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pre-eminent collection of 174 high-quality pieces dating from 1050 BCE to AD 1280 - which up until now has remained unpublished - offers an impressive panorama of the artefacts' roles, as well as the vessel forms and techniques of early Chinese ceramic art, complemented by over 30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.

Daniel Kruger (b. 1951), widely known as a jewellery artist, presents an overview of his ceramic works, featuring 230 pieces created over twenty years. Classic examples - tulip and lidded vases, delftware and dinner services - are familiar references, which Kruger decorates with images of footballers, homoerotic nudes or casts of twigs or bones. Worlds collide, revealing our preconceptions regarding conventions that provide a manipulated view of reality. There is less interest in the spectacular; Kruger's choice of images however, leads to unexpected, provocative combinations of form with decoration. In a continual process of artistic acquisition, new interpretation and appropriation, Kruger explores the interstice between historical archetypes and kitsch within European ceramic history.

Addressing topics ranging from production and distribution to iconography and museum collections, "Vessels and Variety" sheds new light on perspectives in the fields of ancient pottery studies. The contributors cover a wide span of time from the Geometric period to the Roman period, exploring both new materials from recent excavations in the Mediterranean--from southern Italy to the Black Sea--as well as new methodological approaches. With richly illustrated articles, this volume provides an important contribution to the ongoing debates on the role of pottery in ancient societies.

The first book about the iconic decor and lifestyle company MacKenzie-Childs, this gorgeous exploration offers to fans and newcomers alike a full immersion in the charm and handcrafted beauty that have made MacKenzie-Childs sought after for beautiful style. With over 250 color photos, plus inside insights from MacKenzie-Childs creative director Rebecca Proctor, this treasury reveals how the MacKenzie-Childs vision and style have impacted our living spaces. The book's photos and stories allow looks into the company's many facets, from the design studio, to hand painting in the workshop, to the popular shop in Soho and the annual summer Barn Sale celebration on the farm. Learn about the ceramics, furniture, porcelain, Entertaining Kitchen, and more. With the thousands of MacKenzie-Childs collectors in mind, the book includes photo identification guides to all MacKenzie-Childs patterns from 1983 to 2020.

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.

New Directions in Ceramics explores and responds to contemporary ceramists' use of innovative modes of practice, investigating how change is happening and interpreting key works. Jo Dahn provides an overview of the current ceramics landscape, identifying influential exhibitions, events and publications, to convey a flavour of debates at a time when much about the character of ceramics is in a state of flux. What non-traditional activities does the term 'ceramics' now encompass? How have these practices developed and how have they been accommodated by institutions in Britain and internationally? Work by a wide range of ceramists, including Edmund de Waal, Nina Hole, Clare Twomey, Keith Harrison, Alexandra Engelfriet, Linda Sormin, Walter McConnell and Phoebe Cummings is considered. Following an extended introduction on ceramics in critical discourse, chapters on performance, installation, raw clay and figuration each provide an introductory overview to the area under discussion, with a closer examination of work by key ceramists, and illustrations of relevant examples. The interplay of actions and ideas is a central concern: critical and cultural contexts are woven into the account throughout, and dialogues with practitioners provide a privileged insight into thought processes as well as studio activities.

