"ROMAN AND LATE ANTIQUE MEDITERRANEAN POTTERY". In November 2008, an ICREA/ESF Exploratory Workshop on the subject of late Roman fine wares was held in Barcelona, the main aim being the clarification of problems regarding the typology and chronology of the three principal table wares found in Mediterranean contexts (African Red Slip Ware, Late Roman C and Late Roman D). The discussion highlighted the need to undertake a similar approach for other ceramic classes across the Mediterranean provinces. In addition, it was perceived that ceramic studies are often dispersed and in such a variety of publications that it is difficult to follow progress in this vast field. Therefore, a series devoted to Roman and late Antique pottery in the Mediterranean was proposed to serve as a reference point for all potential authors devoted to pottery studies on a pan-Mediterranean basis. The creation of such a series would not only serve as a means of publishing the results of the ICREA/ESF workshop but also as a network for publication of in-depth monographs devoted to archaeological ceramics of the Mediterranean in the Roman and late Antique periods. With this first volume on ceramic assemblages and the dating of late Roman fine wares, Archaeopress launch this new series devoted to the publication of ceramics in the Roman Mediterranean and outlying territories from the late Republic to late Antiquity.

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 is the black and white paperback edition of Pattern, published in hardback in 2016 by Saltyard Books. If you would like the original colour illustrated version of Pattern it is available in hardback ISBN 9781444734942. Creativity, collaboration, inspiration Emma Bridgewater's patterns are as quintessentially British as marmalade on toast - and they have made her distinctive homewares best sellers across the world. Her inspiration is often deeply personal - a plate of her mother's, a favourite children's book - and as she tells the stories of each pattern's creation, she reveals the intricate processes of research and collaboration behind the familiar designs she has stamped on our kitchenware - and our hearts - for the past thirty years. Both an entrancing trip down memory lane and a behind-the-scenes look at a thriving creative business, Emma Bridgewater's PATTERN is essential reading for anyone who has ever turned over their mug after draining their tea and wondered about the human story behind that proud declaration: Made in Stoke-on-Trent, England...

Die sehr reich bebilderte Publikation zur Sammlung des Broehan-Museums, das 1973 von dem Sammler und Unternehmer Karl H. Broehan (1921-2000) gegrundet wurde, gibt einen UEberblick uber die wichtigsten designhistorischen Stroemungen zwischen 1890 und 1940. Vom franzoesischen Art Nouveau und dem englischen Arts and Crafts Movement uber den Jugendstil und die deutsche Werkstattenbewegung, die Wiener Moderne und den internationalen Art Deco bis zur funktionalistischen Gestaltung der 1930er-Jahre wird anhand von 100 Objekten oder Objektpaaren lebendige Kunst- und Sammlungsgeschichte vermittelt. Ein eigener Abschnitt ist den Kunstlerinnen und Kunstlern der Berliner Secession gewidmet. Ein Muss fur Fans von Jugendstil, Art Deco und funktionalistischem Design!

CoBrA is one of the most important artist groups of Art Informel. The name is derived from the first letters of the three capital cities of Copenhagen, Brussels, and Amsterdam - the centers from which the CoBrA artists took action. Little is still known here in Germany about the concrete origins of the art movement. The exhibition and catalogue of the same name attempts a broad examination of the group's origins: with the focus on the reconstruction of the movement prior to its official establishment in November 1948. It aims to present a representative cross-section of the movement that includes the largest possible number of artists as well as the greatest possible concentration of forms of expression and topics characteristic of the movement. Roughly fifty paintings, thirty sculptural works, fifty graphic reproductions and photographs as well as individual ceramics and textiles from international collections are presented.

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.

Gene Koss creates majestic works in glass and steel that require demanding techniques to realise their monumental scale. These massive volumes of glass are married with elaborately engineered steel elements. Koss casts molten glass directly from the hot furnace, working with teams of highly-skilled assistants and rigging together intricate systems for transporting his finished abstract works for display in museums, galleries and public spaces. The artistic works deal with the self-sacrificing work of the American farmers in whose milieu the artist grew up. The first monograph published on the work of this groundbreaking glass artist features Koss's most important achievements and, through insightful essays by curators and critics, places them in historic perspective.

