American Ceramic Circle Fall Newsletter 2015 American Ceramic Circle Fall Newsletter 2015
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Tracing the Origin of Blue and White Chinese Porcelain Ordered for the Portuguese Market During the Ming Dynasty Using INAA
Journal of Archaeological Science 40 (2013) 3046e3057 Contents lists available at SciVerse ScienceDirect Journal of Archaeological Science journal homepage: http://www.elsevier.com/locate/jas Tracing the origin of blue and white Chinese Porcelain ordered for the Portuguese market during the Ming dynasty using INAA M. Isabel Dias a,*, M. Isabel Prudêncio a, M.A. Pinto De Matos b, A. Luisa Rodrigues a a Campus Tecnológico e Nuclear/Instituto Superior Técnico, Universidade Técnica de Lisboa, EN 10 (Km 139,7), 2686-953 Sacavém, Portugal b Museu Nacional do Azulejo, Rua da Madre de Deus no 4, 1900-312 Lisboa, Portugal article info abstract Article history: The existing documentary history of Chinese porcelain ordered for the Portuguese market (mainly Ming Received 21 March 2012 dynasty.) is reasonably advanced; nevertheless detailed laboratory analyses able to reveal new aspects Received in revised form like the number and/or diversity of producing centers involved in the trade with Portugal are lacking. 26 February 2013 In this work, the chemical characterization of porcelain fragments collected during recent archaeo- Accepted 3 March 2013 logical excavations from Portugal (Lisbon and Coimbra) was done for provenance issues: identification/ differentiation of Chinese porcelain kilns used. Chemical analysis was performed by instrumental Keywords: neutron activation analysis (INAA) using the Portuguese Research Reactor. Core samples were taken from Ancient Chinese porcelain for Portuguese market the ceramic body avoiding contamination form the surface layers constituents. The results obtained so INAA far point to: (1) the existence of three main chemical-based clusters; and (2) a general attribution of the Chemical composition porcelains studied to southern China kilns; (3) a few samples are specifically attributed to Jingdezhen Ming dynasty and Zhangzhou kiln sites. -
Multiplicity: Contemporary Ceramic Sculpture' Exhibition Catalog Anne M Giangiulio, University of Texas at El Paso
University of Texas at El Paso From the SelectedWorks of Anne M. Giangiulio 2006 'Multiplicity: Contemporary Ceramic Sculpture' Exhibition Catalog Anne M Giangiulio, University of Texas at El Paso Available at: https://works.bepress.com/anne_giangiulio/32/ Contemporary Ceramic Sculpture Organized by the Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso This publication accompanies the exhibition Multiplicity: Contemporary Ceramic Sculpture which was organized by the Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso and co-curated by Kate Bonansinga and Vincent Burke. Published by The University of Texas at El Paso El Paso, TX 79968 www.utep.edu/arts Copyright 2006 by the authors, the artists and the University of Texas at El Paso. All rights reserved. No part of this publication may be reproduced in any manner without permission from the University of Texas at El Paso. Exhibition Itinerary Portland Art Center Portland, OR March 2-April 22, 2006 Stanlee and Gerald Rubin Center for the Visual Arts Contemporary Ceramic Sculpture The University of Texas at El Paso El Paso, TX June 29-September 23, 2006 San Angelo Museum of Fine Arts San Angelo, TX April 20-June 24, 2007 Landmark Arts Texas Tech University Lubbock, TX July 6-August 17, 2007 Southwest School of Art and Craft San Antonio, TX September 6-November 7, 2007 The exhibition and its associated programming in El Paso have been generously supported in part by the Andy Warhol Foundation for the Visual Arts and the Texas Commission on the Arts. -
Views of a Porcelain 15
THE INFLUENCE OF GLASS TECHNOLOGY vessels nor to ceramic figurines, but to beads made in imitation of imported glass.10 The original models were ON CHINESE CERAMICS eye-beads of a style produced at numerous sites around the Mediterranean, in Central Asia and also in southern Russia, and current in the Near East since about 1500 Nigel Wood BC.11 A few polychrome glass beads found their way to Research Laboratory for Archaeology and the History of Art, University of Oxford. China in the later Bronze Age, including one example excavated from a Spring and Autumn period (770-476 BC) site in Henan province.12 This particular blue and ONE OF THE MOST IMPORTANT AND ENDURING DIFFER- white eye bead was of a style current in the eastern ences between the ceramics of China and the Near East Mediterranean in the 6th to 3rd century BC and proved lies in the role that glass has played in the establishment to have been coloured by such sophisticated, but of their respective ceramic traditions. In the ceramics of typically Near Eastern, chromophores as calcium- Mesopotamia, Persia, Egypt, and Syria glass technology antimonate-white, cobalt-blue and a copper-turquoise, proved vital for the development of glazed ceramics. while its glass was of the soda-lime type, common in 13 Figure 2. Earthenware jar with weathered glazes. Warring States Following the appearance of glazed stone-based the ancient world. period. Probably 3rd century BC (height: 9.5 cm). The British ceramics in the fourth millennium BC, the first glazes These ‘western’ beads would have been wonders in Museum. -
