The transformation of the Venetian glass industry during the Renaissance was not only a technical phenomenon, but also a social one. In this volume, Patrick McCray examines the demand, production and distribution of glass and glassmaking technology during this period and evaluates several key topics, including the nature of Renaissance demand for certain luxury goods, the interaction between industry and government in the Renaissance, and technological change as a social process. McCray places in its broader economic and cultural context a craft and industry that has been traditionally viewed primarily through the surviving artefacts held in museum collections. McCray explores the social and economic context of glassmaking in Venice, from the guild and state level down to the workings of the individual glass house. He tracks the dissemination of Venetian-style glassmaking throughout Europe during the sixteenth and seventeenth centuries and its effects on Venice's glass industry. Integrating evidence from a wide variety of sources - written documents such as shop records and recipe books, pictorial representations of glass and glassmaking, and the careful physical and chemical analysis of glass pieces that have survived to the present - he examines the relation between consumer demand and technological change. In the process, he traces the organizational changes that signified a transition from an older and more traditional manner of 'artisan' manufacture to a modern, 'factory-style' manner of production.

Souvenir plates have long been representatives of America's history, whether commemorating special events or depicting places. Souvenir plates make attractive collectibles for several reasons, including their affordability and the fact that they come in a variety of designs and shapes. Popular Souvenir Plates has captured the versatility of the souvenir plate with examples that date from the 1880s through the present. More than 530 color photographs document plates depicting all fifty states and Canada, along with a sampling of European designs, each with its current market value. The work of American firms represented are Harker Pottery, Homer Laughlin, Kettlesprings Kilns, Edwin M. Knowles China Co., Sabin Industries, Salem China Co., Syracuse China Co., Vernon Kilns, and many others. The work of noted English potters such as Staffordshire, Adams, Jonroth, and Rowland and Marsellus are present. A chapter on foreign plates shows a variety of foreign-made souvenir ware including the beauty of "Made in Bavaria" and "Made in Germany" souvenir plates. This book and price guide is a valuable reference for anyone with an interest in souvenir plates.

Paperweight collectors are usually familiar with the histories and products of the French manufacturers Clichy, Baccarat, and Saint Louis, but many know little about English makers from early times to the present day. This book, dedicated solely to the English paperweight makers and containing paperweight examples from the early nineteenth century to 1980, will fill that gap. Gathered together for the first time in one book are the world's largest collections of Bacchus paperweights, as well as many previously unknown and never before photographed paperweights from English glasshouses, all rivaling the best from the French makers. By comparing canes, colors, and styles with one of the hundreds of examples shown in this book, collectors should now be able to identify their own previously unknown weights, and the fake "1848" dated paperweights and inkwells can now be attributed to the right factories and time periods. With over 400 beautiful color photographs, detailed, fascinating descriptions of the weights, and a value guide, this book is a must for paperweight enthusiasts and collectors everywhere.

Ceramics and the Museum interrogates the relationship between art-oriented ceramic practice and museum practice in Britain since 1970. Laura Breen examines the identity of ceramics as an art form, drawing on examples of work by artist-makers such as Edmund de Waal and Grayson Perry; addresses the impact of policy making on ceramic practice; traces the shift from object to project in ceramic practice and in the evolution of ceramic sculpture; explores how museums facilitated multisensory engagement with ceramic material and process, and analyses the exhibition as a text in itself. Proposing the notion that 'gestures of showing,' such as exhibitions and installation art, can be read as statements, she examines what they tell us about the identity of ceramics at particular moments in time. Highlighting the ways in which these gestures have constructed ceramics as a category of artistic practice, Breen argues that they reveal gaps between narrative and practice, which in turn can be used to deconstruct the art.

