DOCSLIB.ORG

A Manual of Marks on Pottery and Porcelain

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

to of Up Mrs. S.T. Blackwood A MANUAl>-Or MARKS POTTERY AND PORCELAIN A DICTIONARY OF EASY REFERENCE BY W. H. HOOPER AND W. C. PHILLIPS Uontion MACMILLAN AND CO. AND NEW YORK 1894 All Rights Reserved First Edition, 1876; Second Edition, 1877; Reprinted iZ-]^, 1886; with corrections and additions, 1894. P K E F A C E. THIS edition has been carefully revised and enlarged by the addition of many new marks. When first issued none of the marks of Japan had been published. At that time information was difficult to obtain, and much of it has since been found to be un- reliable the kind of Sir A. Franks ; by permission W. a large number of marks are now inserted, which will be found to include all the factories of importance. Being only intended for a pocket-volume, unimportant factories and unknown marks are left out. For more detailed information, the works of Brongniart, Chaffers, Demmin, Jacquemart (admirably translated by Mrs. Bury Palliser), Marryat, Robinson and others may be consulted. is divided into in the The work four parts ; the first, Marks are classed under descriptive heads, as Anchor, etc. in the the factories of Animal, ; second Majolica Italy are arranged alphabetically; in the third, other factories of on the same and in the Europe plan ; fourth, the Oriental Marks are arranged by the number of characters inscribed. IV PREFACE. The Marks on Pottery and Porcelain are of three kinds factory, workman, and pattern mark. The first is usually placed in a prominent position, sometimes accompanied by the mark of the maker or decorator. Sevres Porcelain, for instance, often having four or five workmen's marks, besides that of the factory. The is a this is seldom pattern mark usually number ; given, being useless without a description of the pattern itself. The Marks, when pencilled or incised, vary very con- a different a full or a flaw in siderably ; hand, brush, the all tend to make them material, unrecognizable ; even when printed they are often blurred by the action of the fire or running of the enamel, and when im- pressed, a shrinking of the wet clay will change or obliterate them. Z2STZDE1Z. MARKS. Anchor Animal Arrow Axe .. Beacon Bell . Bird .. Bow .. Butterfly Cadnceiis Circle . Claw .. Crescent Cross .. Crown Dome . Dot .. Ermine Fish . Bassano Caffagiolo . Castel Duranto Castelli Diruta Faenza Florence Forli .. Genoa.. INDEX. FACTORIES. r INDEX. Vll PAGE CONTRACTIONS. The quality of the Ware is described in the first column, and the mode of marking in the second, as follows : maj. ... Incised. Impressed. ... Pencilled. ... Printed. ... Stencilled. The third column contains the dates. Pottery and Porcelain Marks. ANCHOR CHELSEA p imp P gold or red iT POPPLES DORF pot imp 176- SCEAUX PEXTIIIEVRE s p p blue 175- B Pottery and Porcelain L SCEAU.X PKNTHIEVRK pot p blue ITS- VENICE h p p red 1765 Tliis mark varies maj. p color 17 very much 4- COLOGNE pot p blue 1 7 4- Bow a p p red 173 The form and position of the swora vary. COALRROOK DALE h p p blue 18 DERBY CHELSEA p p goK 1770 or red Marks. CM ' VENICE ... s j ... p p gold 17- Giovanni Marconi or color WORCESTER p color 175- Rf Richard Holdthip, decorator He also ivcrked for Derby LoNGPORT pot imp 1793 pr blue 1805 ISTONE CHIN Thus read from 18 imperfect impression pot imp of name CALDAS pot imp Imitation Ware CALDAS of Palissy ORTUGAJ. MlDDLESBOROUGH pot pr bluo 20, Pattern mark imp 20 Pottery and Porcelain. ANIMAL. SWINTON h p p TO* 1824 The Rockingham Crest. <n ! MEISSEN pot imp 17 Near Dresden. HESSE CASSEL h p p blue . 17C3 AMSTERDAM h p p blue 1772 FRANKENTHAL h p p blue 1754 CHINA h p p blue Ow old Nankin Ware. It M Marks. ARROW. Bow B p p blue 173- (?) PLYMOUTH h P CAUGHLEY b p p blue 17 - LEEDS ... pot imp 177- Also with name Hartleij, Green fy Co. PARIS ... li p p blue 1773 I)e la Courtille (sometimes called Torches) AXE. BADEN BADEN h p p gold Tftctow Sperl. or color 1753 Pottery and Porcelain BADEN BADEN h p p gold 1753 tffc Widow Sperl or color DELFT pot p blue I.7C4 De Byl (The Axe) Justus Brouwei BEACON. GENOA BELL. DELFT pot p bine 1764 De drei Kloklcen. (The 3 bells) W. Van dcr Docs r This mark varies so much that it is called Leaf and Arrowhead Marks, BIRD. AMSTERDAM pet p color 1780 Hartog and Brandeis. ANSPACH h p p blup 1718 Sometimes used without