William De Morgan was the principal ceramic designer and maker in the Arts and Crafts Movement. Heavily influenced by the art of the Middle East, he was active for nearly thirty years from the 1870s onwards and was never content with an existing technical process if he thought it could be improved. He is famous for his vases and decorative chargers, but it is arguably his tiles - still to be found in homes and museums around Britain and the world - that have made the greatest impact. His tiles portray iconic images of animals, ships and floral designs, blending style influences to produce designs that featured new, stylized interpretations and a whimsical character. He combined a strong design style with rich glaze colours, making blue and green, and a deep orangey red into visual trademarks. There were important commissions from royalty and industry, and his ceramics were marketed to the growing middle classes by William Morris, the founder and leading light of the Arts and Crafts Movement. The tiles of the Arts and Crafts Movement are now highly collectible, and none more so than those made at William De Morgan's Chelsea, Merton Abbey and Fulham potteries. This highly illustrated book, by acknowledged experts on De Morgan, presents the first study of the tiles to be published in over thirty-five years and features an examination of De Morgan's lustre glazes using high sensitivity X-ray analysis.

This classic volume on the evocative and enigmatic pottery of the Mimbres people has become an irreplaceable design catalogue for contemporary Native American artists. Burt and Harriet (Hattie) Cosgrove were self-trained archaeologists who began excavating Mimbres materials in 1919. When their meticulous research came to the attention of Alfred V. Kidder of the Peabody Museum, he invited them to direct the Mimbres Valley Expedition at the Swarts Ranch in southern New Mexico on behalf of the Peabody.

Working in the summers of 1924 to 1927, the Cosgroves recovered nearly 10,000 artifacts at the Swarts site, including an extraordinary assemblage of Mimbres ceramics. Like their original 1932 report, this paperbound facsimile edition includes over 700 of Hattie Cosgrove's beautiful line drawings of individual Mimbres pots. It also presents a new introduction by archaeologist Steven A. LeBlanc, who reviews the eighty years of research on the Mimbres that have followed the Cosgroves' groundbreaking study. The Peabody's reissue of "The Swarts Ruin" once again makes available a rich resource for scholars, artists, and admirers of Native American art, and it places in historical context the Cosgroves' many contributions to North American archaeology.

The peoples of the American Southwest during the 13th through the 17th centuries witnessed dramatic changes in settlement size, exchange relationships, ideology, social organization, and migrations that included those of the first European settlers. Concomitant with these world-shaking events, communities of potters began producing new kinds of wares--particularly polychrome and glaze-paint decorated pottery--that entailed new technologies and new materials. The contributors to this volume present results of their collaborative research into the production and distribution of these new wares, including cutting-edge chemical and petrographic analyses. They use the insights gained to reflect on the changing nature of communities of potters as they participated in the dynamic social conditions of their world.

A lucrative trade in Athenian pottery flourished from the early sixth until the late fifth century B.C.E., finding an eager market in Etruria. Most studies of these painted vases focus on the artistry and worldview of the Greeks who made them, but Sheramy D. Bundrick shifts attention to their Etruscan customers, ancient trade networks, and archaeological contexts. Thousands of Greek painted vases have emerged from excavations of tombs, sanctuaries, and settlements throughout Etruria, from southern coastal centers to northern communities in the Po Valley. Using documented archaeological assemblages, especially from tombs in southern Etruria, Bundrick challenges the widely held assumption that Etruscans were hellenized through Greek imports. She marshals evidence to show that Etruscan consumers purposefully selected figured pottery that harmonized with their own local needs and customs, so much so that the vases are better described as etruscanized. Athenian ceramic workers, she contends, learned from traders which shapes and imagery sold best to the Etruscans and employed a variety of strategies to maximize artistry, output, and profit.