Freiburg i. UE., seit jeher der Angelpunkt germanischer und franzoesischer Kultur und Sprache in der Schweiz, beteiligte sich seit dem spaten 15. Jahrhundert rege an der Fenster- und Wappenschenkung der eidgenoessischen Orte. Die als Bildmedium ausserst wirksamen leuchtenden Glasbilder, die sich Kantone, kirchliche und gesellschaftliche Institutionen und Privatleute anlasslich von Bauprojekten stifteten, spielten eine wichtige Rolle im Selbstverstandnis der Eidgenossen und foerderten die Identitat und Zusammengehoerigkeit ihres Staatenbundes in kaum abschatzbarem Masse. In einem mehrjahrigen Forschungsprojekt untersuchte die Autorin die uber 400 in Kirchen, Museen und Privatsammlungen des Kantons Freiburg erhaltenen Glasgemalde des 16. bis 18. Jahrhunderts. Der zweite Band beinhaltet den wissenschaftlichen Katalog dieser Werke gemass den internationalen Richtlinien des Corpus Vitrearum. Daruber hinaus prasentiert die Autorin im ersten Band den beziehungsreichen kulturhistorischen Hintergrund dieses Patrimoniums, den sie mit Archivstudien zu den Kunstlern und Glasern, den Entstehungsumstanden und Stiftern erforschte. Auch die in der ganzen Welt verstreuten oder verlorenen Zeugen dieses freiburgischen Kulturguts wurden miteinbezogen. Die Publikation geht den Stiftern nach, die mit Bildern, Wappen und Inschriften allgegenwartig blieben. Den oft beruhrenden Lebenswegen der Glasmaler und Fensterglaser, den Werkstattpraktiken, aber auch der Schenksitte ist ein grosser Teil der Arbeit gewidmet. Die bedeutende Publikation ist reich bebildert und besondere Aufmerksamkeit wurde der zweisprachigen, deutschen und franzoesischen Veroeffentlichung der einleitenden kulturgeschichtlichen Studie geschenkt. Des la fin du XVe siecle, Fribourg, a la charniere des aires culturelles et linguistiques germanique et francaise en Suisse, adopta avec ferveur la coutume helvetique des donations d'armoiries et de vitraux. Supports visuels d'un effet considerable, ces tableaux de lumiere offerts par des cantons, des institutions ecclesiastiques, des collectivites sociales ou des particuliers a l'occasion de projets de construction, jouerent un role considerable dans l'affermissement du sentiment identitaire des Confederes et de leur cohesion. Durant plusieurs annees de recherches, l'auteur a etudie les plus de quatre cents vitraux du XVIe au XVIIIe siecle conserves dans des eglises, des musees ou des collections privees du canton de Fribourg. Le deuxieme volume de cet ouvrage contient le catalogue scientifique de ces oeuvres, etabli conformement aux directives internationales du Corpus Vitrearum. Dans le premier volume, Uta Bergmann se penche sur le contexte historique et culturel, encore meconnu, de ce riche patrimoine. Elle a effectue des recherches dans les archives sur les artistes et les verriers, sur les circonstances dans lesquelles les vitraux ont ete crees et sur les donateurs. Son travail inclut egalement les oeuvres perdues de ce patrimoine fribourgeois, ou dispersees dans le monde entier. L'ouvrage presente les donateurs, immortalises par des images, des armoiries et des inscriptions. Mais il accorde aussi une large place a la vie et a la destinee parfois emouvante des peintres-verriers et des verriers, de meme qu'a la coutume des donations de vitraux. Cette importante publication est richement illustree, et un soin tout particulier a ete mis a la presentation en deux langues, allemand et francais, des textes de synthese du volume d'etude.

This volume presents the results of the long-term co-operation of archaeologists from the University of Ghent and the Oriental Institute of the University of Chicago to establish the ceramic chronology for Mesopotamia in the second millennium B.C. Drawing only upon pottery found in good context in well-conducted excavations, going back to the 1930s, but relying especially on the collaboration of other excavators who were working in southern Iraq from the 1960s onward, James Armstrong and Hermann Gasche, with the participation of cuneiformist Steven Cole and ceramic specialists Abraham Van As and Loe Jacobs, have created a typology of all major forms, showing the subtle changes that occurred in individual shapes through time at one site and at related sites. It also shows regional variations in shapes. Their graphic presention of the forms makes visible a centuries-long break in occupation of numerous sites in southern Iraq beginning in the time of Samsuiluna, the successor to Hammurabi of Babylon, and another break at the end of the millennium. There are detailed discussions of the forms and their geograhical distribution, as well as a treatment of the historical implications of the evidence.

'Vessel | Sculpture' refers to the direction studio pottery has taken since the mid-20th century, developing from primarily functional vessels to artistically designed vessels, ceramic sculpture, installation and conceptual art. The aim is to trace the history of how ceramics has evolved and developed into an autonomous art medium, which is continually self-renewing. Focused on the GRASSI Museum's collection of contemporary ceramic work since 1946 when Germany was divided into East and West after the World War II, this book provides a fascinating and instructive overview of developments and trends in the two Germanys. Moreover, a broad-ranging selection of works by ceramicists now active in both the new and the old Federal German states is supplemented by contemporary pieces from all over the world. The publication is devoted to one-off pieces and limited editions from the past six decades. Reproductions in large formats of approximately four hundred selected objects are accompanied by biographies of as many artists and their signatures.

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.

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.

