This is the third volume of the definitive reference series dealing with commercial bronze sculptures in the period 1800 to 1930. This period spans the rise and decline of commercial industrial foundries in Europe, especially in France, and a wide array of international sculptors. Together, they produced millions of fine statuettes for the general public. Volume 3 includes 1315 photographs of sculptures on 320 pages with information on the Hirsch Foundry of Paris and Brooklyn, New York. It incorporates lists of the sculptors whose work is shown, the founders represented, and 21 different founders' seals. The photographs are remarkably clear enabeling small details in the sculptures to be visible. With this reference series, collectors will be able to identify many of the old commercial bronzes found on the market today.

The sea of flowers he presented in the courtyard of Somerset House during the 2012 Olympic Games in London made him and his art famous on the international stage: the Chilean sculptor Fernando Casasempere (*1958 in Santiago, Chile) placed ten thousand ceramic daffodils on the otherwise carefully mowed lawns there. Casasempere molded each one individually out of clay from his homeland, using the spring blossoms to draw attention to the wonders of nature with which humans destructively interfere-in this case, with lawn mowers. Casasempere, who has lived in England since 1997, also employs clay to make far more experimental sculptures, such as seemingly liquid marble columns or vaulted and bulging shapes, through which he repeatedly questions humankind's treatment of the environment. This richly illustrated catalogue is an impressive presentation of the development of his body of work over the past twenty-five years.

Jayne Persico brings her fresh and timeless style to the art of "Glass Kiln Casting". This inspirational yet thoroughly practical guide presents lush photographs of beautifully finished pieces that will capture the imagination. The clear and simple instructions will enable fusers of any skill level to achieve amazing 3-dimensional creations. "Glass Kiln Casting" is a book offering over 260 colour photographs in 12 chapters that will inspire dozens of exceptional projects. The opening chapter features invaluable information covering frit casting moulds, tools, equipment and kilns, plus an in-depth yet simple approach to working with digital kiln controllers. This book is sure to become a studio favourite that fusers of all levels will refer to time and again. Jayne's take-you-by-the-hand writing style guides crafters through the frit casting process. She'll show you how to make frit cast jewellery, plates and bowls with amazing results that will impress everyone who views your creations.

Originally published in 1916, this book discusses, debates and demonstrates the inextricably entwined nature of architecture and sculpture, in terms of their principles, ideals and practices. Providing a detailed overview of the history of the two arts and the harmony which has existed between them throughout the centuries, this book endeavours to disentangle the historic assumption that the two arts exist independently of one another. A broad range of chapters are included, ranging from 'The treatment and placing of sculpture in the historic periods' to 'Decorative sculpture' to 'Large monumental layouts'. Photographs depicting international examples of architecture and sculpture are included throughout. This book explores the necessity for practitioners to understand the requirements and limitations in both fields and will be a valuable resource to students, scholars and researchers of the history of architecture and sculpture.

20 kawaii trinkets in polymer clay from Kawaii Studios! Kawaii is becoming the ultimate buzzword for all things cute and miniature, and in this new Twenty to Make title, Ruth Thompson shows you how to create 20 cute miniature charms and trinkets out of polymer clay. As well as learning how to colour the clay and add super-cute expressions, there's also advice on how to turn your charms into wearable jewellery. From adorable sushi earrings to panda paperclips, there's something sweet to suit everyone!

Once again, Dick Sing makes his mark with his high quality, beautiful pens and pencils. Sharing his skill and expertise at the wood lathe, he teaches you how to make something more than a mere instrument for writing-this is art, a keepsake, a great gift, something to make the turner proud. In his first book on pen turning, Sing provided basic instructions and lots of helpful tips. This book also provides the basics, adding new kinds of pens and variations on some of the old favorites. Tips are given for ways to work with challenging materials or grain alignments to create spectacular results. Dick details methods which make beautiful pens time after time. More than 260 photographs and detailed instructions advise the turner on more than a dozen variations, plus there are sections on the special equipment he has modified to make pen turning easier and improve the quality. A gallery of pens provides inspiration for variety and creativity.

This revised and improved design book is full of drawings for bevel window styles from traditional to contemporary. It contains 8 pages of colour photographs and over 100 line drawings. The instructional section covers pattern enlarging, custom window designing, framing and installation.

These enchanting chess pieces consist of elaborately worked walrus ivory and whales' teeth in the form of seated kings and queens, mitred bishops, knights on their mounts, standing warders and pawns in the shape of obelisks. They were found in the vicinity of Uig on the Isle of Lewis, Outer Hebrides, in mysterious circumstances some time before 11th April 1831. Various stories have evolved to explain why they were concealed there, and how they were discovered. This book takes a lively look at the many theories surrounding the ownership of the pieces, why they were hidden and how exactly they were discovered, and places them in the wider context of the ancient game of chess and secular culture of the Middle Ages.