In the times when the Ukrainian art sphere was regulated by the Soviet institutions, local monumental and decorative arts existed at the frontier of the Party's propaganda and the artistic thirst to experiments. Nowadays, Ukrainian mosaics are wrested out of the architectural context of the country in both literal and metaphorical ways. The artworks are liquidated from the buildings they were specifically created for and indiscriminately despised as ideological pieces of no value. Furthermore, in legal terms mosaics are not defined as objects of art that makes them unguarded in the face of the decommunization process. Initially incepted as a guide, this book is an equally beneficial companion for the journey through space (in the context of the geographical area of modern Ukraine) and hitchhiking through time (in terms of Ukrainian cultural history). It incorporates the selection of Ukrainian mosaics which undermines the simplified perspective on the Soviet art heritage in Ukraine. The volume is generously supplemented with unique photographs of the documentary photographer Yevgen Nikiforov who continues the research, initially presented in the book Decommunized: Ukrainian Soviet Mosaics (2017). Together with the art historian Polina Baitsym who reveals striking linkages of the mosaics' plots with broader historical context, he will guide you through the testimonies of the genuine creativity of Ukrainian monumental artists which managed to flourish on the most infertile soil.

The teabowl has become an iconic form in contemporary ceramics. Having travelled from Japan, where it was an inherent part of chanoyu, or tea ceremony, it has evolved and adapted to become something very different in the West. Revered for its associations of its past and its connotations of sophistication and simplicity, the teabowl enjoys an elevated status. Here, Bonnie Kemske looks at the form as a whole, considering the history and ideas behind the original tea ceremony: how it moved into contemporary ceramics, and the way it is used today. She explores the wide range of teabowls, from traditional ones to those being made not for the tearoom but for the gallery, as well as introducing the international potters making them. The book also tackles some difficult questions, notably, how has the concept of the teabowl changed as it has been reinvented in contemporary ceramics? How does it sit in relation to its history? This book is wide in scope, thorough in detail and essential reading for anyone involved in making or using these tactile objects.

Happenstance and gesture play a central role in the creative work of the ceramicist Johannes Nagel (b. 1979). His objects, which are orientated towards traditional ideas of vessels but are also freely composed, examine the associations between form and idea. Using work techniques such as burrowing into sand to form negative figurations for casting, he successfully performs his work directly and manually, lending the process of searching a tangible presence. The publication focuses on Nagel's oeuvre from the last four years. Earlier work groups are also presented as highlights. The collector Joerg Johnen and the philosopher Marcel Rene Marburger set Nagel's work in relation to artistic tendencies of the twentieth century and shine a light on the intellectual-historical background of the gestural as an intermediary between the power of imagination and its manifestation in an object. Text in English and German.

Thanks to a conscious reduction in form and colour, the ceramics by the Swiss artist Sonja Duo-Meyer (b. 1953) unfurl incredible expressive power. Their flowing silhouettes appear almost meditative, fixed points emerge in the light asymmetry of their forms, and a sophisticated play on light and shade develops. Surfaces, material, corpora and technique are interwoven through a minimalistic design concept that celebrates stillness and the concept of the void. Photographs of objects as well as exhibition views show vessels, objects and wall installations from 1992 to 2017. A particular highlight are works and ideas from the ceramic centre Tajimi, where, as artist in residence, the artist engaged intensively with Japanese techniques.With exciting illustrations and informative essays, this first monograph on Sonja Duo-Meyer presents the development of a career in contemporary ceramic art now spanning over forty years.

Every inch of Grayson's childhood bedroom was covered with pictures of aeroplanes, and every surface with models. Fantasy took over his life, in a world of battles ruled by his teddy bear, Alan Measles. He grew up. And in 2003, an acclaimed ceramic artist, he accepted the Turner Prize as his alter-ego Clare, wearing his best dress, with a bow in his hair. Now he tells his own story, his voice beautifully caught by his friend, the writer Wendy Jones. Early childhood in Chelmsford, Essex is a rural Eden that ends abruptly with the arrival of his stepfather, leading to constant swerving between his parents' houses, and between boys' and women's clothes. But as Grayson enters art college and discovers the world of London squats and New Romanticism, he starts to find himself. At last he steps out as a potter and transvestite.

