DOCSLIB.ORG

A Sugar Bowl of William Young & Sons Or William Young’S Sons Richard W

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Sugar Bowl of William Young & Sons Or William Young’S Sons Richard W Vol 13, Issue 1 T RENTON POTTERIES Newsletter of the Potteries of Trenton Society A Sugar Bowl of William Young & Sons or William Young’s Sons Richard W. Hunter n interesting early product of lighter grey to a light tan or yellowish A Trenton’s industrial potteries was cream. The coloring appears to have recently acquired on ebay by POTS been much affected by use and age, member Robert Cunningham of Ham- and was probably originally a light ilton, New Jersey. Apparently made cream. The vessel falls into the broad either by William Young & Sons or by category of ironstone china and was the successor firm William Young’s most likely considered as cream- Sons, this specimen is an oval bowl, colored earthenware by its manufac- slightly over four inches tall, roughly turers. Although its function is not five by four inches across at the rim, entirely certain, its size and shape, and 4.75 by 3.75 inches at the base. The along with the fact that it had a lid, vessel has a bulbous form, a low foot lead one to suppose it was probably a ring and a seat for a lid. The lid does sugar bowl. not survive. Applied at the shoulder, Slightly off-center on the base one at either end of the vessel, are two is a black transfer-printed makers’ Contents molded faces that are remarkably remi- mark consisting of an eagle with its niscent of – although somewhat small- wings raised and partly outstretched, A Sugar Bowl of William Young er than – the distinctive faces that the and its legs planted firmly on a rock & Sons or William Young’s Sons Richard W. Hunter ..................... 1 stoneware potter James Rhodes some- (or prey). Beneath this motif are the times attached to the shoulders of his letters “W. Y. S.” No previously pub- Molly Merlino, Founding jars, and perhaps also flower pots, dur- lished image of this mark has been POTS Member .......................... 3 ing the brief period that he was active found, although Edwin Attlee Barber 2014 Trenton Ceramics in Trenton, circa 1774-84 (Liebeknecht has ascribed it to the firm of William Symposium ............................... 4 and Hunter 2003; Skerry and Hood Young & Sons and avers that the 2009:205-206). Indeed, one wonders if marks employed by this company The Alice Maddock Collection: the makers of this bowl had seen and “were, in 1858, an eagle; from 1858 to A Gift to the City of Trenton .. 6 been inspired by examples of Rhodes’s 1879, the English Arms” (Barber Winterthur Ceramics work. 1904:44-45). No supporting infor- Conference ................................ 7 The basic bowl shape was made mation is provided for this statement, in a mold, as shown by the vertical but numerous subsequent publica- seams that are visible at opposing ends tions on American pottery marks have The Potteries of Trenton Society is a non -profit organization dedicated to the of the vessel. The sprig-molded faces repeated Barber’s claim. study and preservation of Trenton’s have in fact been applied over the The pottery manufacturing ceramic past. Officers: President— Patricia Madrigal; Treasurer—Jay seams, partly concealing them from firm William Young & Sons originat- Lewis; Secretary—Brenda Springsted. view. The bowl is fashioned as highly ed in 1853 as William Young & Com- Board: Ellen Denker, Richard Hunter, Meta Janowitz, Jay Lewis, Emma Lewis, fired earthenware and its lightly pany, a partnership of William Young William Liebeknecht, Brenda Spring- crazed, lead-glazed exterior and interi- and his sons, Edward, John and Wil- sted, Rebecca White. Newsletter Editor: or surfaces range in color from a dirty liam, Jr. with Richard Millington and Patricia Madrigal dark grey through several shades of John Astbury. The company initially Page 2 Trenton Potteries Vol 13, Issue 1 leased the pottery works of Charles Hattersley and erected their own new Hattersley, newly built on the east pottery works a short distance to the bank of the Delaware and Raritan Ca- northwest on the opposite side of the nal, adjacent to the east side of the canal. This site later became known Camden and Amboy Railroad branch as the Excelsior Pottery. Here the line, at the southwest corner of Perry company and its successors grew rap- and