the letter > , SKVRES h p p red 1810 sten & 1st Empire. imp h color 1852 Napoleor. III. Emperor p pr 1833 LlVEUPOOL pot p color A Liver, the Arms of the Town. Case, Mort fy Co. Pottery and Porcelain HAGUE (The) h p y blua 177- The Arms of. BOW. Bow s p p blue 173- BUTTERFLY. CHINESE On old Nankin h p p blue CADUCEUS. I DRESDEN hp pblue 1712 This mark varies very much. WORCESTER s p p blue 1753 In imitation of Dresden CIRCULAR MARKS. FAENZA ... maj. p blue 15 And other varieties, and also without the circle Marks. HOCHST hp p gold 1720 Tlie arms of the Archbishop of or color Maycnce. Dahl pot p color 1794 &hp T\ I DAMM Aschaferiberg h p p bine 17 DELFT pot p oiuo 1G91 TFortuyn Fortune P. Van der Breil Martinus Gouda pot 1675 FLORENCE s p p color 15 The arms the Medici. ) of w(B) Francis II. A very rare mark. niaj. p color 15 Orazio Fontana Urbino fecit. 10 Pottery and Porcelain DERBY h p pr color 1815 COLOGNE ... pot 1G- MONTPELLIER pot imp 18 Lc Vouland. SHELTON pot pr color 1820 BERLIN h pr 1850 1 p Royal Factory color 1830 SEVRES ... ... h p pr The marie ivas used with the year date from 1830. 1834 Louis Philippi Marks. i.CHATEAU, SEVRES h p pr color 1834 511 Republic h p p red 1848 BURSLEM pot & imp 1768 Wedgwood 8c Bentlcy hp CLAW. DELFT De Klaauw (The Claw) pot pbhu, 1764 Lambertus Sanderus. 12 Pottiry and Porcelain CRESCENT. CAUGHLEY h p. p blue 1750 And without name. SALOPIAN. WORCESTER s p p blue 1751 or gold URBINO ... maj. p blue 1591 Also with the initials E. F. B. NAPLES mnj. p blue 17 WORCESTER h p p blue 1783 Mark* C< V MARIEBERG, Sweden pot & p color 1750 sp CC Ehrenreich, 1759 CROSS. BRISTOL h p p iu 1773 color t FULDA ... h p p blue i763 VARAGES pot p bl: C c 1730 or red DRESDEN h p p blue 1720 COPENHAGEN h p p color 1772 * CASEMENE ... pot imp IS~ Pottery and Porcelain BOURG-LA-REINE h p p 17 Le Chappelet. BRISTOL h p p color 1773 TURIN Vineuf h p imp 1770 Dr. Gioanetti. CROWN. BASSANO maj. p color 1540 Also with the signature of Antonio Terchi $ B Terchj CASTELLI ma}. p color 16 ST. PETERSBURG b p p blue 1801 Alexander I. or color h p p blue 1805 Alexander II. or color Marks. PARIS h p p red 177P Porcelaine de la Reine(Antoinette) VENICE maj 17- DERBY s p p gold 177- BRUSSELS h p p' color 18 WORCESTER h p imp 1807 Barr, Flight 8f Barr. NAPLES maj. p 16 Crown of various shapes, sometimes B.C. SEVRES Charles X. b p 1829 '& Pottery and Porcelain SEVRES Charles X. h p p bine 1829 *0 30 LUDWIG-SBURG h p p blue 1758 Also attributed to BUEN RETIRO s p p color 176- Madrid. Carlos III. & pot LUDWKJSBURG b p p blue 1758 Initial of Duke Charles NlEDERVILLER h p p blue 1788 & De Custine, director pot URBINO maj. 16- (?) Luca Cambiasi HOCHST b p p gold 17*JO & color Marks. PARIS ... h p p blue 1769 Charles Philippe, Comte d'Artois, patron FEANKENTUAL Up p blue 17G1 Carl Theodore DERBY ... h p p red or 1780 Dueslury violet with monogram D K Duesbury and Kean ... 1798 also ivitnout croivn ... , Stevenson ... $ Hancock ,, 18C- HlLDEKSHEIM .,. .. h p p bill? 1760 i8 Pottery and Porcelain FULDA .., h p p blue 1763 CAPO DI MONTI, Naples s p p color 1780 Ferdinandus. Rex PARIS ... hp prod 1780 DM and Guerhard HESSE DARMSTADT h p' p blue 1756 I'D ST. PETERSBURG ... h p p color 1825 Nicholas I. SEVRES h p imp or 1845 Louis- Philippe pr color M CLIGNANCOURT ... hp stred 17SO Marks. BUEN RETIRO, Madrid ... sp p color 176- MARIEBERO, Sweden pot & p color 1750 sp VU U/ CAPO DI MONTI, Naples s p p red or 1759 blue & imp SEVRES. Napoleon III. ... s& p color 1854 In this year the manufacture h p of soft paste was resumed SAVONA. (?) Guidolono ... maj. 10- JV.Q. o ORLEANS pot p color 1753 Pottery and Porcelain n ST. PETERSBURG. Paul I. ... h p p color 1796 DRESDEN ... ... h p p blue 1750 SPM Saclisiche Porzellen Manufacture LUDWIGSBURG h p p blue 1806 . OPORTO h p p gold 1790 t Vista Allegra or color WORCESTER h p p color 1793 WTT Flight and Barr LIVERPOOL pot imp & 1796 pr color DOME. FLORENCE s p p color 1580 A rare mark Marks. 2i o DOT. o **. I LlMBACH hp p 1761 oOo URBINO & FAENZA maj. p 16 ERMINE. STOKE-ON-TRENT ... h p p color IS5- Minion & gold FISH. GENOA ... maj. p 10 NYOV, ... h p p blue 1790 LILLE ... h p sten & 1781 The Dauphin. Patron p red CHINA ... li p p blue 969 Old Nankin ware to HOfi This mark varies much 22 Pottery and Porcelain CHINA h p p blue 969 to 1106 FLEUR-DE-LYS.
Recommended publications
  • 7 Great Pottery Projects

