This is the first major book on English blue and white porcelain since the early 1970s. Not only is it the latest and most up-to-date work, but it includes types not previously studied and extends the range of wares into the early years of the nineteenth-century. It is a unique, comprehensive study. The number of instructive illustrations exceeds seven hundred, including helpful comparison photographs and details of identifying features - footrims, handle forms, manufacturing characteristics and marks. Apart from introductory chapters on collecting blue and white and on the introduction and development of this popular mode of decoration, this unique coverage comprises details of over twenty distinct makes, including the relatively newly researched eighteenth century factories at Isleworth, Limehouse and Vauxhall. The inclusion of the several post-1790 factories covers new ground. The section on fakes and reproductions will also prove instructive and helpful. Guidance is given on the popularity o

This book is the first completely detailed and descriptive companion to the museum's holdings of Vincennes and Sevres porcelain. The porcelain is catalogued in chronological order by factory. Each entry provides a complete bibliography and provenance, as well as details on factory listing, artist, date, measurements, distinguishing marks, and much more. The catalogue is beautifully and extensively illustrated. Each work is shown in color with a selection of black and white details. Incised and painted marks are also illustrated.

Doceuments work of the most important names associated with 19th century cameo glass.

A paragon of modern design, this book charts the history, rise and fall of the world's best-selling patented teapot.

An illustrated record of Wilkie's tableware designs 1958 - 1978.

The collecting of Staffordshire 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 Book One and Book Two, 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 many sources and relevant bibliographical details, are included, along with a guide to current prices. Victorian Staffordshire Figures 1835-1875, Book One is the definitive work on Portrait figures, and also includes Naval and Military, and Theatrical and Literary Characters (including Opera, Ballet, and Circus).

In this fascinating volume, china-ware expert Geoffrey Godden shows how collectable and decorative New Hall Porcelain is. The factory produced over three thousand patterns which served to enhance a long series of attractive yet very functional forms. They were welcomed for their excellence over a period of over fifty years, from 1782 to 1835. The success of these pleasing Staffordshire porcelains in the marketplace helped to turn the Staffordshire Potteries, then famed only for its earthenwares, into a porcelain-producing centre of world importance. The New Hall firm in England were market-leaders in their own time, their shapes and styles widely copied by their several imitators. New Hall Porcelains presents historical facts in a novel, helpful manner, supporting with a broad selection of clear illustrations. Geoffrey Godden is able to illustrate how diverse and attractive these Staffordshire 'Real China' porcelains can be, placing New Hall in its rightful position in the study of British porce

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.

The gifted artists who produced a spectacular range of lustre pottery.

Tea and coffee cups have been made in Britain since the middle of the eighteenth century and can be found in a vast array of decorative designs, reflecting the changing fashions of society as well as the advances made in the manufacturing process. This book charts the development of tea and coffee cups over 200 years, providing information on the methods of decoration, influential factories and designers. Steven Goss guides the reader on how to identify the dates of particular patterns, as well as listing a number of museums and auction houses where these ornamental cups can be discovered.

Born into a traditional culture in 1833, Emanuel Suter cultivated the art of pottery and expanded markets across the Shenandoah Valley of Virginia, creating a thriving company and leaving thousands of examples of utilitarian ceramic ware that have survived down to the present. Drawing on Suter's diary-rich with meticulous descriptions of his ceramic wares, along with glazing recipes and the quotidian details of nineteenth-century business-as well as myriad other primary and secondary sources, Suter's great-great-grandson Scott Hamilton Suter tells the story of how a farmer with a seasonal sideline developed into a technologically advanced entrepreneur who operated a modern industrial company. As a farmer, Emanuel Suter innovated by adopting new time-saving equipment; this progressive thinking bled over into his religious life, as he endeavored to change the traditional way of choosing ministers by lot and advocated for the formation of Sunday schools in the Mennonite Church. But Suter largely made his mark as a potter, and A Potter's Progress is enhanced by nearly two dozen color images and a close study of the techniques (including kilns and jigger wheels), products, shop organization, marketing, and labor of Suter's shops, revealing the revolutionary role they played in the world of Rockingham County, Virginia, pottery manufacture. This tightly focused case study of the trials and triumphs of one craftsman as he moved from a cottage industry to a full-scale industrial enterprise-prefiguring the market economy that would characterize the twentieth century-serves as a microcosm for examining the American spirit of progress in late nineteenth-century America.

Spode Transfer Printed Ware has been extensively enlarged and revised since it was first published in 1983. With over 100 newly discovered prints, the volume now illustrates every known transfer print issued by the Spode family at their works in Stoke-on-Trent. The book's 1000 illustrations allow the reader to understand the great variety of shapes produced by Spode, as well as the imprints that they marked their decorated wares with. Crucially, the volume also outlines the difference between methods of manufacture used in the past and those practiced today, with detailed texts discussing early ceramic printing techniques such as bat printing and pluck and dust printing.

Since its founding in the early 1950s, the Spanish porcelain firm Lladro has attracted a large collector market. This book identifies all known Lladro figurine brand names, differentiates them from Spanish porcelain competitors, addresses some of the mysteries surrounding Lladro's production history, and makes the case for Lladro's right to a place among the most-esteemed names in the history of fine porcelain. In addition to analyzing known models, the book gives a tantalizing photographic glimpse of rare, prototypic, and one-of-a-kind models, including several not found in historical catalogs. Also included are pricing and value factors, the most-recent developments with the brand since its sale out of the family, and details on how to distinguish genuine pieces from Spain's several other companies working "in the Lladro style." More than 300 photos provide detailed visual reference.

British Ironstone China and the related stone china and granite ceramic bodies are as important in their way as English creamwares or indeed bone china itself. Initially, the ironstone-type bodies were introduced to emulate, rival and undersell the vast and popular importations of Oriental porcelains. Not only did the ironstone manufacturers succeed in this ideal but they progressed to take over the trade.

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.