In deepening our understanding of the symposium in ancient Greece, this book embodies the wit and play of the images it explains: those decorating Athenian drinking vessels from the sixth and fifth centuries B.C. The vases used at banquets often depict the actual drinkers who commissioned their production and convey the flowing together of wine, poetry, music, games, flirtation, and other elements that formed the complex structure of the banquet itself. A close reading of the objects handled by drinkers in the images reveals various metaphors, particularly that of wine as sea, all expressing a wide range of attitudes toward an ambiguous substance that brings cheer but may also cause harm. Not only does this work offer an anthropological view of ancient Greece, but it explores a precise iconographic system. In so doing it will encourage and enrich further reflection on the role of the image in a given culture. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This book inaugurates a series of volumes that will present the results of more than twenty years of research by a team of American and Yugoslav scholars at Stobi, an ancient city of northern Macedonia. The research was multidisciplinary, and methodological innovations augmented more traditional methodologies of archaeological, historical, and art historical research. The series illuminates numerous aspects of urban life at Stobi, which spanned some nine centuries, from the early Hellenistic period until the end of the sixth century A.D. This first volume of the series is also the first comprehensive study of Hellenistic and Roman pottery in Macedonia. Its detailed presentation of the types and quantities of imported wares and local products together with a series of well-dated contexts documents the economic history of Stobi as well as the broader region of Macedonia. It will interest social and economic historians, as well as archaeologists and pottery specialists. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This volume continues the ceramic history of the Saqqara Anubis temple, excavated by the Egypt Exploration Society from 1977 to 1979. Volume IV covers the Late Dynastic Period. From at least the mid- 6th century BC onwards, burials appear to have been made in the earlier shaft tombs as well as in a new cemetery in the sand. A temple to Anubis, god of the dead, was commenced at the same time, abandoned during the Persian Period but restarted around 400 BC. The ceramics include bowls used by the embalmers as well as offering vessels and the repertoire of the fourth century builders.

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 illustrated history highlights the diversity and innovation of American ceramics in the late nineteenth and early twentieth centuries, as artists responded to historical precedents and emerging modernist styles around the world Between the early 1880s and the early 1950s, pioneering American artists drew upon the rich traditions and recent innovations of European and Asian ceramics to develop new designs, decorations, and techniques. With splendid new photography, this book showcases these American interpretations of international trends, from the Arts and Crafts and Art Deco movements, through the modernism of Matisse and the Wiener Werkstatte, to abstracted, minimalist styles. Illustrations of more than 180 exemplary works-some of these never before published-accompany engaging essays by two of the foremost experts on American art pottery. The featured makers include Rookwood, Grueby, and Van Briggle potteries, as well as artists including Maija Grotell, George E. Ohr, Frederick Hurten Rhead, Louis Comfort Tiffany, Rockwell Kent, Adelaide Alsop Robineau, and Leza McVey. A vivid and accessible overview of American ceramics and ceramists of the late nineteenth and early twentieth centuries, this publication reveals how diverse and global sources inspired works of astonishing ingenuity and variety by artists working in the United States. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (October 2021-October 2022)

The Ruskin Pottery operated from around 1898 to 1935. Founded by William Howson Taylor and his father Edward (Superintendent of the Birmingham School of Art) the pottery used simple forms and new glaze technologies in contrast to highly decorated majolica and earthenware that had been popular in the second half of the nineteenth century. The Ruskin Pottery was one of the most important potteries of the Arts and Crafts Movement, and William Howson Taylor was pre-eminent among a group of 'chemist potters' at the start of the twentieth century. The most important glaze effect was the reduction of copper and iron oxides during firing, to produce rich red, blue, lavender and green hues. This technique was also called 'high-fired' ware and the red glaze, 'sang de boeuf'. The Chinese had used reduction firing in previous centuries, but it fell out of use and was re-introduced by several European ceramicists during the late nineteenth century. William Howson Taylor became the greatest exponent of the technique, and won major awards at successive International Exhibitions, the first being at St Louis in 1904. This initiated an important export business to the USA, with stores that retailed his wares including Tiffany's. The pottery closed in 1933 with some pots being fired until final closure in 1935. William Howson Taylor, then ill, burnt all the glaze recipes and died soon after.

