More than a dozen patterns for rectangular panel-style lamps feature easy-to-replicate continuous designs. Some patterns include foil inlays; all feature beautiful but not overly detailed designs that ensure successful completion.

This is the first major book on English blue and white porcelain since the early 1970s. Not only is it the latest and most up-to-date work, but it includes types not previously studied and extends the range of wares into the early years of the nineteenth-century. It is a unique, comprehensive study. The number of instructive illustrations exceeds seven hundred, including helpful comparison photographs and details of identifying features - footrims, handle forms, manufacturing characteristics and marks. Apart from introductory chapters on collecting blue and white and on the introduction and development of this popular mode of decoration, this unique coverage comprises details of over twenty distinct makes, including the relatively newly researched eighteenth century factories at Isleworth, Limehouse and Vauxhall. The inclusion of the several post-1790 factories covers new ground. The section on fakes and reproductions will also prove instructive and helpful. Guidance is given on the popularity o

2019 marked the 40th anniversary of Barbara Nanning's graduation in ceramics from the Gerrit Rietveld Academie in Amsterdam. Over those forty years, Nanning (b.1957) has become an internationally respected artist with work in countless public and private collections in the Netherlands and around the world. Originally, her reputation was due mainly to her pioneering ceramics and installations, which had completely abandoned the container form that had so long dominated studio pottery. But for the last 25 years Nanning has worked chiefly in a different medium: glass, in which she has created an amazing and multi-faceted oeuvre. Each year she spends an extended period in the Czech Republic, where expert glassblowers help her to conjure up the most extraordinary and thrilling objects in that material.

This collection of drawings and watercolours of the mosaics and wallpaintings of early medieval churches in Rome forms an important part of the paper Museum, since it sheds much light on the nature and scope of antiquarianism in Italy at the time of the Counter-Reformation. The drawings and watercolours catalogued and illustrated here are all in the Royal Collection, Windsor Castle, and are mostly by the artist Antonio Eclissi. The reproductions are generally in full colour, and frequently accompanied by illustrations showing the actual decoration in situ. The introductory essays outline the important phases of Cassiano dal Pozzo's career, discuss the history and significance of the 'Paper Museum', and explore the Christian tradition in seventeeth-century Rome. The Catalogue Raisonnee analyses each drawing in the greatest detail. This volume, the first to appear in the series, will be of special interest to archaeologists and medievalists engaged in the study of Rome's Early Christian churches, since many of the buildings, mosaics and paintings are now no longer extant. This collection of drawings and watercolours of the mosaics and wallpaintings of early medieval churches in Rome forms an important part of the Paper Museum, since it sheds much light on the nature and scope of antiquarianism in Italy at the time of the Counter-Reformation.

Materials And Apparatus - Varieties And Defects Of Glass - Devitrification - Annealing Glass - Blowpipe And Bellows - Light - Arrangement Of Exercises - General Operations - Cutting - Bending - Constricting And Flanging Tubing - Methods Of Rotation And Blowing - Elementary Exercises - Joining Two Pieces Of Tubing Of The Same Diameters - Blowing Bulbs - Advanced Exercises - Sealing A Tube Through Another Tube: The Gas Washing Tube - Suction Pump - And Kjeldahl Trap - Modified Methods And Special Operations - Capillary Tubing - Glass Rod - Mending Stopcocks - Closed Circuits Of Tubing - Spirals - Ground Joints - Sealing In Platinum Wire - Sealing Vacuum Tubes - Closed Tubes For Heating Under Pressure - And Sixty Recipes For Flint Glass Making, With Index

A growing number of ceramic artists now choose not to glaze their work. Instead, they use an unglazed-naked-surface to express their ideas and concerns. From slips and terra sigillata to burnishing, engobes, oxide washes, and additions to the clay body, there is a wide range of techniques artists can employ to achieve the finishes they desire. As these techniques are suitable for a broad spectrum of processes, subject matter and context (from slipcasting to handbuilding, from high to low firing temperatures, from figurative to conceptual, from domestic to public), the scope of the work produced by the artists represented in this book is enormous. In Naked Clay Jane Perryman not only presents the finished ceramics and techniques of an international group of artists, she also investigates their ideas and areas of inspiration to further an understanding of their work. Each artist presented here has a unique style and way of working, but they are all connected through their committed relationship to the material and their desire to express their ideas using "naked" clay. This beautifully illustrated book will inform and inspire not only students, professionals, and teachers, it will fascinate collectors and, indeed, anyone with an interest in contemporary ceramics.

