Majolica Matters Majolicasociety.Com February 2021
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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. -
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. -
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). -
Art 198 Supplemental Reading List
Art 198 Supplemental Reading List http://seco.glendale.edu/ceramics/198readinglist.html ART 198 HISTORY OF WORLD CERAMICS SUPPLEMENTAL READING LIST General Reference: -10,000 Years of Pottery, Emmanuel Cooper, 4th Edition, 2000, University of Pennsylvania Press, Philadelphia, PA -World Ceramics, An Illustrated History, edited by Robert J. Charleston, 1976, Chartwell Books, Seacaucus, NJ -World Ceramics, From Prehistory to Modern Times, by Hugo and Marjorie Munsterberg, 1998, Penguin Putnam Publishers, NY -Techniques of the World's Great Masters of Pottery and Ceramics, by Hugo Morley-Fletcher, 1984, Chartwell Books, Seacaucus, NJ -Ceramics of the World, From 4000 BC to the Present, Lorenzo Camusso and Sandra Bortone, editors, 1992, Harry N. Abrams, publisher, New York -Pottery in the Making: World Ceramic Traditions, edited by Jan Freestone and David Gaimster, 1997, Smithsonian Institution Press, Washington, D. C. -Art History, Marilyn Stokstad, 1995, Prentice Hall, Inc., Upper Saddle River, NJ -Art Through the Ages, Horst de la Croix and Richard C. Tinsley, Harcourt, Brace and World, Inc., NY -The Craft and Art of Clay, by Susan Peterson, 3rd edition, 1999, Prentice-Hall, New York -Ceramics, A Potter's Handbook, 6th Edition, 2000, by Glenn Nelson, Holt, Rinehart and Winston, NY -Clay and Glazes for the Potter, by Daniel Rhodes, Chilton Books The Ancient World: -The Emergence of Pottery, Technology and Innovation in Ancient 1 of 6 2/8/2009 4:10 PM Art 198 Supplemental Reading List http://seco.glendale.edu/ceramics/198readinglist.html Societies, by William K.Barnett and John W. Hoopes, 1995, Simthsonian Institution Press, 1995, Washington, DC -Cycladic Art: The N. -
2019-2020 Year in Review
Table of Contents 3 Director’s Welcome 7 Objects in Space: A Conversation with Barry Bergdoll and Charlotte Vignon 17 Glorious Excess: Dr. Susan Weber on Victorian Majolica 23 Object Lessons: Inside the Lab for Teen Thinkers 33 Teaching 43 Faculty Year in Review 50 Internships, Admissions, and Student Travel and Research 55 Research and Exhibitions 69 Gallery 82 Publications 83 Digital Media Lab 85 Library 87 Public Programs 97 Fundraising and Special Events Eileen Gray. Transat chair owned by the Maharaja of Indore, from the Manik Bagh Palace, 1930. Lacquered wood, nickel-plated brass, leather, canvas. Private collection. Copyright 2014 Phillips Auctioneers LLC. All Rights Reserved. Director’s Welcome For me, Bard Graduate Center’s Quarter-Century Celebration this year was, at its heart, a tribute to our alumni. From our first, astonishing incoming class to our most recent one (which, in a first for BGC, I met over Zoom), our students are what I am most proud of. That first class put their trust in a fledgling institution that burst upon the academic art world to rectify an as-yet-undiagnosed need for a place to train the next generation of professional students of objects. Those beginning their journey this fall now put their trust in an established leader who they expect will prepare them to join a vital field of study, whether in the university, museum, or market. What a difference a generation makes! I am also intensely proud of how seriously BGC takes its obligation to develop next-generation scholarship in decorative arts, design his- tory, and material culture. -
CERAMICS MONTHLY a Letter from the Editor
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Pêcheurs, Pâturages, Et Petit Jardins: a Nineteenth-Century Gardien Homestead in the Petit Nord, Newfoundland
NOTE TO USERS This reproduction is the best copy available. UMI* Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57435-5 Our file Notre reference ISBN: 978-0-494-57435-5 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. -
Material Culture from the Wilson Farm Tenancy: Artifact Analysis
