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.

With the exception of early Egypt and Minoan Crete, no early culture had such a vigorous stone vase-making industry as the Cyclades. Figures and vessels of stone, overwhelmingly of marble, are the most distinctive and appealing products of the Early Cycladic culture. The vessels, like the better-known figures, formed a special class of object that conformed to a strict traditional typology. Ranging from charming miniatures to works of impressive size, they often show a striking purity of form, beauty of material, and excellence in their workmanship. Stone Vessels of the Cyclades in the Early Bronze Age is the first comprehensive study of these vessels.

For each vessel type, Pat Getz-Gentle considers the material used, the size range, and the formal characteristics and the extent of their variation. She also discusses manufacturing methods, the incidence of repairs occasioned by accidental damage, and the possible function or functions, as well as the development, frequency, dating, and distribution of each vessel type within the Cyclades and beyond. She stresses the human element--how the vessels were used, held, and carried; how much they weigh; and how much they hold. She examines the sculptors who made them--how they might have designed and executed their works, how on occasion they seem to have modified their original plans, and how they stand out as individual artists working within a traditional craft. The 114 plates, with more than 500 separate photographs, illustrate works that show both the homogeneity and the diversity within each type.

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

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.

Handmade Tile is a contemporary guide for ceramic artists and anyone interested in custom tile installations-from making, designing, and decorating to designing your space and installation. No matter how many years of experience you have as a ceramic artist or how many home-improvement projects you've tackled, nothing prepares you for the unique world of ceramic tile. From concept and design, through firing and installation, ceramic tiling is one of the few places in a home where art is permanently installed as a feature of a room. In Handmade Tile, Forrest Lesch-Middelton shares everything he's learned as the founder and owner of the custom tile business FLM Ceramics and Tile. From his years as a one-man operation to his current production facility, Forrest has seen it all and helps you every step of the way. Whether you want to make your own tile, or want to use artistic and custom-made tile in your home, this book has everything you need. Key features of the book include: Making Tile: key tools, rolling, cutting, extruding Decorating: glazes, image transfer, cuerda seca, underglaze, slip Designing Your Space: tile in context, choosing your tile, codes and standards Installation: removing old tile, backing, preparing surfaces, setting, grouting Galleries and interviews with today's top workings artists in tile round out the package. Featured artists include Allison Bloom, Boris Aldridge, Disc Interiors, PV Tile, and more.

This book is an unprecedented documentation of the relationship between sculpture and mosaic, its birth and evolution. This book explores the different application of the concept of 'tesserae' by sculptors beginning in the 1930s, when Lucio Fontana and Mirko Basaldella first embarked upon their research on mosaic and the plastic arts. The peculiar creative process behind their creations was inspired by primitive Mesoamerican sculptures decorated with mosaics, viewed by the two artists in different times and places, and also by the growing interest in ancient Latin American art that was felt in Italy from the 1920s onwards. While Fontana and Mirko may be defined as the 'forerunners' of the happy union between sculpture and mosaic in the 1960s and 1970s, in the following decades it is Nane Zavagno and Riccardo Licata who set the main research trends - the former, especially for that which regards the use of 'untraditional' materials, and the latter for the use of mosaic tesserae in contemporary art. Subsequently, the art of mosaic sculpture unfolds following all of the main expressive moods of 20th and 21st century sculpture - iconic or aniconic, poetics or narrative, symbolic or conceptual - intensifying and emerging as a 'specific genre' at the close of the 1970s thanks to works by Antonio Trotta, Athos Ongaro and the Transavantgarde movement of Chia and Paladino. Ultimately, from the second half of the 1980s to the present, research and artistic production multiplies with varying and peculiar results - also thanks to some works of international relevance made in Ravenna, such as the tomb of Rudolf Nureyev in Paris. Hence the 'sculpture and mosaic' phenomenon witnesses a surge forwards with artists from all over the world who employ it in increasingly innovative and unexpected ways, consolidating the perception that mosaic sculpture has by now become an independent art form. Text in English and Italian.

