 high-quality pieces dating from 1050 BCE to AD 1280 - which up until now has remained unpublished - offers an impressive panorama of the artefacts' roles, as well as the vessel forms and techniques of early Chinese ceramic art, complemented by over 30 objects from the GRASSI Museum Leipzig, where the collection was endowed in 2017. The focal points of the collection are the ceramics of the Tang and Song dynasties. Examples of the popular Sancai (tricolour) lead glaze, Celadon porcelain from Yueyao, Yaozhou and Longquan and Changsha ware, so-called Jian black porcelain from Jianyang Prefecture and Quingbai ware from the southern kiln sites of the Song era illustrate the wealth, diversity, high quality and exceptional appeal of early Chinese ceramics. Text in German.

Daniel Kruger (b. 1951), widely known as a jewellery artist, presents an overview of his ceramic works, featuring 230 pieces created over twenty years. Classic examples - tulip and lidded vases, delftware and dinner services - are familiar references, which Kruger decorates with images of footballers, homoerotic nudes or casts of twigs or bones. Worlds collide, revealing our preconceptions regarding conventions that provide a manipulated view of reality. There is less interest in the spectacular; Kruger's choice of images however, leads to unexpected, provocative combinations of form with decoration. In a continual process of artistic acquisition, new interpretation and appropriation, Kruger explores the interstice between historical archetypes and kitsch within European ceramic history.

Arte Vetraria Muranese (AVEM) emerged from the liquidation of Successori Andrea Rioda in November 1931. The new factory placed a very personal accent on contemporary artistic glass production on Murano: while designs prior to the Second World War were generally still the responsibility of master glassblowers themselves, after the war designers and freelance artists increasingly determined production. Giulio Radi began experimenting in 1940, obtaining the company's signature chromatic effects by superimposing mould-blown layers of glass, often opaque and transparent in alternation, and inlaying them with gold and silver foil. This latest volume of Marc Heireman's ongoing Murano manufactory books features over 800 design drawings, numerous archive images and new photos of AVEM masterpieces, making this anthology of the company's history indispensable for all Murano glass lovers.

The catalogue is dedicated to diverse aspects of the rediscovery of color in the glass art of the nineteenth and twentieth century. The influential color theories of Isaac Newton, Michel Eugene Chevreul, Owen Jones, or Johannes Itten, which created the theoretical basis, are addressed as well as methods for producing stained glass developed by artists such as Clement Heaton, Charles Wasem, or Marcel Poncet, and Islamic art, which served as a source of inspiration. The examination of color and the expansion of the existing color palette in glass art are then presented based on works created within the context of the opalescent era in American stained glass, the Bauhaus, and the revival of Swiss stained glass by the St-Luc group of artists.

This is the black and white paperback edition of Pattern, published in hardback in 2016 by Saltyard Books. If you would like the original colour illustrated version of Pattern it is available in hardback ISBN 9781444734942. Creativity, collaboration, inspiration Emma Bridgewater's patterns are as quintessentially British as marmalade on toast - and they have made her distinctive homewares best sellers across the world. Her inspiration is often deeply personal - a plate of her mother's, a favourite children's book - and as she tells the stories of each pattern's creation, she reveals the intricate processes of research and collaboration behind the familiar designs she has stamped on our kitchenware - and our hearts - for the past thirty years. Both an entrancing trip down memory lane and a behind-the-scenes look at a thriving creative business, Emma Bridgewater's PATTERN is essential reading for anyone who has ever turned over their mug after draining their tea and wondered about the human story behind that proud declaration: Made in Stoke-on-Trent, England...