The art of the object reached unparalleled heights in the medieval Islamic world, yet the intellectual dimensions of ceramics, metalwares, and other plastic arts in this milieu have not always been acknowledged. Arts of Allusion reveals the object as a crucial site where pre-modern craftsmen of the eastern Mediterranean and Persianate realms engaged in fertile dialogue with poetry, literature, painting, and, perhaps most strikingly, architecture. Lanterns fashioned after miniature shrines, incense burners in the form of domed monuments, earthenware jars articulated with arches and windows, inkwells that allude to tents: through close studies of objects from the ninth to the thirteenth centuries, this book reveals that allusions to architecture abound across media in the portable arts of the medieval Islamic world. Arts of Allusion draws upon a broad range of material evidence as well as medieval texts to locate its subjects in a cultural landscape where the material, visual and verbal realms were intertwined. Moving far beyond the initial identification of architectural types with their miniature counterparts in the plastic arts, Margaret Graves develops a series of new frameworks for exploring the intelligent art of the allusive object. These address materiality, representation, and perception, and examine contemporary literary and poetic paradigms of metaphor, description, and indirect reference as tools for approaching the plastic arts. Arguing for the role of the intellect in the applied arts and for the communicative potential of ornament, Arts of Allusion asserts the reinstatement of craftsmanship into Islamic intellectual history.

This book examines Greek vase-paintings that depict humorous, burlesque, and irreverent images of Greek mythology and the gods. Many of the images present the gods and heroes as ridiculous and ugly. While the narrative content of some images may appear to be trivial, others address issues that are deeply serious. When placed against the background of the religious beliefs and social frameworks from which they spring, these images allow us to explore questions relating to their meaning in particular communities. Throughout, we see indications that Greek vase-painters developed their own comedic narratives and visual jokes. The images enhance our understanding of Greek society in just the same way as their more sober siblings in serious art. David Walsh is a Visiting Research Scholar in the School of Arts, Histories and Cultures at The University of Manchester."

This is a glamorous coffee table book covering the work of the international designer, maker and craftsperson. Batch showcases the cream of the contemporary craft world crossing different disciplines in design including; furniture, surface design and decoration, glass, ceramics, textiles, precious metals and multidiscipline design. Designers and craftspeople are pushing the boundaries and concept of craft, creating batches of work which emphasise the skill behind the object. These high-end craft objects are sold through design boutiques, galleries and department stores and they are produced by designers and makers successfully carving our lifestyle trends. In a retail environment where product design is becoming a cloned marketplace, Batch celebrates those products which have a story behind them and which have a high level of care and finish, which make them stand out in the crowd. The book presents the work through interviews with both national and international designers who explain the ideas and concepts behind their work, how they got started and how they have developed their businesses. The book also includes practical information in the 'Behind the Scenes' chapter on running a small business, liaising with manufacturers, dealing with press, setting up exhibitions, sourcing commissions and marketing. And when you are ready to start shopping, it also offers a shop guide compiled by the designers themselves. This book will not only appeal to makers for both visual interest and practical information but also to the buyers, collectors and admirers of contemporary craft and designers.

