Arte Vetraria Muranese (AVEM) emerged from the liquidation of Successori Andrea Rioda in November 1931. The new factory placed a very personal accent on contemporary artistic glass production on Murano: while designs prior to the Second World War were generally still the responsibility of master glassblowers themselves, after the war designers and freelance artists increasingly determined production. Giulio Radi began experimenting in 1940, obtaining the company's signature chromatic effects by superimposing mould-blown layers of glass, often opaque and transparent in alternation, and inlaying them with gold and silver foil. This latest volume of Marc Heireman's ongoing Murano manufactory books features over 800 design drawings, numerous archive images and new photos of AVEM masterpieces, making this anthology of the company's history indispensable for all Murano glass lovers.

The catalogue is dedicated to diverse aspects of the rediscovery of color in the glass art of the nineteenth and twentieth century. The influential color theories of Isaac Newton, Michel Eugene Chevreul, Owen Jones, or Johannes Itten, which created the theoretical basis, are addressed as well as methods for producing stained glass developed by artists such as Clement Heaton, Charles Wasem, or Marcel Poncet, and Islamic art, which served as a source of inspiration. The examination of color and the expansion of the existing color palette in glass art are then presented based on works created within the context of the opalescent era in American stained glass, the Bauhaus, and the revival of Swiss stained glass by the St-Luc group of artists.

Discussions and scientific exchange are crucial for the advancement of a young discipline such as the study of Roman pottery in the Near East. Therefore, in addition to large conferences such as the 'Late Roman Coarse Ware Conference' (LRCW) where the Near East plays only a marginal role, an international workshop with 20 participants dedicated solely to the study of Roman common ware pottery in the Near East was held in Berlin on 18th and 19th February 2010. The goal of this workshop was to provide researchers actively engaged in the study of Roman common wares the possibility to meet and discuss the current state of research as well as questions and problems they are facing with their material. Some of the participants were able to bring pottery samples, which provided the possibility to compare and discuss the identification and denomination of specific fabrics on a regional and supra-regional scale. This volume presents 17 papers from this stimulating event. The Archaeopress series, Roman and Late Antique Mediterranean Pottery (RLAMP) is devoted to research of the Roman and late Antique pottery in the Mediterranean. It is designed to serve as a reference point for all potential authors devoted to pottery studies on a pan-Mediterranean basis. The series seeks to gather innovative individual or collective research on the many dimensions of pottery studies ranging from pure typological and chronological essays, to diachronic approaches to particular classes, the complete publication of ceramic deposits, pottery deposit sequences, archaeometry of ancient ceramics, methodological proposals, studies of the economy based on pottery evidence or, among others, ethnoarchaeological ceramic research that may help to understand the production, distribution and consumption of pottery in the Mediterranean basin.

Glass is a threshold material, serving as both a divider and an opening, for one can always see what is behind it. This is a unique phenomenon and it is confounding, as well as being alluring and enhancing, making the space breathe. Florian Lechner, born in 1938, has dedicated himself to this unique material. He explores its substance and formal possibilities through architectural works and sculptural objects. He also experiments with it in combination with the media of light, sound and movement. For him it is essential to forge his work single-handedly, because only unrestricted personal creative input and the development of one's own, often innovative ways of working can ensure an authentic result. However, the concepts behind his works and their spiritual roots are always more important to him than the process of their creation. Intellectual significance defines Florian Lechner as an artist. His takes an intellectual and philosophically motivated approach, but the result is always a sensory experience and never dominated by dry theory. Text in English & German.

One of the premier private collections of contemporary craft, the Nancy and David Wolf Collection features outstanding creations by the foremost artists working in craft media today, including Howard Ben Tre, Dale Chihuly, William Morris, Wendell Castle, David Ellsworth, Virginia Dotson, Michael Lucero, Michelle Holzapfel, Theman Statom, Ginny Ruffner, Akio Takamori, and Betty Woodman.
"Outside the Ordinary: Contemporary Art in Glass, Wood, and Ceramics from the Wolf Collection "introduces audiences to sixty-seven masterworks selected from this vast collection, carefully documented and photographed in full color. At the heart of this seminal publication are an in-depth interview with collectors Nancy and David Wolf conducted by Amy Miller Dehan and a scholarly essay by contemporary craft authority and critic Matthew Kangas. Dehan's interview reveals the collectors' impetus and strategies for assembling this important collection, and Kangas's essay addresses the history, growth, and future of the contemporary craft movement -- with a particular focus on glass, wood, and ceramics.
"Outside the Ordinary" focuses on the role, development, and perspective of the private collector within the context of the ever-evolving contemporary craft movement. With more than sixty-seven color plates of artwork from the highly regarded Wolf Collection, it makes a significant and stunning addition to any library.

This volume gathers together 17 articles published over the last 30 years, together with one appearing here for the first time. Their focus is primarily on enamel, the brilliant and colourful art form for which the Byzantines were famous throughout the medieval world, but sculpture and glyptics also figure. The author examines not only works which have retained the form in which they were first created, but others which have had their original Byzantine elements re-used, often by artists in the West. While most of the works featured here have been known to scholars before, one was unknown prior to its first publication in 2006.

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.

The American brilliant cut glass tradition is perhaps nowhere better showcased than in the intricate art of Charles Guernsey Tuthill. Born in 1871 in Corning, New York, Tuthill entered the glass trade as a young apprentice, launching a career that would not only produce some of the finest cut glass in America but also innovate that art form in ways that adapted to the changing life of the new century.

