Parian - a high-quality, unglazed porcelain - was developed in the early 1840s by Copeland & Garrett, which was the first company to exhibit it in 1845. Its purpose was to provide small sculptures for the public at a time when full size marble statues were gracing the homes of wealthy people. Parian - Copeland's Statuary Porcelain tells this fascinating story in detail, beginning with its origin and introduction. The book goes on to describe the manufacturing processes of mould-making and the casting of the figures. Also included is a comprehensive catalogue of Copeland's productions of statuettes, groups and portrait busts.

In 1984 the Getty Museum acquired a collection of Italian Renaissance majolica, or tin-glazed earthenware. This volume catalogues this collection of 45 objects spanning 400 years, including a pair of 18th-century candlesticks representing mythological scenes and a tabletop with hunting scenes.

A River Apart presents multi-vocal perspectives on the pottery of Cochiti and Santo Domingo Pueblos, located along the central Rio Grande Valley in New Mexico. Separated by a great river, Cochiti and Santo Domingo Pueblos shared a ceramic tradition for centuries until increasing contact with outsiders ushered in tumultuous changes that set the pueblos on divergent paths. Cochiti Pueblo more freely modified its traditional forms of painted pottery to appeal to new markets while the Santo Domingo Pueblo shunned the influences of the tourist trade and art market, continuing an artistic trajectory that was conservative and insular. A River Apart brings together a distinguished a team of anthropologists, artists, and art historians from Native and non-Native perspectives to examine the pottery traditions of the two Pueblos and decipher what discoveries can be made and identities established through these representations of material culture. As the essays reveal, the pottery represents more than anthropology's artifacts and art for the marketplace. From the pottery we learn much about the pueblos' history, myths and legends, communities, and the artist's responses to influences from the outside world. This volume is a fascinating case study in how cultures develop; how art, culture and community are interwoven; and how art is created, interpreted, valued, bought and sold. This publication is companion to an exhibition to open at the Museum of Indian Arts and Culture (Museum of New Mexico) in Santa Fe in Fall 2008 and featuring over 200 Santo Domingo and Cochiti pots. A River Apart is a valuable addition to the libraries of those interested in Pueblo Indian pottery, Native American arts andculture, and southwestern history and anthropology.

This manuscript represents the third and final volume in the publication of the Hellenistic pottery unearthed by the American excavations in the Athenian Agora. The first installment (Agora XXII) was devoted to the moldmade bowls and the second (Agora XXIX) to the remainder of the fine ware. The third presents the plain wares, including household pottery, oil containers, and cooking pottery. In all, about 1400 Hellenistic vessels in these categories have been entered into the excavation record, which are represented here in a catalogue of 847 objects. The study constructs a typology, based on both form and fabric, and a chronology for these ceramics, using the fact that many of the pieces were found in 'closed contexts' like wells. Finally, the author discusses the possible functions of the ceramic shapes found, and uses them to reconstruct some of the domestic and industrial activities of Hellenistic Athenians. While it documents the pottery assemblage of one site, this book will be an essential reference tool for archaeologists around the Mediterranean. This manuscript represents a stunning scholarly accomplishment. detail. This volume will stand as a fitting capstone to a project of long duration, and it will enjoy many, many years as a vital and easy-to-use reference work. Andrea Berlin, University of Minnesota.

The life and times of Alabama folk potter Jerry Brown, as told in his own words Born in 1942, Jerry Brown helped out in his father's pottery shop as a young boy. There he learned the methods and techniques for making pottery in a family tradition dating back to the 1830s. His responsibilities included tending the mule that drove the mill that was used to mix clay (called "mud" by traditional potters). Business suffered as demand for stoneware churns, jugs, and chamber pots waned in the postwar years, and manufacture ceased following the deaths of Brown's father and brother in the mid-1960s. Brown turned to logging for his livelihood, his skill with mules proving useful in working difficult and otherwise inaccessible terrain. In the early 1980s, he returned to the family trade and opened a new shop that relied on the same methods of production with which he had grown up, including a mule-powered mill for mixing clay and the use of a wood-fired rather than gas-fueled kiln. Folklorist Joey Brackner met Brown in 1983, and the two quickly became close friends who collaborated together on a variety of documentary and educational projects in succeeding years-efforts that led to greater exposure, commercial success, and Brown's recognition as a National Heritage Fellow by the National Endowment for the Arts. For years, Brown spoke of the urge to write his life story, but he never set pen to paper. In 2015, Brackner took the initiative and interviewed Brown, recording his life story over the course of a weekend at Brown's home. Of Mules and Mud is the result of that marathon interview session, conducted one year before Brown passed away. Brackner has captured Jerry Brown's life in his own words as recounted that weekend, lightly edited and elaborated. Of Mules and Mud is illustrated with photos from all phases of Brown's life, including a color gallery of 28 photos of vessel forms made by Brown throughout his career that collectors of folk pottery will find invaluable.

