AMERICAN Ceramic Circle
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Passion for Porcelain: a Symposium in Honour of Meredith Chilton September 21 - 22, 2018
A Passion for Porcelain: A Symposium in Honour of Meredith Chilton September 21 - 22, 2018 Friday September 21 9 - 9:45 am Registration and light breakfast 9:45 - 10 am Welcome Remarks James Appleyard, Chair of the Board of Trustees, Gardiner Museum 10 - 10:45 am Flights of Imagination: Claudius Innocentius du Paquier and the Tastes of his Patrons Dr. Claudia Lehner-Jobst, Independent Art Historian and Curator, Vienna This year we celebrate the 300th anniversary of the founding of Claudius Innocentius Du Paquier's private porcelain manufactory. Based on newly discovered objects, this lecture explores the connections of early Vienna porcelain with the tastes of its noble patrons at a time when the city was absorbing a Baroque international style and developing its distinctive character in a uniquely playful manner. Dr. Claudia Lehner-Jobst will explore the artistic and social vibrancy of the imperial city around 1718 through the eyes of the modellers and painters of Du Paquier, who created works for the elite—confident members of the cultural avant-garde—as well as fulfilling imperial orders of diplomatic gifts which charmed the tastes of their recipients. 10:45 - 11:30 am Porcelaine à la mode: The Eighteenth-Century Collections of the Baden Princesses Sebastian Kuhn, Bonhams, London The ruling family of Baden in southwestern Germany boasted three notable porcelain collectors in the eighteenth century: the Margravines Sibylla Augusta of Baden-Baden (1675-1733), Magdalena Wilhelmine of Baden-Durlach (1677-1742), and Karoline Luise of Baden-Durlach (1723-83). Whereas the first two collections were displayed in a Northern European Baroque manner, Karoline Luise—who inherited the collections of her forebears—perceived porcelain through the lens of the Enlightenment and had a more scientific approach to collecting. -
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. -
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 -
Competing English, Spanish, and French Alabaster Trade in Europe Over Five Centuries As Evidenced by Isotope Fingerprinting
Competing English, Spanish, and French alabaster trade in Europe over five centuries as evidenced by isotope fingerprinting W. Kloppmanna,1, L. Lerouxb, P. Brombletc, P.-Y. Le Pogamd, A. H. Coopere,2, N. Worleyf,2, C. Guerrota, A. T. Montecha, A. M. Gallasa, and R. Aillaudg aBRGM (Bureau de Recherches Géologiques et Minières, French Geological Survey), 45060 Orléans, France; bCentre de Recherche sur la Conservation- Laboratoire de Recherche des Monuments Historiques (CRC-LRMH) USR3224, 77420 Champs-sur-Marne, France; cCentre Interdisciplinaire de Conservation et Restauration du Patrimoine (CICRP), Belle-de-Mai, 13003 Marseille, France; dDépartement des Sculptures, Musée du Louvre, 75058 Paris, France; eRetired from British Geological Survey, Keyworth, Nottingham, NG12 5GG, United Kingdom; fRetired from British Gypsum, Nottingham, NG16 AL, United Kingdom; and gLa Touche, 38220 Notre-Dame-de-Mésage, France Edited by Thure E. Cerling, University of Utah, Salt Lake City, UT, and approved September 20, 2017 (received for review May 5, 2017) A lack of written sources is a serious obstacle in the reconstruction of 1414 (10, 12). After the banning of religious representations, the medieval trade of art and art materials, and in the identification shiploads of alabaster artworks were sent to France (13). In of artists, workshop locations, and trade routes. We use the isotopes England, only a few sculptures escaped the plaster furnaces by of sulfur, oxygen, and strontium (S, O, Sr) present in gypsum being hidden and were retrieved centuries later (14). In contrast, alabaster to unambiguously link ancient European source quarries western and northern France was inundated with outlawed and areas to alabaster artworks produced over five centuries (12th– English artworks. -
The Arts and Crafts Movement: Exchanges Between Greece and Britain (1876-1930)
The Arts and Crafts Movement: exchanges between Greece and Britain (1876-1930) M.Phil thesis Mary Greensted University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Contents Introduction 1 1. The Arts and Crafts Movement: from Britain to continental 11 Europe 2. Arts and Crafts travels to Greece 27 3 Byzantine architecture and two British Arts and Crafts 45 architects in Greece 4. Byzantine influence in the architectural and design work 69 of Barnsley and Schultz 5. Collections of Greek embroideries in England and their 102 impact on the British Arts and Crafts Movement 6. Craft workshops in Greece, 1880-1930 125 Conclusion 146 Bibliography 153 Acknowledgements 162 The Arts and Crafts Movement: exchanges between Greece and Britain (1876-1930) Introduction As a museum curator I have been involved in research around the Arts and Crafts Movement for exhibitions and publications since 1976. I have become both aware of and interested in the links between the Movement and Greece and have relished the opportunity to research these in more depth. It has not been possible to undertake a complete survey of Arts and Crafts activity in Greece in this thesis due to both limitations of time and word constraints. -