    7 Great Pottery Projects

    ceramic artsdaily.org 7 great pottery projects | Second Edition | tips on making complex pottery forms using basic throwing and handbuilding skills This special report is brought to you with the support of Atlantic Pottery Supply Inc. 7 Great Pottery Projects Tips on Making Complex Pottery Forms Using Basic Throwing and Handbuilding Skills There’s nothing more fun than putting your hands in clay, but when you get into the studio do you know what you want to make? With clay, there are so many projects to do, it’s hard to focus on which ones to do first. So, for those who may wany some step-by-step direction, here are 7 great pottery projects you can take on. The projects selected here are easy even though some may look complicated. But with our easy-to-follow format, you’ll be able to duplicate what some of these talented potters have described. These projects can be made with almost any type of ceramic clay and fired at the recommended temperature for that clay. You can also decorate the surfaces of these projects in any style you choose—just be sure to use food-safe glazes for any pots that will be used for food. Need some variation? Just combine different ideas with those of your own and create all- new projects. With the pottery techniques in this book, there are enough possibilities to last a lifetime! The Stilted Bucket Covered Jar Set by Jake Allee by Steve Davis-Rosenbaum As a college ceramics instructor, Jake enjoys a good The next time you make jars, why not make two and time just like anybody else and it shows with this bucket connect them.
  • 'A Mind to Copy': Inspired by Meissen