AT THE ROAD’S EDGE: FINAL ARCHAEOLOGICAL INVESTIGATIONS OF THE WILSON FARM TENANCY SITE 7 Material Culture from the Wilson Farm Tenancy: Artifact Analysis LABORATORY AND ANALYTICAL METHODS The URS laboratory in Burlington, New Jersey, processed the artifacts recovered from Site 7NC- F-94. All artifacts were initially cleaned, labeled, and bagged (throughout, technicians maintained the excavation provenience integrity of each artifact). Stable artifacts were washed in water with Orvis soap using a soft bristle brush, then air-dried; in some cases, on an individual basis, artifacts deemed too delicate to wash were dry brushed—this is often the case with badly deteriorated iron and bone objects considered noteworthy. Technicians then labeled items such as prehistoric lithics, historic ceramics, bone, glass, and some metal artifacts. Labeling was conducted using an acid free, conservation grade, .25mm Staedtler marking pen applied over a base coat of Acyloid B72 resin; once the ink dried, the label was sealed with a second layer of Acyloid B72. The information marked on the artifacts consisted of the provenience catalog number. Once the artifacts were processed, they were then inventoried in a Microsoft Access database. The artifacts were sorted according to functional groups and material composition in this inventory. Separate analyses were conducted on the artifacts and inventory data to answer site spatial and temporal questions. Outside consultants analyzed the floral and faunal materials. URS conducted soil flotation. In order to examine the spatial distributions of artifacts in the plowzone, we entered the data for certain artifact types into the Surfer 8.06.39 contouring and surface-mapping program. -
Ceramics Monthly Jun90 Cei069
William C. Hunt........................................Editor Ruth C. Buder.......................... Associate Editor Robert L. Creager........................... Art Director Kim Schomburg....................Editorial Assistant Mary Rushley................... Circulation Manager Mary E. Beaver.................Circulation Assistant Jayne Lx>hr.......................Circulation Assistant Connie Belcher.................Advertising Manager Spencer L. Davis.................................Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio43212 (614) 488-8236 FAX (614) 488-4561 Ceramics Monthly (ISSN 0009-0328) is pub lished monthly except July and August by Professional Publications, Inc., 1609 North west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks advance notice. Send both the magazine address label and your new ad dress to: Ceramics Monthly, Circulation Of fices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (including 35mm slides), graphic illustra tions, announcements and news releases about ceramics are welcome and will be considered for publication. A booklet de scribing standards and procedures for the preparation and submission of a manu script is available upon request. Mail sub missions to: The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Infor mation may also be sent by fax: (614) 488- 4561; or submitted on 3.5-inch microdisk- ettes readable with an Apple Macintosh™ computer system. Indexing: An index of each year’s articles appears in the December issue. Addition ally, articles in each issue ofCeramics Monthly are indexed in the Art Index; on-line (com puter) indexing is available through Wilson- line, 950 University Avenue, Bronx, New York 10452. -
Bernard Palissy De La Nature À L’Art
Bernard Palissy de la nature à l’art DOSSIER ENSEIGNANT Sommaire Plan du muséum p.3 Introduction p.5 Découverte de la vie et de l’œuvre de p.6 Bernard Palissy à travers les collections des musées municipaux rochelais Ressources bibliographiques p.8 1.Ouvrages de Bernard Palissy p.8 2.Ouvrages sur Bernard Palissy p.8 3.Articles et dossiers pédagogiques p.9 Vie et oeuvre de Bernard Palissy p.10 Informations pratiques p.12 Plan du muséum 3 1. Le muséum de La 3. Les oiseaux, seigneurs des Rochelle 2. Les marais littoraux marais 4. Le marais, un terri- toire menacé 5. le cabinet Lafaille 6. Les fossiles des 7. Les fossiles témoins des rivages disparus mers primaires 8. Cristaux et minéraux 10. Faune de la côte 11. Les campagnes 9. La galerie de zoologie aux abysses océanographiques 12. Mollusques et envi- 13. Le cabinet de des- 14. Voyageurs naturalistes ronnements tropicaux sins du muséum charentais 15. Découverte des voyageurs naturalistes 16. Dernière grande charentais (panneau 5) expédition scientifique 17. Etienne