This comprehensive catalogue of ancient terracotta oil lamps found in Cyprus situates the objects within larger cultural and social contexts and elucidates their varied decoration The fourth catalogue in a series that documents the renowned Cesnola Collection of Cypriot Art, this book focuses on the collection's 453 terracotta oil lamps dating from the Classical, Hellenistic, Roman, and Early Byzantine periods. The rich iconography on many of these common, everyday objects offers a rare look into daily life on Cyprus in antiquity and highlights the island's participation in Roman artistic and cultural production. Each lamp is illustrated, and the accompanying text addresses the objects' typology, decoration, and makers' marks while providing new insights into art, craft, and trade in the ancient Mediterranean. Published by The Metropolitan Museum of Art/Distributed by Yale University Press

For nearly two decades, Preston Singletary has straddled two unique cultures, melding his Tlingit ancestry with the dynamism of the Studio Glass Movement. In the process, he has created an extraordinarily distinctive and powerful body of work that depicts cultural and historical images in richly detailed, beautifully hued glass. Singletary has translated the visual vocabulary of patterns, narratives, and systems of Native woodcarving and painted art into glass, a material historically associated with Native peoples through an extensive network of trading routes. Singletary entered the world of glassblowing as an assistant, mastering the techniques of the European tradition as he worked alongside Seattle-area artists such as Benjamin Moore and Dante Marioni. He also had opportunities to learn the secrets of the Venetian glass masters while working with Italian legends Lino Tagliapietra and Pino Signoretto. The Northwest Native icons, supernatural beings, transformative themes, animal spirits, shamanism, and basketry design of Singletary's Tlingit heritage are manifested in his work, creating a unique whole that resonates on many levels and reveals a new artistic direction. This mid-career retrospective of his work includes contributions by Melissa G. Post, Steven Clay Brown, and Walter Porter, as well as a DVD of Singletary working in his studio. Preston Singletary's works are in museum collections around the world, including the National Museum of the American Indian; Museum of Fine Arts, Boston; Seattle Art Museum; Corning Museum of Glass; Mint Museum of Art; the Heard Museum; and the Handelsbanken (Stockholm, Sweden).

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.

Spectators at the sides of narrative vase paintings have long been at the margins of scholarship, but a study of their appearance shows that they provide a model for the ancient viewing experience. They also reflect social and gender roles in archaic Athens. This study explores the phenomenon of spectators through a database built from a census of the Corpus Vasorum Antiquorum, which reveals that the figures flourished in Athenian vase painting during the last two-thirds of the sixth century BCE. Using models developed from psychoanalysis and the theory of the gaze, ritual studies, and gender studies, Stansbury-O'Donnell shows how these 'spectators' emerge as models for social and gender identification in the archaic city, encoding in their gestures and behavior archaic attitudes about gender and status.

In 1971, in the southwestern area of the Roman Forum of Corinth, a round-bottomed drainage channel was discovered filled with the largest deposit of pottery of the 4th century ever found in the city, as well as some coins, terracotta figurines, and metal and stone objects. This volume publishes the pottery and metal and stone objects, and includes a re-examination of the coins by Orestes Zervos. Some of the cooking ware has been subjected to neu-tron activation analysis, and a statistical analysis of all recovered pottery has been completed. The contents of Drain 1971-1 are important for the function of the Classical buildings in this part of Corinth, especially Buildings I and II, and for the chronology of the renovation program that included the construction of the South Stoa, which was probably not built before the last decade of the 4th century.

This historic 1933 publication documents the important collection of Egyptian, Greek and Italian pottery assembled in the early years of what is now the Kelsey Museum of Archaeology. This collection, brought together in part for teaching purposes, contains a wide range of classic pottery types and is illustrative of the development of pottery over time in these Mediterranean cultures.

During the Middle Ages decorative floor tiles were used in abbey churches, royal palaces, parish churches and the homes of wealthy citizens. Tiles were durable and hygienic and added a new decorative element to the interior. Despite their simple tools and kiln equipment, the medieval tile makers proved extremely skilful in the production of different types of tile. They ranged from variously shaped plain tiles, which were assembled into complex mosaic floors, to two-coloured inlaid tiles, and stamped-relief and line-impressed tiles, all decorated with a wealth of different patterns and designs. Many medieval tiles disappeared during nineteenth-century restorations but the designs lived on in the copies made by Victorian tile manufacturers. Throughout Britain, tiles can still be seen 'in situ' on the sites of former abbeys as well as in medieval cathedrals and parish churches, and the British Museum has an extensive and important collection.