    'A Mind to Copy': Inspired by Meissen

    ‘A Mind to Copy’: Inspired by Meissen Anton Gabszewicz Independent Ceramic Historian, London Figure 1. Sir Charles Hanbury Williams by John Giles Eccardt. 1746 (National Portrait Gallery, London.) 20 he association between Nicholas Sprimont, part owner of the Chelsea Porcelain Manufactory, Sir Everard Fawkener, private sec- retary to William Augustus, Duke of Cumberland, the second son of King George II, and Sir Charles Hanbury Williams, diplomat and Tsometime British Envoy to the Saxon Court at Dresden was one that had far-reaching effects on the development and history of the ceramic industry in England. The well-known and oft cited letter of 9th June 1751 from Han- bury Williams (fig. 1) to his friend Henry Fox at Holland House, Kensington, where his china was stored, sets the scene. Fawkener had asked Hanbury Williams ‘…to send over models for different Pieces from hence, in order to furnish the Undertakers with good designs... But I thought it better and cheaper for the manufacturers to give them leave to take away any of my china from Holland House, and to copy what they like.’ Thus allowing Fawkener ‘… and anybody He brings with him, to see my China & to take away such pieces as they have a mind to Copy.’ The result of this exchange of correspondence and Hanbury Williams’ generous offer led to an almost instant influx of Meissen designs at Chelsea, a tremendous impetus to the nascent porcelain industry that was to influ- ence the course of events across the industry in England. Just in taking a ca- sual look through the products of most English porcelain factories during Figure 2.
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu

    Annual Report 2018–2019 Artmuseum.Princeton.Edu

    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
  • Ackland Ceramics Guide

    Ackland Ceramics Guide

    ! ! CERAMICS!GUIDE! Ceramics:"objects"formed"from"moistened"clay"and"hardened"by"firing;"distinguished"by" permeability"and"firing"temperatures" • Earthenware:"Porous,"low<firing" • Stoneware:"Non<porous,"high<firing" • Hard<Paste"Porcelain:"Non<porous,"high<firing" Single!firing:"clay"mixture"and"glaze"reach"maximum"density"and"hardness"in"a"single"firing,"with" the"glaze"being"applied"directly"to"the"unfired"clay"beforehand" Biscuit!firing:"glazed"objects"can"also"undergo"multiple"firings,"the"first"being"the"firing"of"the" unglazed"(biscuit)"object;"helps"stabilize"a"work"before"a"glaze"or"painted"decoration"is"applied" Glost!firing:"fuses"glaze"to"an"object"that"has"already"been"biscuit<fired" Glaze:!natural"materials"applied"to"a"clay"object"(either"as"a"powder"or"mixed"with"water)," fusing"with"the"clay"when"fired;"makes"porous"ceramics"impervious"to"liquid;"also"used"on"non< porous"ceramics"for"purely"decorative"effects,"either"as"transparent"coating"or"colored"by"the" addition"of"various"metal"oxides;"comprised"of"ground"silica,"which"melts"to"create"a"glassy" surface,"as"well"as"(1)"an"alumina"stabilizer"to"increase"viscosity"and"(2)"a"mineral"flux"to"lower" the"silica’s"melting"point." Common!glaze!types:"distinguished"by"flux"material" th • Lead:"low<firing,"used"on"earthenware;"largely"discontinued"by"the"late"19 "century"due" to"dangers"of"prolonged"lead"exposure" • Tin:"lead"glaze"with"the"addition"of"tin"oxide,"resulting"in"an"opaque"white"surface;" originates"in"Middle"East,"9th"century;"European"tin<glazed"earthenware"classified"by"
  • List of Works October 6 — November 29, 2020 Heiseikan, Tokyo National Museum

