A Visual Guide to Antiques, Collectibles & Everything In-Between
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Phase Evolution of Ancient and Historical Ceramics
EMU Notes in Mineralogy, Vol. 20 (2019), Chapter 6, 233–281 The struggle between thermodynamics and kinetics: Phase evolution of ancient and historical ceramics 1 2 ROBERT B. HEIMANN and MARINO MAGGETTI 1Am Stadtpark 2A, D-02826 Go¨rlitz, Germany [email protected] 2University of Fribourg, Dept. of Geosciences, Earth Sciences, Chemin du Muse´e6, CH-1700 Fribourg, Switzerland [email protected] This contribution is dedicated to the memory of Professor Ursula Martius Franklin, a true pioneer of archaeometric research, who passed away at her home in Toronto on July 22, 2016, at the age of 94. Making ceramics by firing of clay is essentially a reversal of the natural weathering process of rocks. Millennia ago, potters invented simple pyrotechnologies to recombine the chemical compounds once separated by weathering in order to obtain what is more or less a rock-like product shaped and decorated according to need and preference. Whereas Nature reconsolidates clays by long-term diagenetic or metamorphic transformation processes, potters exploit a ‘short-cut’ of these processes that affects the state of equilibrium of the system being transformed thermally. This ‘short-cut’ is thought to be akin to the development of mineral-reaction textures resulting from disequilibria established during rapidly heated pyrometamorphic events (Grapes, 2006) involving contact aureoles or reactions with xenoliths. In contrast to most naturally consolidated clays, the solidified rock-like ceramic material inherits non-equilibrium and statistical states best described as ‘frozen-in’. The more or less high temperatures applied to clays during ceramic firing result in a distinct state of sintering that is dependent on the firing temperature, the duration of firing, the firing atmosphere, and the composition and grain-size distribution of the clay. -
Annual Index September 1976-August 1977 Vol. 3
INDEX I- !/oluJne3 Numbers 1-12 ONANTIQUES , September, 1976-August, 1977 AND COLLECTABLES Pages 1-144 PAGES ISSUE DATE 1-12 No.1 September, 1976 13-24 No.2 October, 1976 25-36 No.3 November, 1976 37-48 No.4 December, 1976 49-60 No.5 January, 1977 61-72 No.6 February, 1977 & Kovel On became Ralph Terry Antiques Kovels 73-84 No.7 March,1977 On and Antiques Collectables in April, 1977 (Vol. 85-96 No.8 April,1977 3, No.8). , 97-108 No.9 May, 1977 Amberina glass, 91 109-120 No� 10 June, 1977 Americana, 17 121-132 No.l1 July, 1977 American Indian, 30 133-144 No. 12 August, 1977 American Numismatic Association Convention, 122 Anamorphic Art, 8 Antique Toy World, 67 in Katherine ART DECO Antiques Miniature, by Morrison McClinton, 105 Furniture, 38, 88 Autumn The 0 Glass, 88 Leaf Story, by J Cunningham, 35 Metalwork, 88 Avons other Dee Bottles-by any name, by Sculpture, 88 Schneider, 118 Art 42 Nouveau, 38, Avons Award Bottles, Gifts, Prizes, by Dee' Art Nouveau furniture, 38 Schneider, 118 "Auction 133 & 140 Avons Fever," Bottles Research and History, by Dee 118 Autographs, 112 Schneider, Avons Dee 118 Banks, 53 Congratulations, -by Schneider, Avons President's Club Barometers, 30 History, Jewelry, by Bauer 81 Dee 118 pottery, Schneider, Bauer- The California Pottery Rainbow, by Bottle Convention, 8 Barbara Jean Hayes, 81 Bottles, 61 The Beer Can-A Complete Guide to Collecting, Books, 30 by the Beer Can Collectors of America, 106 BOOKS & PUBLICATIONS REVIEWED The Beer Can Collectors News Report, by the Abage Enclyclopedia of Bronzes, Sculptors, & Beer Can Collectors of America, 107 Founders, Volumes I & II, by Harold A Beginner's Guide to Beer Cans, by Thomas Berman, 52 Toepfer, 106 American Beer Can Encyclopedia, by Thomas The Belleek Collector's Newsletter the ' by Toepfer, 106 Belleek Collector's Club, 23- American Copper and Brass, by Henry J. -
Culture Without