The touchstones of Gothic monumental art in France - the abbey church of Saint-Denis and the cathedrals of Chartres, Reims, and Bourges - form the core of this collection dedicated to the memory of Anne Prache. The essays reflect the impact of Prache's career, both as a scholar of wide-ranging interests and as a builder of bridges between the French and American academic communities. Thus the authors include scholars in France and the United States, both academics and museum professionals, while the thematic matrix of the book, divided into architecture, stained glass, and sculpture, reflects the multiple media explored by Prache during her long career. The essays employ a varied range of methodologies to explore Gothic monuments. The chapters in the architectural section include an intensive archeological analysis of the foundations of Reims Cathedral, the close reading of a late medieval literary text for a symbolic understanding of Paris, and essays that explore the medieval use of practical geometry in designing entire buildings and their components. Saint-Denis, Reims, and Chartres, all monuments studied by Prache, are discussed in the next part, on stained glass. These chapters demonstrate how old problems can be clarified by new evidence, whether from the accessibility of previously unknown archival information, for Reims, or through revelations that arise from restoration, at Chartres. These essays also include a study showing the complexity of making attributions for the storied glass of Saint-Denis. The final set of essays likewise takes different approaches to sculpture, whether constructing links to the liturgy at Reims, or discussing the meaning of a sculptural ensemble studied by Prache early in her career, the cloister of Notre-Dame-en-Vaux in ChAclons-en-Champagne, or scrupulously examining the faAade sculpture at Bourges Cathedral for insights into the design process. As a whole, the volume provides a window onto key directions in the study of

Freiburg i. UE., seit jeher der Angelpunkt germanischer und franzoesischer Kultur und Sprache in der Schweiz, beteiligte sich seit dem spaten 15. Jahrhundert rege an der Fenster- und Wappenschenkung der eidgenoessischen Orte. Die als Bildmedium ausserst wirksamen leuchtenden Glasbilder, die sich Kantone, kirchliche und gesellschaftliche Institutionen und Privatleute anlasslich von Bauprojekten stifteten, spielten eine wichtige Rolle im Selbstverstandnis der Eidgenossen und foerderten die Identitat und Zusammengehoerigkeit ihres Staatenbundes in kaum abschatzbarem Masse. In einem mehrjahrigen Forschungsprojekt untersuchte die Autorin die uber 400 in Kirchen, Museen und Privatsammlungen des Kantons Freiburg erhaltenen Glasgemalde des 16. bis 18. Jahrhunderts. Der zweite Band beinhaltet den wissenschaftlichen Katalog dieser Werke gemass den internationalen Richtlinien des Corpus Vitrearum. Daruber hinaus prasentiert die Autorin im ersten Band den beziehungsreichen kulturhistorischen Hintergrund dieses Patrimoniums, den sie mit Archivstudien zu den Kunstlern und Glasern, den Entstehungsumstanden und Stiftern erforschte. Auch die in der ganzen Welt verstreuten oder verlorenen Zeugen dieses freiburgischen Kulturguts wurden miteinbezogen. Die Publikation geht den Stiftern nach, die mit Bildern, Wappen und Inschriften allgegenwartig blieben. Den oft beruhrenden Lebenswegen der Glasmaler und Fensterglaser, den Werkstattpraktiken, aber auch der Schenksitte ist ein grosser Teil der Arbeit gewidmet. Die bedeutende Publikation ist reich bebildert und besondere Aufmerksamkeit wurde der zweisprachigen, deutschen und franzoesischen Veroeffentlichung der einleitenden kulturgeschichtlichen Studie geschenkt. Des la fin du XVe siecle, Fribourg, a la charniere des aires culturelles et linguistiques germanique et francaise en Suisse, adopta avec ferveur la coutume helvetique des donations d'armoiries et de vitraux. Supports visuels d'un effet considerable, ces tableaux de lumiere offerts par des cantons, des institutions ecclesiastiques, des collectivites sociales ou des particuliers a l'occasion de projets de construction, jouerent un role considerable dans l'affermissement du sentiment identitaire des Confederes et de leur cohesion. Durant plusieurs annees de recherches, l'auteur a etudie les plus de quatre cents vitraux du XVIe au XVIIIe siecle conserves dans des eglises, des musees ou des collections privees du canton de Fribourg. Le deuxieme volume de cet ouvrage contient le catalogue scientifique de ces oeuvres, etabli conformement aux directives internationales du Corpus Vitrearum. Dans le premier volume, Uta Bergmann se penche sur le contexte historique et culturel, encore meconnu, de ce riche patrimoine. Elle a effectue des recherches dans les archives sur les artistes et les verriers, sur les circonstances dans lesquelles les vitraux ont ete crees et sur les donateurs. Son travail inclut egalement les oeuvres perdues de ce patrimoine fribourgeois, ou dispersees dans le monde entier. L'ouvrage presente les donateurs, immortalises par des images, des armoiries et des inscriptions. Mais il accorde aussi une large place a la vie et a la destinee parfois emouvante des peintres-verriers et des verriers, de meme qu'a la coutume des donations de vitraux. Cette importante publication est richement illustree, et un soin tout particulier a ete mis a la presentation en deux langues, allemand et francais, des textes de synthese du volume d'etude.