Carroll Streets. This site later be- idly into one of Trenton’s foremost came well known as the City Pottery porcelain and ironstone china produc- and eventually developed into one of ers, enjoying more than half a century the main production hubs of Thomas of industrial prominence. In March of Maddock’s Sons. The early produc- 1860, Millington and Astbury left the tion of William Young & Company Youngs to establish their own pottery concentrated on porcelain door hard- in partnership with Theophilus Poul- ware, notably door knobs, escutch- son on a site adjacent to the City Pot- eons and door plates, but within a tery. At this point William Young & year or so the firm had expanded its Company reorganized as William repertoire to include two increasingly Young & Sons, an entity that operated popular types of hard, high-fired under that name until William Young, earthenware known as white granite Sr.’s death in 1871. Shortly after the ware and C.C. (cane or cream-colored) elder Young’s demise, the firm reor- ware. ganized again as William Young’s In 1855-56, William Young & Sons, continuing in business under Company parted ways with Charles that name until it was bought out by Trenton Potteries Vol 13, Issue 1 Page 3 the Willets brothers, Joseph, Daniel Site, Southard Street Bridge Replace- and Edmund, in 1879. It was during ment Project, City of Trenton, Mercer the period of the Willets Manufactur- County, New Jersey. Report on file, ing Company ownership from 1879 to New Jersey Historic Preservation Of- 1917 that the Young family’s pottery fice (NJDEP), Trenton, New Jersey. works became known as the Excelsior Pottery and attained its reputation as Skerry, Janine E. and Suzanne Findlen a maker of fine porcelain wares, in- Hood cluding the much revered Belleek 2009 Salt-Glazed Stoneware in Early (Liebeknecht et al. 2005; Hunter Re- America. The Colonial Williamsburg search, Inc. 2013). Foundation, Williamsburg, Virginia. Based on the historical infor- mation above, the eagle and “W.Y.S.” Molly Merlino mark are thought to reference either Founding POTS Member William Young & Sons or William Young’s Sons as the maker of this sug- OTS is saddened to report the ar bowl, and the date of its manufac- P passing of Molly Merlino, one of ture may be pegged as between 1860 our founding board members. and 1879. Any further insights on this Molly was an enthusiastic unusual vessel are welcome. member of POTS in the early years. She was the only board member who References: actually worked in Trenton’s pottery industry, having worked at Lenox, first Barber, Edwin Attlee in the figurine department and later in 1904 Marks of American Potters. Pat- fine china. Her contacts with and in- terson & White Company, Philadelph- sight into the ceramic and arts commu- ia, Pennsylvania. nity were instrumental in helping to establish POTS. Hunter Research, Inc. Molly was an advocate for the 2013 The Trenton Potteries Data- arts on a local and statewide level, and base. Updated DVD issued by Hunter she was active in a number of Trenton- Research, Inc. and the Potteries of based organizations, including The Trenton Society, Trenton, New Jersey. Friends of the New Jersey State Muse- um, the Trenton City Museum, and Liebeknecht, William B. and Richard The Mill Hill Playhouse. She managed W. Hunter the shop of the Trenton City Museum, 2003 The Richards Face – Shades of which was named "Molly's" in her hon- an Eighteenth-Century American Bel- or. She brightened the lives of all who larmine. Ceramics in America 2003, ed- met her. ited by Robert Hunter, pp. 259-261. Molly is survived by her chil- The Chipstone Foundation, Milwau- dren and grandchildren. Her service kee, Wisconsin. and accomplishments are numerous; for a full listing of her activities and Liebeknecht, William, Nadine honors, please visit http:// Sergejeff, Rebecca White and Richard obits.nj.com/obituaries/trenton/ Hunter (Hunter Research, Inc.) obituary.aspx? 2005 Historical and Archaeological pid=168073169#sthash.rNxgQtjc.dpuf Investigations at the Excelsior Pottery Page 4 Trenton Potteries Vol 13, Issue 1 2014 Trenton Ceramics Symposium Isaac Broome: America's First Ceramic Sculptor he Potteries of Trenton Society is tional, political and industrial re- T pleased to partner with the New forms. He also continued as a modeler Jersey State Museum and the Trenton for potteries in Ohio and