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, emphasizing the relationship between nature, culture, the passage of time, and everyday life.

Originally sold in five-and-ten-cent stores during the 1940s and 1950s, expertly modeled and colorfully decorated Royal Copley figurines, banks, planters, and other items have become one of today's hottest ceramic collectibles. In this first new book on the subject in 10 years, Mike Schneider uses more than 500 color photos to present 875 pieces of Royal Copley, including many previously unknown examples that have never appeared in a book before. Estimated values, based on the current market, are included in the captions, along with measurements and information about marks. Also included is a brief history of the Spaulding China Company, the Sebring, Ohio, pottery that manufactured Royal Copley. Whether you are a collector, historian, or simply someone who would like to take a nostalgic stroll through the decorative accessories of your parents' or grandparents' homes, you will find this latest volume in Schneider's repertoire of books on mid-twentieth century pottery a pleasing and important addition to your library.

Through over 550 beautiful photos and informative (and humorous) narration by the artist, this visual experience reveals the evolution of Josh Simpson's evocative glass art over the past 50 years. In-depth looks at his several signature series and experimental works illustrate how Simpson has continually explored new ways to express -- in glass -- his fascination with outer space, the natural world, and the workings of the universe. Throughout, text and photo spreads narrate the story of Simpson's less well-known works, details of his life and process, and his contributions within the craft world. Text by experts in the glass world, including William Warmus, Tina Oldknow, Nezka Pfeifer, and others, supplies additional views. Plus, strategically placed comments from numerous museum curators, along with insights from astrophysicists and space flight professionals, present a unique perspective on the meanings and broad appeal of Simpson's glass.

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.

Learn the tools and techniques you need to start making ceramic mugs, bowls, and more! Step-by-step instructions complete with color photographs Includes a chapter on bisque firing, waxing, and glazing 4 basic pottery projects for the beginning potter The art of pottery making is described in detail for the beginning potter. Complete with a chapter on tools and materials to get started, this easy-to-use guide explains and illustrates how to wedge clay, use a pottery wheel, shape and trim pots, determine clay thickness, add handles, and a host of other pottery-making techniques. It also contains a chapter on bisque firing and glazing, the final steps in creating beautiful and functional pottery. Includes complete instructions for making a large bowl, three styles of mugs, and a sugar bowl and creamer set.

An in-depth look at the dynamic cultural world of tea in Japan during its formative period Around Chigusa investigates the cultural and artistic milieu in which a humble jar of Chinese origin dating to the thirteenth or fourteenth century became Chigusa, a revered, named object in the practice of formalized tea presentation (chanoyu) in sixteenth-century Japan. This tea-leaf storage jar lies at the nexus of interlocking personal networks, cultural values, and aesthetic idioms in the practice and appreciation of tea, poetry, painting, calligraphy, and Noh theater during this formative period of tea culture. The book's essays set tea in dialogue with other cultural practices, revealing larger cultural paradigms that informed the production, circulation, and reception of the artifacts used and displayed in tea. Key themes include the centrality of tea to the social life of and interaction among warriors, merchants, and the courtly elite; the multifaceted relationship between things wa (Japanese) and kan (Chinese) and between tea and poetry; the rise of new formats for display of the visual and calligraphic arts; and collecting and display as an expression of political power.

Ceramics are an unparalleled resource for women's lives in ancient Greece, since they show a huge number of female types and activities. Yet it can be difficult to interpret the meanings of these images, especially when they seem to conflict with literary sources. This much-needed study shows that it is vital to see the vases as archaeology as well as art, since context is the key to understanding which images can stand as evidence for the real lives of women, and which should be reassessed.
Sian Lewis considers the full range of female existence in classical Greece - childhood and old age, unfree and foreign status, and the ageless woman characteristic of Athenian red-figure painting.