A 'vessel for living' - such were the words Glenn Adamson used to describe this remarkable residence. Richard Meier designed the Grotta home to house Sandra and Louis Grotta's collection of contemporary studio jewellery and significant works in wood, ceramic and fibre. The building was conceived around the collection, framing the objects within the open architecture, which comprises an equal blend of glass and concrete. Nature, visible from many vantage points, plays an essential supporting role. The Grotta Home by Richard Meier: A Marriage of Architecture and Craft is rich in photographs of the collection and provides impressive insights into this exceptionally personal project. The accompanying essays afford the reader a greater sense of how the Grottas have not simply acquired art, but have immersed themselves in it.

This book is a comprehensive study of visual humour in ancient Greece, with special emphasis on works created in Athens and Boeotia. Alexandre G. Mitchell brings an interdisciplinary approach to this topic, combining theories and methods of art history, archaeology and classics with the anthropology of humour, and thereby establishing new ways of looking at art and visual humour in particular. Understanding what visual humour was to the ancients and how it functioned as a tool of social cohesion is only one facet of this study. Mitchell also focuses on the social truths that his study of humour unveils: democracy and freedom of expression; politics and religion; Greek vases and trends in fashion; market-driven production; proper and improper behaviour; popular versus elite culture; carnival in situ; and the place of women, foreigners, workers and labourers within the Greek city. Richly illustrated with more than 140 drawings and photographs, this study amply documents the comic representations that formed an important part of ancient Greek visual language from the sixth to the fourth centuries BC.

The Miller Ceramic Art Collection features masterpieces highlighting the artistic ideals of numerous luminaries of mid-twentieth century to early twenty-first century American ceramic art. In addition, the collection includes important examples of European and Japanese ceramic artworks of the same period. Marlin Miller's profound understanding of materials began with ceramic engineering. His interest in brick and its role in architecture informs a keen eye for surface texture, dimension and materiality. The publication is a comprehensive presentation of one of the world's most distinguished private collections of contemporary studio ceramics, and an observation on the correlation between ceramics and architecture. With contributions by Meghen Jones, Sequoia Miller, Michael McKinnell and Wayne Higby.

This title offers stylish ideas for decorating your outside space with over 400 stunning photographs and 25 step-by-step projects. You can transform an outdoor space with inspirational mosaic designs from leading contemporary designers; illustrated with 400 step-by-step photographs and artworks. It features 25 original projects, graded by difficulty, which can be completed in several hours or a over a weekend. It combines practical chapters on making mosaics with detailed instructions on the tools needed, materials, techniques, grouting and finishing, together with design tips and information on planning and siting your work. It includes decorative new ideas for the patio and garden, including urns, bird bowls, number plaques, boules, tables as well as large-scale mosaic installations. Easy-to-follow instructions show how to produce stunning visual effects by mixing glass, mosaic tesserae, tiles, broken crockery and pebbles. The principles of mosaic making are easy to master and this book gives you all the practical advice you will need on the basic techniques and materials, including concise information on the adhesives and tools required. Adding a mosaic will add life and interest to a garden path, transform a patio or cheer up dull old walls. The book contains over 25 exciting projects to create, graded by level of difficulty, and including jazzy china tiles, bright flower pots, cheery wall motifs, an elegant urn in classical style, a stunning glass garden table and a striking metal and tile pond. Each project details the tools and materials needed, with comprehensive instructions, step-by-step photographs and templates where required. This beautiful book will enable the reader to design and make your own mosaic projects to enhance any outdoor space.

