A leading figure in contemporary art since the early 1970s, Chuck Close is internationally renowned for his monumentally scaled portrait paintings, based on photographs. Close likes to push the boundaries of different techniques, processes and materials, working with various collaborators to achieve his vision. His first public artwork, Subway Portraits, featured a series of 12 mosaic and tile artworks, was commissioned by the New York Metropolitan Transportation Authority Arts & Design program in 2017. This book presents Chuck Close's new series of mosaic artworks as well as related works, such as prints, tapestries and photographs. It also documents the production process of these works by fabricators Mosaika Art and Design and Magnolia Editions, as well as the 12 works they produced for the 86th St. Subway Station at Second Avenue in New York City. Text in English and Italian.

Just as a single pot starts with a lump of clay, the study of a piece's history must start with an understanding of its raw materials. This principle is the foundation of Pottery Analysis, the acclaimed sourcebook that has become the indispensable guide for archaeologists and anthropologists worldwide. This new edition fully incorporates more than two decades of growth and diversification in the fields of archaeological and ethnographic study of pottery. It begins with a summary of the origins and history of pottery in different parts of the world, then examines the raw materials of pottery and their physical and chemical properties. It addresses ethnographic and ethnoarchaeological perspectives on pottery production; reviews the methods of studying pottery's physical, mechanical, thermal, mineralogical, and chemical properties; and discusses how proper analysis of artifacts can reveal insights into their culture of origin.

Originally published in 1937, this book surveys the underlying scientific principles that produce the chief glaze effects on Chinese ceramics. Hetherington provides a general introduction on the nature of a glaze before describing how glazes with various chemical contents can be manipulated to produce striking effects in terms of colour and texture. This book will be of value to anyone with an interest in Chinese ceramics and the history of art.

The Egyptologist Samuel Birch (1813-85) began to study Chinese at school, and obtained his first post at the British Museum cataloguing Chinese coins. He maintained his interest in Chinese civilisation throughout his life, but also collaborated with C. T. Newton on a catalogue of Greek and Etruscan vases, and with Sir Henry Rawlinson on cuneiform inscriptions, while also specialising in the examination and cataloguing of the Museum's growing collection of Egyptian papyri and other artefacts. Birch describes this two-volume, highly illustrated work on ancient pottery, published in 1858, as filling a perceived need: 'A work has long been required which should embody the general history of the fictile art of the ancients.' Volume 1 covers the composition and techniques of the pottery of ancient Egypt and Assyria, with notes on Jewish Phoenician wares, and begins an examination of the techniques and art of the Greek ceramicists.

The Egyptologist Samuel Birch (1813-85) began to study Chinese at school, and obtained his first post at the British Museum cataloguing Chinese coins. He maintained his interest in Chinese civilisation throughout his life, but also collaborated with C. T. Newton on a catalogue of Greek and Etruscan vases, and with Sir Henry Rawlinson on cuneiform inscriptions, while also specialising in the examination and cataloguing of the Museum's growing collection of Egyptian papyri and other artefacts. Birch describes this two-volume, highly illustrated work on ancient pottery, published in 1858, as filling a perceived need: 'A work has long been required which should embody the general history of the fictile art of the ancients.' Volume 2 continues to examine Greek pottery, including the work of named or identified individual craftsmen, and then moves on to Etruscan and Roman wares, with a short final section on 'Celtic, Teutonic, and Scandinavian pottery'.

The fifth Baron Abercromby (1841-1924), a soldier and keen archaeologist, published this two-volume work in 1912. His especial interest was prehistoric pottery, and he introduced the word 'beaker' as a term to indicate the late Neolithic/Chalcolithic western European culture which produced these characteristic clay drinking vessels. His aim was to produce a chronological survey of British and Irish ceramics from the late Neolithic to the end of the Bronze Age, to classify these by type and geographical area, and to examine the goods associated with dateable pottery in burials and cremation urns. This heavily illustrated work also puts the British beakers into their European context and considers the possible indications of movements of people given by variations in style. Volume 2 discusses cinerary urns, and the grave goods, including the so-called 'pygmy urns', associated with them.

The fifth Baron Abercromby (1841-1924), a soldier and keen archaeologist, published this two-volume work in 1912. His especial interest was prehistoric pottery, and he introduced the word 'beaker' as a term to indicate the late Neolithic/Chalcolithic western European culture which produced these characteristic clay drinking vessels. His aim was to produce a chronological survey of British and Irish ceramics from the late Neolithic to the end of the Bronze Age, to classify these by type and geographical area, and to examine the goods associated with dateable pottery in burials and cremation urns. This heavily illustrated work also puts the British beakers into their European context and considers the possible indications of movements of people given by variations in style. Volume 1 examines burials, the associated grave-goods, and skeletal remains, especially skulls, which may provide ethnographic information.

