This beautiful and absorbing book explores the remarkable collection of 'Professional Yorkshireman' W.A. Ismay MBE (1910-2001), the UK's most prolific collector of post-war British studio pottery. "I really do not know any employment of money more productive of an enhancement of one's daily life than that of buying good pots for daily use - they are so agreeable to handle that even washing-up becomes a pleasure rather than a chore!" W.A. Ismay W.A. Ismay amassed over 3,600 pieces by more than 500 potters between 1955 and 2001. Surrounded by his family of pots, he lived in a tiny terraced house in Wakefield, Yorkshire, and left his collection and its associated archive to the city of York upon his death. This eclectic collection contains objects created by many of the most significant potters working in the UK, such as Lucie Rie, Hans Coper, Bernard Leach and Michael Cardew, as well as examples of work by lesser-known makers. Once he discovered a potter, Ismay supported them throughout their career, carefully assembling groups of work that off er succinct visual overviews of development in style and skill. What would become known as Ismay's Yorkshire Tea Ceremony encapsulates all the aspects of collecting handmade pottery which were important to him. Seeing himself as a temporary custodian of his collection, rather than the owner, he was keen to allow access and share it. Ismay enjoyed inviting people into his home, encouraging them to pick up items and experience them haptically. This social side of collecting generated close friendships which are revealed through the anecdotes, gossip, obsessions, opinions and touching gestures of support documented within Ismay's archive. The archive is a monumental and unique creation, which documents his extraordinary life and reveals intriguing glimpses into the development of his character, as well as the personal and societal changes that impacted his interests and activities. New academic research into a little-studied collection and archive explores Ismay's journey as a collector. This book offers fresh perspectives on a marginalized area of British modernism. Tracing the collection's journey from private to public ownership illuminates issues surrounding the acquisition by a museum of a large personal collection and archive, revealing the transformative effect it has had on both curatorial practice and the ambition of regional public institutions. The W.A. Ismay Collection offers a well-documented example of the valuable contribution collectors can make to the British studio ceramics movement. The publication of this research marks 20 years since the W.A. Ismay Collection moved from private to public ownership and to celebrate that anniversary, an exhibition of the collection will take place at York Art Gallery's Centre of Ceramic Art (CoCA).

Originally published in 1899, this handbook contains, in a form convenient for everyday use, a comprehensive digest of the information on Working Glass by heat and by abrasion and supplies concise instruction on the general principles of the subject. Contents: Appliances used in Glass Blowing Manipulating Glass Tubing Blowing Bulbs and Flasks Jointing Tubes to Bulbs, etc.; Forming Thistle Funnels Utilising Broken Glass Apparatus; Boring and Riveting Glass Hand-working of Telescope Specula Turning, Chipping, and Grinding Glass The Manufacture of Glass

The people behind the pots' are never far away from these thirteen papers which cover many aspects of the use and manufacture of prehistoric pottery. The papers, which are all in English, form the proceedings of a conference jointly organised by the Prehistoric Ceramics Research Group and the Ceramics Petrology Group, held in Bradford in 2002. Subjects include: the introduction of pottery in the Somerset Levels during the early Neolithic; the use of ceramics in the Upper Palaeolithic; the potential role of ceramics for recognising evidence for the exploitation of fish; the use of pottery in Dutch Hunebedden; the technological evidence for continuity and change in the late Neolithic in southern France; Proto-Common Ware from Pompeii; Iron Age pottery from Little Paxton near Bedford; the provenance of prehistoric pottery in the East Midlands; new pots or new people? La Tene pottery from Celtic Germany; late prehistoric material from Iberia; organic residues in storage vessels from the Toumba Thessalonikis; new dates for Scottish Bronze Age cinerary urns.

The book, originally published in 1904, includes the marks used by factories, patterns, workmen, or decorators in America to the time of this book's original printing. The first attempt to describe the marks of American potters was made by Edwin Barber in his Pottery and Porcelain of the United States in 1893. In that book, less than 100 varieties, found principally in earlier wares, were described. Prior to that time, none of the manuals on potter's marks contained any reference to the United States.