    List of Works October 6 — November 29, 2020 Heiseikan, Tokyo National Museum

    List of Works Organizers : Tokyo National Museum, The Yomiuri Shimbun, Agency for Cultural Affairs With the Special Sponsorship of : Canon Inc., East Japan Railway Company, JAPAN TOBACCO INC., Mitsui Fudosan Co., Ltd., MITSUBISHI ESTATE CO., LTD., Meiji Holdings Co., Ltd. With the Sponsorship of : October 6 — November 29, 2020 SHIMIZU CORPORATION, Takashimaya Co., Ltd., TAKENAKA CORPORATION, Sumitomo Mitsui Banking Corporation, Mitsubishi Corporation Heiseikan, Tokyo National Museum With the Cooperation of : Aioi Nissay Dowa Insurance Co., Ltd. Notes • The arrangement of works in the galleries differs from the catalogue section structure. • The same artwork numbers are used in both the catalogue and the galleries, but the works are not displayed in numerical order. • The following – symbols indicate that object’s respective section. Momoyama Essence: Art for Unifying Figures A Century of Change: Muromachi to Edo Momoyama Prelude: Warring States Aesthetics Making Tea: Chanoyu from Rikyū to Oribe Mature Momoyama: From Splendid to Stylish Equipping a General: Arms and Armor Towards Peace: Art for a New Shogunal Era • Key to symbols on illustrations: ◉ = National Treasure, ◎ = Important Cultural Property. • Some artworks may be rotated during the exhibition period. Exhibition lineup may change as circumstances require. • Works are on view throughout the exhibition period unless otherwise indicated. The rotation schedule is as follows. ① 10 / 6 (Tue.) – 11 (Sun.) ② 10 / 13 (Tue.) – 18 (Sun.) ③ 10 / 20 (Tue.) – 25 (Sun.) ④ 10 / 27 (Tue.) – 11 / 1 (Sun.) ⑤ 11 / 3 (Tue.) – 8 (Sun.) ⑥ 11 / 10 (Tue.) – 15 (Sun.) ⑦ 11 / 17 (Tue.) – 23 (Mon.) ⑧ 11 / 25 (Wed.) – 29 (Sun.) ― * The floor plan shows the 1st period’s gallery arrangement.
  • Colonial Archaeology: 070 333 Spring 2006 Prof C. Schrire Room 201

    Colonial Archaeology: 070 333 Spring 2006 Prof C. Schrire Room 201

    Colonial Archaeology: 070 333 Spring 2006 Prof C. Schrire [email protected] Room 201/202 RAB Phone: 932 9006 Course Outline: This course will teach the rudiments of identification and analysis of colonial artifacts dating from about 1600-1900 AD. Our teaching collection includes a variety of ceramics, pipes, glass and small finds. The course if taught largely by supervision and not lectures. Students will sort collections, draw objects, measure objects and identify them according to numerous criteria. Course Requirements: A prerequisite for this course is 070: 208, Survey of Historical Archaeology, normally taught in the Fall term. Students for whom this requirement was waived are expected to study a suitable textbook on the subject, such as Orser, C. 1995 Historical Archaeology and Deetz, J In small things forgotten. Students will attend one three hour class, once a week. During this time they will handle material, analyze it, and draw objects. Each student will need a clean writing pad or notebook, a pad of graph paper, pencils, colored pencils, eraser, a ruler, and a divider. There will be two exams, a midterm and final. Useful Texts: 1. Noel-Hume, I. 2001. The Artifacts of Colonial America 2. Fournier, Robert. Illustrated Dictionary of Practical Pottery. Paperback, 4th ed. 2000 Radnor Pa. Available at Amazon.com ($31.96) 3. Numerous additional sources will be present at class for used during the practicals. Colonial Archaeology: 070 330 Significant technical terms: (see Fournier 2000) Absorption: The taking up of liquid into the pores of a pot. The water absorption of a ceramic is an indicator of its degree of vitrification.
  • Japan Ese Pottery Being a Native Report with an Introduction And

    Japan Ese Pottery Being a Native Report with an Introduction And

    S OUTH KENSINGTON MUSEUM ART HANDBOOK JAPANESE POTTERY J A PA N E S E POTT E RY BE IN G A N ATIV E REPORT WITH A N I NTROD U CTION A N D C ATA LOGU E w R N M A . P. A U GUS T US F A KS , . , S A . WITH I LLUSTRATI O N S AN D MARKS ” ’ ‘ ' P ublic/zed f or 1113 Commz z fee of Counc il on E duc alz on BY L . LOND ON : C HA PMA N A N D HA LL, D F . M . E V N S A N D c o . L I M IT E D C RYS T L P L CE A , , A A A , CON TEN TS . H isto ry Tec hnique S hapes and uses o f vases Dec o rati on Marks REPORT A N D CATA LOGU E A nc ient wares Karatsu ware Seto ware Xi- Seto ware Shin o ware Ge m pin ware Oribe ware S eto - Suke ware Seto - Kuro ware I nu- yam a ware Mi no ware Bizen ware vi jA P A N E S E P OTTE R Y. hi araki 0 0 S g ware 0 I ga ware Tamba ware Shito to ware Zeze A sahi ware Takatori ware Hagi ware Matsum o to ware idsum o ware Fujxna ware A kahada ware Minato ware Yanagawa ware T oyo - ura ware Raku ware Ohi ware H oraku ware [A sakusa] Raku ware [To kio] Raku ware [Osaka] Raku ware [Dfihac hi] Raku ware Fushimiware I mado ware Ki6to ( S aikiyo ) fac tories N inseiware A wata ware Kenz an ware Kiyom idz u ware Ye iraku ware O to ware N T T CO E N S .
  • Fabrication Porcelain Slabs

