The British Museum's holding of Greek Geometric pottery comprises 200 items, covering the period from the 10th to the 7th century BC. Most of these pieces have never been published before. The bulk of the collection - 123 pieces - is Attic, but eleven other regional styles are also represented. These include not only mainland Greek fabrics such as Argive, Boeotian, Corinthian and Laconian, but also the island fabrics of the Cyclades and Crete, as well as those of East Greece and Caria. The collection is particularly strong in Melian and Rhodian styles. A brief overview of each style precedes the detailed descriptions of the pieces, so that the book serves not only as a catalogue but also as an introduction to the major local fabrics of Early Iron Age Greece. Every piece is illustrated, many with multiple views and some with additional line drawings. This catalogue is British Museum Fascicule 11 in the Great Britain series of the international Corpus Vasorum Antiquorum.

This exhaustive monograph, published on the occasion of the first anthological exhibition dedicated to him, retraces the intensely lived, brief artistic career of Alfonso Leoni (Faenza, 1941-1980). An extraordinary talent, he was the protagonist of a research constantly against the mainstream, to set ceramics free from the mere technical and functional aspects and elevate it to sculptural matter. His activity - recognised with numerous prizes in the main national and international events dedicated to ceramics, such as the competitions in Faenza (first prize in 1976), Gualdo Tadino, Cervia, Gubbio, Rimini, Castellamonte, Vallauris, Nagoya-Kanazawa - was a continuous search for new stimuli and experimentation with different languages: Leoni wrote, argued, drew, painted, reused materials, designed jewels, moulded sculptures, created installations, undertook performances, worked for the ceramic industry. The text draws the figure of a "rebellious genius", son of his time, a time of protest and avant-garde movements of the Sixties and Seventies. The result is the portrait of a worried soul, always aiming at going beyond stereotypes. Text in English and Italian.

The undisputed master of glass, Louis Comfort Tiffany created decorative works of art utilizing color, light, and texture, forging a unique and spectacular style. Tiffany began his career as an interior designer, but unable to find the types of glass that he desired, his interest turned toward the creation of stained glass. In 1878, he opened his own studio and glass foundry. His creativity and originality both as a designer of windows, lamps, and vases, and as a producer of the material with which to create them quickly became renowned. He is considered one of the most versatile and talented artists of the late nineteenth and early twentieth centuries. While exploring Tiffany's domestic interiors, "A Passion for Colour" focuses on Tiffany's dazzling and dramatic work on religious and secular stained glass, vases, and lamps. Included in the book are 250 lavish color plates that examine in rich detail the fine workmanship and inventive techniques of Tiffany and his studio. In addition, the book includes vintage photographs, drawings, and sketches that provide further insight into his creative process. This book accompanies an exhibition of the same title organized by the Museum of Fine Arts of Montreal and presented at the Musee du Luxembourg, Paris, and the Virginia Museum of Fine Arts, Richmond.

The leaded and cemented stained glass of the workshop of Heinrich Staubli (1926-2016), St. Gallen, which is integrated into churches, restaurants, and schools, continues to shape the built environment of Eastern Switzerland today. The output of the workshop is characterized by relations among stained glass, murals, and graphic, textile, and funerary arts. This is the first analysis of the artworks and the estate from the perspective of intermediality and within the framework of modern art history. The study offers a systematic contextualization of Staubli's work within the history of stained-glass art in German-speaking countries, elucidating not only the operations of the artistic workshop but, more broadly, the artistic-social relevance of stained glass far beyond Switzerland in the 20th century.

The papers in this volume derive from the proceedings of an international symposium held at the J. Paul Getty Museum at the Getty Villa in June 2006 in connection with the exhibition "The Colors of Clay: Special Techniques in Athenian Vases." The themes of the exhibition--vases executed in bilingual, coral-red gloss, outline, Kerch-style, white ground, and Six's techniques, as well as examples with added clay and gilding, and sculpted vases and additions--are the touchstones for the essays. More than twenty papers by renowned scholars are grouped under such general rubrics as Social Contexts for Athenian Vases in Special Techniques; Conservation, Analysis, and Experimentation; Artists, Workshops, and Production; and Markets and Exchange.