Presenting a study of a group of potters living in a small community in the south of Japan, this work includes a look at the problems they face in the production, marketing and aesthetic appraisal of a kind of stoneware pottery generally referred to as "mingei", or folk art. It shows how different people in an art world bring to bear different sets of values as they negotiate the meaning of "mingei" and try to decide whether a pot is "art", or mere "craft". At the same time, "Folk Art Potters of Japan" aims to reach beyond the mere study of an isolated community to trace the origins and history of "folk art" in general. By showing how a set of aesthetic ideals originating in Britain was taken to Japan, and thence back to Europe and the United States - as a result of the activities of people like William Morris, Yanagi Soetsu, Bernard Leach and Hamada Shoji - this book not only rewrites the history of contemporary western ceramics, but engages in two important discourses in contemporary anthropology: one concerned with art and aesthetics; the other with orientalism. Illustrated, and with a description of the operation of Japan's art pottery world in the afterword, "Folk Art Potters

East Greek Pottery provides a comprehensive survey of the pottery made by the Greek settlers along the western coast of Turkey. The various styles of decoration described cover the period from the eleventh century to the beginning of the fifth century B.C. Subsequently, competition from Athens pressed local potters into using very simple ornament. Chapters include analysis of Grey ware, relief ware and archaic East Greek containers (or trade) amphorae, a class of pottery which is now attracting attention for its contribution to the study of ancient economic history. East Greek pottery is a field that has been neglected, and much remains uncertain. Conjecture and fact have been clearly distinguished in this volume, and detailed references allow the evidence to be viewed and judged by the reader.

Presenting a study of a group of potters living in a small community in the south of Japan, this work includes a look at the problems they face in the production, marketing and aesthetic appraisal of a kind of stoneware pottery generally referred to as "mingei", or folk art. It shows how different people in an art world bring to bear different sets of values as they negotiate the meaning of "mingei" and try to decide whether a pot is "art", or mere "craft". At the same time, "Folk Art Potters of Japan" aims to reach beyond the mere study of an isolated community to trace the origins and history of "folk art" in general. By showing how a set of aesthetic ideals originating in Britain was taken to Japan, and thence back to Europe and the United States - as a result of the activities of people like William Morris, Yanagi Soetsu, Bernard Leach and Hamada Shoji - this book not only rewrites the history of contemporary western ceramics, but engages in two important discourses in contemporary anthropology: one concerned with art and aesthetics; the other with orientalism. Illustrated, and with a description of the operation of Japan's art pottery world in the afterword, "Folk Art Potters

A nostalgic glimpse at the glass counter jars, tins, boxes, and display racks which held American's favorite cookies, candies, and snack foods in America's country stores. These items are chronicled and illustrated in over 390 color photographs. Histories of over 75 companies which used them, covering over 100 year, from Adams Gum and Dixie Biscuit to Planter's Peanuts and Wise Potato Chips are provided along with detailed listings of the variations among their distribution jars and lids over the decades. Mergers among the snack food giants are recorded and mention is made of over 200 companies that profoundly affected every type of snack food from chewing gum to cookies. Major marketing and distribution trends and the dates associated with them are also revealed. Values for the counter jars and their variations are provided.

This volume covers the major stages in the history of Greek pottery production, both figured and plain, as they are understood today. It provides an up-to-date evaluation of ways of studying Greek pottery and encourages new approaches. There is a detailed analysis of the subject matter of figured scenes covering some of the main preoccupations of ancient Greece: myth, fantasy and everyday life. Furthermore, it sets the artefacts in the context of the societies that produced them, highlighting the social, art historical, mythological and economic information that can be revealed from their study. This volume also covers a hitherto neglected area: the history of the collecting of Greek pottery through the Renaissance and up to the present day. It shows how market values have gradually increased to the high prices of today and goes on to take a closer look at the enthusiasm of the collectors.

The Red and the Black covers the major stages in the history of Greek pottery production, both figured and plain, as they are understood today. It provides an up-to-date evaluation of ways of studying Greek pottery and encourages new approaches.
There is a detailed analysis of the subject matter of figured scenes covering some of the main preoccupations of ancient Greece: myth, fantasy and everyday life. Furthermore, it sets the artefacts in the context of the societies that produced them, highlighting the social, art historical, mythological and economic information that can be revealed from their study.
This volume also covers a hitherto neglected area: the history of the collecting of Greek pottery through the Renaissance and up to the present day. It shows how market values have gradually increased to the high prices of today and goes on to take a closer look at the enthusiasm of the collectors.

eBook available with sample pages: HB:0415126606

Whimsical Victorian novelties in clear and colored glass are displayed in over 590 beautiful color photos and over 80 black and white vintage advertisements and catalog images. Novelty candy containers, decanters, perfume bottles, paperweights, toothpick and match holders, shakers, butter dishes, condiment jars, celeries, and tableware in fanciful forms ranging from animals and humans to fruit, vegetables, personal apparel, furniture, and vehicles all have their place in this fascinating book. The text provides valuable information about the many companies that made these varied and amusing wares, including Fostoria Glass*TM, Hocking Glass*TM, Indiana Tumbler & Goblet*TM, Specialty Glass*TM, United States Glass*TM, and Wheeling Glass Letter & Novelty Company*TM, to name just a few. A bibliography and values in the captions are also provided.