    Fabrication Porcelain Slabs

    BASIC RECOMMENDATIONS FOR FABRICATING WALKER ZANGER’S SECOLO PORCELAIN SLABS CNC Bridge Saw Cutting Parameters: • Make certain the porcelain slab is completely supported on the flat, level, stable, and thoroughly cleaned bridge saw cutting table. • Use a Segmented Blade - Diameter 400 mm @ 1600 RPM @ 36” /min. We recommend an ADI MTJ64002 - Suitable for straight and 45-degree cuts. • Adjust the water feed directly to where the blade contacts the slab. • Before the fabrication starts, it is important to trim 3/4” from the slab’s four edges to remove any possible stress tension that may be within the slab. (Figure 1 on next page) • Reduce feed rate to 18”/min for the first and last 7” for starting and finishing the cut over the full length of the slab being fabricated. (Figure 2 on next page) • For 45-degree edge cuts reduce feed rate to 24” /min. • Drill sink corners with a 3/8” core bit at 4500 RPM and depth 3/4” /min. • Cut a secondary center sink cut 3” inside the finish cut & remove that center piece first, followed by removing the four 3” strips just inside the new sink edge. (Figure 3 on next page) • Keep at least 2” of distance between the perimeter of the cut-out and the edge of the countertop. • Use Tenax Enhancer Ager to soften the white vertical porcelain edge for under mount sink applications. • For Statuary, Calacata Gold, and Calacata Classic slabs bond mitered edge detail with Tenax Powewrbond in the color Paper White. (Interior & Exterior Applications - Two week lead time) • Some applications may require a supporting backer board material to be adhered to the backs of the slabs.
  • Christie's Presents Jewels: the Hong Kong Sale

    Christie's Presents Jewels: the Hong Kong Sale

    FOR IMMEDIATE RELEASE October 28, 2008 Contact: Kate Swan Malin +852 2978 9966 [email protected] CHRISTIE’S PRESENTS JEWELS: THE HONG KONG SALE Jewels: The Hong Kong Sale Tuesday, December 2 Christie’s Hong Kong Hong Kong – Christie’s announces the fall sale of magnificent jewellery, Jewels: The Hong Kong Sale, which will take place on December 2 at the Hong Kong Convention and Exhibition Centre. This sale features an exquisite selection of over 300 extraordinary jewels across a spectrum of taste and style, from masterpieces of the Belle Époque to contemporary creations, and from the rarest of white and coloured diamonds to important coloured stones. COLOURLESS DIAMONDS Leading the auction is a rare pair of D colour, Flawless diamonds weighing 16.11 and 16.08 carats (illustrated right, estimate: HK$40,000,000-60,000,000 / US$5,000,000-8,000,000). These marvellous stones are also graded ‘Excellent’ for polish, symmetry and cut grade, making them exceedingly rare for their superb quality. Classified as Type IIa, these diamonds are the most the chemically pure type of diamonds known, with no traces of the colorant nitrogen. The absence of this element, seen in 98% of diamonds, gives these stones a purity of colour and degree of transparency that is observed only in the finest white diamonds. The modern round brilliant cut is the diamond’s most basic and popular shape, as it allows the potential for the highest degree of light return. But more importantly, the round diamond sustains the highest value as its production requires riddance of the greatest amount of diamond rough.
  • The Red Diamond