Trenton, in- Museum Society to present our elev- cluding the Trent Tile Co. and the enth annual Trenton Ceramics Sym- Providential Tile Co. in Trenton, pro- posium on April 5, 2014. This year our ducing major work as late as 1917, speakers will celebrate the life and when he modeled a parian portrait work of sculptor Isaac Broome, the bust of Walter Scott Lenox for the Le- first sculptor to work in the American nox Company. ceramics industry. Although perhaps The Symposium will open best known for his famous Baseball with registration and reception from 9 Vase, created for Ott & Brewer's dis- to 10 a.m. Light refreshments will be play at the Centennial Exhibition in served. Lectures in the morning with Philadelphia in 1876, Broome made examine Broome's life and work. After other models for that display, and he a catered lunch in the State Museum's was also a designer, modeler and galleries, the afternoon talks will ex- manufacturer of tiles in Trenton and amine Broome's famous Baseball Vase Brooklyn.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 001. Outstanding Double Stamped John Bell Sitting Molded Spaniel Dog W/ Collar & Chain, 8 ½” Tall
    Pa. OnSite Auction Saturday Nov. 17, 2018 Charles & Elizabeth Roby Auction Sale Catalog 001. Outstanding double stamped John Bell sitting molded Spaniel dog w/ collar & chain, 8 ½” tall. 002. Very good splint basket w/ green paint & wooden handle. 003. “White Utica” bulbous stoneware jug w/ blue decoration. 004. Blue & white granite coffee boiler. 005. Early oblong wooden trencher maintaining some original bark. 006. Signed “H.W. Hayden pat. Dec. 16, 1851 brass bucket. 007. Early iron grappling hook w/ loop top. 008. Cornucopia & eagle w/ shield dark green glass flask. 009. 1994 Book w/ dust cover: “The Pottery Of The Shenandoah Valley Region” by H.E. Comstock, signed “To Charles Roby Good Luck In Collecting J. Bell Pottery H.E. Comstock 11/10/95”. 010. Very good olive green glass nice form demijohn. 011. Early 3 legged iron hearth frypan w/ wrought iron handle. 012. “Wm. Radam’s Microbe Killer No. 1” stoneware jug. 013. Very good oak splint flower gathering basket w/ full wooden handle & rest stops on base. 014. Very good wooden dry measure w/ iron bands. 015. Large pair tailors scissors signed “R. Heinisch Inventor Newark N.J.” 016. Large green glass bottle “Clarke’s Vegetable Sherry Wine Bitters Sharon Mass.”\ 017. 4 pc. Kitchen Tool Set: wrought iron fork, brass spatula w/ wrought iron handle, brass bowl ladle & strainer both w/ wrought iron handles, all pcs. signed “F.B.S. Canton O. Pat. Jan 26, 1886”. 018. Sheet iron cow or goat bell. 019. Signed “J.T. 1978” wrought iron adjustable candle lamp. 020. 12 count candle mold.
    [Show full text]
  • 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.
    [Show full text]
  • Pekin Japan – a Pattern with a Long Run
    Pekin Japan – a Pattern with a Long Run By Connie Rogers n our work in the TCC Database, we cessful Ashworth firm continued Ifind that some patterns are short- from 1860-1968 when it was re- lived. Others were popular enough named ‘Mason’s Ironstone China that when the pottery that pro- Ltd.’ This paper will discuss and duced them went out of busi- illustrate some of the Pekin Ja- ness, another pottery bought pan pattern variations of the the copper plates and continued two firms that helped to keep the pattern for many years un- it popular for nearly a century. der different marks – and occa- Now, the name: Pekin Ja- sionally a new name. In the case pan. Where did that come of Pekin Japan, the pattern and from? Pekin surely relates to its name were found in a pattern the city of Peking in China. Ja- book, dated c. 1825-30 from the C. pan is a totally different country. J. Mason & Co. In Mason Porcelain Was this Mason’s way of choos- & Ironstone 1796-1853, the authors, ing a name for an Oriental land- Reginald Haggar & Elizabeth Adams, scape that was not directly copied illustrate a page from the pattern book Figure 1. from a Chinese Export pattern? By 1825- in Plate 101, and a 10 inch plate with 30 when this pattern came out, there were Pekin Japan, c. 1825-30 in Plate 102. The pat- thousands of pieces of Chinese Export tern was first produced by the Masons in an porcelain in Britain, and many of the pat- underglaze blue transfer print as seen here terns were known in general as “Chinese in Figure 1 with its mark (1a).