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

Glasgemalde aus der fruhen Neuzeit befinden sich im Kanton Schaffhausen kaum mehr an ihren ursprunglichen Bestimmungsorten. Dank den intensiven Bemuhungen von Schaffhauser Burgern und Institutionen konnte uber die letzten 150 Jahre aber ein ansehnlicher Bestand an historischen Glasgemalden fur die dortigen Sammlungen gesichert werden. Diese in der vorliegenden Publikation erstmals vollstandig erfassten, durchweg farbig abgebildeten 194 Werke vermitteln ein anschauliches Bild vom Reichtum der einstmals in oeffentlichen und privaten Schaffhauser Gebauden vorhandenen Glasmalereien. Zugleich kommt ihnen ein hoher kulturgeschichtlicher Wert zu, indem sie aufschlussreiche Einblicke in die vielfaltigen Beziehungen der Burger untereinander und zu ihren politischen Organen gewahren. Die dem Katalog vorangehende Studie behandelt die Entwicklung der Glasmalerei zwischen 1500 und 1800 in Schaffhausen und Stein am Rhein aus verschiedenen Perspektiven. Eroertert werden zunachst die Grunde fur den nach der Reformation erfolgten Aufstieg Schaffhausens zu einem fuhrenden Zentrum Schweizer Glasmalkunst, dessen Erzeugnisse sich auch in Suddeutschland einer grossen Beliebtheit erfreuten. Nach dem Eingehen auf die Trager dieser Nachfrage wird unter Beizug des reichhaltigen, hier erstmals auszugsweise veroeffentlichten Quellenmaterials die Organisation des Schaffhauser Glasmaler- und Glaserhandwerks durchleuchtet und seine enge Verflechtung mit den Malern aufgezeigt. Daran schliessen sich die Kurzbiografien der wahrend der fruhen Neuzeit uber hundert in Schaffhausen tatigen Glasmaler, Glaser und Scheibenentwerfer, zu denen neben unbekannten, bislang noch nie namentlich erfassten Meistern Kunstlerpersoenlichkeiten wie Tobias Stimmer oder Daniel Lindtmayer der Jungere gehoeren. Ganz anders liegen die Verhaltnisse in der bis zur franzoesischen Revolution unter Zurcher Oberhoheit stehenden Stadt Stein am Rhein. Wie die Studie aufzeigt, beherrschten dort fremde Meister das Feld der Glasmalerei, und zwar vor allem solche aus Zurich und Winterthur. Obwohl Stein am Rhein im Gegensatz zu Schaffhausen nie ein bedeutender Produktionsort fur Glasmalerei war, kann sich diese Stadt mit dem 1542/43 in sein Rathaus gestifteten Scheibenzyklus aber ruhmen, Huterin eines der glanzvollsten Zeugnisse Altschweizer Glasmalkunst zu sein.

In 1760, Georg Heinrich Macheleid was granted permission by the Prince of Schwarzburg-Rudolstadt to establish a porcelain manufactory in Sitzendorf/Thuringia, Germany, which was relocated to Volkstedt in 1762. Its products feature artistic representations of figures. The graceful appearance of the collector's items, which include groups of shepherds and female dancers, is characterized by a great lightness, emotiveness, and playful elegance. This monograph presents for the first time the complete history of the oldest Thuringian porcelain manufacturer, which is still in operation. With regard to the eighteenth century, the publication provides a virtually complete coverage of figural porcelain and a selection of crockery. In relation to the nineteenth century, it elucidates the manufacturer's previously unexplained ownership situation and its frequently changing names. This is followed by an overview of the modelers and models, as well as of the subsidiaries established in the twentieth century. The publication concludes with contemporary artists designs for porcelain manufacturing in the twenty-first century. Text in German.

The china used by the First Families, both at the White House and in their private homes, reveals a fascinating story of culture and society as it has evolved in the United States since its early days. In this handsome book, which documents over 200 rare items in the remarkably comprehensive Robert L. McNeil, Jr., Collection, a beautiful display of tableware unfolds as readers learn of trends in taste, style, and modes of entertaining, from George Washington to Ronald Reagan. Among the featured objects are Washington's white-and-gold Sevres porcelain that he purchased from a French diplomat recalled at the outbreak of the French Revolution; James Monroe's gilt-edged French porcelain service, the first state service commissioned by the White House in 1817; and John F. Kennedy's understated Wedgwood creamware used at his Georgetown home. Collectors and historians will value the information on how the pieces were commissioned, designed, manufactured, and imported. Published in association with the Philadelphia Museum of Art Exhibition Schedule: Mount Vernon, Alexandria, Virginia (February 16, 2008 - January 21, 2009)

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.