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.

In 2005, the Institut National du Patrimoine of Tunisia played host to the ninth Triennial meeting of the International Committee for the Conservation of Mosaics (ICCM). The meeting focused on assessing past practices of mosaic conservation, both in situ and in museums."Lessons Learned" is a richly illustrated volume that provides readers with a comprehensive record of the conference proceedings.The fifty-three papers - with contributions from more than 80 leading professionals in the field - reflect the conference's principle themes: Evaluating Mosaic Practice, Caring for Mosaics in Museums, Documenting and Assessing Sites at Risk, Managing Sites with Mosaics, Sheltering Mosaics, and Training of Conservation Practitioners.

A CBC New Brunswick Book List Selection"I start with an original object, break it, and transform parts of the piece into other materials. These pieces gather meaning and explanation as I work with them."Peter Powning is simultaneously referred to as a sculptor and a ceramist, but his art does not fit easy categorization, incorporating and combining elements from one medium into another. His work challenges the viewer to reconsider the object, its form, and its function. This inventiveness has resulted in numerous exhibitions, awards, and commissions for public art sculptures throughout Canada.Featuring 175 full-colour images of Powning's work along with essays by curators and critics, Peter Powning celebrates the career of one of Canada's finest visual artists and accompanies a major retrospective exhibition organized by the Beaverbrook Art Gallery.

The first book about the iconic decor and lifestyle company MacKenzie-Childs, this gorgeous exploration offers to fans and newcomers alike a full immersion in the charm and handcrafted beauty that have made MacKenzie-Childs sought after for beautiful style. With over 250 color photos, plus inside insights from MacKenzie-Childs creative director Rebecca Proctor, this treasury reveals how the MacKenzie-Childs vision and style have impacted our living spaces. The book's photos and stories allow looks into the company's many facets, from the design studio, to hand painting in the workshop, to the popular shop in Soho and the annual summer Barn Sale celebration on the farm. Learn about the ceramics, furniture, porcelain, Entertaining Kitchen, and more. With the thousands of MacKenzie-Childs collectors in mind, the book includes photo identification guides to all MacKenzie-Childs patterns from 1983 to 2020.

The publication Beneath the Skin provides an overview of the last ten years of work by the Swiss artist Corina Staubli (b. 1959). It shows the altercation in the tension between exterior and interior worlds and the ambivalence of beauty, the beguiling, the sinister and even the unfathomable. With diverse media - be it porcelain, latex, painting or digital collage - the artist directs a dialogue of opposing sides. The question she always poses is 'how does the clandestine and the unconscious reveal itself in something that is manifest' - and, vice versa, 'how does the external view reveal the internal view'? The book itself is sure to arouse intrigue, as it features a nylon sculpture on the cover! Text in English and German.

The Chinese title of this book reads "The Profound Reflection of Brushpots: A Collector's Enlightenment" literally, citing reference to the book Imperial Profound & Reflective Encyclopedia commissioned by Emperor Kangxi of the Qing Dynasty, and The Collected Works of Long Ying, published during the reign of Emperor Wanli, Ming Dynasty. The word "Profound" was chosen meticulously to highlight the breadth and variety of the brush pots collected, and the proposition of their illustrations. The author's intent to make this book an encyclopedia of brush pots was fairly explicit. On the other hand, "reflection" comes from a mirror, which shows how you look and who you are. It represented the collector's experience in soul-searching and self-reflection during his journey of art appreciation. Text in English and Chinese.

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!

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.

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.

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.

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 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.

Although the treasury of King Croesus held great quantities of gold and silver plate, the Lydians clearly loved fine ceramic wares imported from Greece. This preference was entirely appropriate for the capital of the expansive Lydian Kingdom, which occupied a pivotal position between the city states of the Greeks and the gigantic empire of the Persians. The importation of Greek pottery corresponds to the visits from poets, philosophers, and politicians mentioned by the historian Herodotus.

This collaborative work consists of three generously illustrated sections presenting the ceramic finds excavated at Sardis, but produced in the mainland Greek centers of Corinth, Athens, and Sparta. Judith Snyder Schaeffer analyzes the Corinthian imports, Nancy H. Ramage the Attic, and Crawford H. Greenewalt, Jr., the Lakonian. Their study of this material from the Harvard-Cornell excavations at Sardis offers new evidence of the taste for specific Greek wares and shapes in Anatolia before the time of Alexander the Great.

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.

Renowned for their illustrious ceramic manufacturing heritage, the Staffordshire Potteries originally centred upon six towns: Tunstall, Burslem, Hanley, Stoke-upon-Trent, Fenton and Longton. The modern city of Stoke-on-Trent was created from these six towns and around fifty villages. In The Potteries Through Time, author Mervyn Edwards presents a nostalgic visual chronicle of the towns and villages in the Potteries across the decades. In his previous Through Time books, Mervyn Edwards focused upon each of the six towns individually. This latest volume explores the hills and hollows between the centres whilst also offering new archive photographs of the main towns. We find shabby backstreets cowering in the shadow of enormous coal tips - the Potteries' own 'black hills' - and there are industrial hotspots and busy suburbs. Then there are the proud old chapels and pubs and the even prouder people that patronised them. Stoke-on-Trent was not a pretty place, but as the proverb tells us, 'where there is muck there is brass', and the fascinating landscape came to be captured by all manner of writers, artists and photographers. This collection of archive photographs is an engaging book that charts changing times and the shifting identity of the Potteries. It will be of immense interest to local residents, visitors and all those with links to the area.