    [Show full text]
  • 9. Ceramic Arts
    Profile No.: 38 NIC Code: 23933 CEREMIC ARTS 1. INTRODUCTION: Ceramic art is art made from ceramic materials, including clay. It may take forms including art ware, tile, figurines, sculpture, and tableware. Ceramic art is one of the arts, particularly the visual arts. Of these, it is one of the plastic arts. While some ceramics are considered fine art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artifacts in archaeology. Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery".[1] In a one-person pottery studio, ceramists or potters produce studio pottery. Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made this way. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat. It excludes glass and mosaic made from glass tesserae. There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures. Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics. 2.
    [Show full text]
  • Part 5: Exploration & Excavation
    Marshall University Marshall Digital Scholar C.S.S. Alabama: An Illustrated History Library Special Collections Fall 10-11-2017 Part 5: Exploration & Excavation Jack L. Dickinson Marshall University, [email protected] Follow this and additional works at: http://mds.marshall.edu/css_al Part of the Military History Commons, and the United States History Commons Recommended Citation Dickinson, Jack L., "Part 5: Exploration & Excavation" (2017). C.S.S. Alabama: An Illustrated History. 4. http://mds.marshall.edu/css_al/4 This Article is brought to you for free and open access by the Library Special Collections at Marshall Digital Scholar. It has been accepted for inclusion in C.S.S. Alabama: An Illustrated History by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. CSS Alabama : An Illustrated History In Six Parts: You are here Part 1: Building of Ship 290 Part 2: Officers and Crew Part 3: Cruise of the Alabama Part 4: Battle with USS Kearsarge ---> Part 5: Exploration & Excavation Part 6: Miscellaneous and Bibliography (the Alabama Claims, poems, music, sword of Raphael Semmes) To read any of the other parts, return to the menu and select that part to be downloaded. Designed and Assembled by Jack L. Dickinson Marshall University Special Collections 2017 Investigation of the Confederate Commerce Raider CSS Alabama 2001 CSS Alabama Association P. O. Box 2744 Mobile, Alabama 36652-2744 Association CSS Alabama 34 Avenue de New York 75116 Paris Investigation of the Confederate Commerce Raider CSS Alabama 2001 Submitted to: Joint French American Scientific Committee for the CSS Alabama Submitted by: Gordon P.
    [Show full text]
  • Ford Ceramic Arts Columbus, Ohio
    The Journal of the American Art Pottery Association, v.14, n. 2, p. 12-14, 1998. © American Art Pottery Association. http://www.aapa.info/Home/tabid/120/Default.aspx http://www.aapa.info/Journal/tabid/56/Default.aspx ISSN: 1098-8920 Ford Ceramic Arts Columbus, Ohio By James L. Murphy For about five years during the late 1930s, the combination of inventive and artistic talent pro- vided by Walter D. Ford (1906-1988) and Paul V. Bogatay (1905-1972), gave life to Ford Ceramic Arts, Inc., a small and little-known Columbus, Ohio, firm specializing in ceramic art and design. The venture, at least in the beginning, was intimately associated with Ohio State University (OSU), from which Ford graduated in 1930 with a degree in Ceramic Engineering, and where Bogatay began his tenure as an instructor of design in 1934. In fact, the first plant, begun in 1936, was actually located on the OSU campus, at 319 West Tenth Avenue, now the site of Ohio State University’s School of Nursing. There two periodic kilns produced “decorated pottery and dinnerware, molded porcelain cameos, and advertising specialties.” Ford was president and ceramic engineer; Norman M. Sullivan, secretary, treasurer, and purchasing agent; Bogatay, art director. Subsequently, the company moved to 4591 North High Street, and Ford's brother, Byron E., became vice-president. Walter, or “Flivver” Ford, as he had been known since high school, was interested primarily in the engineering aspects of the venture, and it was several of his processes for producing photographic images in relief or intaglio on ceramics that distinguished the products of the company.