"Radical and inspiring ... Yanagi's vision puts the connection between heart and hand before the transient and commercial" - Edmund de Waal The daily lives of ordinary people are replete with objects, common things used in commonplace settings. These objects are our constant companions in life. As such, writes Soetsu Yanagi, they should be made with care and built to last, treated with respect and even affection. They should be natural and simple, sturdy and safe - the aesthetic result of wholeheartedly fulfilling utilitarian needs. They should, in short, be things of beauty. In an age of feeble and ugly machine-made things, these essays call for us to deepen and transform our relationship with the objects that surround us. Inspired by the work of the simple, humble craftsmen Yanagi encountered during his lifelong travels through Japan and Korea, they are an earnest defence of modest, honest, handcrafted things - from traditional teacups to jars to cloth and paper. Objects like these exemplify the enduring appeal of simplicity and function: the beauty of everyday things.

The colorful earthenwares known as Majolica are popular once again, part of the nostalgic revival of Victorian taste in interior decoration. Majolica's long history begins with Italian Renaissance tin-glazed wares; over the centuries its styles and techniques spread to France and England. With the advent of mechanization, the wares could be mass produced. Majolica became popular among the rising middle class in England, Europe, and the United States. This book presents a new analysis of Majolica set against its cultural-historical background. Hundreds of forms in dozens of patterns, especially American and British ware with a sampling of European pieces, are displayed in over 550 color photographs. The text presents new research and the examples are individually identified by style, pattern, maker, size, and date. Short histories of the manufacturers are presented as they relate to Majolica wares. The up-to-date price guide will be a valuable tool for collectors and dealers.

This book adds more than 750 color photos to the record of materials on Noritake collectibles presented in Spain's 1997 book on this subject-a work with more than 1,200 color photos. This book, like the previous one, is comprehensive. It covers non-dinnerware porcelains made by the Noritake Company between about 1908 and the 1970s. The emphasis, however, is on the 1920s and works with Art Deco characteristics. The backstamp materials have been expanded, updated, and made very user-friendly. In addition, there is a substantial and thought-provoking essay on the historical and cultural roots of Art Deco, in general, along with a thorough discussion of the distinguishing features of Art Deco Noritake fancy line porcelains of the 1920s.

Chinese ceramics are among the most significant and widely collected decorative arts produced anywhere in the world, with a history that spans millennia. Despite the saturation of Chinese ceramics in global culture-in English, the word "china" has become synonymous with "porcelain"-the function of these works and the meaning of their often richly decorated surfaces are not always readily apparent. This new installment in the successful How to Read series enlightens readers on Chinese ceramics of all kinds, using highlights from the outstanding collection of The Metropolitan Museum of Art as a teaching tool. Accessible to a general audience and written by an expert on the subject, this book explains and interprets 40 masterworks of Chinese ceramics. The works represent a broad range of subject matter and type, from ancient earthenware to 20th-century porcelain, and from plates and bowls to vases and sculptural figures. Lavish illustrations showcase these stunning works and the decorations that adorn them, including symbolic scenes, flowers, and Buddhist and Chinese historical figures. Published by The Metropolitan Museum of Art/Distributed by Yale University Press

Potters and Patrons in Edo Period Japan: Takatori Ware and the Kuroda Domain traces the development of one of Japan's best-documented ceramic types, from its beginnings around 1600 until the abolition of the domain system in 1871. Using historical records, archaeological material from early kilns and consumer sites, and the results of comparative chemical analysis, this study explores the operation of Takatori as the official ceramic workshop of the Kuroda, lords of one of the largest domains in Japan. Spanning cultural, aesthetic, economic and practical aspects, this book presents Takatori ware as an ideal archetype with which to compare developments in elite ceramics in other parts of Japan throughout the Edo period. In addition to its scholarly examination of the operation of a domain-sponsored ceramics workshop over more than 250 years, the book includes illustrations of examples from each of the seven Takatori workshop locations, including beautiful pieces that have never before appeared in print.