In 1428, a devastating fire destroyed a schoolhouse in the northern Italian city of Forli, leaving only a woodcut of the Madonna and Child that had been tacked to the classroom wall. The people of Forli carried that print - now known as the Madonna of the Fire - into their cathedral, where two centuries later a new chapel was built to enshrine it. In this book, Lisa Pon considers a cascade of moments in the Madonna of the Fire's cultural biography: when ink was impressed onto paper at a now-unknown date; when that sheet was recognized by Forli's people as miraculous; when it was enshrined in various tabernacles and chapels in the cathedral; when it or one of its copies was - and still is - carried in procession. In doing so, Pon offers an experiment in art historical inquiry that spans more than three centuries of making, remaking, and renewal.

Over 130 Roseville Pottery Company ceramic lines are listed and valued in this very inclusive guide. Arranged in easy-to-use alphabetical order, each line and its most common variations are listed and priced by line number. Values are also provided by glaze color when appropriate. Among the categories featured in this informative price guide are Early Velmoss, Experimental Pieces, Keynote, Lamps, Raymor Modern Artware, Rozane Royal, Trial Glaze Pieces, and additional products not typically found in guides to Roseville. This informative quick reference works well as a companion piece to Mark Bassett's Introducing Roseville Pottery (1997). Listings for shapes illustrated in the 1997 ppublication appear in boldface, with page references. The shape numbers have been authenticated by firsthand study of Rosevilld pottery pieces. Rounding out the presentation is an invaluable index to Roseville Shape Numbers, c. 1916--1946, produced with the assistance of veteran researcher Lou Haggis. The Index explains the factory's original shape numbering system, which will help collectors identify and date little-known Roseville shapes. Everyone interested in art pottery, American artware, or Eastern Ohio pottery will find this a valuable reference work.

Examines the styles and contexts of portrait statues produced during one of the most dynamic eras of Western art, the early Hellenistic age. Often seen as the beginning of the Western tradition in portraiture, this historical period is here subjected to a rigorous interdisciplinary analysis. Using a variety of methodologies from a wide range of fields - anthropology, numismatics, epigraphy, archaeology, history, and literary criticism - an international team of experts investigates the problems of origins, patronage, setting, and meanings that have consistently marked this fascinating body of ancient material culture.

If you love caricature carving but are getting a little tired of cowboys and Santas, this book is for you! Inside this book, you'll find 15 whimsical characters just waiting to be released from wood. Follow along with popular woodcarving instructor and author, Floyd Rhadigan as he takes you-step by step-through carving and painting a fantasy character. Once you master the basic skills, you can move on to the additional carving patterns that are included. From Eric the Red to Merlin, you'll have plenty of great new projects to choose from!

In this volume, Stephanie M. Langin-Hooper investigates the impact of Greek art on the miniature figure sculptures produced in Babylonia after the conquests of Alexander the Great. Figurines in Hellenistic Babylonia were used as agents of social change, by visually expressing and negotiating cultural differences. The scaled-down quality of figurines encouraged both visual and tactile engagement, enabling them to effectively work as non-threatening instruments of cultural blending. Reconstructing the embodied experience of miniaturization in detailed case studies, Langin-Hooper illuminates the dynamic process of combining Greek and Babylonian sculpture forms, social customs, and viewing habits into new, hybrid works of art. Her innovative focus on figurines as instruments of both personal encounter and global cultural shifts has important implications for the study of tiny objects in art history, anthropology, classics, and other disciplines.

This beautifully illustrated monograph presents the first overview in English of the life and work of Luisa Roldan (1652-1706), a prolific and celebrated sculptor of the Spanish Golden Age. The daughter of Pedro Roldan, a well-known sculptor from Seville, she developed her talent in her father's workshop. Early in her career she produced large polychromed wooden sculptures for churches in Seville, Cadiz, and surrounding towns. She spent the second half of her career in Madrid, where she worked in both polychromed wood and polychromed terracotta, developing new products for a domestic, devotional market. In recognition of her talent, she was awarded the title of Sculptor to the Royal Chambers of two kings of Spain, Charles II and Philip V. This book places Roldan within a wider historical and social context, exploring what life would have been like for her as a woman sculptor in early modern Spain. It considers her work alongside that of other artists of the Baroque period, including Velazquez, Murillo, and Zurbaran. Reflecting on the opportunities available to her during this time, as well as the challenges she faced, Catherine Hall-van den Elsen weaves the narrative of Roldan's story with analysis, revealing the complexities of her oeuvre. Every year, newly discovered sculptures in wood and in terracotta enter into Roldan's oeuvre. As her artistic output begins to attract greater attention from scholars and art lovers, Luisa Roldan provides invaluable insights into her artistic achievements.