Site Report: Duke Street Widening, Phase II
A PHASE II CULTURAL RESOURCE EVALUATION OF DUKE STREET (ROUTE 236), BETWEEN THE 1100 AND 1900 BLOCKS , IN THE CITY OF ALEXANDRIA, VIRGINIA by T. Ted Cromwell James Madison University Archeological Research Center Harrisonburg, VA 22807 (703) 568-6973 .J David L. Miller Principal Investigator Submitted to Virginia Department of Transportation 1221 East Broad Street Richmond, VA 23219 (804) 786-4305 Project 00236·100·107, CS01 March 1989 ------------------------------------------------------------------------------------------- ABSTRACT Between December 1987 and April 1988 personnel from the James Madison University Archeological Research Center (JMUARC) conducted a Phase II cultural resource evaluation along the 1100 through 1900 blocks of Duke Street (Route 236) in Alexandria, Virginia. The proposed widening of Duke Street is designed to eliminate the traffic bottleneck along the existing roadway. The project right-of-way, along the south side of Duke Streec, varies in width from 3 to 60 ft. This report will not discuss the 1500 and 1600 blocks. The 1500 block was originally bisected by a section of Hooff Run, a small feeder creek which drains into Hunting Creek and the Potomac River. The 1400 and 1600 blocks are coterminous with the creek, and the 1500 block never developed into a separate street address. The 1600 block has already been widened and required no additional archeological investigation. The Phase II investigation combined an extensive historic document search and an archeological investigation of portions of the 1100-1400 and 1700 blocks along Duke Street where archeological sites were likely to occur. The 1100 block was tested after archival research indicated the location of a Civil War period railroad complex in that block. -
Tactile Digital: an Exploration of Merging Ceramic Art and Industrial Design
INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION 8 & 9 SEPTEMBER 2016, AALBORG UNIVERSITY, DENMARK TACTILE DIGITAL: AN EXPLORATION OF MERGING CERAMIC ART AND INDUSTRIAL DESIGN Dosun SHIN1 and Samuel CHUNG2 1Industrial Design, Arizona State University 2Ceramic Art, Arizona State University ABSTRACT This paper presents a pilot study that highlights collaboration between ceramic art and industrial design. The study is focused on developing a ceramic lamp that can be mass-produced and marketed as a design artefact. There are two ultimate goals of the study: first, to establish an iterative process of collaboration between ceramic art and industrial design through an example of manufactured design artefact and second to expand transdisciplinary and collaborative knowledge. Keywords: Trans-disciplinary collaboration, emerging design technology, ceramic art, industrial design. 1 INTRODUCTION The proposed project emphasizes collaboration between disciplines of ceramic art and industrial design to create a ceramic lamp that can be mass-produced and marketed as a design artefact. It addresses issues related to disciplinary challenges involved in the process and use of prototyping techniques that make this project unique. There are two ultimate goals of the project. First is to establish an iterative process of collaboration between ceramic art and industrial design through an example of manufactured 3D ceramic lamp. The second goal is to develop a transdisciplinary ceramic design course for Arizona State University students. The eventual intent is also to share generated knowledge with scholars from academia and industry through various conferences, academic, and technical platforms. In the following, we will first discuss theoretical perspectives about collaboration between ceramic art and industrial design to highlight positives and negatives of disciplinary associations. -
Philippa H Deeley Ltd Catalogue 16 Aug 2014