In der Wirtschaftsgeschichte sind historische Ausarbeitungen zu marktnahen Themen wie Absatz- und Preispolitik weitgehend unterreprasentiert. Am Beispiel der Porzellanmanufaktur Meissen im 18. Jahrhundert soll nun diese Lucke geschlossen werden. Die Meissner Manufaktur seit 1710 die wohl beruhmteste und alteste Porzellanmanufaktur Europas gilt mit ihren kunstlerisch hochwertigen Porzellanen als Inbegriff des Barock und Rokoko. Der Autor zeigt auf, dass Marketingthemen wie Preispolitik und -strategie keine Erscheinungen des modernen industriellen Zeitalters sind, sondern schon seit dem fruhen 18. Jahrhundert die Entscheidungstrager im Manufakturwesen wesentlich beschaftigt haben. Die Studie untersucht anhand historischer Dokumente die vorherrschenden Preis- und Vertriebsstrategien, den operativen Einfluss der sachsischen Landesherrschaft unter dem "Porzellanliebhaber" August dem Starken und seinen Nachfolgern, die internen Entscheidungsprozesse zur Preisfindung, die verschiedenen Kalkulationsmethodiken, den Umgang mit dem Wettbewerb und nicht zuletzt auch die Entwicklung des betriebswirtschaftlichen Know-hows im vorindustriellen Zeitalter. Es zeigt sich, dass die damaligen Akteure im Umgang mit dem "weissen Gold" mehr als nur einmal preis- und absatzpolitisches Neuland betreten mussten."

This book examines how Romans used their pottery and the implications of these practices on the archaeological record. It is organized around a flow model for the life cycle of Roman pottery that includes a set of eight distinct practices: manufacture, distribution, prime use, reuse, maintenance, recycling, discard, reclamation. J. Theodore Pena evaluates how these practices operated, how they have shaped the archaeological record, and the implications of these processes on archaeological research through the examination of a wide array of archaeological, textual, representational, and comparative ethnographic evidence. The result is a rich portrayal of the dynamic that shaped the archaeological record of the ancient Romans that will be of interest to archaeologists, ceramicists, and students of material culture."

Will Lilacwell works its magic once more?Times are changing in Lilacwell. Not only have Jasper and Adira settled into The Laurels manor, newly engaged and firmly casting off the shackles of their respective city lives, but Adira's friend and ex-colleague, Rory, is now also looking to leave London for the quiet beauty of the Forest of Bowland. Sparks flew when he and Lilacwell's innkeeper, Cassie, met at the summer party a few months ago, but Cassie has been loved and left before and is reluctant to put all her trust in Rory, who might return to his promising law career for the right offer. With Jasper and Adira's wedding just around the corner, love is in the air for Lilacwell, and some big changes are coming to the sleepy village... A beautifully cosy romance for fans of Holly Martin and Jessica Redland.

The Museum of Applied Arts (MAK) in Vienna holds a unique collection of Italian maiolica from the 15th to the 18th century, which is now being published almost in its entirety for the very first time. Maiolica tableware, Italy's luxury export, spread to the courts of northern Europe from the early 16th century. Today, the MAK's holdings from former imperial, ecclesiastical, aristocratic, and private ownership enter into a dialogue with maiolica from well-known Austrian and Central European collections. Timothy Wilson, professor emeritus at Balliol College Oxford and former Keeper of Western Art at the Ashmolean Museum in Oxford, and Rainald Franz, curator at MAK, together with other experts provide an extensive insight into the development of maiolica in its cultural and historical context. Thus a scholarly exploration of one of the best collections of maiolica in the world has now been scientifically examined for the very first time. With contributions by Rainald Franz, Michael Goebl, Nikolaus Hofer, and Timothy Wilson.