Archaeologist James R. cunkle categorizes the primary groups of prchistoric ceramics found in Arizona and describes each in-depth. Includes color insert.

"My Dad, The Folk Potter" is a young reader's picture book that shows the complete process of making traditional pottery using methods 19th Century Catawba Valley potters used, including hand-digging local clay, glazing, firing in a ground hog kiln and selling of wares. The book is written from the perspective of a fourth-grader as he watches his dad "turn and burn." Pottery buffs of all ages will appreciate both the educational and artistic value of this book.

For thousands of years an enigmatic and astonishingly beautiful piece of Roman art has captivated those who have come in contact with it.Made before the birth of Christ, the Portland Vase, as it is called, is renowned for both its beauty and its mystery.

In "The Portland Vase," Robin Brooks takes us on a vivid journey across Europe and through the centuries, as this delicate piece of glass, less than ten inches in height, passes through the hands of a stunning cast of characters, including the first Roman emperor, Augustus; a notorious tomb raider; a reckless cardinal; a princess with a nasty gambling habit; the ceramics genius Josiah Wedgwood; the secretive Duchess of Portland; and a host of politicians, dilettantes, and scam artists.

Rich with passion, inspiration, jealousy, and endless speculation, the story of The Portland Vase spans more than two thousand years and remains one of the art world's greatest enigmas.

These seventeen papers, from a colloquium held at the XIVth UISPP Congress at the University of Liege in 2001, combine archaeological, ethnographic and technical approaches to present the current state of research in the study of pottery technology. The colloquium's aim was to highlight key topics, such as clay preparation, shaping techniques, decoration and firing and post-firing treatments, whilst addressing problems in methodologies. Ethnographic contributions present case studies from the Amazon, Sub-Saharan Africa, India, Gambi and Senegal; two papers present methods of technical identification; nine papers reconstruct and interpret pottery manufacturing processes in archaeological contexts. These examine assemblages from Neolithic and Chalcolithic sites in Belgium, France, Switzerland, Mauritania and the Levant. Nine papers in English, the rest in French; all have English and French abstracts.

Originally published in 1899, this handbook contains, in a form convenient for everyday use, a comprehensive digest of the information on Working Glass by heat and by abrasion and supplies concise instruction on the general principles of the subject. Contents: Appliances used in Glass Blowing Manipulating Glass Tubing Blowing Bulbs and Flasks Jointing Tubes to Bulbs, etc.; Forming Thistle Funnels Utilising Broken Glass Apparatus; Boring and Riveting Glass Hand-working of Telescope Specula Turning, Chipping, and Grinding Glass The Manufacture of Glass

Aimee McCulloch, an accomplished modern glass artist, goes beyond traditional stained-glass techniques and makes glass into modern and contemporary works of art. Enjoy that contemporary focus in this complete guide as she first teaches beginner stained-glass skills (cutting glass, soldering, etc.) before launching you into 10 ambitious, exciting, and inspiring projects that can be displayed at home or given as gifts. By learning each of these techniques, you'll be able to continue working and experimenting with stained glass to combine techniques and create your own special designs. With McCulloch's help, combine new, contemporary techniques with historical ones to bring this popular art form into the present day.

Originally published under the title Experimental Glass Blowing for Boys in the early 20th century, this book contains a series of 80 "experiments" designed to teach the basic techniques of lampwork. The book discusses types of glass, how to cut, bend, and stretch glass tubes and rods, sealing a tube, blowing a bubble, joining tubes, how to cut window glass and bottles, boring a hole in glass, etc. The experiments include kids' stuff like squirt bottles, pea shooters and whistles, as well as more practical fare such as a drinking tube, siphon, nozzles, and a spirit level. Over 100 illustrations. At the time of original publication Carleton J. Lynde, Ph.D., was Professor of Physics at MacDonald College in Quebec, Canada.

The book, originally published in 1904, includes the marks used by factories, patterns, workmen, or decorators in America to the time of this book's original printing. The first attempt to describe the marks of American potters was made by Edwin Barber in his Pottery and Porcelain of the United States in 1893. In that book, less than 100 varieties, found principally in earlier wares, were described. Prior to that time, none of the manuals on potter's marks contained any reference to the United States.

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.

Un bello manual que explica desde los materiales necesarios y los distintos tipos de vidrio, hasta las diferentes tecnicas de elaboracion, ilustradas paso a paso, de seis tipos de vidrieras: Tiffany, tradicional, collage, falsa vidriera, grabado al acido y vidriera con grisalla.

'The Mirror is an amusing jewel of a book, a sparkling reflection of the history of the mirror in Europe, and the role of the mirror in European imagination.' - Los Angeles Times

"The cultural history of the mirror is fully explored by Sabine Melchior-Bonnet. The book marries science and art, literature and philosophy." - New York Times

'This erudite meditation ... reveals how significantly the mirror has influenced Western culture...this beautifully illustrated study offers so many intriguing glimpses into the meanings of reflection that it will reward anyone who peers beneath its surface.' - Publishers Weekly

The earliest vitreous materials in Egypt date to c.4000 BC although the production of glass, faience, frit or 'Egyptian blue' does not really take off until the 18th dynasty. Andrew Shortland combines descriptions of various objects made from vitreous materials with an analysis of the processes and techniques used in their production. His study begins with the raw materials, he describes the processing of the materials and the waste products generated, the production and finishing of objects and their final distribution. Focusing largely on evidence from the city of Amarna, a large part of this volume is taken up with analyses of the structure and composition of the vitreous materials.