Philippa H Deeley Ltd Catalogue 16 Aug 2014 1 A mid 20th century Bowman live steam powered 18 Featherstone Robson 'Durham Castle' early 20th pond launch, an aluminium live steam speed boat century engraving, together with another of 'The and a Mamod style live steam motor £40.00 - Fish Market, Salisbury' £10.00 - £20.00 £60.00 19 An early 20th century Continental watercolour 2 A collection of Burago, Tonka and Solido 1/18 depicting a sea wall with figures and mountains to scale die cast cars to include a Ferrari GTO, background, unsigned and housed in a gilt frame Mercedes 300SL, Lancia Spider, a Maserati 250F £10.00 - £20.00 plus others (10 items) £40.00 - £50.00 20 R. Herdman-Smith F.R.S.A., A.R.W.A., 'Loch 3 Two hand-coloured prints of Windsor Castle Lomond', original aquatint engraving, edition engraved by John Boydell £10.00 - £20.00 limited to 150 signed artist's proofs, signed and 4 An oil on canvas depicting an African figure on a titled in pencil to lower margin with label to verso, forest path, signed Michel to lower right, together 23cm x 29cm £10.00 - £20.00 with another of an African female digging crops 21 A hand painted blue glazed Shelley vase, a Sylvac £10.00 - £20.00 vase and other items (1 box) £30.00 - £40.00 5 Two vintage bellows cameras, a Yvighander 22 A quantity of carved African heads, masks and bellows camera, a Carl Zeiss Jena Turmon 8x other tribal items (1 box) £20.00 - £30.00 angle lens, camera plates etc £20.00 - £40.00 23 A 1930s Royal Copenhagen handpainted porcelain 6 A mixed collection of ceramics and -
Movers & Shakers in American Ceramics
A Ceramics Monthly Handbook Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Published by The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, Ohio 43082 USA The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 © 2003, 2011 by The American Ceramic Society, All rights reserved. ISBN: 1-57498-165-X (Paperback) ISBN: 978-1-57498-560-3 (PDF) No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher, except by a reviewer, who may quote brief passages in review. Authorization to photocopy for internal or personal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923 U.S.A., www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copyright items for general distribution or for advertising or promotional purposes or to republishing items in whole or in part in any work in any format. Requests for special photocopying permission and reprint requests should be directed to Director, Publications, The American Ceramic Society, 600 N. -
Ming Dynasty Porcelain Plate Laura G
Wonders of Nature and Artifice Art and Art History Fall 2017 Blue-and-White Wonder: Ming Dynasty Porcelain Plate Laura G. Waters '19, Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/wonders_exhibit Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Fine Arts Commons, History of Science, Technology, and Medicine Commons, Industrial and Product Design Commons, and the Intellectual History Commons Share feedback about the accessibility of this item. Waters, Laura G., "Blue-and-White Wonder: Ming Dynasty Porcelain Plate" (2017). Wonders of Nature and Artifice. 12. https://cupola.gettysburg.edu/wonders_exhibit/12 This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/wonders_exhibit/12 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Blue-and-White Wonder: Ming Dynasty Porcelain Plate Abstract This authentic Ming Dynasty (1368-1644) plate is a prime example of early export porcelain, a luminous substance that enthralled European collectors. The eg nerous gift of oJ yce P. Bishop in honor of her daughter, Kimberly Bishop Connors, Ming Dynasty Blue-and-White Plate is on loan from the Reeves Collection at Washington and Lee University in Lexington, Virginia. The lp ate itself is approximately 7.75 inches (20 cm) in diameter, and appears much deeper from the bottom than it does from the top. -
1 the Willow Pattern
The East India Company at Home, 1757-1857 – UCL History The Willow Pattern: Dunham Massey By Francesca D’Antonio Please note that this case study was first published on blogs.ucl.ac.uk/eicah in June 2014. For citation advice, visit: http://blogs.uc.ac.uk/eicah/usingthewebsite. Unlike other ‘objects studies’ featured in the East India Company At Home 1757-1857 project, this case study will focus on a specific ceramic ware pattern rather than a particular item associated with the East India Company (EIC). With particular attention to the contents of Dunham Massey, Greater Manchester, I focus here on the Willow Pattern, a type of blue and white ‘Chinese style’ design, which was created in 1790 at the Caughley Factory in Shropshire. The large-scale production of ceramic wares featuring the same design became possible only in the late eighteenth century after John Sadler and Guy Green patented their method of transfer printing for commercial use in 1756. Willow Pattern wares became increasingly popular in the early nineteenth century, allowing large groups of people access to this design. Despite imitating Chinese wares so that they recalled Chinese hard-stone porcelain body and cobalt blue decorations, these wares remained distinct from them, often attracting lower values and esteem. Although unfashionable now, they should not be merely dismissed as poor imitations by contemporary scholars, but rather need to be recognized for their complexities. To explore and reveal the contradictions and intricacies held within Willow Pattern wares, this case study asks two simple questions. First, what did Willow Pattern wares mean in nineteenth-century Britain? Second, did EIC families—who, as a group, enjoyed privileged access to Chinese porcelain—engage with these imitative wares and if so, how, why and what might their interactions reveal about the household objects? As other scholars have shown, EIC officials’ cultural understandings of China often developed from engagements with the materials they imported, as well as discussions of and visits to China. -