Culture Without The Newsletter of the Illicit Antiquities Research Centre Issue 12, Spring 2003 -·r 1 .~ I l ~ The Illicit Antiquities Research Centre is a project of the Mc Donald Institute for Archaeological Research. Illicit Antiquities Research Centre he Illicit Antiquities Research Centre (IARC) was establi shed in May 1996, T under th e auspi ces of the McDonald Institute for Archaeological Research in Cambridge, England, and it commenced operations in October 1997. Its purpose is to monitor and report upon the damage caused to cultural heritage by th e interna ti onal trade in illi cit antiquities (i.e. antiquities which have been stolen or clandestinely excavated and illegally exported). The enormous increase in the vol ume of this trade over the past twenty years has caused the large-scale plundering of archaeological sites and museums around the world. The IARC wi ll raise publ ic awareness of the pro blems caused by this trade and seek appropri ate national and intern ati onal legislati on, codes of conduct and oth er conventions to pl ace restraint upon it. ClIll lIre Witholll COlllexl is publi shed tw ice-yearl y. The next issue will appea r in autum n 2003. Subsc ri pt ion detai ls are ava il ab le from: Jenny Doo le IARC McDonald Institu te fo r Archaeological Research Downing Street Cambridge CB2 3ER UK e-mail: jd244@ca m. ac. uk Front cover. Greek ivory head. possibly of Apollo. recovered in February 2003 (see p. 5). Staff: Add ress for corres pondence: Editorial Boa rd, McDonald Insti tu te for Archaeological fARC Director: Colin Ren frew ewe Research, Downing St, Cambridge , UK, CB2 3ER. -
Antiquities Were One of the Most Important Elements of the Collection That Mr
DATE: March 12, 2007 FOR IMMEDIATE RELEASE COLLECTIONS ART FROM THE ANCIENT WORLD IS INSTALLED BY THEME IN RENOVATED GALLERIES AT THE GETTY VILLA LOS ANGELES—The J. Paul Getty Museum’s permanent collection of Greek, Roman, and Etruscan antiquities will be installed at the Getty Villa in galleries that are now organized by theme for easier accessibility. These groupings of objects will shed light on different aspects of life in the ancient world: from sports to religion, family, war, theater, and more. This approach enables visitors to easily view the artworks in the context of their use in classical societies, encouraging a deeper understanding of the period. Over 1,200 objects will be on view, out of approximately 44,000 in the Getty’s antiquities collection. The works will be presented in 23 galleries, with an additional six galleries devoted to changing and loan exhibitions that will allow for the presentation of focused shows, often featuring materials on loan from other institutions. These exhibitions may also incorporate works from the special collections of the Research Library at the Getty Research Institute (GRI) and reflect the scholarly activities of the Museum, the GRI, and the Getty Conservation Institute. Other highlights of the Museum include the Family Forum, a hands-on space for families filled with fun activities that encourage shared learning and discovery; and -more- Page 2 the TimeScape Room, a permanent installation that explores time, place, and artistic style in the ancient Mediterranean through interactive exhibits. FLOOR 1 GALLERIES Terracotta and Marble Vessels Ancient artisans shaped terracotta and marble to imitate the shapes and decorative schemes of vessels fashioned from metal, including precious gold, silver, and bronze. -
Long Gallery Educator’S Pack This Pack Contains Information Regarding the Contents and Themes of the Objects in the Long Gallery
Long Gallery Educator’s Pack This pack contains information regarding the contents and themes of the objects in the Long Gallery. On our website you can find further activities and resources to explore. The first exhibition in this gallery, ’Reactions’ focuses on Dundee’s nationally important collection of studio ceramics. This pack explores some of the processes that have created the stunning pieces on display and shares some of the inspirations behind the creation of individual ceramics. Contents Reactions: Studio Ceramics from our Collection Introduction and Origins 01 Studio Pottery - Influences 02 The Process 03 Glossary 05 List of Objects - by theme What is Studio Pottery? 10 Influences 11 Ideas and Stories 14 What on Earth is Clay? 16 Getting your Hands Dirty 19 The Icing on the Cake - Glaze and Decoration 21 Fire 24 Artist Focus Stephen Bird 27 Reactions: Studio Ceramics from our collection Introduction- background and beginnings 'Studio Ceramics' or 'Studio Pottery' - can be best described as the making of clay forms by hand in a small studio rather than in a factory. Where the movement in the early days is referred to as 'Studio Pottery' due to its focus on functional vessels and 'pots', the name of 'Studio Ceramics' now refers broadly to include work by artists and designers that may be more conceptual or sculptural rather than functional. As an artistic movement Studio Ceramics has a peculiar history. It is a history that includes changes in artistic and public taste, developments in art historical terms and small and very individual stories of artists and potters. -