New Directions in Ceramics explores and responds to contemporary ceramists' use of innovative modes of practice, investigating how change is happening and interpreting key works. Jo Dahn provides an overview of the current ceramics landscape, identifying influential exhibitions, events and publications, to convey a flavour of debates at a time when much about the character of ceramics is in a state of flux. What non-traditional activities does the term 'ceramics' now encompass? How have these practices developed and how have they been accommodated by institutions in Britain and internationally? Work by a wide range of ceramists, including Edmund de Waal, Nina Hole, Clare Twomey, Keith Harrison, Alexandra Engelfriet, Linda Sormin, Walter McConnell and Phoebe Cummings is considered. Following an extended introduction on ceramics in critical discourse, chapters on performance, installation, raw clay and figuration each provide an introductory overview to the area under discussion, with a closer examination of work by key ceramists, and illustrations of relevant examples. The interplay of actions and ideas is a central concern: critical and cultural contexts are woven into the account throughout, and dialogues with practitioners provide a privileged insight into thought processes as well as studio activities.

The Austrian ceramic artist Thomas Bohle is an extraordinary figure in the field of ceramic vessels. His double-walled objects, created at the wheel with technical perfection, effortlessly transcend the boundaries between ceramic and free art. Their interior and exterior forms create an accentuated contrast which opens up an exciting dialogue between the vessel and the space. They appear as a consequence of the will for clear form and design, which is underscored by the sensual, haptic quality of the reduced burnt oxblood and celadon glazes. With clear elements and exciting correlations, Thomas Bohle opens up new dimensions for the art of the vessel as a fundamental possibility of abstract sculptural design. Numerous illustrations of individual objects, group photos and details are included, as well as expert essays to uncover the beauty of precise geometry combined with painterly glazes.

In addition to her life's work in ceramic art, the artist, gallerist and collector Lotte Reimers (b. 1932) has compiled a fascinating collection of applied art from other disciplines. With 132 objects, Die Sprache der Dinge (The Language of Things) presents jewellery, metal and textile design, leather- and woodwork, paper art, and one-offs in glass. The collection, which has grown over decades, reflects Lotte Reimers' own unique collecting style: aside from personal taste, quality in form and craftsmanship is an essential criterion for inclusion. The things themselves enter a polyphonic and exciting dialogue in their multiplicity and individuality. Die Sprache der Dinge is an invitation to all aficionados of applied art to enter Lotte Reimers' world of collecting. Text in German.

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.

Decorated with the richest, most beautiful mosaics in the world, the Venetian church of San Marco is quite literally a treasure house of medieval art. The domes and walls of the church, encrusted with stone, glass, and gold, have been recognized, over the centuries, as a glorious historical and artistic record. Peopled with hundreds and figures--Adam and Eve, Noah and his progeny, Isaiah, Christ, Mark, of course, and other holy men and women of Venice--these mosaics create a cosmic panorama. "The Mosaic Decoration of San Marco, Venice" brings these unrivaled mosaics into breathtaking focus, combining a descriptive history of their creation and repair over the ages with close-up photographs revealing their iconographic detail.

Part 1: Eleventh and Twelfth Centuries. Text Volume: xvi, 496 p., 1 color plate, 74 halftones; Plate Volume: 236 p., 92 color plates, 377 half tones. Part 2: Thirteenth Century. Text Volume: x, 358 p., 1 color plate, 50 halftones; Plate Volume: xx, 284 p., 78 color plates, 354 half tones. Four-volume set in slipcase.

Precious, brilliantly colored stones arranged by skilled artisans in intricate patterns that follow the designs of master architects have been an important aspect of Italian architecture for centuries. In this book, Kim Williams provides a detailed overview of these beautifully designed pavements. From the second-century Pantheon in Rome to the twentieth-century Santa Maria Novella train station in Florence, Williams traces the evolution of pavement design, points to characteristic design elements of each age, and explains the various techniques and materials used.
Analyzing the pavements in relationship to their particular architectural context, she shows how these designs heighten the architectural experience and provide a key to understanding architects' intentions. Williams also offers an in-depth analysis of individual pavements in order to shed light on the proportional systems, geometric constructions, symbolism and historical sources for the design. Through her accurately measured, exquisitely rendered drawings of the pavements, many of which have never before been documented, these pavements are given their full due as architecture and craft.