An essential guide to low firing and producing natural finishes without using glazes. This book explores the techniques of firing and finishing at low temperature without using glazes or electric kilns. Many ancient cultures and contemporary potters use methods of low firing, adding slips and burnishing pieces to create a more natural finish. As these techniques can be achieved without a kiln, for example using old dustbins, pits dug out of the earth or bonfires, it means that providing you have some outdoor space, the process can be done on a low budget. With many illustrations of beautiful work by contemporary makers for inspiration, this step-by-step guide to low firing and natural finishes is suitable for potters of all levels, including beginners. Get started in no time with practical approaches to burnishing, terra sigillata, smoke-firing, pit-firing, saggar firing and raku techniques.

This new title, with text by Peyton Skipwith and Brian Webb, contains more than 170 images, several not illustrated before. The book focuses on Ravilious as a designer, in particular his work as an illustrator and wood engraver, and his work in ceramics and textiles. The book builds on the success of the first and bestselling book in this series which featured the work of Ravilious and his friend Edward Bawden - Edward Bawden and Eric Ravilious: Design. This book will form an excellent and affordable introduction to the work of this brilliant and popular artist.

Beauty in imperfection! Learn the ancient Japanese art of kintsugi and understand why, in the way of kintsugi artists, broken is better than new. This is your guide to putting the pieces back together to restore broken plates, vases, and other ceramics and glass items to be even better than before. Starting with repairing a simple dent or crack, you'll gain the skills to reconstruct goblets, vases, plates, spherical objects, and statues. Transform your broken pieces and heirlooms or create new works of art and wearable art with this method. Explore kintsugi's fascinating origins in 1400s Japan, its history, and its philosophy, along with ways to push the boundaries for your creations today. As you repair ceramic and glass objects-kintsugi works both for precious and thrift-store-level items-you'll learn the traditional methods as well as modern methods not taught elsewhere. You'll soon appreciate why kintsugi is the only Japanese art form that has taken a spiritual philosophy as its very purpose.

After Glow documents the New Nordic Porcelain Forum, a project which focuses on the Nordic tradition of porcelain production. The focal point is the collaborative work of 13 ceramic artists from the Scandinavian regions, who gathered for a residency in Denmark in 2019 and in 2021 for a two-week stay in various workshops associated with porcelain production in Norway, Sweden, Denmark, and Finland. This publication not only serves as an exhibition catalogue, it offers insights into the important industrial and design histories of northern Europe, as well as into today's use of porcelain as an artistic medium. In doing so, it is hoped that the production of Nordic contemporary ceramics will advance to a new collaborative practice in order to transform and therefore preserve this important cultural heritage.

In this book the author explores the work of the fifth-century BC Athenian vase-painter, Sotades, one of the most familiar names in vase painting. Previous scholarship has dealt mainly with questions of attribution, style, and iconographic interpretation, but Dr Hoffman concentrates on inherent meaning: what does the imagery of these decorated vases really signify? He argues that, contrary to widely held conceptions, there is an underlying unity of meaning in Greek vases and their imagery, a unity rooted in the religious beliefs and ritual practices of the society from which they spring. Each chapter discusses a specific aspect of the artist's iconology, placing it in the context of fifth-century BC Greek philosophical and religious thought.

Have you ever wanted to create your own ceramics but had no idea how to begin? Expert ceramicist Melisa Dora teaches you everything you need to know to make exquisite ceramic tableware. Step-by-step instructions clearly outline the techniques for forming and building your pieces, throwing the clay, firing, and glazing. Explore the best practices for using clay and different glazes -- and even how to make your own glazes. Discover how to reuse, recycle, and reclaim your materials. Learn tips for troubleshooting and advice for photographing and selling your finished work. Once you've mastered the techniques, use them to create mugs, plates, bowls, serving dishes, vases, and more. Melisa Dora makes it easy for you to design and create ceramic pieces that will adorn your home and brighten your life.