A feat of great technical achievement, French faience was introduced to Lyon in the second half of the sixteenth century by skilled Italian immigrants: mdash;the French word "faience" deriving from the northern Italian city of Faenza. Over the next two centuries, production spread throughout the provinces of metropolitan France. The fine decoration of French faience draws inspiration from multiple sources--Italian maiolica, Asian porcelain, and even contemporary engravings. The forms of its platters, bowls, plates, and ewers derive mostly from European ceramics and silver. This complex interplay of influences comes together in works of great originality.The Knafel Collection of French faience, the finest in private hands, includes outstanding examples of Nevers, Rouen, Moustiers, Moulins, and Marseilles production from the late sixteenth to the mid-eighteenth century. The quality of these masterpieces almost obscures the fact that French faience was essentially a provincial art, largely patronized and commissioned by a local aristocracy and made far from the centres of political power in Versailles and Paris. In this stunning new volume, Charlotte Vignon traces the history of French faience, offering detailed discussions of key centers of production. Illustrated with more than seventy examples, this valuable resource testifies to the creativity and beauty of an engagingly innovative tradition.

This volume collects research presented at the Koc University Research Center for Anatolian Civilizations (ANAMED) 2018 international annual symposium. It brings together researchers engaged in the study of the decoration and technology of glazed pottery, ranging from the early Byzantine era to the end of the Ottoman period. Topics explored include pottery production in Constantinople, glazed ceramic production and consumption in medieval Thebes, pottery imports in Algiers during the Turkish Regency, considerations of trading routes and their influences, the relationships between Italy and the Byzantine and Ottoman world through pottery, and more.

Few materials have experienced a similar revaluation in contemporary art as clay has in the past few years. This timely publication accompanies a large-scale exhibition at the Hayward Gallery, London, exploring how contemporary artists are using clay and ceramics in inventive and surprising ways, and pushing the boundaries of the medium. Featuring the work of over 20 international artists-from Grayson Perry to Woody De Othello-an introductory essay by curator Cliff Lauson, a text on the history of fine art and ceramics by writer and critic Amy Sherlock, and a round table discussion with artists from the exhibition, this catalogue is a meaningful contribution to the ongoing conversation about the relationship between art and craft.

Walter Ostrom has been described as an "innovative traditionalist," a disruptive force shaking up ceramic conventions while simultaneously enriching them. Hired to teach studio and Asian art history at Nova Scotia College of Art and Design in 1969, Ostrom was one of many American artists who moved north to Canada in the fallout from the Vietnam War. Ostrom's work, from his embrace of conceptual art in the 1970s to his current exploration of the vast history, hybridization, and social foundation of ceramics, marks him as a major force in the development of contemporary ceramics. As Ray Cronin writes, Ostrom's works "declare themselves to be art and craft at once, tradition and innovation merged, beauty and function reconciled, thought and action combined. What more could one ask from any work of art?"Accompanying a major retrospective exhibition at the Art Gallery of Nova Scotia opening in May 2020, Good Earth features essays by leading scholars and curators along with full-colour reproductions of over fifty examples of Ostrom's works.

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.

Arte Vetraria Muranese (AVEM) emerged from the liquidation of Successori Andrea Rioda in November 1931. The new factory placed a very personal accent on contemporary artistic glass production on Murano: while designs prior to the Second World War were generally still the responsibility of master glassblowers themselves, after the war designers and freelance artists increasingly determined production. Giulio Radi began experimenting in 1940, obtaining the company's signature chromatic effects by superimposing mould-blown layers of glass, often opaque and transparent in alternation, and inlaying them with gold and silver foil. This latest volume of Marc Heireman's ongoing Murano manufactory books features over 800 design drawings, numerous archive images and new photos of AVEM masterpieces, making this anthology of the company's history indispensable for all Murano glass lovers.