Decorative Arts’
Beyond terminology, or, the limits of ‘decorative arts’ Deborah L. Krohn George Kubler invites the reader to imagine a unified approach to the study of things in the first lines of his classic The Shape of Time, published in 1962: ‘Let us suppose that the idea of art can be expanded to embrace the whole range of man- made things, including all tools and writing in addition to the useless, beautiful, and poetic things of the world.’1 Following Kubler’s suggestion, supposing, in this case, that all ‘man-made things’ fall under the category of art, then the distinction implied by the question, ‘What is the role of the decorative arts within art historical discourse?’ loses much of its force. I’d like to tweak this question, posed here by Christina Anderson and Catherine Futter, to read something like ‘Do the various perspectives on cultural artefacts generated within material culture studies make the historical distinction between decorative arts and fine arts obsolete or redundant?’2 I will look first at the history of the term ‘decorative arts’ and what it has come to mean as a field of academic study as well as a collecting area. I will then reflect on an exhibition that I co-organized at the Bard Graduate Center Gallery in 2013 as a case study in both the utility and limitations of the category of decorative arts in the current intellectual climate. At the heart of this discussion is a firm conviction that the exploration of the forms of cultural production that populate our environment must not be fragmented by arbitrary and ill-defined categories. -
Rings, Kings, Saints and Toads Protective and Healing Functions of Late Medieval Amulet Rings in England
Rings, Kings, Saints and Toads Protective and Healing Functions of Late Medieval Amulet Rings in England In 1441, Margaret Paston was expecting her first child. Anxiously, she wrote to her husband John in London: ‘I pray that you will wear the ring with the image of Saint Margaret that I sent you for a remembrance until you come home.’1 In asking her husband to wear a ring emblazoned with the patron saint of childbirth to support her in her time of need (e.g. Fig. 1), Margaret Paston was engaging with a culture of healing and devotion in late medieval England that was centred around the amuletic use of rings. (Fig. 1, a St Margaret ring which bears similarities to the Paston Ring, 15thc, British Museum, AF.910) This use of rings was part of a wider practice of employing jewellery as amulets in medicine. Pendants, brooches, bracelets, diadems, belts and hair pins were emblazoned with holy figures, sacred inscriptions and precious stones, all of which conveyed the wearer’s wealth and piety, but also afforded a variety of protective functions through expressing their devotion. Illness or misfortune was often linked to punishment and sin in the middle ages and adorning the body with holy words and images was considered an effective method of devotional healing. These accessories could provide a range of protections, such as shielding against plague, dampening fevers, staunching blood or even protecting from occult practices. However, to consider these amulets as simply products of folk beliefs and superstitions is to underestimate their position in late medieval medicine and devotion. -
Decorative Arts & Contemporary Ceramics
Decorative Arts & Contemporary Ceramics Contemporary Arts & Decorative I Montpelier Street, London I 13 November 2019 I Montpelier Street, 25323 Decorative Arts & Contemporary Ceramics Montpelier Street, London I 13 November 2019 Decorative Arts and Contemporary Ceramics Montpelier Street, London | Wednesday 13 November 2019, at 1pm BONHAMS BIDS ENQUIRIES FURNITURE & FURNISHINGS Montpelier Street +44 (0) 20 7447 7447 Mark Oliver Whilst we take every care in Knightsbridge +44 (0) 20 7447 7401 fax Tel:+44 (0) 20 7393 3856 cataloguing furniture which has London SW7 1HH [email protected] [email protected] been upholstered we offer no bonhams.com guarantee as to the originality of Please note that bids should Duane Kahlhamer the wood covered by fabric or VIEWING be submitted no later than 24 Tel: +44 (0) 20 7393 3860 upholstery. hours before the sale. New [email protected] Sunday 10 November bidders must also provide proof All furniture and furnishings 11am – 3pm of identity when submitting bids. Emily Mayson produced after 1 January 1950, Monday 11 November Failure to do this may result in Tel: +44 (0) 20 7393 3997 comprising an element of soft 9am – 4.30pm your bids not being processed. [email protected] furnishing, is strictly regulated Tuesday 12 November by statute law in the interests of 9am – 4.30pm Live online bidding is [email protected] safety. Such items in the sale Wednesday 13 November available for this sale were not originally supplied for 9am – 11am Please email [email protected] PRESS ENQUIRIES use in a private home or now with “Live bidding” in the subject offered solely as works of art. -