Greek myth-makers crafted the downfall of Troy and its rulers into an archetypal illustration of ruthless conquest, deceit, crime and punishment, and the variability of human fortunes. This book examines the major episodes in the archetypal myth - the murder of Priam, the rape of Kassandra, the reunion of Helen and Menelaos, and the escape of Aineias - as witnessed in Archaic Greek epic, fifth-century Athenian drama, and Athenian black- and red-figure vase painting. It focuses in particular on the narrative artistry with which poets and painters balanced these episodes with one another and intertwined them with other chapters in the story of Troy. The author offers the first comprehensive demonstration of the narrative centrality of the Ilioupersis myth within the corpus of Trojan epic poetry, and the first systematic study of pictorial juxtapositions of Ilioupersis scenes on painted vases.

The Ceramics Reader is an impressive editorial collection of essays and text extracts, covering every discipline within ceramics, past and present. Tackling such fundamental questions as "why are ceramics important?", the book also considers the field from a range of perspectives - as a cultural activity or metaphor, as a vehicle for propaganda, within industry and museums, and most recently as part of the 'expanded field' as a fine art medium and hub for ideas. Newly commissioned material features prominently alongside existing scholarship, to ensure an international and truly comprehensive look at ceramics.

A major contribution to our knowledge of the Worcester porcelain factory in its early years, based on a single large and elaborate dinner service commissioned by an Irish family. 2020 Winner of the American Ceramic Circle Book Award The early years of the famous Worcester porcelain factory established by Dr Wall have always been a little mysterious, owing to the destruction of the records of thebusiness for this period. Alec Cobbe's discovery of family papers listing the purchases over a period of years of a particularly beautiful and ornate table set have enabled him to give a vivid glimpse of how the factory interacted with its customers. He is able to describe the commissioning of perhaps the largest service of first period Worcester porcelain on record by Thomas and Lady Betty Cobbe for Newbridge House Co. Dublin. It was bought in stages from 1763 as the family travelled from Dublin to Bath each year, stopping at Worcester en route, as other Irish gentry did. The Cobbe service, uniquely in the context of British porcelain, was accompanied by a full set of Irish silver and steel cutlery fitted with Worcester porcelain handles matching the service. The various pieces of porcelain and their historical context are described as well as their painted decoration, and the sources for it. The later history of the service is outlined and its gradual dispersal in the nineteenth century, culminating in a final sale of the remaining pieces lot by lot in a Christie's sale in 1920. This book celebrates Cobbe's reassembly of more than 160 pieces of the original service over a period of more than thirty years and their return to Newbridge following their exhibition in the State Apartments at Dublin Castle. Overall, the book gives an important insight into Irish social life and patronage in the mid-eighteenth century. Alec Cobbe was born in Ireland and still resides in Newbridge House, Co. Dublin, where his ancestors have lived since it was built in the middle of the eighteenth century. He practises as an artist and designer. As a passionate collector, he added to his family's historic collections and assembled the world's largest group of composer-owned keyboard instruments.

Ancient Greek buildings were renowned for their terracotta roofs, an invention which may have first occurred in prehistoric times and been rediscovered in the seventh century BC. This is the first book to look in detail at the complex variations in tile shape, technical features, and decorative motifs which occurs across Greece, particularly during the Archaic period. Inscriptions refer to Corinthian and Spartan tiles, and two different types of tiles characterizing the roofs of Corinth and Sparta confirm these nomenclatures. A careful analysis of the preserved elements or roofs found in each major city or district, however, reveals considerably more variation, and shows that there were regional styles which distinguished the roofs of north-western Greece. Arcadia, the Argolid, Central Greece, Attica, and the Aegean islands as well. The importance of this new work is not only that it brings a fresh approach to the topic, revealing the regional styles of roofs as of pottery and sculpture, but also that it shows exactly how ancient roofs were assembled, by providing detailed drawings of several characteristic roofs for each regional system. The book is illustrated with numerous photographs, figures, and maps. It should be invaluable for excavators, surveyors, and architectural historians.