This fully illustrated and researched catalogue commemorates an exhibition of over 200 pieces of Chinese and related ceramics collected within the members of the Oriental Ceramic Society of London. The selection spans the complete range from Neolithic to contemporary ceramics, from minor kilns in many different regions to the major kilns working for the court, and from pieces of academic interest to world-famous masterpieces. It privileges unusual and rarely seen artifacts and avoids well known, repetitive designs such as that of the dragon, which is so firmly identified with China that it has become a cliche of Chinese art. It also aims to demonstrate the vast variety of wares and the inventiveness of Asian potters well beyond the classic confines. Text in English and Chinese.

This is the first volume to bring together archaeology, anthropology, and art history in the analysis of pre-Columbian pottery. While previous research on ceramic artifacts has been divided by these three disciplines, this volume shows how integrating these approaches provides new understandings of many different aspects of Ancient American societies. Contributors from a variety of backgrounds in these fields explore what ceramics can reveal about ancient social dynamics, trade, ritual, politics, innovation, iconography, and regional styles. Essays identify supernatural and humanistic beliefs through formal analysis of Lower Mississippi Valley ""Great Serpent"" effigy vessels and Ecuadorian depictions of the human figure. They discuss the cultural identity conveyed by imagery such as Andean head motifs, and they analyze symmetry in designs from locations including the American Southwest. Chapters also take diachronic approaches?methods that track change over time?to ceramics from Mexico's Tarascan State and the Valley of Oaxaca, as well as from Maya and Toltec societies. This volume provides a much-needed multidisciplinary synthesis of current scholarship on Ancient American ceramics. It is a model of how different research perspectives can together illuminate the relationship between these material artifacts and their broader human culture.

From fine china to tobacco jars to baseball memorabilia, this amazing collection represents a wide range of Cuban-themed ceramics. Inspired by Cuba explores the many ways in which the island of Cuba has been immortalized in ceramics. The pieces range from the mid-18th century to recent years. These objects represent many years of collecting and fall into two classifications. First, those pieces illustrated with images and symbols of the island or its people, or with references to named places, official institutions or commercial establishments inside, and even outside, the island. Next, those items which use the name of Cuba (and variations thereof) or Havana, as a catchy, attractive brand that appeals to consumers' fascination and desire for all things Cuban.

Petrography is the minute examination by microscope of rock and mineral samples for the purpose of determining precisely their mineralogical composition. In this groundbreaking work, James B. Stoltman applies quantitative as well as qualitative methods to petrography of Native American ceramics. As explained in Ceramic Petrography and Hopewell Interaction, by adapting petrography to the study of pottery, Stoltman offers a powerful new set of tools that enable fact-based and rigorous identification of pottery. Stoltman's subject is the cultural interaction among the "Hopewell interaction sphere," societies of the Ohio Valley region and contemporary peoples of the Southeast. Inferring social and commercial relationships between disparate communities by determining whether objects found in one settlement originated there or elsewhere is a foundational technique of archaeology. The technique, however, rests on the informed but necessarily imperfect visual inspection of objects by archaeologists. Petrography greatly amplifies archaeologists' ability to determine objects' provenance with greater precision and less guesswork. Using petrography to study a vast quantity of pottery samples sourced from Hopewell communities, Stoltman is able for the first time to establish which items are local, which are local but atypical, and which originated elsewhere. Another exciting possibility with petrography is to further determine the home source of objects that came from afar. Thus, combining traditional qualitative techniques with a wealth of new quantitative data, Ceramic Petrography and Hopewell Interaction offers a map of social and trade relationships between communities within and beyond the Hopewell interaction sphere with much greater precision and confidence than in the past. Ceramic Petrography and Hopewell Interaction provides a clear and concise explanation of petrographic methods, Stoltman's findings about Hopewell and Southeastern ceramics in various sites, and the fascinating discovery that visits to Hopewell centers by Southeastern Native Americans were not only for trade purposes but more for such purposes as pilgrimages, vision- and power-questing, healing, and the acquisition of knowledge.