    [Show full text]
  • WHITE IRONSTONE NOTES VOLUME 3 No
    WHITE IRONSTONE NOTES VOLUME 3 No. 2 FALL 1996 By Bev & Ernie Dieringer three sons, probably Joseph, The famous architect Mies van was the master designer of the der Rohe said, “God is in the superb body shapes that won a details.” God must have been in prize at the Crystal Palace rare form in the guise of the Exhibition in 1851. master carver who designed the Jewett said in his 1883 book handles and finials for the The Ceramic Art of Great Mayer Brothers’ Classic Gothic Britain, “Joseph died prema- registered in 1847. On page 44 turely through excessive study in Wetherbee’s collector’s guide, and application of his art. He there is an overview of the and his brothers introduced Mayer’s Gothic. However, we many improvements in the man- are going to indulge ourselves ufacture of pottery, including a and perhaps explain in words stoneware of highly vitreous and pictures, why we lovingly quality. This stoneware was collect this shape. capable of whithstanding varia- On this page, photos show tions of temperature which details of handles on the under- occurred in the brewing of tea.” trays of three T. J. & J. Mayer For this profile we couldn’t soup tureens. Top: Classic find enough of any one T. J. & J. Octagon. Middle: Mayer’s Mayer body shape, so we chose Long Octagon. Bottom: Prize a group of four shapes, includ- Bloom. ing the two beautiful octagon Elijah Mayer, patriarch of a dinner set shapes, the Classic famous family of master potters, Gothic tea and bath sets and worked in the last quarter of the Prize Bloom.
    [Show full text]
  • Volume 18 (2011), Article 3
    Volume 18 (2011), Article 3 http://chinajapan.org/articles/18/3 Lim, Tai Wei “Re-centering Trade Periphery through Fired Clay: A Historiography of the Global Mapping of Japanese Trade Ceramics in the Premodern Global Trading Space” Sino-Japanese Studies 18 (2011), article 3. Abstract: A center-periphery system is one that is not static, but is constantly changing. It changes by virtue of technological developments, design innovations, shifting centers of economics and trade, developmental trajectories, and the historical sensitivities of cultural areas involved. To provide an empirical case study, this paper examines the material culture of Arita/Imari 有田/伊万里 trade ceramics in an effort to understand the dynamics of Japan’s regional and global position in the transition from periphery to the core of a global trading system. Sino-Japanese Studies http://chinajapan.org/articles/18/3 Re-centering Trade Periphery through Fired Clay: A Historiography of the Global Mapping of Japanese Trade Ceramics in the 1 Premodern Global Trading Space Lim Tai Wei 林大偉 Chinese University of Hong Kong Introduction Premodern global trade was first dominated by overland routes popularly characterized by the Silk Road, and its participants were mainly located in the vast Eurasian space of this global trading area. While there are many definitions of the Eurasian trading space that included the so-called Silk Road, some of the broadest definitions include the furthest ends of the premodern trading world. For example, Konuralp Ercilasun includes Japan in the broadest definition of the silk route at the farthest East Asian end.2 There are also differing interpretations of the term “Silk Road,” but most interpretations include both the overland as well as the maritime silk route.
    [Show full text]
  • Research on the Specific Application of Ethnic Elements in Dynamic Visual Communication Design Based on Intangible Cultural Heritage
    2019 7th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2019) Research on the Specific Application of Ethnic Elements in Dynamic Visual Communication Design Based on Intangible Cultural Heritage Ren Ruiyao Xi’an University, Shaanxi, Xi’an 710065, China Keywords: Intangible Cultural Heritage, Dynamic Visual Communication Design, National Element Abstract: from the Perspective of Inheritance and Protection of Intangible Cultural Heritage, by Widely Applying National Elements to the Field of Dynamic Visual Communication Design, Not Only Can Its Design Connotation Be Improved, But Also Be Conducive to the Transmission of Intangible Cultural Heritage. This Paper First Analyzes the Relationship between the Inheritance of Intangible Cultural Heritage and Dynamic Visual Communication Design, Then Discusses the Application Value of Ethnic Elements in Dynamic Visual Communication Design, and Finally Puts Forward Some Specific Application Countermeasures of Ethnic Elements. 1. Introduction Intangible cultural heritage is a valuable spiritual wealth left in the long history, which has a very high inheritance value. However, due to the lack of inheritance carrier and the change of social environment, many intangible cultural heritage is facing the crisis of loss. In view of this situation, by applying the representative ethnic elements to the popular dynamic visual communication design process, we can realize the innovation goal of inheritance carrier and give full play to the artistic and cultural value of intangible cultural heritage. 2. The Relationship between Intangible Cultural Heritage and Dynamic Visual Communication Design Dynamic visual communication design is a new form of artistic expression, which has a very wide range of audience and is loved by the public.