Manju netsuke have never been the subject of a book on netsuke. Many books ignore them completely and it is hoped that this catalogue will throw light on the differences between the manju and other better-known types of netsuke. Dr. Barnett was one of a handful of collectors of one particular type of netsuke, the manju. These were not widely appreciated until about ten years ago when interest began to increase and the exquisite workmanship and design of this group of carvers was noticed as an art in its own right and one which presents the artist with a challenge completely different from the more popular katabori netsuke, carved in the round. Dr. Barnett continued to collect until just before her death in 2000, by which time she had acquired some of the finest pieces to be sold over 30 years which will be presented in this book. Manju netsuke have played a small part in the many publications on netsuke, but there has never been a catalogue entirely devoted to the subject. The book aims to provide a description of each object and to explain the tales they illustrate and the sources of these tales, from literature and printed picture books. The range of subjects is wide and includes religious images, scenes from festivals, the theatre, historical incidents, folktales, classical literature and themes from nature. An introduction will include an essay on the history, uses and the collecting of manju in which the techniques of carving will be described and materials will be discussed. Artists biographies, a glossary and bibliography will be included. The catalogue will accompany an exhibition of many of the pieces in this collection alongside woodblock prints from the Ashmolean Museum's collection which illustrate the same legends and subjects. This will take place in the Eastern Art Paintings Gallery.

Here is a fascinating study of commercial glass production along the Ohio River Valley in the 1950s and 1960s. Companies such as Blenko, Pilgrim, Rainbow, Viking, Kanawaha, Bischiff, Morgantown, and others made free- and mold-blown production glass in modern, sometimes bizarre shapes and wildly vibrant colors. Over 100 new images have been added to this revised and expanded second edition, for a total of over 530 color photographs of the beautiful glass, its labels, catalog pages, company histories. An updated price guide provides valuable insight into today's marketplace.

Joseph Cornell is well known for the oneiric quality of his art and films. Many have tried, often in vain, to put into words the strange power of his boxes--toy-like constructions whose playfulness and humor are anchored in a profound melancholy and loneliness. "Slot machines of visions," said Octavio Paz. Cornell himself is said to have enjoyed children's responses to his work; perhaps because nothing prepares one better for viewing a Cornell box than having an unbiased mind. Catherine Corman has combed through the voluminous diaries that Cornell kept throughout his life, now in the care of the Smithsonian's Archives of American Art, in search of the artist's own dreams. What she found are brief flashes of images, and short, enigmatic narratives of illumination--the verbal equivalent of Cornell boxes. In 1993, Mary Ann Caws edited a large portion of Cornell's diaries for publication by Thames & Hudson, an invaluable sourcebook for Cornell studies. This new, shorter volume is a poetic addition to that literature, equally indispensible to those interested in Cornell as it contains previously unpublished writings, but also because it is as intriguing and mysterious to the uninitiated as the magical boxes themselves.

In this book, Rachel Kousser draws on contemporary reception theory to present a new approach to Hellenistic and Roman ideal sculpture. She analyzes the Romans preference for retrospective, classicizing statuary based on Greek models as opposed to the innovative creations prized by modern scholars. Using a case study of a particular sculptural type, a forceful yet erotic image of Venus, Kousser argues that the Romans self-consciously employed such sculptures to represent their ties to the past in a rapidly evolving world. Kousser presents Hellenistic and Roman ideal sculpture as an example of a highly effective artistic tradition that was, by modern standards, extraordinarily conservative. At the same time, the Romans flexible and opportunistic use of past forms also had important implications for the future: it constituted the origins of classicism in Western art."

This is the first biography and reference book dedicated to Samuel Percy, a modeller who produced an impressive oeuvre of wax portraits and tableaux in the mid-to-late eighteenth and early nineteenth century. Based in part on the author's own substantial collection of Percy waxes, this book follows Percy from his beginnings in Dublin, at the Dublin Society Drawing Schools, working with the famed statuary John Van Nost; to England, where he journeyed from town to town, putting advertisements in regional newspapers. These revealing advertisements have been gathered here for the first time, in order to track his travels. Whether taking the likeness of Princess Charlotte of Wales, or falling victim to a highway robber in Birmingham, these fragments of Percy's history paint a fascinating picture of his life as a wandering artisan. As well as a chronological narrative of Percy's life, this book commits an entire chapter to an area of his work that has never been studied before: his miniature tableaux. These portray various subjects, both religious and secular, from Christ on the Cross to playing children. They are catalogued in an appendix, and almost thirty are illustrated. Based entirely on original research, Mr. Percy: Portrait Modeller in Coloured Wax features over a hundred illustrations, celebrating both Percy's accomplishments and the works of other modellers for comparison.

Dramatic social and political change marks the period from the end of the Late Bronze Age into the Iron Age (ca. 1300 700 BCE) across the Mediterranean. Inland palatial centers of bureaucratic power weakened or collapsed ca. 1200 BCE while entrepreneurial exchange by sea survived and even expanded, becoming the Mediterranean-wide network of Phoenician trade. At the heart of that system was Kition, one of the largest harbor cities of ancient Cyprus. Earlier research has suggested that Phoenician rule was established at Kition after the abandonment of part of its Bronze Age settlement. A reexamination of Kition s architecture, stratigraphy, inscriptions, sculpture, and ceramics demonstrates that it was not abandoned. This study emphasizes the placement and scale of images and how they reveal the development of economic and social control at Kition from its establishment in the thirteenth century BCE until the development of a centralized form of government by the Phoenicians, backed by the Assyrian king, in 707 BCE."