Ceramics Monthly Jan86 Cei01
William C. Hunt........................................ Editor Barbara Tipton ...................... Associate Editor Robert L. Creager ........................ Art Director Ruth C. Butler............................. Copy Editor Valentina Rojo ...................... Editorial Assistant Mary Rushley................ Circulation Manager Mary E. Beaver. Circulation Assistant Jayne Lohr .................... Circulation Assistant Connie Belcher .... Advertising Manager Spencer L. Davis.............................. Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year SI8, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to: Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con sidered for publication. A booklet describing procedures for the preparation and submis sion of a manuscript is available upon re quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. -
64997 Frontier Loriann
[ FRESH TAKE ] Thrown for a Loop factory near his Staffordshire hometown, Stoke-on-Trent. Wedgwood married traditional craftsmanship with A RESILIENT POTTERY COMPANY FACES progressive business practices and contemporary design. TRYING TIMES He employed leading artists, including the sculptor John Flaxman, whose Shield of Achilles is in the Huntington by Kimberly Chrisman-Campbell collection, along with his Wedgwood vase depicting Ulysses at the table of Circe. As sturdy as they were beautiful, Wedgwood products made high-quality earthenware available to the middle classes. his past winter, Waterford Wedgwood found itself teetering on the edge of bankruptcy like a ceramic vase poised to topple from its shelf. As the company struggles A mainstay of bridal registries, the distinctive for survival, visitors to The Tearthenware is equally at home in museums around the world, including The Huntington. Now owned by an Irish firm, the once-venerable pottery manufactory was founded Huntington can appreciate by Englishman Josiah Wedgwood in 1759. As the company struggles for survival, visitors to The Huntington can appre - what a great loss its demise ciate what a great loss its demise would be. A look at the firm’s history reveals that the current crisis is just the most recent would be. of several that Wedgwood has overcome in its 250 years. The story of Wedgwood is one of the great personal and Today, Wedgwood is virtually synonymous with professional triumphs of the 18th century. Born in 1730 into Jasperware, an unglazed vitreous stoneware produced from a family of potters, Josiah Wedgwood started working at the barium sulphate. It is usually pale blue, with separately age of nine as a thrower, a craftsman who shaped pottery on molded white reliefs in the neoclassical style. -
Antonio Prieto; » Julio Aè Pared 30 a Craftsman5 Ipko^Otonmh^
Until you see and feel Troy Weaving Yarns . you'll find it hard to believe you can buy such quality, beauty and variety at such low prices. So please send for your sample collection today. and Textile Company $ 1.00 brings you a generous selection of the latest and loveliest Troy quality controlled yarns. You'll find new 603 Mineral Spring Avenue, Pawtucket, R. I. 02860 pleasure and achieve more beautiful results when you weave with Troy yarns. »««Él Mm m^mmrn IS Dialogue .n a « 23 Antonio Prieto; » Julio Aè Pared 30 A Craftsman5 ipKO^OtONMH^ IS«« MI 5-up^jf à^stoneware "iactogram" vv.i is a pòìnt of discussion in Fred-Schwartz's &. Countercues A SHOPPING CENTER FOR JEWELRY CRAFTSMEN at your fingertips! complete catalog of... TOOLS AND SUPPLIES We've spent one year working, compiling and publishing our new 244-page Catalog 1065 ... now it is available. In the fall of 1965, the Poor People's Corporation, a project of the We're mighty proud of this new one... because we've incor- SNCC (Student Nonviolent Coordinating Committee), sought skilled porated brand new never-before sections on casting equipment, volunteer craftsmen for training programs in the South. At that electroplating equipment and precious metals... time, the idea behind the program was to train local people so that they could organize cooperative workshops or industries that We spent literally months redesigning the metals section . would help give them economic self-sufficiency. giving it clarity ... yet making it concise and with lots of Today, PPC provides financial and technical assistance to fifteen information..