Un bello manual que explica desde los materiales necesarios y los distintos tipos de vidrio, hasta las diferentes tecnicas de elaboracion, ilustradas paso a paso, de seis tipos de vidrieras: Tiffany, tradicional, collage, falsa vidriera, grabado al acido y vidriera con grisalla.

Mosaics reached their fullest development under the Romans who used them to decorate the floors of their houses and public buildings. This book gives a comprehensive and fully illustrated history of mosaics in the Greek and Roman world, and studies their development over a thousand years throughout the Roman Empire. Chapters are devoted to technique, to the role of mosaics in architecture, and to their social implications and the role of patrons. This book is the only complete study in depth of this rich material.

The main indicator for the presence of an ancient settlement at a certain location is the find of pottery fragments. With regard previously to the sites of continental Croatia, it has been the practice to date fragments to a broad period of 'medieval times'. This volume marks the first full-scale attempt to closely examine 10th to 13th Croatian pottery typologically and chronologically. As well as pottery analysis, data obtained from cemeteries and Romanesque architectural remains, as well as other types of finds such as coin hoards and swords, were included in the study. This, and information taken from historical sources, has considerably increased the available knowledge on the organization of settlements in the Sava-Drava interfluves during the period of 10th to 13th centuries.

An extensive catalogue of the wares and a gazetteer of the sites with a new foreword by Mike Fulford, taking account of the intervening years.

The use of Neutron Activation Analysis opens up enormous possibilities for studying and identifying the chemical composition of clays from pottery vessels and, subsequently, for investigating the origins and possible place of manufacture for these vessels. This publication and the research on which it is based, completes the work of Joan Huntoon whose dissertation focused on the origins, distribution and trade of Middle Bronze Canaanite Jars, with the site of Tel el-Daba featuring prominently. Patrick McGovern uses Huntoon's programme of NAA analyses in making inferences on the production, movement and trade of Canaanite jars, polished, painted and other vessels around the Near East and Aegean.

Research report providing a petrographic and chemical analysis of a large sample of Mycenean potsherds from Pylos. The author saw a unique potential for a small bounded, relatively well studied state as Pylos to give information in a comparative framework on the organisation and origin of early state systems. Investigation of pottery industry provided a means to avoid an overreliance on historical data in order to augment and sharpen our complex largely text-based theoretical models.

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.

The earliest vitreous materials in Egypt date to c.4000 BC although the production of glass, faience, frit or 'Egyptian blue' does not really take off until the 18th dynasty. Andrew Shortland combines descriptions of various objects made from vitreous materials with an analysis of the processes and techniques used in their production. His study begins with the raw materials, he describes the processing of the materials and the waste products generated, the production and finishing of objects and their final distribution. Focusing largely on evidence from the city of Amarna, a large part of this volume is taken up with analyses of the structure and composition of the vitreous materials.

The Libruni were a group that inhabited the Adriatic coast and islands of modern day Croatia in the first millennium BC. This report deals specifically with relief decorated ceramic imports to the area in the Hellenistic and Roman periods. The descriptions of pottery types, their origin, date and production, are brief, with more than eighty pages of catalogue and over one hundred figures and photographs.

"Coming into being, the work of art, this very pot, creates relations relations between nature and culture, between the individual and society, between utility and beauty. Governed by desire, the artist s work answers questions of value. Is nature favored, or culture? Are individual needs or social needs more important? Do utilitarian or aesthetic concerns dominate in the transformation of nature?" from the Introduction

The Potter s Art discusses and illustrates the work of modern masters of traditional ceramics from Bangladesh, Sweden, various parts of the United States, Turkey, and Japan. It will appeal to anyone interested in pottery and the study of folklore and folk art.

Henry Glassie is College Professor of Folklore and Co-director of Turkish Studies at Indiana University. He has been a Guggenheim Fellow and a Fellow of the National Humanities Institute; he has also served as President of the Vernacular Architecture Forum and of the American Folklore Society.