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. -
Ceramics Monthly Jan87 Cei01
2 Ceramics Monthly William C. Hunt........................................ Editor Ruth C. Butler.......................Associate Editor Valentina Rojo ...................... Assistant Editor Robert L. Creager...... .................. Art Director 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., 1609 Northwest Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year SI 8, 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; on line (computer) indexing is available through Wilsonline, 950 University Ave., Bronx, New York 10452. -
Department of Asian Art the Metropolitan Museum of Art
DEPARTMENT OF ASIAN ART THE METROPOLITAN MUSEUM OF ART On view March 2–5, 2017 Asian Art at 100: A History in Photographs http://www.metmuseum.org/exhibitions/listings/2015/asian-art-history-in-photographs Mike Hearn and Monika Bincsik Astor Forecourt, Gallery 209 Celebrating the Arts of Japan: The Mary Griggs Burke Collection http://www.metmuseum.org/exhibitions/listings/2015/celebrating-the-arts-of-japan John Carpenter Arts of Japan, The Sackler Wing Galleries, Galleries 223–231 From the Imperial Theater: Chinese Opera Costumes of the 18th and 19th Centuries http://www.metmuseum.org/exhibitions/listings/2016/from-the-imperial-theater Denise Leidy & Pengliang Lu Florence and Herbert Galleries for Chinese Decorative Arts, Gallery 220 Cinnabar: The Chinese Art of Carved Lacquer, 14th to 19th Century http://www.metmuseum.org/exhibitions/listings/2016/cinnabar Denise Leidy Florence and Herbert Galleries for Chinese Decorative Arts, Gallery 221 Colors of the Universe: Chinese Hardstone Carvings http://www.metmuseum.org/exhibitions/listings/2016/colors-of-the-universe Jason Sun Florence and Herbert Galleries for Chinese Decorative Arts, Gallery 222 Splendors in Korean Art http://www.metmuseum.org/exhibitions/listings/2016/splendors-of-korean-art Soyoung Lee Arts of Korea, Gallery 233 Show and Tell: Stories in Chinese Painting http://www.metmuseum.org/exhibitions/listings/2016/show-and-tell Shi-yee Liu Chinese Painting and Calligraphy, Galleries 210–216 Celebrating the Year of the Rooster http://www.metmuseum.org/exhibitions/listings/2017/year-of-the-rooster Gallery 207 An Artist of Her Time: Y.G. Srimati and the Indian Style John Guy South Asian Special Exhibition Gallery, Florence and Herbert Irving Galleries for the Arts of South and Southeast Asia, Gallery 251 . -
Ceramics and Its Dimensions Introduction
CERAMICS AND ITS DIMENSIONS INTRODUCTION Ceramics have always played a prominent role in the life of people in every European Country. Its products were items used on daily basis for decoration or representation; they were and are still present in private homes as well as public areas in towns and villages. Ceramics in Europe have been shaped by the strong interdependency in Europe’s cultural region, techniques and colours, as well as by being used in a historical-cultural context such as for eating and drinking, decoration or architecture. Ceramics connect people, but they also enable regional differences, such as traditions, life-styles, and social or economic behaviours to be expressed and therefore develop an indi- vidual identity. Thanks to its characteristics and design possibilities, ceramics plays an outstanding role in the lives of people and will continue to do so. The past few decades have changed both Europe and the world presenting new social and economic challenges. Over the course of globalisation, our lifestyles have changed and are now closer to each other than ever before. There is also a real cultural interchange which is also giving an impact on the design of European ceramic. This ambitious project will connect museums, architects, designers, industry, and stakeholders from different European countries to explore the material according to its cultural, historical, technical, and artistic aspects. The course of the project will be punctuated by a series of events: exhibitions, work- shops, symposiums in all partner countries to encourage knowledge in the field of ceramics and to develop an inter-cultural dialogue between European ceramics regions.