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" -
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. -
Color in Salt Glaze
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 8-1-1967 Color in salt glaze Daniel Lee Stevens Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Stevens, Daniel Lee, "Color in salt glaze" (1967). Dissertations and Theses. Paper 561. https://doi.org/10.15760/etd.561 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. AN ABSTRACT OF THE THESIS OF Daniel Lee Stevens for the Master of Science in teaching in Cerami~s 'presented 0:0 August 7, 1967. Title: COLOR IN SALT GLAZE. , Abs tract approved: This thesis endeavors to bring a brief history of salt glaze to the reader, following i~s ge~esisin Germany to England and the American colonies and its continuation to the prese~t day. In order to conduct research on color in salt glaze~ a kiln had to be built for this purpose, meeting all the requirements 'that this tech- nique demands. Studies were ~ade on clay bodies to determine their throwing qualities as well as their ability to take a salt glaze. Finally, research was carried out 'in many serfes of tests studying the reactions of'various engobes and other coloring materials when ,fired in the salt glaze kiln. \ .' COLOR IN SALT GLAZE by Daniel Lee Stevens A THESIS submitted to .Portland State College, in partial fulfillment of the requirements for the degree of Master of Science in Teaching August 1967 \ I PORTLAND STATE COL~EGE LIBRARY' . -
Donna Yates CV Oct 2020
Donna Yates Maastricht University Faculty of Law, PO Box 616, 6200 MD Maastricht, The Netherlands Office: +31433885617 Email: [email protected] traffickingculture.org culturecrime.org stolengods.org anonymousswisscollector.com Education PhD, Archaeology, University of Cambridge, 2012 Dissertation: Archaeological Practice and Political Change: Transitions and Transformations in the Use of the Past in Nationalist, Neoliberal and Indigenous Bolivia MPhil, Archaeological Heritage and Museums, University of Cambridge, 2006 Thesis: South America on the Block: The changing face of Pre-Columbian antiquities auctions in response to international law BA, Archaeology, Boston University, 2004 Academic Appointments Maastricht University, Faculty of Law 2020– Associate Professor of Cultural Heritage Law and Criminology Department of Criminal Law and Criminology University of Glasgow, School of Social and Political Sciences 2015–2019 Senior Lecturer in Sociology (Antiquities Trafficking and Art Crime) 2012–2015 Leverhulme Early Career Fellow Affiliations Maastricht Centre for Arts and Culture, Conservation and Heritage (MACCH) Affiliated Researcher Maastricht University Law and Tech Lab Member Scottish Centre for Crime and Justice Research (SCCJR) Associate Researcher University of Glasgow, Department of Information Studies Affiliated Scholar University of Glasgow, Department of Archaeology Affiliated Scholar Research Interests • Illicit trafficking of cultural, collectable, and rare objects • Heritage and museum studies • Cultural property -
Company Phone Website E-Mail Address Frank's Ceramics Calle 8 Blq
COMPANY PHONE WEBSITE E-MAIL ADDRESS FRANK'S CERAMICS CALLE 8 BLQ. 4 #2 AVE CAMPO RICO SAVANNA (787) 752-8210 GARDENS CAROLINA, PR 00630 USA EL TRAPITO "ART SHOP" PLACITA DE ROOSEVELT 302 CALLE J. A. RIVERA (787) 763-4331 SAN JUAN, PR 00918 USA CLAY MATES CERAMIC CAFE 37 STATE ST [email protected] BOX 1170 (413) 323-6505 BELCHERTOWN, MA 01007 USA PISTACHIO POTTER 44 E HILL RD www.pistachiopotter.com [email protected] (413) 245-3498 BRIMFIELD, MA 01010 USA SHEFFIELD POTTERY, INC. P O BOX 399 www.sheffield/pottery.com magar@sheffield/pottery.com (413) 229-7700 SHEFFIELD, MA 01257 USA DOLLS IN WONDERLAND 1794 BRIDGE ST [email protected] UNIT 26B (978) 452-3655 DRACUT, MA 01876 USA BOSTON KILN SALES AND SERVICES 66 THOMAS ST