More than 300 patterns are documented, described and illustrated in A Complete Guide to Pressed Glass, published by Pelican Publishing Company. Written by Bob H. Batty of North Little Rock, Arkansas, a noted collector of pressed glass for almost 40 years, the oversized, 261-page volume identifies and illustrates for the first time more than 200 glass patterns never before listed by other authorities. Artist John Hendricks' drawings, more than 300 sketches, depict the design and character of the various patterns and in many cases highlight special design and detail of notable patterns. All of the works shown are from the author's personal collection, which numbers more than 2,700 pieces representing some 1,900 patterns. Batty, who has pursued his glass collecting with scholarly attention to historical accuracy and detail, has named many of the previously uncatalogued patterns after cities and landmarks throughout his native South. A number of foreign patterns also are included, with precise measurements given for every piece depicted.

This small yet comprehensive book reproduces the commoner marks to be found on British pottery and procelain between 1750 and 1900. It also provides basic information about the pottery and porcelain ware manufactured during this period.

Yaozhou ware is one of the finest Chinese celadons, made in north China over a period of 700 years, from the 7th to the 14th centuries. Their style developed and changed over time. In the Tang dynasty (618-906) black, brown, lead glazed and black-on-white painted ceramics were made. During the Five Dynasties period (907-960) a technical peak was achieved, and white-bodied wares with beautiful blue-green glazes appeared. During the Northern Song and Jin dynasties (906-1279) more olive-toned celadon glazes became the norm, their intricate decoration and lustrous surfaces supplying a unique aesthetic. At the end of the Jin dynasty the kilns declined and started to manufacture folk ware. Yaozhou Wares from Museums and Art Institutes Around the World gathers illustrations and descriptions of some of the finest Yaozhou wares in private and public collections around the globe. The account considers ceramics in sections, according to their form and decoration, and includes the finest-quality 'official wares' requisitioned for imperial use. Copious illustrations are augmented by a scholarly essay. Highlighting over 400 pieces of Yaozhou ware, the book contains 711 colour and 3 black-and-white illustrations from 56 major museums and art institutes, and will inspire collectors, students and anyone with a love for Chinese ceramics.

Cataloging some hundred thousand examples of ancient Greek painted pottery held in collections around the world, the authoritative Corpus Vasorum Antiquorum (Corpus of Ancient Vases) is the oldest research project of the Union Academique Internationale. Nearly four hundred volumes have been published since the first fascicule appeared in 1922. This new fascicule of the CVA-the tenth issued by the J. Paul Getty Museum and the first ever to be published open access-presents a selection of Attic red-figured column and volute kraters ranging from 520 to 510 BCE through the early fourth century BCE. Among the works included are a significant dinoid volute krater and a volute krater with the Labors of Herakles that is attributed to the Kleophrades Painter.

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.

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.

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.

Goldscheider, a Viennese factory (est 1885), soon sped to the top of European ceramics makers. Figures and vessels of faience and terracotta as well as bronze and alabaster, all of top quality in respect of form and workmanship, were created in the Historicist, Jugendstil and Art Deco period styles. A crucial factor was collaboration with distinguished sculptors and ceramicists of the day - including Demetre Chiparus, Walter Bosse and Josef Lorenzl - who were responsible for a great many of the Goldscheider designs.This success story was quashed by National Socialist aryanisation in 1938: the Goldscheider family was forced to emigrate, the firm was sold and the new proprietor was unable to sustain the high aesthetic quality standard. The Goldscheider brothers did manage to open new ceramics businesses while in exile in the US and England and Walter Goldscheider even returned to Vienna after the Second World War to resume his post as managing director of his old firm; however, in the 1950s the great ceramics tradition of this venerable Viennese business ended when it was sold to the German Carstens company.

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.

