First published in 1933, as the second edition of a 1913 original, this book was written to provide the general reader with a guide to surviving English stained and painted glass from before 1714. The text begins with Norman and Early English styles before moving chronologically through various periods to the beginning of the eighteenth century. The connections between glass-painting and other arts ancillary to architecture are also touched upon, with special reference to their common objects and use. Numerous illustrative figures are included throughout. This book will be of value to anyone with an interest in stained glass and art history.

Originally published in 1897, this book was written to provide both archaeologists and visitors with an accessible guide to Greek vases in the Fitzwilliam Museum: 'to publish and make accessible to archaeologists a record of the vases it contains, and to assist the visitor, and more especially the student in observing the history and technique of Greek vase-painting'. The text contains illustrations of every vase in the collection, except those that reproduce well-known and common types; these illustrations replace lengthy description and allow for easy identification of subject and style. This is a beautifully presented book that will be of value to anyone with an interest in the collections of the Fitzwilliam Museum, archaeology and Greek vases.

Interviewing nearly 30 of the Aldermaston potters, many of whom have written some fascinating submissions about this incredible workshop. The book features a wonderful, previously unpublished, account from Geoffrey Eastop's memoirs, about how he came to Aldermaston and helped to establish the pottery with Alan Caiger-Smith in the mid 1950s. The book tells the story of the 51 years of the Aldermaston Pottery, through the words and experiences of as many of the potters as possible, whilst also chronicling Alan's own achievements over the decades. The images also play an important part in telling the story. The book also follows the subsequent careers of the potters, and tell how they went on to make a difference, and to sustain the maiolica tradition, all over the world. As there has never been a book published that has traced the career of this important figure or the life of the pottery, or the 60 people who worked and trained there, and there are very few photographic records of this lost way of working, this book will fill that gap in the history of 20th century studio pottery.

"Magnificent color, skilled craftsmanship and creative design make Blenko America's most colorful name in glass," touted a Blenko catalog advertisement. First begun in the late nineteenth century in Milton, West Virginia, Blenko remains one of the few glass factories in the United States where modern hand-blown glass is still in production. Recently, Blenko glass designs from the 1950s and 1960s have caught collectors' eyes. This book presents an exact, full-color reprinting of the yearly Blenko company catalogs from 1962 through 1971, thus offering a complete, well-illustrated record of Blenko glass products, including original retail prices and current market values. This book is most useful for the dealers and collectors of glass who appreciate the beauty and "timely glass design" of Blenko.

This book was published as part of the Glass in MAS project, a multidisciplinary research project on the glass collection of the MAS collection Vleeshuis (Antwerp, Belgium). Never before has the collection of archaeological glass of the MAS Vleeshuis Collection in Antwerp been described and disclosed in its entirety. This hidden treasure is part of a valuable study collection on 20 centuries of glass production, a wealth of information that has remained underexposed. The archaeological part is presented for the first time in this extensive catalogue.

Sam Herman (1936-2020) stands at the very centre of the development of the international Studio Glass Movement. He was not only present for the birth of the Movement in the United States, but was its founding father in Great Britain and Australia. This book is the first to deal directly with the genesis of the Movement and the pioneering work of Herman within it, while also shedding light on his wider practice in sculpture and painting. The son of Polish immigrants, Mexican by birth, and brought up in the tougher New York boroughs, Herman travelled to London in the mid-1960s and went on to head up the Glass Department at the Royal College of Art. From there he inspired a generation of artists, created revolutionary techniques and was instrumental in the development of colour and texture in blown glass. For art historians, collectors and aficionados of glass, this book provides a welcome and comprehensive evaluation of Herman's position within the Studio Glass Movement, the history of glass art, as well as the wider context of modern British art. While discussion of his sculpture and painting reveal further dimensions to Herman's ongoing, and indefatigable, explorations in form, composition and colour.

Collared Urns represent a unified pottery tradition in the prehistory of the British Isles. They serve the archaeologist not only as a source for defining the Bronze Age, but as the basis for understanding regional diversities and as a context for explaining social and cultural development. In this definitive study Dr Longworth bases his new and exhaustive analysis on a complete corpus of known Collared Urns. Each surviving example has been studied; this volume presents a detailed description, notes on the archaeological context and wherever possible, an analytical drawing. The resultant catalogue will serve as a reference book for all concerned with the prehistory of Britain and Ireland, while the discussion of the urns and their prehistoric context sets a firm foundation for the understanding of the Bronze Age.

The latest in Stackpole's popular Stained Glass Patterns series, this book contains 20 full-size, realistic patterns for common North American butterflies and dragonflies. Includes a color sample for each pattern. Species include monarch, queen butterfly, giant swallowtail, Diana fritillary, banded peacock, silvery blue, and red skimmer

This book examines how Romans used their pottery and the implications of these practices on the archaeological record. It is organized around a flow model for the life cycle of Roman pottery that includes a set of eight distinct practices: manufacture, distribution, prime use, reuse, maintenance, recycling, discard, reclamation. J. Theodore Pe??a evaluates how these practices operated, how they have shaped the archaeological record, and the implications of these processes on archaeological research through the examination of a wide array of archaeological, textual, representational, and comparative ethnographic evidence. The result is a rich portrayal of the dynamic that shaped the archaeological record of the ancient Romans that will be of interest to archaeologists, ceramicists, and students of material culture.