Discussions and scientific exchange are crucial for the advancement of a young discipline such as the study of Roman pottery in the Near East. Therefore, in addition to large conferences such as the 'Late Roman Coarse Ware Conference' (LRCW) where the Near East plays only a marginal role, an international workshop with 20 participants dedicated solely to the study of Roman common ware pottery in the Near East was held in Berlin on 18th and 19th February 2010. The goal of this workshop was to provide researchers actively engaged in the study of Roman common wares the possibility to meet and discuss the current state of research as well as questions and problems they are facing with their material. Some of the participants were able to bring pottery samples, which provided the possibility to compare and discuss the identification and denomination of specific fabrics on a regional and supra-regional scale. This volume presents 17 papers from this stimulating event. The Archaeopress series, Roman and Late Antique Mediterranean Pottery (RLAMP) is devoted to research of the Roman and late Antique pottery in the Mediterranean. It is designed to serve as a reference point for all potential authors devoted to pottery studies on a pan-Mediterranean basis. The series seeks to gather innovative individual or collective research on the many dimensions of pottery studies ranging from pure typological and chronological essays, to diachronic approaches to particular classes, the complete publication of ceramic deposits, pottery deposit sequences, archaeometry of ancient ceramics, methodological proposals, studies of the economy based on pottery evidence or, among others, ethnoarchaeological ceramic research that may help to understand the production, distribution and consumption of pottery in the Mediterranean basin.

In the last two decades of the 19th century and the first two decades of the 20th century, glass manufacturing was a unique enterprise in Canada. Beginning with the founding of the Nova Scotia Glass Company in 1881, the glass factories of Nova Scotia made clear tableware at a time when it was not made anywhere else in Canada.

By the 1800s, people had been making glass for more than 4,000 years. Before that, however, the mass production of glass was not technically possible. Pressing machines to produce glass shapes were invented in the 1830s in New England. As mechanization improved, decorated glassware could be produced relatively quickly and affordably. By the late 1880s, moulded and pressed glass was produced in Pennsylvania and Ohio, in New England, and, perhaps not surprisingly, in Nova Scotia.

In this beautifully illustrated book, featuring photographs of the highly collectable patterned tableware produced during this 40-year period, Deborah Trask tells the story of Nova Scotia glass during this golden age of pressed-glass production.

Employing her skills as a curator and a detective of sorts, she tells the story of the major glass factories -- the Nova Scotia Glass Company, the Humphrey Glass Company, and the Lamont Glass Company -- and provides crucial information on patterns and moulds, allowing readers and collectors to identify what remains of this glittering enterprise.

With contemporary advertising and sales catalogues as its sources, this book represents the first exhaustive survey of the Ikora and Myra lines in glass produced between the 1920s and 1950s by the Wurttembergische Metallwarenfabrik AG (WMF) at Geislingen/ Steige. At the instigation of the then WMF director general, Hugo Debach, WMF had been making high-quality art glass (called "Unika pieces", indicating that they were one-of-a-kind) as well as lines in mass-produced art glas (Ikora and Myra). First presented to the public to great acclaim at the Wurttembergisches Landesmuseum in Stuttgart by museum director G. E. Pazaurek, these pieces are now much sought after as valuable collector's items. Ikora and Myra Glass by WMF not only deals exhaustively with the history of this glass but also provides aficionados and collectors of Ikora and Myra glass for the first time with a complete catalogue of WMF products. The availability of this information makes it possible, first, to distinguish from the original later glass made as imitation of WMF glass by rival competitors and, second, to identify accurately each piece of Unika, Ikora or Myra glass.