This volume presents the results of the long-term co-operation of archaeologists from the University of Ghent and the Oriental Institute of the University of Chicago to establish the ceramic chronology for Mesopotamia in the second millennium B.C. Drawing only upon pottery found in good context in well-conducted excavations, going back to the 1930s, but relying especially on the collaboration of other excavators who were working in southern Iraq from the 1960s onward, James Armstrong and Hermann Gasche, with the participation of cuneiformist Steven Cole and ceramic specialists Abraham Van As and Loe Jacobs, have created a typology of all major forms, showing the subtle changes that occurred in individual shapes through time at one site and at related sites. It also shows regional variations in shapes. Their graphic presention of the forms makes visible a centuries-long break in occupation of numerous sites in southern Iraq beginning in the time of Samsuiluna, the successor to Hammurabi of Babylon, and another break at the end of the millennium. There are detailed discussions of the forms and their geograhical distribution, as well as a treatment of the historical implications of the evidence.

The range of extraordinary effects that can be achieved in a kiln is infinite. However, the technical requirements of different firing processes and equipment can often seem intimidating, particularly for those new to ceramics, and this can limit artists' confidence to explore and experiment.In" Firing""Kilns," wood-fire potter Benedict Brierley demystifies the firing process, explaining key methods and effects in simple, straightforward language. Beginning with the basic principles, including heatwork, firing schedules and cones, the book goes on to cover the various types of kilns and kiln packing, oxidation and reduction firing, and then special firing methods such as salt, soda, wood, pit, smoke and raku. Finally, it covers common firing faults and how these can be avoided to achieve consistent, successful results."Firing""Kilns" is a comprehensive handbook for anyone new to firing their work or for established ceramicists wishing to experiment with different firing effects.

'Vessel | Sculpture' refers to the direction studio pottery has taken since the mid-20th century, developing from primarily functional vessels to artistically designed vessels, ceramic sculpture, installation and conceptual art. The aim is to trace the history of how ceramics has evolved and developed into an autonomous art medium, which is continually self-renewing. Focused on the GRASSI Museum's collection of contemporary ceramic work since 1946 when Germany was divided into East and West after the World War II, this book provides a fascinating and instructive overview of developments and trends in the two Germanys. Moreover, a broad-ranging selection of works by ceramicists now active in both the new and the old Federal German states is supplemented by contemporary pieces from all over the world. The publication is devoted to one-off pieces and limited editions from the past six decades. Reproductions in large formats of approximately four hundred selected objects are accompanied by biographies of as many artists and their signatures.

Glass is a threshold material, serving as both a divider and an opening, for one can always see what is behind it. This is a unique phenomenon and it is confounding, as well as being alluring and enhancing, making the space breathe. Florian Lechner, born in 1938, has dedicated himself to this unique material. He explores its substance and formal possibilities through architectural works and sculptural objects. He also experiments with it in combination with the media of light, sound and movement. For him it is essential to forge his work single-handedly, because only unrestricted personal creative input and the development of one's own, often innovative ways of working can ensure an authentic result. However, the concepts behind his works and their spiritual roots are always more important to him than the process of their creation. Intellectual significance defines Florian Lechner as an artist. His takes an intellectual and philosophically motivated approach, but the result is always a sensory experience and never dominated by dry theory. Text in English & German.