The Conservation and Restoration of Ceramics brings together the wide range of current information relevant to the practising conservator. The book opens with a discussion of the fundamental nature of the ceramic medium, information which is of primary importance when selecting treatments or considering preventive conservation measures. Details on techniques are given in a series of chapters covering the restoration and conservation processes, but the emphasis is on the basic principles involved in the choice of materials and methods. The nature and properties of materials commonly in use are fully discussed and guidance is given on the facilities and equipment needed. Also covered in the book are old restoration materials and methods, the ethics of ceramics conservation, examination and recording, display treatments and emergency procedures. Now in paperback, this book will be invaluable to practising conservators and readers of conservation as well as of interest to museum curators and collectors.

Now firmly established in the ceramics world, paperclay is a vital part of the modern clay artist and potter's repertoire. The workability of this material allows expressive freedom and imagination at every stage in the creative process, from wet to dry. Paperclay, made with new or recycled paper, is remarkable for its flexibility, unfired strength, and the ease with which it can be repaired, and allows the creation of beautiful finished forms.

Building on the immense success of her previous Ceramics Handbook Paper Clay, pioneering artist, researcher and teacher Rosette Gault (M.F.A.) explains how potters and clay sculptors can make, fire and use the material. In addition to the basics, she introduces more advanced techniques for building armatures, sculpting figures and making works for the wall.

Packed throughout with photographs of inspiring works by a new generation of paperclay artists, Paperclay: Art and Practice is an essential introduction to the medium.

This comprehensive two-volume catalogue covers the outstanding collection of English and French medieval stained glass in the Metropolitan Museum of Art in New York. Written by curator Jane Hayward, the catalogue is posthumously published as Part I in the Corpus Vitrearum series and represents the culmination of Hayward's pioneering work in the field. 123 panels are examined in depth, ranging from 12th-century border ornaments from the Abbey Church of Saint-Denis to early 16th-century English Passion glass. The catalogue is illustrated with over 500 black and white reproductions and 40 colour plates. It includes discussions on provenance, collection history, dating, style, and iconography, as well as detailed descriptions, restoration charts, and considerations of the current condition of each panel.

This book explores the great interest that Pablo Picasso had in ceramics, which he certainly didn't consider a minor art, but a means of artistic expression in its own right, like sculpture, painting and graphics. In Vallauris, at the Madoura ceramic laboratories, Picasso dedicated himself to working clay for a period of 25 years, from 1946 to 1971, producing thousands of unique pieces. This volume retraces this exceptional chapter of the Picasso's art, through 50 ceramics from the Picasso of the Musee National Picasso in Paris - a core of inestimable value, which represents almost half of the museum's large collection - placed in a fertile and unprecedented dialogue with the direct sources of his inspiration: classic ceramics with red and black figures, the Etruscan buccheri, Spanish and Italian popular ceramics, 15th century Italian graffiti, and examples of the Mediterranean area with iconographies of fish, fantastic animals, owls and birds, as well as terracottas from Mesoamerican cultures. A chapter is dedicated to the relationship between Picasso and Faenza through unpublished documents from the historical archive of the MIC, and to the historical video by Luciano Emmer of 1954 (Picasso a Vallauris). Text in English and Italian.

The Imperial Glass Company produced a wide range of beautiful glassware in many patterns and forms from 1901 to 1984. A thorough text and over 540 beautiful photos explore the many patterns, unique items, art glass pieces, private mould objects, wares made for customers to alter or decorate, and the glassware made in non-production colors that were produced by this prolific firm. Among the patterns displayed are Washington, New Rochelle, Pillar Flute, Laced Edge, Empire, Hobnail, Monticello, Cathay, "Molly," and "Zippered Heart." The text provides a brief history of Imperial, discussions of the firm's patterns, wares, the companies that contracted with Imperial for special items, and a detailed bibliography. Prices for the wares displayed are found in the captions. This book will be a treasure for everyone who appreciates beautiful glassware.