The potential of tomb mosaics as an academic resource has often been underestimated and consequently they have only been partially analysed not only in Italy but also throughout the Western Mediterranean. This work is intended to shed a new light on these finds, which are often incomplete, lost, or little studied. The first part of the book presents the history of previous studies on the subject and briefly explains the structure of the corpus. The corpus, in turn, is organised according to current Italian administrative regions, specifically: Sardegna, Sicilia, Puglia, Campania, Lazio, Marche, and Friuli Venezia Giulia. Every region is then further divided following current provinces and municipalities. This work does not aim to present merely a compilation of data in a catalogue; thus the second part of the book focuses specifically on tomb mosaics found in the Italic peninsula and major islands, and provides information on their geographic distribution, dating, typology, place of discovery and iconography, and considers the potential identification of individual workshops. The purpose of the book is to bring tomb mosaics to greater consideration, since they have not survived in academic literature to the same extent as did their rich villa or domus counterparts. This work does not therefore aspire to be a complete analysis of the subject, but rather a starting point which can be both useful and a stimulus for future studies. ITALIAN DESCRIPTION: Il mosaico funerario e una particolare tipologia musiva spesso sottovalutata e poco studiata. Le origini sono da ricercarsi, probabilmente, nell'antica regione della Bizacena, attuale Tunisia, a partire dagli ultimi decenni del III secolo d.C. Nel IV secolo inizio l'esportazione dei cartoni musivi funerari nel resto del Mediterraneo occidentale, raggiungendo l'Italia e la Spagna; in entrambi i casi pero il mosaico funerario non riscosse particolare successo. La richiesta maggiore di questo nuovo monumento funerario avveniva da parte dei cristiani, e solo in minima parte dai pagani. In questo libro si cerca di fare ordine sui mosaici funerari presenti nell'odierno territorio italiano, catalogando tutte le evidenze musive, sia oggigiorno scomparse che ancora in situ, per cercare di delineare un'analisi sul fenomeno che ha, in maniera seppur ridotta, investito la Penisola italiana e le sue Isole maggiori. Infatti le testimonianze musive si concentrano in zone dove particolari condizioni hanno permesso la loro messa in posa. La prima parte e dedicata al repertorio dei sessanta mosaici funerari dell'attuale Italia, ognuno catalogato secondo una scheda pensata e studiata per rendere piu agevole possibile la consultazione. La seconda parte e invece incentrata sullo studio d'insieme del fenomeno dei mosaici funerari in Italia, nella quale si cerca di fare chiarezza e dare dei punti fermi su questa categoria di mosaici. L'analisi conclusiva cerca di spiegare il perche in Italia, pur essendoci condizioni apparentemente favorevoli alla produzione delle coperture tombali musive, non si siano trovati che poche testimonianze musive funerarie se paragonate a quelle ritrovate nel Nord Africa e in special maniera in Bizacena.

"Reconstructing Tascalusa's Chiefdom" is an archaeological study of political collapse in the Alabama River Valley following the Hernando de Soto expedition.
To explain the cultural and political disruptions caused by Hernando de Soto's exploration deep into north America, Amanda L. Regnier presents an analysis of ceramics and a novel theory of cultural exchange, which argues that culture consists of a series of interconnected models governing proper behavior that are shared across the belief systems of communities and individuals. An approach not often applied to archaeological research, ceramic study serves as a test of whether historic cognitive models can be extracted from ceramic data via cluster and correspondence analysis. In addition, the summary of Late Mississippian sites includes a chronology of the Alabama River from approximately AD 900 to 1600, which previously has only existed in manuscript form, and a summary of excavations at major Late Mississippian sites along the Alabama River.
The results of the study demonstrate that the Alabama River Valley was settled by populations migrating from three different geographic regions during the late fifteenth century. The mixture of ceramic models associated with all three traditions at Late Mississippian sites suggests that these newly founded towns had a distinct mix of ethnically and linguistically diverse populations. Based on the archaeological record, the polity controlled by Tascalusa appears to have been both multiethnic and newly formed. Perhaps most significantly, Tascalusa's chiefdom appears to be a pre-contact example of a coalescent society that emerged after populations migrated into a new region from the deteriorating Mississippian chiefdoms in their homelands.

Skin Crafts discusses multiple artists from global contexts who employ craft materials in works that address historical and contemporary violence. These artists are deliberately embracing the fragility of textiles and ceramics to evoke the vulnerability of human skin and - in so doing - are demanding visceral responses from viewers. Drawing on a range of theories including affect theory, material feminism, skin studies, phenomenology and global art history, the book illuminates the various ways in which artists are harnessing the affective power of craft materials to address and cope with violence. Artists from Mexico, Africa, China, the Netherlands and Indigenous artists based in the unceded territory known as Canada are examined in relation to one another to illuminate the connections and differences across their bodies of work. Skin Crafts interrogates ongoing material violence towards women and marginalized others, and demonstrates the power of contemporary art to force viewers and scholars into facing their ethical responsibilities as human beings.

Painted vases are the richest and most complex images that remain from ancient Greece. Over the past decades, a great deal has been written on ancient art that portrays myths and rituals. Less has been written on scenes of daily life, and what has been written has been tucked away in hard-to-find books and journals. A Guide to Scenes of Daily Life on Athenian Vases synthesizes this material and expands it: it is the first comprehensive volume to present visual representations of everything from pets and children's games to drunken revelry and funerary rituals. John H. Oakley's clear, accessible writing provides sound information with just the right amount of detail. Specialists of Greek art will welcome this book for its text and illustrations. This guide is an essential and much-needed reference for scholars and an ideal sourcebook for classics and art history.