Examples of Roman period red-gloss and red-slip pottery (terra sigillata) found during excavations in the Athenian Agora form the focus of this volume. These fine wares, like the other table wares of the first seven centuries A.D. discussed here, were all imported--a very different situation to earlier periods where Athens was known as a great ceramic-making center, and perhaps the result of mass destruction of potters' workshops during the Sullan sack of 86 B.C. While the image of a demolished pottery industry is tragic, the consequent conglomeration of fine-wares from many parts of the Roman empire in one city makes the Athenian Agora a tremendous source of comparanda for archaeologists working all round the Mediterranean. Written by the world's leading expert on Roman pottery, this huge catalogue illustrating and identifying multiple shapes and types of decoration will therefore be an essential reference book.

In the Greek Classical period, the symposium-the social gathering at which male citizens gathered to drink wine and engage in conversation-was held in a room called the andron. From couches set up around the perimeter, symposiasts looked inward to the room's center, which often was decorated with a pebble mosaic floor. These mosaics provided visual treats for the guests, presenting them with images of mythological scenes, exotic flora, dangerous beasts, hunting parties, or the spectre of Dionysos: the god of wine, riding in his chariot or on the back of a panther. In The World Underfoot, Hallie M. Franks takes as her subject these mosaics and the context of their viewing. Relying on discourses in the sociology and anthropology of space, she presents an innovative new interpretation of the mosaic imagery as an active contributor to the symposium as a metaphorical experience. Franks argues that the images on mosaic floors, combined with the ritualized circling of the wine cup and the physiological reaction to wine during the symposium, would have called to mind other images, spaces, or experiences, and in doing so, prompted drinkers to reimagine the symposium as another kind of event-a nautical voyage, a journey to a foreign land, the circling heavens or a choral dance, or the luxury of an abundant past. Such spatial metaphors helped to forge the intimate bonds of friendship that are the ideal result of the symposium and that make up the political and social fabric of the Greek polis.

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.

This book covers the development of mosaics in Britain from the invasion to the end of Roman Britain. The technical side of the art form is covered as well as prefabrication. It covers those mosaics based in towns as well as more rural locations. Many of the mosaics have been lost but are recorded in coloured engravings. The author has a large collection of illustrations of both existing and lost mosaic pavements. The uniqueness of some British depictions of such well known characters as Orpheus are also explored here. Reconstructions by the author of some sections of figured mosaics based on examples found elsewhere in the empire are included. The author's recent work on the newly discovered Boxford mosaic, that is the most important mosaic found in Britain for over 50 years, is explored here for the first time. Anthony Beeson is the former archivist of the Association for the Study and Preservation of Roman Mosaics, a member of the board of trustees of the Association for Roman Archaeology and The Roman Baths Foundation, a prolific writer of papers on Roman art and architecture and has lectured on the subject of Roman mosaics.

The book focuses on a heritage of works of rare beauty, which offers an exhaustive overview of Deco taste, told mainly through ceramics, but also through graphics, glass and metals. The works presented - Italian, but also European and American, dating from the end of the First World War to 1929 - are the expression of well-known artists who marked the history of Italian ceramics at the beginning of the century, and are of absolute international importance. Domenico Rambelli, Francesco Nonni, Pietro Melandri, Riccardo Gatti, Giovanni Guerrini, to mention some of the best-known names. Text in English and Italian.

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.

In the past, Roman pottery has been judged as inferior to Greek pottery. Recent excavations, however, have led to an increase in knowledge and appreciation of Roman wares. These wares now constitute an important body of evidence for the understanding of art, literacy and trade in the ancient world.

John W. Hayes, the acknowledged authority in this field, explains the particular features that mark Roman-period wares, concisely describing how the vessels were manufactured, decorated, traded and used. Placing the pottery in historical context, he describes its roots in the Hellenistic Greek tradition, its evolution as a distinct art form and its influence on Byzantine and Islamic trends.