In this detailed narrative of the business Tuthill founded, the patterns he created, the techniques he used, and the other artisans and consumers he knew, Maurice Crofford has written the story of an earlier, more elegant and leisurely era. For those knowledgeable about cut glass, the development of the forms will be instructive; for others, who simply appreciate the beauty of the glass, the numerous black and white photographs will appeal. Beyond both of those dimensions, however, Crofford provides insight into how industrialization and mass production and, more especially, the automobile, changed forever the ways upper-class Americans lived, entertained, and displayed their good fortune. In Tuthill's career, moreover, Crofford finds an example of American ingenuity and creative genius that responded to changing times.

The glass itself is of extraordinary beauty, and the descriptions here include the patterns, effects sought, and methods of hand production. Crofford details not only those patterns best known to aficionados of American cut glass of the Brilliant Period but also other patterns retrieved through exhaustive dogging of Tuthill's trail.

Through the written records of Tuthill's succession of businesses and through interviews with surviving members of the Tuthill family,Crofford has reconstructed a remarkably detailed catalog of this master craftsman's work as well as an engaging story of his life and career.

This inventory catalogue presents reverse glass paintings offering outstanding documentation of the history of European reverse glass art from the 16th to the 19th century. The broad technical and artistic spectrum of this art form is shown, as well as its European significance. A documentation of all 153 newly acquired reverse paintings on glass from the internationally important private collection of Gisela and Prof. Wolfgang Steiner is also included. The catalogue section compares the works to their graphic templates. The publication also contains articles on the significance of reverse glass painting and the collecting profile of the world's largest private reverse glass art collection. Full presentation of the 153 newly acquired, important reverse paintings on glass from the 16th-19th centuries Exhibition Schaezlerpalais Augsburg Vorsicht, zerbrechlich! Hinterglasgemalde aus vier Jahrhunderten October 8, 2022-January 15, 2023

For centuries ceramics have been a central feature of Chinese art and culture. They were employed in everyday life and served as both ritualistic and funerary objects. Dr Heribert Meurer's pre-eminent collection of 174 high-quality pieces dating from 1050 BCE to AD 1280 - which up until now has remained unpublished - offers an impressive panorama of the artefacts' roles, as well as the vessel forms and techniques of early Chinese ceramic art, complemented by over 30 objects from the GRASSI Museum Leipzig, where the collection was endowed in 2017. The focal points of the collection are the ceramics of the Tang and Song dynasties. Examples of the popular Sancai (tricolour) lead glaze, Celadon porcelain from Yueyao, Yaozhou and Longquan and Changsha ware, so-called Jian black porcelain from Jianyang Prefecture and Quingbai ware from the southern kiln sites of the Song era illustrate the wealth, diversity, high quality and exceptional appeal of early Chinese ceramics. Text in German.

This book is the first comprehensive synthesis of the life cycle of ceramics and of refuse management in ancient Palestine during the later Roman, Byzantine and Early Islamic periods (4th to 11th centuries CE). The study sheds light on selected material culture-related behavioral practices of the people who produced, used and manipulated ceramics during late antique and early medieval times. The research presents the local picture of pottery use-life, including prime use, reuse, repair, recycling and disposal. The reuse, repair and recycling of pottery reflect a plethora of behavioral practices, some common to the greater Mediterranean and Near Eastern world and some unique to the discussed region and periods. Similarly, the discussion of refuse disposal, while using selected case studies, has shown that attitudes towards the residues of people's activity were basically similar in different regions and periods, though the ways in which refuse was managed was often dictated by specific cultural and regional circumstances. Finally, a first attempt has been made in this study to partially unveil the mental rationale behind the above-mentioned practices. The conclusion is that mere pragmatism motivated the rather frequent reuse, repair and recycling of pottery, though it also showed that this tendency became more dominant - in historical Palestine and probably elsewhere - in Late Antiquity and later.

Between the 12th and 14th centuries, the Hedingham pottery industry produced decorated and glazed finewares, mainly jugs, and grey-firing coarsewares. This study provides a synthesis of Hedingham Ware production and explores its distribution within East Anglia. A gazetteer of the fourteen known production sites is provided, and the pottery is used to create a typology of fabric types, vessel forms and decoration for both fine and coarse wares. The industry appears to have evolved from the early medieval tradition, although it has similarities with Late Saxon Thetford-type ware. The coarsewares are most similar to those produced near Colchester and show some similarities to coarsewares produced in Suffolk. The Hedingham industry did not die out in the 14th century but became subsumed into the sandy orange ware tradition and lost its identity as Hedingham Ware.

Not long ago, porcelain, glass and ceramics were almost exclusively used to make ostentatious objects best suited for display in grandmother's cabinet. But now these classic materials are experiencing a renaissance. Today, they are increasingly being utilised in playful ways by a new wave of designers and artists, who are inspired by Modernism's clear forms as well as an ironic depiction of figures, kitsch and the Romantic. Armed with these influences and an expanded repertoire of forms made possible by technological developments such as rapid prototyping, these designers and artists are manifesting their creative visions in unconventional objects made of these fragile materials. Fragiles is an eclectic collection of such contemporary work. This book presents industrial applications made from porcelain, glass and ceramics such as the exclusive, futuristic tableware now in use in avant-garde restaurants around the world. It also features artistic glass objects by Arne Quinze and Jerszy Seymour as well as striking porcelain products by Jurgen Bey, Marcel Wanders and Jaime Hayon. In addition to these projects by renowned creatives, Fragiles also contains an exciting selection of recent cutting-edge work by emerging talents. The examples shown in Fragiles range from the experimental to evocative retroinspired reinterpretations. The spectrum and quality of these innovative projects shows a current generation of designers and artists just how relevant and challenging working with these traditional materials can be.