www.bostonkiln.com [email protected] (617) 926-1802 MEDFORD, MA 02155 USA THE STAINED GLASS EMPORIUM 69 FALL RIVER AVE www.stainedglassemporium.com [email protected] (508) 336-5455 REHOBOTH, MA 02769 USA ADVISOR IN METALS 336 GOVERNORS RD [email protected] (603) 755-9232 MILTON, NH 03851 USA COUNTRY GOOSE CERAMIC SUPPLY 26 BRICK YARD CT [email protected] (207) 363-8440 YORK, ME 03909 USA RUSTY KILNS 136 BOULEVARD RD www.rustykiln.com [email protected] (860) 423-1550 NORTH WINDHAM, CT 06256 USA CERAMIC SUPPLY OF NY & NJ INC 7 RT 46 W www.7ceramic.com [email protected] (973) 340-3005 LODI, NJ 07644 USA NORA'S CERAMICS 280 MAIN ST (732) 495-6268 KEANSBURG, NJ 07734 USA OUR CLAY HOUSE 95 BARTLEY RD (973) 383-1166 FLANDERS, NJ 07836 USA ARTHUR H KUK KILN REPAIR 400 W EVESHAM (856) 783-5103 MAGNOLIA, NJ 08049 USA LYNN'S CERAMICS INC. -
Ephemera Journal Vol 18 Issue 2
THE EPHEMERA JOURNAL VOLUME 18, NUMBER 2 JANUARY 2016 Bicycle Trade Catalogs BY TALIA S. COUTIN Before the ‘Bicycle Boom’ the bicycle was a luxury item with limited reach but, by 1896, America was home to an estimated four million “wheelmen” and “wheelwomen.” How and why did bicycles take the country by storm? The ‘Golden Age of the Bicycle’ coincided with the ‘Golden Age of Advertising Art.’ Austin Charles Bates, a pioneering adman of the time, estimated that bicycle firms spent more than one billion dollars in 1897. “And yet it paid,” he wrote. “Everyone was bicycle crazy...” Images of wheelmen and wheelwomen appeared everywhere in print, including on products that had nothing to do with bicycling. They graced posters and postcards, magazine covers and cigarette labels, sheet music and card decks – advertising bicycling, if not a particular bicycle brand. Through trade catalogs, companies tried to distinguish their brands with clever copy and alluring graphic designs. Companies spoke directly to consumers, offering them commercial art they could keep. Examining the material, visual, and textual aspects of catalogs from two of America’s leading bicycle manufacturers, the Overman Wheel Company and the Pope Manufacturing Company, reveals how advertising strategies developed between 1881 and 1899 to whet the consumer appetite for bicycles. A beautiful nymph with spaghetti hair gazes behind a screen in a wildly verdant setting that has nothing to do with bicycles. The competing linear and the curvilinear elements define the unique Art Nouveau style of graphic artist Will H. Bradley, who also designed posters for the Overman Wheel Co. -
Ceramic Production and Circulation in the Greater Southwest
MONOGRAPH 44 Ceramic Production and Circulation in the Greater Southwest Source Determination by INAA and Complementary Mineralogical Investigations Edited by Donna M. Glowacki and Hector Neff The Cotsen Institute ofArchaeology University of California, Los Angeles 2002 IO Patayan Ceramic Variability Using Trace Elements and Petrographic Analysis to Study Brown and BuffWares in Southern California john A. Hildebrand, G. Timothy Cross,jerry Schaefer, and Hector Neff N THE LOWER COLORADO RivER and adjacent desert tain a large fraction of granitic inclusions, and when present and upland regions of southern California and in prehistoric pottery, me inclusions may not represent added 0 western Arizona, the late prehistoric Patayan temper but me remnants of incompletely weamered parent produced predominantly undecorated ceramics using a pad rock (Shepard 1964). In the lower Colorado River and Salton dle and anvil technique (Colton 1945; Rogers 1945a; Waters Trough regions, alluvial clays are available with a low iron 1982). Patayan ceramic vessels were important to both mixed content, hence their buff color, and which contain little or horticultural economies along the Colorado and adjacent no intrinsic inclusions. In this case, tempering materials may river systems, and to largely hunting and gathering econo be purposefully added to the alluvial clays. For the historic mies in the adjacent uplands. Patayan ceramic production Kumeyaay/ Kamia, a Yuman-speaking group known to have began at about AD 700 (Schroeder 1961), and continued into occupied both mountain and desert regions west of the low recent times among the Yuman speakers of this region, de er Colorado River (Hicks 1963), the same potters may have scendants of the Patayan (Rogers 1936).