Erwin Eisch, a pioneer of the international Studio Glass movement, has helped establish the medium in Europe. His distinctively distorted glass vessels and imaginative sculptures of mould-blown glass challenge the distinctions between art forms and between realism and abstraction. This book also includes Eischs paintings, drawings and vitreographic prints. This book provides an introduction to the artist, from his development within the glass-making tradition of the Bavarian Forest to the present. Eisch began with functional vessels, including bottles, vases and steins, often distorting the hot glass, incorporating ceramic moulds and producing painted glass sculptures. Eisch uses glass, painting, drawing and printed graphics to overcome the borders between picture and sculpture. His later output includes drawings, paintings and prints. Eischs works incorporate vivid elements of imagination and fantasy, which supplement the reality that inspires him. This book includes essays, contributions by experts on his work, more than one hundred illustrations of Eischs work, and selected writings by the artist himself.

Tiles are so simple in their essence - a shape of fired ceramic, metal or stone that can be used to pave or decorate walls or floors. But the power of a repeating pattern over a large surface can be breathtaking, and many designers and architects working today are exploring the medium of tile in thrilling new ways, pushing the boundaries of materials, textures, patterns and glazes. Introduced and curated by tile maker, curator and devotee, Deborah Osburn, Tile Envy is an exploration of the most beautiful tile designs around the world today, featuring profiles of 60 contemporary makers including Michelle Weinberg, Ruan Hoffmann, Coletivo Mudo, Timorous Beasties and Raw Edges. Luxurious photography and design make this a must have for design professionals and enthusiasts.

Between the 12th and 14th centuries, the Hedingham pottery industry produced decorated and glazed finewares, mainly jugs, and grey-firing coarsewares. This study provides a synthesis of Hedingham Ware production and explores its distribution within East Anglia. A gazetteer of the fourteen known production sites is provided, and the pottery is used to create a typology of fabric types, vessel forms and decoration for both fine and coarse wares. The industry appears to have evolved from the early medieval tradition, although it has similarities with Late Saxon Thetford-type ware. The coarsewares are most similar to those produced near Colchester and show some similarities to coarsewares produced in Suffolk. The Hedingham industry did not die out in the 14th century but became subsumed into the sandy orange ware tradition and lost its identity as Hedingham Ware.

When Neapolitans speak of 'the museum' they are referring to the Museo Archeologico Nazionale. Among the marvels that make it the world's greatest collection of classical art, the Alexander mosaic was, from the moment it was brought to the museum in 1843, the 'great mosaic.' Although it is evident that the Pompeian mosaic reproduces a painting, since it was discovered in the House of the Faun on 24 October 1831 the identity of the original has been the subject of an intense debate among scholars. On being shown a drawing of the mosaic, Goethe wrote, 'The present and the future will not succeed in commenting correctly on this artistic marvel, and we must always return, after having studied and explained it, to simple, pure wonder.' Two centuries of archaeological inquiry have not exhausted the profundity of the picture and have not given wholly satisfactory replies to the principal questions regarding it, namely, which episode is being represented here, whether the painting was executed during Alexander's reign or later, and to whom it should be attributed. A new series of photographs-- allowing the most important aspects of the scene to be shown in vivid detail-- facilitates the expounding of a hypothesis that until recently would have seemed improbable, but is justified by a close examination of the literary sources and archaeological finds, as well as by unexpected evidence in the original paintings that have come to light in Macedonia: the attribution to Apelles, the most famous painter of antiquity, whose revolutionary impact is fully described in this fascinating account.
Paolo Moreno was born in Udine in 1934. A pupil of Ranuccio Bianchi Bandinelli in Rome and of Doro Levi inAthens, he was Director of the Institute of Archaeology at the University of Bari, where he founded the series entitled "Studi sull'antico" (1-7, Bari, 1975-85), then he became Professor of the History of Ancient Art at La Sapienza University, Rome. Since 1992 he has been Professor of Greek and Roman Art at the Universita di Roma Tre.
Formerly on the editorial staff of the "Enciclopedia dell'arte antica" at the Istituto dell'Enciclopedia Italiana, he has contributed to the" Lexicon Iconographicum Mythologiae Classicae," numerous journals in Italy and abroad and the series: "Fonti per la Storia dell'arte,"" Monumenti della Pittura antica scoperti in Italia,"" Storia e civilta dei Greci,"" I grandi Musei,"" Guide pratiche,"" Civilta del Mezzogiorno,"" Itinerari de l'Espresso,"" Saggi di Archeologia," "Grandi Libri," "Archivi di Arte antica."
He has made an important contribution to the new direction in the history of ancient art with a continuous series of publications on fundamental themes: the links between the Severe style and Classicism ("I Bronzi di Riace," "Il Maestro di Olimpia e i Sette a Tebe," Milan, 1998; "Les Bronzes de Riace," Paris, 1998; "La bellezza classica," "Guida al piacere dell'antico," Turin, 2001); the original paintings found in Macedonia ("Pittura greca, Da Polignoto ad Apelle," Milan, 1987; "Pintura Griega," Madrid, 1988; "Elementi di pittura ellenistica," Rome, 1998); the greatest Greek bronze sculptor, Lysippus ("Testimonianze per la teoria artistica di Lisippo," Treviso, 1973; "Lisippo," Bari, 1974; "Vita e arte di Lisippo," Milan, 1987; "Lisippo, L'arte e la fortuna," exhibition catalogue, Milan, 1995); the most famous Greek painter, Apelles("Apelle, La Battaglia di Alessandro," Milan, 2000); an analysis of a complex period ("Scultura ellenistica," I-II, Rome, 1994); the transition to Imperial art ("Sabato in museo, Letture di arte ellenistica e romana," Milan, 1999); an overview from the Geometric period to Late Antiquity, in "Arte, Storia universale," Milan, 1997 (also published in installments by the newspaper "La Repubblica," 1997: "Arte, Enciclopedia universale"); observations on those responsible for creating the present archaeological collection at the Galleria Borghese in Rome (in "Galleria Borghese," Milan, 2000, Eng. ed. "The Borghese Gallery").