Material Culture Henry Glassie, George Jevremovic, and William T. Sumner, editors
(Note: there is an accent egue on the c Jevremovic)

Contents:
The Potter s Art
Bangladesh
Sweden
Georgia
Acoma
Turkey
Japan
Hagi
Work in the Clay
Acknowledgments
Notes
Bibliography
Index"

A detailed analysis of the archaeological and historical evidence for the trade and consumption of Mediterranean pottery in the households of southern England between 1200 and 1700. Following a discussion of methodologies, Gutierrez considers Mediterranean centres of production for imported pottery, notably in Spain, Portugal and Italy, followed by a discussion of the archaeological evidence for contact between Wessex and the Mediterranean. A wide range of sites are examined, including fortified and religious buildings, urban and rural settlements and palaces. The study finally examines the types of Mediterranean assemblages found and their social and religious context.

This fascicle completes the presentation of the ceramic remains from the Franchthi Cave excavations.

A study of six 1st-millenium BC pottery producing sites in the north-central Andes concentrating on production, exchange and interregional relationships. The author describes the geography and the geoenvironment of the sites, research methodology and analysis of the results including triangulation of the stylistic, archaeological, geological and ethnographical data.

A story revealed by tavern, inn, college and other bottles. With a catalogue of bottles and seals from the collection in the Ashmolean Museum.' (BAR 257, 1997)

This book first examines the figure of Orpheus in Graeco-Roman art and culture before exploring how he has been employed in late antique mosaic. Wide-ranging with lots of line-drawings and photographs.

This book is the first study of painted pottery motifs of the India subcontinent from the earliest time to 1750. It explores the genesis and development of popular forms and classifies art motifs into their different genres.

Hellenistic art in Asia Minor is characterized by diverse cultural influences, both indigenous and Greek. This work presents a comprehensive catalogue of the Hellenistic pottery found at Sardis by two archaeological expeditions. The main catalogue includes over 750 items from the current excavations; in addition, material from some 50 Hellenistic tombs excavated in the early twentieth century is published in its entirety for the first time. The early Hellenistic material consists of imports from Greek cities and close local imitations, along with purely Lydian wares typical of the "late Lydian" phase that followed the Persian conquest. By the late Hellenistic period, Sardis boasts a full range of Greek shapes and styles; indeed, the influence of new conquerors, the Romans, was felt as well. Thus the ceramic finds from Sardis reflect the changing fortunes of the city, bearing witness to the tenacity of indigenous customs and the influences of foreign powers.

"Stained Glass Photo Frames" contains 20 full-size patterns of photo frames for stained glass hobbyists. The patterns include two sizes, 4" x 6" and 5" x 7" and a variety of subjects. Children's, floral, contemporary, southwest and seashore are some of the design styles in this book.

Built on the southwestern coast of Cyprus in the second century A.D., the House of Dionysos is full of clues to a distant life-in the corner of a portico, shards of pottery, a clutch of Roman coins found on a skeleton under a fallen wall-yet none is so evocative as the intricate mosaic floors that lead the eye from room to room, inscribing in their colored images the traditions, aspirations, and relations of another world. In this lavishly illustrated volume, Christine Kondoleon conducts us through the House of Dionysos, showing us what its interior decoration discloses about its inhabitants and their time. Seen from within the context of the house, the mosaics become eloquent witnesses to an elusive dialogue between inhabitants and guests, and to the intermingling of public and private. Kondoleon draws on the insights of art history and archaeology to show what the mosaics in the House of Dionysos can tell us about these complex relations. She explores the issues of period and regional styles, workshop traditions, the conditions of patronage, and the forces behind iconographic change. Her work marks a major advance, not just in the study of Roman mosaics, but in our knowledge of Roman society.

"Raised in Clay" is a remarkable portrait of pottery making in the South, one of the oldest and richest craft traditions in America. Focusing on more than thirty potters in North Carolina, Georgia, Alabama, Texas, Mississippi, and Kentucky, Nancy Sweezy tells how families preserve and practice the traditional art of pottery making today.
First published in 1984, Sweezy's book documents the last generation of potters to have direct contact with preindustrial pottery traditions. It portrays the personalities of the potters, treating this aspect as carefully as the traditions themselves, and discusses various types of wheels, glazes, and kilns and each potter's specialty pieces. Photographs and line drawings showing potters, their potteries and equipment, examples of finished work, and step-by-step works in progress enhance the text. Sweezy's introductory chapter provides a superb history of southern pottery making. For this edition, she has added a new afterword on recent changes in the potting scene.