Dubbed the Cathedral of France and first church of French Christendom, the Gothic cathedral of Reims was the coronation site of more than two dozen French kings--and a target of German bombardment in World War I. Before 1914 its medieval stained glass had enjoyed the fame of Chartres and Bourges. The first extensive study focusing on the stained glass of this preeminent cathedral, The Gothic Stained Glass of Reims Cathedral offers a groundbreaking analysis of its glazing program. Through unique insights into the clerical agenda and its influence over a building devoted to the coronation of the French monarchy, Lillich considers the stained glass in the context of building chronology, political events, and artistic movements to present a completely new understanding of the stained glass of Reims.

One of the premier private collections of contemporary craft, the Nancy and David Wolf Collection features outstanding creations by the foremost artists working in craft media today, including Howard Ben Tre, Dale Chihuly, William Morris, Wendell Castle, David Ellsworth, Virginia Dotson, Michael Lucero, Michelle Holzapfel, Theman Statom, Ginny Ruffner, Akio Takamori, and Betty Woodman.
"Outside the Ordinary: Contemporary Art in Glass, Wood, and Ceramics from the Wolf Collection "introduces audiences to sixty-seven masterworks selected from this vast collection, carefully documented and photographed in full color. At the heart of this seminal publication are an in-depth interview with collectors Nancy and David Wolf conducted by Amy Miller Dehan and a scholarly essay by contemporary craft authority and critic Matthew Kangas. Dehan's interview reveals the collectors' impetus and strategies for assembling this important collection, and Kangas's essay addresses the history, growth, and future of the contemporary craft movement -- with a particular focus on glass, wood, and ceramics.
"Outside the Ordinary" focuses on the role, development, and perspective of the private collector within the context of the ever-evolving contemporary craft movement. With more than sixty-seven color plates of artwork from the highly regarded Wolf Collection, it makes a significant and stunning addition to any library.

This volume gathers together 17 articles published over the last 30 years, together with one appearing here for the first time. Their focus is primarily on enamel, the brilliant and colourful art form for which the Byzantines were famous throughout the medieval world, but sculpture and glyptics also figure. The author examines not only works which have retained the form in which they were first created, but others which have had their original Byzantine elements re-used, often by artists in the West. While most of the works featured here have been known to scholars before, one was unknown prior to its first publication in 2006.

Greek Vases is a discussion of the painted vases which were an ever present but understated feature of life in the Greek world between the end of the Bronze Age and the rise of Rome, and, in the modern world, an important component of museum collections since the 18th century. The book uses specific illustrated examples to explore the archaeological use of vases as chronological indicators, the use of the various shapes, their scenes of myth and everyday life and what these tell us, the way in which we think about their makers, and how they are treated today as museum objects and archaeological evidence. This is a brief, accessible introduction to the vases with school and university students in mind.

During the Middle Ages decorative floor tiles were used in abbey churches, royal palaces, parish churches and the homes of wealthy citizens. Tiles were durable and hygienic and added a new decorative element to the interior. Despite their simple tools and kiln equipment, the medieval tile makers proved extremely skilful in the production of different types of tile. They ranged from variously shaped plain tiles, which were assembled into complex mosaic floors, to two-coloured inlaid tiles, and stamped-relief and line-impressed tiles, all decorated with a wealth of different patterns and designs. Many medieval tiles disappeared during nineteenth-century restorations but the designs lived on in the copies made by Victorian tile manufacturers. Throughout Britain, tiles can still be seen 'in situ' on the sites of former abbeys as well as in medieval cathedrals and parish churches, and the British Museum has an extensive and important collection.

The American brilliant cut glass tradition is perhaps nowhere better showcased than in the intricate art of Charles Guernsey Tuthill. Born in 1871 in Corning, New York, Tuthill entered the glass trade as a young apprentice, launching a career that would not only produce some of the finest cut glass in America but also innovate that art form in ways that adapted to the changing life of the new century.