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.

In the glass art of Franz Xaver Hoeller (b. 1950) artisanal techniques rich in tradition, such as cutting and engraving, collide with modern forms. Vibrantly sculptural bodies engraved on their surface with fine lines, the drawing of which generates impressive depth via incidental light, make up the majority of the vessels and objects that he has created over the last thirty-five years. Sharp edges protrude and challenge the conception of a harmonious form. This publication illustrates all stages of Hoeller's development, drawing the view to the artist's multi-variant language of forms. Large-format details reveal the beauty and precision of the meticulous workmanship. Accomplished authors expound sources of inspiration as well as turning points in creativity, while preliminary sketches afford insights into the developmental process of his works. Text in English and German.

Beautifully illustrated with richly detailed photographs, this volume traces the living heritage of locally made pottery in the English-speaking Caribbean. Patricia Fay combines her own expertise in making ceramics with two decades of interviews, visits, and participant-observation in the region, providing a perspective that is technically informed and anthropologically rigorous. Through the analysis of ceramic methods, Fay reveals that the traditional skills of local potters in the Caribbean are inherited from diverse points of origin in Africa, Europe, India, and the Americas.At the heart of the book is an in-depth discussion of the women potters of Choiseul, Saint Lucia, whose self-sufficient Creole lifestyle emerged in the nineteenth century following the emancipation of plantation slaves. Using methods inherited from Africa, today's potters adapt heritage practice for new contexts. In Nevis, Antigua, and Jamaica, related pottery traditions reveal skill sets derived from multiple West and Central African influences, and in the case of Jamaica, launched ceramics as a contemporary art form. In Barbados, colonial wheel and kiln technologies imported from England are evident in the many productive clay studios on the island. In Trinidad, Hindu ritual vessels are a key feature of a ceramic tradition that arrived with indentured labor from India, and in Guyana potters in both village and urban settings preserve indigenous Amerindian culture. Fay emphasizes the integral role relationships between mothers and daughters play in the transmission of skills from generation to generation. Since most pottery produced is intended for domestic use as cooking pots, serving vessels, and for water storage, women have been key to sustaining these traditions. But Fay's work also shows that these pots have value beyond their everyday usefulness. In the process of forming and firing, the diverse cultural heritage of the Caribbean becomes manifest, exemplifying the continuing encounter between old and new, local and global, and traditional and contemporary.

Over 360 beautiful color photos display machine-made marbles in many varieties. They were produced by American manufacturers, including Alley Agate, Champion, Jackson Marble, Master Glass, Playrite, and Vacor. Marbles displayed include Cat's Eyes, Glassies, Moss Agates, Opals, Patches, Swirls, and more. The text provides fascinating facts about each company's marble production. A helpful rating system indicates which marble types from each firm were its good, better, or best work. A bibliography and index are included. Values for the marbles displayed are found in the captions. This book will be a thrill for all who enjoy a passion for beautiful glass.

The invention of the wheel is often highlighted as one of humankinds' most significant inventions. Wheels do not exist in nature, and so can be viewed entirely as a human-inspired invention. Machinery too, was relatively rare in the ancient world. The potter's wheel is arguably the most significant machine introduced into Egypt, second only perhaps to the drill, the loom and the bellows for smelting metal. In Predynastic Egypt (c3500 B.C.), the traditional methods of hand-building pottery vessels were already successful in producing pottery vessels of high quality on a large scale for the domestic market, so it would seem that the potter's wheel was a rather superfluous invention. However, the impact of this innovation would not just have affected the Egyptian potters themselves learning a new skill, but also signalled the beginnings of a more complex and technologically advanced society. Despite many years work on the technology of pottery production it is perhaps surprising that the origins of the potter's wheel in Egypt have yet to be determined. This present project seeks to rectify this situation by determining when the potter's wheel was introduced into Egypt, establishing in what contexts wheel thrown pottery occurs, and considering the reasons why the Egyptians introduced the wheel when a well-established hand making pottery industry already existed.

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.

Collecting Staffordshire ceramic figures, a particularly English folk art, has expanded from its origins to include much of the English speaking world. This work, in two books, details and illustrates the range and depth of figures made by the potters. Over 2,900 figures are illustrated in the two books, virtually all in the brilliant color which was imperative for the beauty and simplicity of the figures to be fully appreciated. Many of these figures have never before been recorded. A history of the figures, together with sources and relevant bibliographical details, are included, along with a guide to current prices. Victorian Staffordshire Figures 1835-1875, Book Two details Religous and Temperance Figures; Hunters and Huntsmen; Shepherds, Gardeners, Harvesters, and Pastoral Scenes; Other Pursuits, Pastimes, and Occupations; Children with Animals; Dogs; Animals; Houses, Cottages, and Castles; and Sport and Miscellaneous.