This volume continues the ceramic history of the Saqqara Anubis temple, excavated by the Egypt Exploration Society from 1977 to 1979. Volume IV covers the Late Dynastic Period. From at least the mid- 6th century BC onwards, burials appear to have been made in the earlier shaft tombs as well as in a new cemetery in the sand. A temple to Anubis, god of the dead, was commenced at the same time, abandoned during the Persian Period but restarted around 400 BC. The ceramics include bowls used by the embalmers as well as offering vessels and the repertoire of the fourth century builders.

A major new history of craft that spans three centuries of making and thinking in Aotearoa New Zealand and the wider Moana (Pacific). Paying attention to Pakeha (European New Zealanders), Maori, and island nations of the wider Moana, and old and new migrant makers and their works, this book is a history of craft understood as an idea that shifts and changes over time. At the heart of this book lie the relationships between Pakeha, Maori and wider Moana artistic practices that, at different times and for different reasons, have been described by the term craft. It tells the previously untold story of craft in Aotearoa New Zealand, so that the connections, as well as the differences and tensions, can be identified and explored. This book proposes a new idea of craft--one that acknowledges Pakeha, Maori and wider Moana histories of making, as well as diverse community perspectives towards objects and their uses and meanings.

‘Atlas of Ceramic Fabrics 2. Italy: Southern Tyrrhenian. Neolithic – Bronze Age’ presents and interprets the petrographic composition of pre-protohistoric pottery (6th-1st millennia BCE) found in southwestern part of Italy. This is the second in a Atlas series organised according to geographical areas, chronology and types of wares. In this book 890 samples from 29 sites are discussed, encompassing results of more than 50 years of interdisciplinary archaeological, technological and archaeometric research by the authors’ team. Ninety petrographic fabrics (the potters’ ‘recipes’) are defined and presented based on their lithological character – a tool that can be used to compare different components of the ceramic pastes and to check possible provenance of non-local pots. The volume is organized in chapters focused on methodology, fabric description and distribution, followed by the archaeological implications and the database, with contribution by Andrea Di Renzoni (CNR-ISMA, Roma). Illustrations and descriptions of the fabrics and a list of samples provide a rigorous and transparent presentation of the data. The archaeological implications are discussed through cross-correlatios between origin and technology, variability, standardisation, chronology, function, social organization, circulation, style, typology and cultural identity. We hope that this work will be considered an another stepping-stone in demonstrating that technological variability is as important as stylistic distinctions.

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.

People collect to connect with the past, personal and historic, to exercise some small and perfect degree of control over a carefully chosen portion of the world. The Grain of the Clay is Allen S. Weiss's engaging exploration of the meaning and practice of collecting through his relationship with Japanese ceramics. Weiss unfolds their world of materiality and pleasure and the culture and knowledge that extends out of their forms and uses.Japanese ceramics are celebrated for their profound material poetry, especially in relation to the natural world, and they maintain a unique place in the history of the arts and in the lives of those who collect and use them. The Grain of the Clay deepens our appreciation of ceramics while providing a critical meditation on collecting. Weiss examines the vast stylistic range of ceramics, investigating the reasons for viewing, using and collecting them. He explores ceramic objects' relationship with cuisine as an art and as a part of everyday life. Ceramics are increasingly finding their rightful place in museums and Weiss shows how this newfound engagement with finely wrought natural materials might foster an increased ecological sensitivity.The Grain of the Clay will appeal to the collector in every one of us.

The kilns at Morgantina, site of the well-known excavations in central Sicily, are an outstanding example of multiple potters' workshops in use during the late Hellenistic period. In fully documenting these ten kilns, excavated between 1955 and 1963, Ninina Cuomo di Caprio offers both a representative cross-section of the physical setting of ceramic production in this ancient Greek city and evidence for its daily industrial activity. She includes detailed plans and section drawings of each kiln and formulates hypotheses on its operation in light of modern thermodynamics. The text, which is in Italian, is preceded by an English-language summary. Cuomo di Caprio's archaeological study of the kiln structures and their ceramic products is supplemented by such diagnostic tools as thermoluminescence analysis, neutron activation analysis, X-ray diffraction, and optical examination by polarizing microscope. Opening an entirely new window into the everyday working practices of the Morgantina potters, this study demonstrates that they operated at a very sophisticated level: selecting and purifying specific clays, and adding certain materials to manipulate their working and firing characteristics.