In this detailed narrative of the business Tuthill founded, the patterns he created, the techniques he used, and the other artisans and consumers he knew, Maurice Crofford has written the story of an earlier, more elegant and leisurely era. For those knowledgeable about cut glass, the development of the forms will be instructive; for others, who simply appreciate the beauty of the glass, the numerous black and white photographs will appeal. Beyond both of those dimensions, however, Crofford provides insight into how industrialization and mass production and, more especially, the automobile, changed forever the ways upper-class Americans lived, entertained, and displayed their good fortune. In Tuthill's career, moreover, Crofford finds an example of American ingenuity and creative genius that responded to changing times.

The glass itself is of extraordinary beauty, and the descriptions here include the patterns, effects sought, and methods of hand production. Crofford details not only those patterns best known to aficionados of American cut glass of the Brilliant Period but also other patterns retrieved through exhaustive dogging of Tuthill's trail.

Through the written records of Tuthill's succession of businesses and through interviews with surviving members of the Tuthill family,Crofford has reconstructed a remarkably detailed catalog of this master craftsman's work as well as an engaging story of his life and career.

Lefton China has fast become one of the most desirable, sought after collectibles on the secondary market today. With a vast number of styles, series, and patterns to choose from, this authoritative volume includes new information on the history of the George Zoltan Lefton Company. It is a complete guide with descriptions, identifying markings, and current pricing, along with an expanded list of patterns not found in any other book on Lefton China. More than 690 photos document Mr. Lefton's many creations, from figurines to fine china dinnerware. This is an invaluable guide, whether you have been gathering this fine china for many years or are a new collector of Lefton.

This inventory catalogue presents reverse glass paintings offering outstanding documentation of the history of European reverse glass art from the 16th to the 19th century. The broad technical and artistic spectrum of this art form is shown, as well as its European significance. A documentation of all 153 newly acquired reverse paintings on glass from the internationally important private collection of Gisela and Prof. Wolfgang Steiner is also included. The catalogue section compares the works to their graphic templates. The publication also contains articles on the significance of reverse glass painting and the collecting profile of the world's largest private reverse glass art collection. Full presentation of the 153 newly acquired, important reverse paintings on glass from the 16th-19th centuries Exhibition Schaezlerpalais Augsburg Vorsicht, zerbrechlich! Hinterglasgemalde aus vier Jahrhunderten October 8, 2022-January 15, 2023

The three-volume work is dedicated to the years when the Koenigliche Porzellan-Manufaktur (Royal Porcelain Factory; KPM) operated under the name "Staatliche Porzellan-Manufaktur Berlin" (State Porcelain Factory) and thus closes a striking gap in the research. The author Tim D. Gonert presents the history of the factory in the twentieth century and provides an overview of the huge variety of forms and artistic decorations in the modern porcelain produced in Berlin based on over 2,000 compiled objects. The objects, all of which have been photographed anew, are accompanied by scholarly texts and archival photos resulting from research and work with documentary materials over many years. The volume of biographies describes the life and work of the most important designers in over sixty essays and thus rounds off this wonderful reference work for craftsmanship and design.

Apothecaries' Hall, home of the Worshipful Society of Apothecaries of London, contains a large collection of armorial bearings in various media, but most particularly in stained glass. This comprehensive book describes the derivation and display of the Society's Arms, the Royal connections which also provide a source of heraldic decoration, and the large collection of glass panels relating to the coats of Arms of many of the Past Masters and Honorary Freemen. A comprehensive survey of all the heraldry and of the artists involved is included. For twenty years a tenant at the Hall was the renowned stained glass artist Carl Edwards. Heraldry and Stained Glass at Apothecaries' Hall gives a glimpse of the working of a glass studio and is also a reference source for the glass produced by Edwards at the Hall. Although Apothecaries' Hall is well-known to some members of the medical, dental and pharmaceutical professions, this beautifully illustrated publication brings all the information about heraldry and glass associated with the Society to a wider audience.