Loppé, 18. Après les explorations 19. Les étapes du une vision du monde scientifiques regard occidental 20. La préhistoire et la 21. la métallurgie afri- 22. Parures et signes protohistoire africaine caine de l’ordre social 23. Arts décoratifs ex- tra-européens 24. Les arts musicaux 26. un médiateur, 25. interpréter la nature 25. interpréter la nature le chaman aux Amériques 4 Introduction Ce dossier pédagogique a été réalisé par Claudine Labasse, professeure d’Histoire/ Géographie détachée au Service pédagogique du Muséum de La Rochelle. Il est destiné aux enseignants du Primaire et du Secondaire qui souhaitent faire découvrir Bernard Palissy à leurs élèves. -
Antiques-February-1990-Victorian-Majolica.Pdf
if It1ud!!&/ ';"(* ./J1!11L. /,0t£~ltldtiJlR~~~rf;t;t r{/'~dff;z, f!71/#/~i' 4 . !(Jf~f{ltiJ(/dwc.e. dJ /¥ C\-Cit!Ja? /Hc a4 ~- t1 . I. le/. {./ ,...."".. //,; J.(f)':J{"&Tf ,4.~'.£1//,/1;"~._L~ • ~. ~~f tn.~! .....•. ... PL IL Baseball and Soccer pitcher made by Griffen, Smith and Company, PllOeni;'Cville,Pennsylvania. c.1884. Impressed "GSH "in nlOnogram on the bottom. Height 8 inches. The Wedgwood pattern book illustration of the same design is shown in PL Ila. Karmason/Stacke collection; White photograph. PL /la. Design from one of the pattern books of Josiah Wedgwood and Sons, Barlaston, Stoke-on-Trent, England. Wedgwood Museum, Barlaston, Stoke-on-Trent, England. and Company, Josiah Wedgwood and Sons, and majolica.! New designs for majolica ceased to be made George Jones and Sons. From these books one be• in the early 1890's, and production of majolica ceased comes familiar with the style of the maker and comes early in this century. to appreciate the deliberate choice of details that gives The Minton shape books are valuable not only be• each piece its unity. cause they help date the first production of a piece but By 1836 Herbert Minton (1792- 1858) had succeed• also because they show the development of the eclectic ed his father, Thomas (1765-1836), the founder of the and revivalist styles used by Minton artists. The earli• prestigious Minton firm. In 1848 Joseph Leon Fran• est style used by the firm was inspired by Renaissance ~ois Arnoux (1816-1902) became Minton's art direc• majolica wares.Z Large cache pots, urns, and platters tor, chief chemist, and Herbert Minton's close col• were decorated with flower festoons, oak leaves, car• league. -
James Lovera – (1920 - )
JAMES LOVERA – (1920 - ) California native James Lovera received his education, pursued his studio career, and taught for nearly 40 years in northern California during a time of great transition and upheaval in ceramic arts. He worked with and learned from some of the legends of American ceramics and witnessed the Voulkos revolution that was to so change the course of the field of ceramics. Throughout Lovera followed his own path, focusing on color and design and making exquisite forms with equally exquisite glazing – “playing with fire” by pushing glaze experimentation to the edge. Influenced by Asian porcelain traditions and 20th century Modernism, his work copies neither but instead reflects his reverence for simplicity and a dedication to the vessel as a canvas for his art. ARTIST’S STATEMENT – JAMES LOVERA “True art is expressed through intellectual and visual awareness, honest inner discipline and spiritual insight. Craft becomes a true art form when its elements speak the universal language of the spirit. When an object is broken down into its basic elements and still leaves its observer in awe, the underlying principles are at one with the universe. The unknown is the element of the individual; the mystery, the uniqueness of the being.”1 1. Quoted in: Paul F. Dauer. “James Lovera’s Holistic World.” Ceramics (Sydney, Australia) no. 60 (2005). RESUME – JAMES LOVERA 1920 Born, San Lorenzo, CA (now Hayward, CA) 1938-1942 California School of Fine Arts, San Francisco, CA (now San Francisco Art Institute) 1942 Studio artist University of California, Berkeley, CA 1945-1948 Specialist, California Pottery Company, Niles Canyon, CA (now Fremont, CA) 1948-1986 Professor, San Jose State University, San Jose, CA 1986 Professor Emeritus, San Jose State University, San Jose, CA 1986-present Studio artist BIOGRAPHY – JAMES LOVERA James Lovera is a product of his northern California roots.