Excavations at the Etruscan site of Poggio Civitate (Murlo) have produced some of the most spectacular and provocative material recovered from Etruria. This volume presents the reconstruction and study of a large assemblage of bucchero pottery recovered from the "Lower Building" at Poggio Civitate in deposits dating from the late Orientalizing period. Bucchero is a characteristic Etruscan ceramic type that is commonly found at Orientalizing and Archaic period Etruscan sites. This study represents the first major publication on bucchero from Poggio Civitate and also is one of the few studies of a large assemblage of bucchero recovered from a nonfunerary context. The author examines the chronology, style, and function of the bucchero and also considers the question of its place of production. The analysis of the bucchero from the Lower Building has important implications not only for the dating of the rest of the Orientalizing period ceramic assemblage at Poggio Civitate, but also for the dating and study of bucchero in Etruria as a whole.

These original patterns combine aspects of abstract design with natural elements for beautiful and strikingly unusual effects. They can be executed with either of the customary techniques, copper foil or lead came, or a combination of the two approaches. Symmetrical in design, the 90 patterns are easily adapted for specific projects.

This is the first of a series of publications designed to be used as teaching or learning aids to be used by teachers to develop clay modelling skills themselves or as classroom projects to develop pupil's clay modelling skills. The models are based on years of experience teaching in nursery and primary education and with groups of adults and children with special educational needs. Each book contains several practical projects, demonstrated in a step by step manner enabling you to create the models shown on the cover.

The innovative stained glass textbook by award winning stained glass artist Phillip McKee, who was also injured as a firefighter at the Pentagon fighting the fires spawned by the terrorist attacks on 9-11. The easy to follow lessons guide you through all the stages of making stained glass art. In a first for a stained glass textbook, this work includes links to free online videos that actually show readers how to perform the tasks covered in the lessons You're no longer learning alone. Instead, it's like having a private tutor. Plus, there are additional links for downloading the free patterns included with the book, a free trial of the GlassEye 200 stained glass design software and over 340+ stained glass patterns that you can use for free. No other stained glass instructional book has this combination of features.

The first edition of "Make It or Break It; Stained Glass for Beginners" went through multiple printings and sold copies on every continent - a scientist on Antarctica even bought a copy It has been used by stained glass instructors in numerous English-speaking countries and by self-taught artists around the globe.

Now with the added online content, improved and expanded lessons, and in eBook form, the 2nd Edition has gotten even better.

Robert Jefferson truly was a multi-talented man expressing his gift for design in many ways. This book illustrates all aspects of his life's work so much of which centred round his intense love of nature.

This book of a significant private collection of eighteenth-century Meissen porcelain has been expertly catalogued and photographed. With over 100 specially commissioned photographs to showcase the objects in the round and close-up, as well as to highlight their important features. There are detailed entries for each item, whilst the introductory essay helps to shed light on these beautiful pieces of Meissen porcelain, many of them extremely rare, and are placed into their historical context. Anyone with an interest in the decorative arts of the eighteenth-century will find this book a feast for the eyes.

This book presents the surprising collection of Venetian glass donated by spouses Carla Nasci and Ferruccio Franzoia to the Carlo Rizzarda Modern Art Gallery in Feltre. A collection of over 800 pieces ranging from the 18th century to today, allowing the viewer to marvel, in particular, at the Murano production and its great glassmakers. A first nucleus includes the elegant Liberty and Deco glasses produced by Vetri Soffiati Muranesi Cappellin Venini & C. in the twenties: the artistic director of the company was Vittorio Zecchin, one of the most fascinating personalities working in Venice between the First World War and the decade later, who with his elegant, transparent blown glass inspired by the Renaissance, marked a decisive turning point in contemporary Murano production. A second group is represented by the artifacts produced between 1925 and 1960 referable to the figure of Carlo Scarpa, creator of highly successful, innovative glass shapes and fabrics, who collaborated respectively with the Cappellini company since 1926 and with Venini since 1932, together with a mix of products from other companies and authors active in the lagoon. The third type of documented artifacts is that of table glasses: consumer objects destined for ephemeral use and therefore an important testimony of taste and customs.

One of the first personalities to be identified in Etruscan art, the Micali Painter (sixth century BC), is also one of the liveliest of ancient vase-painters, and the leading exponent of a black-figure style that owed more to native imagination than the influence of imported Athenian vases. He is named after Guiseppe Micali (1769-1844), who recognized the hoard of vases discussed in this book as being the work of one man. This book presents the first full stylistic study of the painter, together with a catalogue of his surviving work (some two hundred pieces) and an account of his development and influence within the course of archaic Etruscan painting. Much of the material is hitherto unpublished, and the illustrations have been chosen to furnish a full documentation of the Micali Painter's range and originality.

Stained glass painting is a technique for painting on glass to simulate the look of stained glass-no cutting or assembly required. This book features all the information you need to make a piece of beautiful faux stained glass and also contains projects for working on less common surfaces, such as a mirror, a sheet of acetate, or a block of wood.

A practical guide to all forms of decoration for pots and sculpture. This step-by-step guide encourages you to explore the full range of surface treatment techniques and teaches you how to obtain a professional finish to your work by suggesting an appropriate finish choice. Surface Decoration looks at all manner of surface decoration techniques, at every stage of the ceramic process and from a practical perspective explains how to achieve these effects. The book explores a variety of innovative and contemporary approaches to surface finish including sgrafitto, resist methods, sprigging, trailing, glaze layering, lustre, transfer, impressing, incising and textural methods amongst others. This is the perfect guide for any ceramic artist interested in exploring new surface decoration techniques.