"Coming into being, the work of art, this very pot, creates relations relations between nature and culture, between the individual and society, between utility and beauty. Governed by desire, the artist s work answers questions of value. Is nature favored, or culture? Are individual needs or social needs more important? Do utilitarian or aesthetic concerns dominate in the transformation of nature?" from the Introduction

The Potter s Art discusses and illustrates the work of modern masters of traditional ceramics from Bangladesh, Sweden, various parts of the United States, Turkey, and Japan. It will appeal to anyone interested in pottery and the study of folklore and folk art.

Henry Glassie is College Professor of Folklore and Co-director of Turkish Studies at Indiana University. He has been a Guggenheim Fellow and a Fellow of the National Humanities Institute; he has also served as President of the Vernacular Architecture Forum and of the American Folklore Society.

Material Culture Henry Glassie, George Jevremovic, and William T. Sumner, editors
(Note: there is an accent egue on the c Jevremovic)

Contents:
The Potter s Art
Bangladesh
Sweden
Georgia
Acoma
Turkey
Japan
Hagi
Work in the Clay
Acknowledgments
Notes
Bibliography
Index"

A lucrative trade in Athenian pottery flourished from the early sixth until the late fifth century B.C.E., finding an eager market in Etruria. Most studies of these painted vases focus on the artistry and worldview of the Greeks who made them, but Sheramy D. Bundrick shifts attention to their Etruscan customers, ancient trade networks, and archaeological contexts. Thousands of Greek painted vases have emerged from excavations of tombs, sanctuaries, and settlements throughout Etruria, from southern coastal centers to northern communities in the Po Valley. Using documented archaeological assemblages, especially from tombs in southern Etruria, Bundrick challenges the widely held assumption that Etruscans were hellenized through Greek imports. She marshals evidence to show that Etruscan consumers purposefully selected figured pottery that harmonized with their own local needs and customs, so much so that the vases are better described as etruscanized. Athenian ceramic workers, she contends, learned from traders which shapes and imagery sold best to the Etruscans and employed a variety of strategies to maximize artistry, output, and profit.

A story revealed by tavern, inn, college and other bottles. With a catalogue of bottles and seals from the collection in the Ashmolean Museum.' (BAR 257, 1997)

"Stained Glass Photo Frames" contains 20 full-size patterns of photo frames for stained glass hobbyists. The patterns include two sizes, 4" x 6" and 5" x 7" and a variety of subjects. Children's, floral, contemporary, southwest and seashore are some of the design styles in this book.

STAINED GLASS PRIMER, The Basic Skills offers clear, concise instruction in the tools and skills of leaded glass work, including copper foil techniques. A proven textbook for beginners, used in schools throughout the world. First published in 1971. Over 200,000 copies sold.

A study of the styles of decoration found on the early southwestern pottery known as White Mountain Redware. The White Mountain Redware tradition, an arbitrary division of the Cibola painted pottery tradition, is composed of those vessels which have a red slip and painted decoration in either black or black and white, which when grouped into pottery types have a geographic locus within or immediately adjacent to the Cibola area, and which share a number of other attributes indicative of close historical relationships.

Sir Mortimer Wheeler describes the architecture and town planning, the sculpture and painting, the silverware, glass, pottery and the other rich artistic achievements of the era.

This volume is dedicated to studies of plainwares-the undecorated ceramics that make up the majority of prehistoric ceramic assemblages worldwide. Early analyses of ceramics focused on changes in decorative design elements to establish chronologies and cultural associations. With the development of archaeometric techniques that allow direct dating of potsherds and identification of their elemental composition and residues, plainwares now provide a new source of information about the timing, manufacture, distribution, and use of ceramics. This book investigates plainwares from the far west, stretching into the Great Basin and the northwestern and southwestern edges of Arizona. Contributors use and explain recent analytical methods, including neutron activation, electron microprobe analysis, and thin-section optical mineralogy. They examine native ceramic traditions and how they were influenced by the Spanish mission system, and they consider the pros and cons of past approaches to ware typology, presenting a vision of how plainware analysis can be improved by ignoring the traditional "typological" approach of early ceramicists working with decorated wares. This work provides a much-needed update to plainware studies, with new hypotheses and data that will help set the stage for future research.

The leaded and cemented stained glass of the workshop of Heinrich Staubli (1926-2016), St. Gallen, which is integrated into churches, restaurants, and schools, continues to shape the built environment of Eastern Switzerland today. The output of the workshop is characterized by relations among stained glass, murals, and graphic, textile, and funerary arts. This is the first analysis of the artworks and the estate from the perspective of intermediality and within the framework of modern art history. The study offers a systematic contextualization of Staubli's work within the history of stained-glass art in German-speaking countries, elucidating not only the operations of the artistic workshop but, more broadly, the artistic-social relevance of stained glass far beyond Switzerland in the 20th century.