    [Show full text]
  • Ceramics at the First Baptist Church of America
    Ceramics at the First Baptist Church of America Chelsea Sokolow The First Baptist Church of America 75 North Main Street Providence, RI 02903 (401) 454-3418 The study of Ceramics is a valuable resource in historical archaeology. The examination of ceramic pieces can aid in dating a site, reveal information about trade and production, as well as provide insight into the social practices surrounding an archaeological site. The variations in style and material composition are linked the geographic origin, the production methods of ceramic artifacts, and are indicators of class status in a community. When a ceramic assemblage is created the first step is to identify the artifacts. The three main attributes from which ceramic pieces are identified consist of the paste, surface treatment, and decoration (in that order). The paste is the type of the clay from which the pieces is made. The surface treatment examines the manner in which the vessel has been covered or glazed. The decoration consists of the methods, motifs, designs, and colors used to decorate the piece. (FLMNH) In general, the quality of the ceramic is directly connected to the composition of the clay and the temperature at which it has been fired. As the availability of high-heat kilns and advanced technology grew during the 18th and 19th centuries, the presence of higher quality ceramics also increased. The higher the temperature at which a piece is fired the less porous it becomes, making it more functionally useful. Discovered at the First Baptist Church of America were various types of ceramics pieces including coarse earthenware, refined earthenware, stoneware, ironstone, and porcelain pieces.
    [Show full text]
  • Vidi Vici Gallery
    Vidi Vici Gallery June 19 Estate Auction Wednesday - June 19, 2019 June 19 Estate Auction 1: Lot of 4 Vintage Pocket Knives Kent Camillus Camco Keen USD 50 - 75 Lot of 4 Vintage Pocket Knives Kent Camillus Camco Keen KutterFolded from 3 5/8 inches long to 3 11/16 inches approximately. 1A: African Carved Figurine Pin Holder & Ebony Wood USD 50 - 75 African Carved Figurine Pin Holder & Ebony Wood Hairpins LotFrom 4 3/4 to 8 1/2 inches approximately, figurine is about 6 5/16 inches tall. 1B: Ronson Vintage Art Deco Cigarette Lighters Lot of 3 USD 50 - 75 Ronson Vintage Art Deco Cigarette Lighters Lot of 3 Approximately 2 inches tall. 1C: Jewelry Chest Wooden Box Shaped as a Dresser USD 45 - 55 Jewelry Chest Wooden Box Shaped as a DresserApproximately 12 x 6 3/8 x 7 13/16 inches tall. 2: Iridescent Glass Vintage Enameled Bowl USD 35 - 55 Iridescent Glass Vintage Enameled BowlApproximately 8 inches in diameter. 2A: Pair Iridescent Glass Martini & Green Frosted Glass Lot USD 35 - 55 Pair Iridescent Glass Martini & Green Frosted Glass Lot of 3Approximately 8 1/8 inches tall and 5 1/4 inches in diameter. Green frosted glass is about 7 7/8 inches tall x 4 9/16 in diameter. 2B: Fenton Carnival Plate & Iridescent Glass Basket Pierced USD 35 - 55 Fenton Carnival Plate & Iridescent Glass Basket Pierced Bowl Lot of 2Plate is approximately 8 1/4 inches in diameter; bowl is about 5 7/8 x 4 13/16 x 2 3/4 inches tall.
    [Show full text]