Chihuly at Kew: Reflections on nature is a celebration of the work of iconic artist Dale Chihuly, who once again is exhibiting his luminous artworks in Kew's spectacular landscape, featuring pieces never seen before in the UK. The book showcases these utterly unique artworks across one of London's most spectacular landscapes, in a perfect marriage of art, science, and nature. Stunning photography depicts the dazzling art installations situated across the Gardens, set within the landscape as well as in glasshouses and in the Shirley Sherwood Gallery of Botanical Art. Highlights include the Drawings and Rotolo series, some of the most technically challenging work that Chihuly has ever created, as well as Seaforms, undulating forms that conjure underwater life. A specially designed sculpture suspended from the ceiling of the newly restored Temperate House provides one of the moss stunning features of the exhibition and book. An introductory essay by Tim Richardson accompanies the artworks, along with artist's chronology and biography.

Dramatic social and political change marks the period from the end of the Late Bronze Age into the Iron Age (ca. 1300 700 BCE) across the Mediterranean. Inland palatial centers of bureaucratic power weakened or collapsed ca. 1200 BCE while entrepreneurial exchange by sea survived and even expanded, becoming the Mediterranean-wide network of Phoenician trade. At the heart of that system was Kition, one of the largest harbor cities of ancient Cyprus. Earlier research has suggested that Phoenician rule was established at Kition after the abandonment of part of its Bronze Age settlement. A reexamination of Kition s architecture, stratigraphy, inscriptions, sculpture, and ceramics demonstrates that it was not abandoned. This study emphasizes the placement and scale of images and how they reveal the development of economic and social control at Kition from its establishment in the thirteenth century BCE until the development of a centralized form of government by the Phoenicians, backed by the Assyrian king, in 707 BCE."

Originally published in 1923, this book examines the history of glass-making in England from its origins in Imperial Roman techniques to the end of WWI. The text is richly illustrated with drawings and photographs of examples of glass and glass-making techniques though history. This book will be of value to anyone with an interest in the history of this decorative and practical art.

Transform your plain pottery into exciting, colourful and contemporary pieces for the home in a trice! You don't need pottery classes, or even a kiln to glaze your creations - you can make gorgeous items quickly and easily by painting plain, shop-bought ceramic items and baking them in a domestic oven. With 22 colourful projects to make, there are decorative plates, bowls, cups and pots, vases, a lamp - and even earrings and a necklace. With simple techniques to follow, all explained in clear and simple terms, you just need a few brushes, some ceramic paints and some plain pottery and away you go! If you love painted ceramics, patterns and making little gifts - this book is for you!

A Passion for China is a personal celebration of the everyday beauty of tableware. Acclaimed ceramicist, artist and designer Molly Hatch explores the family stories behind beloved items; the bowls and cups we have inherited or chosen with love and care. Molly Hatch also brings the history of porcelain, potteries and patterns to life through her stunning, hand-drawn illustrations. 'As we move through our daily lives, eating breakfast, sipping an afternoon cup of tea or gathering for a family dinner, the patterned ceramic objects we live with are precious witnesses to our stories. We eat from them, they warm our hands after a cold walk outdoors and we pull them out to celebrate the births, marriages and lives of our loved ones.' A tribute to the rich heritage of the vintage plates, jugs and pots that make our homes our own.

First published in 1933, as the second edition of a 1913 original, this book was written to provide the general reader with a guide to surviving English stained and painted glass from before 1714. The text begins with Norman and Early English styles before moving chronologically through various periods to the beginning of the eighteenth century. The connections between glass-painting and other arts ancillary to architecture are also touched upon, with special reference to their common objects and use. Numerous illustrative figures are included throughout. This book will be of value to anyone with an interest in stained glass and art history.

Originally published in 1897, this book was written to provide both archaeologists and visitors with an accessible guide to Greek vases in the Fitzwilliam Museum: 'to publish and make accessible to archaeologists a record of the vases it contains, and to assist the visitor, and more especially the student in observing the history and technique of Greek vase-painting'. The text contains illustrations of every vase in the collection, except those that reproduce well-known and common types; these illustrations replace lengthy description and allow for easy identification of subject and style. This is a beautifully presented book that will be of value to anyone with an interest in the collections of the Fitzwilliam Museum, archaeology and Greek vases.

The present volume catalogues and illustrates all the stained glass produced before 1700 in the collections of Upstate New York. It includes the glass in the Albright-Knox Art Gallery and the Memorial Art Gallery in Rochester, in the Hyde Collection at Glen Falls, in Ithaca College, and predominantly in Corning, where the Corning Glass Museum is well known for its exceptional collection and where also Christ Episcopal Church houses two interesting fifteenth-century windows. The catalogue covers a wide range of panels of French and English glass from the thirteenth, fourteenth and fifteenth centuries, and the collections are particularly strong in their holdings of later heraldic panels from the Lowlands and Switzerland. In addition to a detailed examination of the glass, Professor Lillich presents exhaustively researched histories of the individual panels, and sheds much light on the formation of the different collections and the personalities who created them. Every work catalogued is also illustrated, accompanied by clearly presented restoration charts and many comparative illustrations.