Not long ago, porcelain, glass and ceramics were almost exclusively used to make ostentatious objects best suited for display in grandmother's cabinet. But now these classic materials are experiencing a renaissance. Today, they are increasingly being utilised in playful ways by a new wave of designers and artists, who are inspired by Modernism's clear forms as well as an ironic depiction of figures, kitsch and the Romantic. Armed with these influences and an expanded repertoire of forms made possible by technological developments such as rapid prototyping, these designers and artists are manifesting their creative visions in unconventional objects made of these fragile materials. Fragiles is an eclectic collection of such contemporary work. This book presents industrial applications made from porcelain, glass and ceramics such as the exclusive, futuristic tableware now in use in avant-garde restaurants around the world. It also features artistic glass objects by Arne Quinze and Jerszy Seymour as well as striking porcelain products by Jurgen Bey, Marcel Wanders and Jaime Hayon. In addition to these projects by renowned creatives, Fragiles also contains an exciting selection of recent cutting-edge work by emerging talents. The examples shown in Fragiles range from the experimental to evocative retroinspired reinterpretations. The spectrum and quality of these innovative projects shows a current generation of designers and artists just how relevant and challenging working with these traditional materials can be.

When she died in 1955, Geddes was described as 'the greatest stained glass artist of our time' whose monumental directness of treatment (whatever the scale) constituted 'a revival of the mediaeval genius'. Yet a full appreciation of her powerful figurative art was limited to a relative few. Although critics praised the deeply spiritual and uncompromising skill of her craftsmanship - 'Nowhere in modern glass is there a more striking example of a courageous adventure in the medium' (her 1919 Duke of Connaught War Memorial in Ottawa), her 'power of simplifying without loss of meaning' (her great Wallsend Crucifixion window of 1922), and 'the fine sensibility and deep intelligence' of her majestic 64-light Te Deum rose window to the king of the Belgians (1934-8) - her often out-of-the-way windows need to be seen in situ. Battling with ill health, like her better-known pupil and contemporary, Evie Hone, she became a major figure in the Irish Arts and Crafts movement and 20th-century British stained glass revival, a medieval-modernist of rare intellect, skill and aesthetic integrity. This profusely illustrated contextual study of her life and work draws on hitherto unpublished primary sources to represent her unique artistic achievement during the turbulence of two world wars.

This latest addition to the British Corpus Vasorum Antiquorum makes available the fascinating yet under-publicised vases in the Marischal museum, University of Aberdeen. The Museum houses a number of important nineteenth- and twentieth-century collections presented to the university by their individual collectors. The range includes Attic black and red figure of extremely high quality, Corinthian, East Greek, Etruscan bucchero, Italiote and Etruscan, and South Italian red figure. Professor Moignard, who has previously published Edinburgh and Glasgow collection in the CVA series, provides a detailed introduction that discusses the history of the acquisition of the collections, collection management, and display.