    The Red Diamond

    The Red Diamond John Fitzgerald Rob Floyd The Red Diamond Text and image copyright © John Fitzgerald and Rob Floyd 2012 Thalassa by Louis MacNeice is reproduced by kind permission of David Higham literary, film and TV agents. The authors would also like to thank Penguin Books for permission to quote from King Arthur and His Knights of the Round Table by Roger Lancelyn Green, and Colin Wilson for the phrase, ‘Imagination is the Herald of Change’. Contents Welcome The Sulphurous Heart Seekers in the Sunrise Britain is Our Playground Daughters of the Revolution The Arch of Constantine The Lantern Bearer Temenos The Mind and the World The Room of the Golden Dance Glittering Prize Rebel Angels Useful Idiots Panache, Power and Pride Visions and Ruins The God Abandons Antony The Red Diamond The Far Wall Welcome Man is in love with what abandons him. That’s the starting point of every quest. Meister Eckhart ******* Hello, thank you and welcome to The Red Diamond. We hope it stirs your imaginations and that you enjoy it in every way. The Red Diamond is essentially an Art Book, with Rob’s illustrations playing as central a role in the story’s unfolding as does my text. Our intent has not been so much to say, ‘this happened here, that happened there and here’s the picture to prove it’, but rather to allow words and pictures to come together in the hope of creating new contemplative spaces – evocative spaces – spaces of growth, possibility and playful creative change. The text tends therefore to concentrate more on atmosphere and mood than the adoption of a purely realistic approach to the story’s development.
  • {Dоwnlоаd/Rеаd PDF Bооk} Beswick Animals

    {Dоwnlоаd/Rеаd PDF Bооk} Beswick Animals

    BESWICK ANIMALS PDF, EPUB, EBOOK Diana Callow,John Callow,Marilyn Sweet,Peter Sweet | 400 pages | 01 Apr 2011 | CHARLTON PRESS | 9780889683464 | English | Toronto, Canada Beswick Animals PDF Book Sponsored Listings. Lesser known breeds, such as Galloways, had shorter runs and consequently rank high on the most-wanted list. Realism and accuracy were key to their appeal: as the desirable characteristics of Hereford cattle changed over time so did Gredington's models of the breed. Beswick Dog Filter Applied. Filter 1. Item Location see all. European Union. Delivery options see all. Best Offer. In , Lucy Beswick suggested bringing to life the illustrations in the Beatrix Potter books. Stoke Potters Stoke Spitfires. It is a reflection of collecting taste that the firm's range of s wares, such as the Zebra pattern, will today command more attention than older pieces. The Snowman and the Snowdog figures are just some of the nursery figures still being produced. Beatrix Potter Beswick Figurines. UK Only. Caldon Canal Trent and Mersey Canal. Continued expansion enabled the acquisition of the adjoining factory in to accommodate offices, warehousing and new potting and firing facilities. Not Specified. Sold items. Got one to sell? Vintage Fashion Textiles. By the end of , Royal Doulton ceased production of all Beswick products and in the Gold Street works were sold off to property developers. Certainly some collectors of Beatrix Potter figures only look for those with the pre 'gold' mark replaced by the 'brown' mark a couple of years after Beswick were taken over by Royal Doulton in , believing them to be superior.
  • Greek Pottery Gallery Activity

    Greek Pottery Gallery Activity

    SMART KIDS Greek Pottery The ancient Greeks were Greek pottery comes in many excellent pot-makers. Clay different shapes and sizes. was easy to find, and when This is because the vessels it was fired in a kiln, or hot were used for different oven, it became very strong. purposes; some were used for They decorated pottery with transportation and storage, scenes from stories as well some were for mixing, eating, as everyday life. Historians or drinking. Below are some have been able to learn a of the most common shapes. great deal about what life See if you can find examples was like in ancient Greece by of each of them in the gallery. studying the scenes painted on these vessels. Greek, Attic, in the manner of the Berlin Painter. Panathenaic amphora, ca. 500–490 B.C. Ceramic. Bequest of Mrs. Allan Marquand (y1950-10). Photo: Bruce M. White Amphora Hydria The name of this three-handled The amphora was a large, two- vase comes from the Greek word handled, oval-shaped vase with for water. Hydriai were used for a narrow neck. It was used for drawing water and also as urns storage and transport. to hold the ashes of the dead. Krater Oinochoe The word krater means “mixing The Oinochoe was a small pitcher bowl.” This large, two-handled used for pouring wine from a krater vase with a broad body and wide into a drinking cup. The word mouth was used for mixing wine oinochoe means “wine-pourer.” with water. Kylix Lekythos This narrow-necked vase with The kylix was a drinking cup with one handle usually held olive a broad, relatively shallow body.