After more than eight years of intensive research this is the first and only encyclopaedia of glass marks from the 17th to the 20th century and its at last available

The first publication to examine the pioneering designer and prolific collector who led Tiffany & Co. to creative and commercial success A silversmith, designer, and prodigious collector, Edward C. Moore (1827-1891) was the creative leader who brought Tiffany & Co. toun paralleled originality and success during the late nineteenth century. This informative, richly illustrated volume-the first study of Moore's life and influence-presents more than 175 examples from his vast collection, ranging from Greek and Roman glass to Spanish vases, Islamic metalwork, and Japanese textiles. These are juxtaposed with sixty-nine magnificent silver objects created by the designers and artisans at Tiffany who were inspired by Moore's acquisitions. The illuminating texts have been enriched by groundbreaking research into newspapers, periodicals, the Tiffany & Co. Archives, a newly identified technical manual, and supervisor's diaries, all of which provide an intimate look at the firm's design processes and Moore's role in shaping them. A valuable contribution to the history of American decorative arts, Collecting Inspiration illuminates the legendary Tiffany aesthetic and the legacy of a significant collector, designer, and entrepreneur of the Gilded Age. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule:

Ghost Galleon tells the story of archaeologists' twenty-year search on a desolate beach in Baja California for the enigmatic remains of a Spanish galleon that disappeared without a trace more than four centuries ago. Carrying a cargo of Asian riches to the New World, Manila galleons forged the final link in the unification of the world through commerce by their annual voyages across the Pacific Ocean. Here, author Edward Von der Porten relates how a chance viewing of Chinese porcelain sherds in a museum catalog led him, his wife Saryl, and a team of researchers to the beachcombers who discovered the sherds. To Von der Porten, these sherds represented the possibility of something much more significant: one of the earliest known Manila galleon shipwrecks on the West Coast. In collaboration with the National Institute of Anthropology and History of Mexico (INAH), Von der Porten and his colleagues undertook the first of many archaeological expeditions to investigate the site in 1999. Over twenty years, a team of American and Mexican archaeologists recovered thousands of artifacts and concluded that they had located the remains of the cargo from a Spanish galleon-most likely the San Juanillo of 1578. This copiously illustrated, highly accessible work offers an inside view of how archaeologists carefully assemble the evidence that allows scientific reconstruction of past events. Despite the grudging resistance of time, Von der Porten and his colleagues have resurrected the tale of the ill-fated San Juanillo to enrich our understanding and appreciation of the past.

"In Volume 4 of this all-encompassing, multi-volume set, which catalogs the vast range of enamel-painted figures produced mostly in the Staffordshire Potteries between 1780 and 1840, figures portraying family, children at play, the Temperance Movement, classical subjects, busts, and much more are covered. The text discusses distinguishing real works from reproductions and evaluating their quality. It includes over 1100 brilliant color photographs, as well as information about the potters and design sources, along with a values guide. Among the figures are contemporary portrayals of weddings, christenings, and other family scenes, forms emblematic of the seasons, elements, and continents, and a multitude of characters portraying classical subjects. Many of these pieces are hauntingly beautiful and have long been hidden from the public eye. These impressive portrayals give us rare glimpses of a world that has vanished long ago.

Published in 1903 by the Pennsylvania Museum, Tulip Ware of the Pennsylvania-German Potters is an in-depth look into the Pennsylvania German folk art known as slipware or redware. This volume introduces readers to the subject by detailing the international history of slip decoration and providing an overview of the technique and products throughout the world. Curator Edwin Atlee Barber delves into the specifics of the Pennsylvania German folk art by exploring tools and processes of manufacture, techniques and variations, decoration, motives, coloring, types, and practical uses for pottery, illustrated by numerous black-and-white images from the Pennsylvania Museum's extensive collection.

The volume also contains a detailed discussion of famous eighteenth- and nineteenth-century potters, primarily from Montgomery and Bucks Counties, including biographical information and illustrative photographs of their work. Particular attention is paid to the Pennsylvania German dialect and the important role it played in folk art. Barber provides translations of numerous Pennsylvania German inscriptions, a defining element of much of this art.

Modern readers can still find many of the pieces featured in this volume on display in the American collection at the Philadelphia Museum of Art.

This book traces the history of the scent bottle from the alabaster containers of ancient Egypt to mass-produced commercial bottles. Perfume has been used in religious ceremony and also in medicine, for it was believed to have the power to ward off illness. Elaborately chased silver pomanders were carried during times of plague. The frivolity and luxury of scent were reflected in eighteenth-century 'toys', bottles in the form of fruit and figures in porcelain or enamel. The Victorian lady had a wide choice of scent bottles, including dual-purpose bottles which also held smelling salts or sal volatile. In the twentieth century, after Lalique's successful collaboration with Coty, commercial bottles were made in a variety of forms ranging from the highly luxurious to the amusing bakelite containers of the 1920s and 1930s.