Originally published in 1992.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

A census conducted in 1901 indicated the existence of some 209 producers of pottery in France, employing a total of around 5,800 full-time labourers. This great activity stimulated a parallel development in the arts, including the search for new expressions in art pottery, giving birth to l'art nouveau, a great and eclectic synthesis of a number of other art styles. Largely through British arts and crafts, and the work of artists like the Manxman Archibald Knox, it reached far back into the prehistory of Celtic art. To this were added later medieval elements, through the gothic revival championed by William Morris. The need for renewal, breaking away from the neo-Classical and academia, which was the realm of the upper-class culture, was largely theorised by John Ruskin, who searched elsewhere for inspiration. Thus did British art nouveau also partake of Chinese and Japanese styles, though never in so forceful a manner as did the French aesthetic. France, on the one side, looked back to the swirling and frivolous eighteenth century Rococo, primarily through the influence of the Goncourt brothers, Edmond and Jules, influential aesthetes of the mid-nineteenth century. The book focuses especially on artists working stoneware or gres, faience, and terracotta. It aims to provide a general survey of the many artists working in these areas, and includes brief accounts of the ceramics work of sculptors and painters whose wider output is already well known.

Throughout prehistory the Circumpolar World was inhabited by hunter-gatherers. Pottery-making would have been extremely difficult in these cold, northern environments, and the craft should never have been able to disperse into this region. However, archaeologists are now aware that pottery traditions were adopted widely across the Northern World and went on to play a key role in subsistence and social life. This book sheds light on the human motivations that lay behind the adoption of pottery, the challenges that had to be overcome in order to produce it, and the solutions that emerged. Including essays by an international team of scholars, the volume offers a compelling portrait of the role that pottery cooking technologies played in northern lifeways, both in the prehistoric past and in more recent ethnographic times.

This richly illustrated volume highlights one of the most significant collections of African ceramics in the United States, distinguished for its breadth and representation of women’s excellence in ceramics. Collected by William M. Itter, Professor Emeritus of Fine Arts at Indiana University, the scope of the collection is wide-ranging, representing 65 different ethnicities and more than 20 countries in Africa. Illustrating a range of approaches to art making, the works are organised around topics that explore place, time, artistic media, and cultural identity and addressing issues related to cross-cultural exchange, cultural diversity, embodiment, temporality, and spirituality. Organised by the Sidney and Lois Eskenazi Museum of Art at Indiana University, this beautifully designed book celebrates the remarkable work and contributions of women artists.

This comprehensive book is both a biographical exploration of the early life of Mary Seton Watts and a survey of the pottery she designed. Her roots in Scotland, her artistic career and her marriage to the Victorian artist George Frederic Watts all influenced the design of the Grade 1 listed Cemetery Chapel at Compton and the art potteries which she then set up, both in Compton (The Potters' Arts Guild) and in her home village near Inverness. The pottery at Compton was in business for more than fifty years, making terracotta garden ware, memorials and small decorative pieces. It remained open through two World Wars and a trade depression. This highly illustrated publication showcases the beautiful and individual pieces of pottery and is a fitting tribute to the ability of Mary Watts to coordinate both people and resources.

From the introduction of woodblock printing in China to the development of copper-plate engraving in Europe, the print medium has been used around the world to circulate knowledge. Ceramic artists across time and cultures have adapted these graphic sources as painted or transfer-printed images applied onto glazed or unglazed surfaces to express political and social issues including propaganda, self-promotion, piety, gender, national and regional identities. Long before photography, printers also included pots in engravings or other two-dimensional techniques which have broadened scholarship and encouraged debate. Pots, Prints and Politics examines how European and Asian ceramics traditionally associated with the domestic sphere have been used by potters to challenge convention and tackle serious issues from the 14th to the 20th century. Using the British Museum's world-renowned ceramics and prints collections as a base, the authors have challenged and interrogated a variety of ceramic objects - from teapots to chamber pots - to discover new meanings that are as relevant today as they were when they were first conceived.