These original patterns combine aspects of abstract design with natural elements for beautiful and strikingly unusual effects. They can be executed with either of the customary techniques, copper foil or lead came, or a combination of the two approaches. Symmetrical in design, the 90 patterns are easily adapted for specific projects.

"Magnificent color, skilled craftsmanship and creative design make Blenko America's most colorful name in glass," touted a Blenko catalog advertisement. First begun in the late nineteenth century in Milton, West Virginia, Blenko remains one of the few glass factories in the United States where modern hand-blown glass is still in production. Recently, Blenko glass designs from the 1950s and 1960s have caught collectors' eyes. This book presents an exact, full-color reprinting of the yearly Blenko company catalogs from 1962 through 1971, thus offering a complete, well-illustrated record of Blenko glass products, including original retail prices and current market values. This book is most useful for the dealers and collectors of glass who appreciate the beauty and "timely glass design" of Blenko.

This book was published as part of the Glass in MAS project, a multidisciplinary research project on the glass collection of the MAS collection Vleeshuis (Antwerp, Belgium). Never before has the collection of archaeological glass of the MAS Vleeshuis Collection in Antwerp been described and disclosed in its entirety. This hidden treasure is part of a valuable study collection on 20 centuries of glass production, a wealth of information that has remained underexposed. The archaeological part is presented for the first time in this extensive catalogue.

What was the impact of Romanisation on non-elite life in central Italy during the late third and second centuries BC? Focusing on the increasing spread of black-gloss pottery across the peninsula, this 2007 text demonstrates the importance of the study of such everyday artefacts as a way of approaching aspects of social history that are otherwise little documented. Placing its subject within the wider debate over cultural identity in the Roman world, the book argues that stylistic changes in such objects of everyday use document the development of new forms of social representation among non-elite groups in Roman Italy. In contrast to previous accounts, the book concludes that, rather than pointing to a loss of regional cultural identities, the ceramic patterns suggest that the Romanisation of Italy provided new material opportunities across the social scale.

Sam Herman (1936-2020) stands at the very centre of the development of the international Studio Glass Movement. He was not only present for the birth of the Movement in the United States, but was its founding father in Great Britain and Australia. This book is the first to deal directly with the genesis of the Movement and the pioneering work of Herman within it, while also shedding light on his wider practice in sculpture and painting. The son of Polish immigrants, Mexican by birth, and brought up in the tougher New York boroughs, Herman travelled to London in the mid-1960s and went on to head up the Glass Department at the Royal College of Art. From there he inspired a generation of artists, created revolutionary techniques and was instrumental in the development of colour and texture in blown glass. For art historians, collectors and aficionados of glass, this book provides a welcome and comprehensive evaluation of Herman's position within the Studio Glass Movement, the history of glass art, as well as the wider context of modern British art. While discussion of his sculpture and painting reveal further dimensions to Herman's ongoing, and indefatigable, explorations in form, composition and colour.

Torsion and tension are characteristic of the vessels created by the exceptional Japanese ceramicist Shozo Michikawa (b. 1953), whose works are reminiscent of rock strata and lava flows. Michikawa is known for his unique technique, for turning edgy, dynamic sculptures on the potter's wheel. First he cuts and scores a solid block of clay before he carves out the interior hollow through pressing and turning with a rod and his hands. Natural-looking surfaces emerge, just as geological forces formed the earth's surface - an irrepressible energy from the inside out. Michikawa's pots, with their irregular shape, granular texture, and rich earthen hues are so poetic in their appearance that they have been likened to 'haikus in clay'. With a selection of works from the last fifteen years, Shozo Michikawa introduces the first comprehensive insight into his ceramic production, which has attracted attention across the globe. The Museum fur Kunst und Gewerbe Hamburg; LACMA Los Angeles County Museum of Art; Ashmolean Museum of Art and Archaeology, University of Oxford; National Museum of Wales, Cardiff; Philadelphia Museum of Art; Qinglingsi Temple, Xi'an and Shimada City Museum are among the institutions that have acquired his work. This book accompanies an exhibition, which will tour between venues: Lacoste Gallery, Concord, MA (US), 3 to 24.6.2017; Erskine, Hall & Coe, London (UK), 11.10. to 2.11.2017. The artist is active on facebook, at https://www.facebook.com/shozo.michikawa

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

Collared Urns represent a unified pottery tradition in the prehistory of the British Isles. They serve the archaeologist not only as a source for defining the Bronze Age, but as the basis for understanding regional diversities and as a context for explaining social and cultural development. In this definitive study Dr Longworth bases his new and exhaustive analysis on a complete corpus of known Collared Urns. Each surviving example has been studied; this volume presents a detailed description, notes on the archaeological context and wherever possible, an analytical drawing. The resultant catalogue will serve as a reference book for all concerned with the prehistory of Britain and Ireland, while the discussion of the urns and their prehistoric context sets a firm foundation for the understanding of the Bronze Age.