Jade figurines depicting human flight are a varied and expressive manifestation of this most prized artistic medium. Angus Forsyth, a prominent collector of Chinese jade, in this book explores the making in the Middle Kingdom (over a 2000-year period, from the Han Dynasty onwards) of unique objects depicting figural movement through the air. He examines the depiction of apsaras (flying angels), kinnaras (bird-men), garudas (humanoid birds appearing in both Hindu and Buddhist mythology) and finally anthropomorphized bird headdress ornaments. He shows how these flying figures came to be associated with veneration of the gods and specific devotional practice. Examining a variety of representative objects, none of which has been seen in print before, the author reveals that the original concept behind flying celestial beings and bird-men originated not in China but in India and the Christianized West, via the Silk Road. A distinctive characteristic of Chinese artefacts is that, in contrast to their Western angelic counterparts, they often are wingless. The book discusses small and larger jade pieces alike.

This invaluable guide is not only a basic reference, but an identification tool that can be taken to auctions, shows, exhibits, and antique shops. This revised sixth edition includes a newly updated value guide, the catalog names for various shapes in cut glass, and the identity of 280 patterns of American and Canadian glass by catalog name. Many patterns are identified for the first time. It points out 130 cut glass pieces by company signatures, patent records, and magazine advertisements. In addition, this revised edition shows you how to analyze a pattern by finding the miter outline and matching it and the motifs to an illustration or picture in a catalog or book. It gives practical advice for buying and collecting unidentified pieces and answers questions on acid polish, repairs, investments, insurance, upgrading, and selling a collection. Over 900 exquisite photographs were taken expressly for this book. No collector, dealer, or appraiser will want to be without it!

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.

This indispensable reference guide helps you determine the classification and identification of Depression Glass and other collectible glassware by the prominent design in the pattern. Glassware patterns from the 1920s through the 1970s are grouped into twenty-one overall design categories; these include animals, circles or rings, diamonds, floral, fruit, geometric, ribbed, scroll, and more. Within each category, the associated patterns are then listed and described in alphabetical order. Each pattern is identified by its name, manufacturer, years of production, and colors used. Over 360 color photos illustrate the patterns that appear on a variety of beautiful shapes and in different colors. Current market values are included in the captions. This book provides the key to quick identification of glassware patterns and will be an invaluable tool for glass collectors, fanciers, and dealers.

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.

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

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.

The invention of the Argand burner in 1784 propelled a virtual lighting revolution in the first half of the nineteenth century. This highly informative and outstandingly illustrated book showcases the variety of nineteenth century lamps through the use of color photos, old etchings, and period lighting catalogues -- including the only known 1850 Henry N. Hooper and Company Illustrated Catalogue, shown in its entirety. Lighting enthusiasts at every level will find many never-before-published photographs of Argand, sinumbra, and solar lighting devices, along with valuable information on heights, shade ring fitter diameters, and value ranges. Brief histories are provided for some of the better known lighting manufacturers, including Hooper, Dietz, Messenger, and Cornelius. The author also discusses various types of lighting fuel, terminology, how to differentiate reproductions from originals, and where to look for manufacturers' marks. Collectors of lighting and other fine arts from the first half of the nineteenth century will find this an essential reference for many years to come.

Finely decorated ceramic vessels made for cooking, storage, and serving were a hallmark of Native Caddo cultures. The tradition began as many as 3,000 years ago among Woodland-period ancestors, thrived between c. 800 and 1800, and continues today in the Caddo Nation of Oklahoma. In Ancestral Caddo Ceramic Traditions, eighteen experts offer a comprehensive assessment of recent findings about the manufacture and use of Caddo pottery, touching on craft technology, artistic and stylistic variation, and links between ancestral production and modern artistic expression. Part I discusses the evolution of ceramic design and morphology in the Caddo Archaeological Area by geographic region: southwestern Arkansas, northwestern Louisiana, southeastern Oklahoma, and East Texas. It also gives focused study to the salt-making industry and its associated pottery. Part II features ceramic studies employing state-of-the-art techniques such as geochemical analysis, fine-grained analysis of stylistic elements, iconography, and network analysis. These essays yield increased understanding of specialized craft production and long-distance exchange; decorative variation at community and regional scales to reveal past communities of practice and identity; ancient Caddo cosmological and religious beliefs; and geographical variation in vessel forms. In Part III, two contemporary Caddos furnish an important Native perspective. Drawing on personal experience, they explore meaning and inspiration behind modern pottery productions as a cultural strategy for the persistence of community and identity. The first volume of its kind for Caddo archaeology, Ancestral Caddo Ceramic Traditions is also a valuable reference on ceramic practices across the broader southeastern archaeological region.

Designed for hands-free shopping, this revised and expanded 10th edition is complete with 2012 pricing and reproduction information for 169 patterns of Depression glass, Fire-King, and 1940s and 1950s patterns, including three added patterns, Diamond Cut, Fire-King Fish Scale, and Shell Pink. No other book on glassware of the 1920s-1950s provides more comprehensive and beneficial information in such a compact, user-friendly format. You'll find complete listings of thousands of pieces in all colors, measurements, and even a ruler on the back cover! Don't leave home without this handy reference in your pocket.

This book provides valuable and relevant up to date information about the embossed and related range of Carlton Ware. We have concentrated on the Carlton Ware produced from the 1930's onwards and the contents of this book provide a comprehensive source of information on shape numbers and names of Carlton Ware.

The intriguing history behind the simple, tasteful designs and eye-catching color of Alamo pottery - a classic mid-century modern American pottery - is told definitively for the first time. The author skillfully takes us back in time to tell us of the dream and the men behind that dream that created Alamo Pottery, of their failures that led to great success and of great success that spawned greed and disintegration. This book contains a description of the process by which Alamo pottery was made along with descriptions and photographs of the art ware. Included also, is a guide on how to distinguish Alamo pottery from similar forms of art ware, such as Gilmer pottery, and how to identify the rare and unmarked pieces of Alamo pottery. Copies of Alamo Pottery and Gilmer Pottery catalogs are presented. Collectors and dealers, in particular, will benefit from the Price Guide which features a color photograph of each piece of pottery identified by its model number and dimensions.. The author's years of research, which included conversations and communications with principals of the company, bring to the public this clear, easy-to-read, complete guide. Collectors, dealers, and readers interested in mid-century modern American pottery as well as Texas history will find this book an invaluable resource and a delightful read.

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).

Fascinating history of a firm well-known in the world of international ceramics.

Through photographs and anecdotes, Broadway author and director Mark Bramble presents the vast collection of antique tea caddies he and his late mother assembled over more than 5 decades of collecting. Explore the historical and societal atmospheres that engendered such varied styles of caddies and how interest in these treasures, created for storing tea, coincided with the competitive search for the formula to make "true" porcelain. The history behind the tea caddy reinforces the overlap between art and functionality, and how the culture of artistic creation is a random blend of geography, sociology, talent, and luck. In this generous volume, collectors are treated to an endearing reflection on a lifetime hobby of mother and son, whose collection encompasses centuries of worldwide artistic creation.