Swarovski and Austrian Cut Crystal Beads
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• Argarrtnlngi5t " T" Votu.17'Ie
'.. • argarrtnlngi5t " t" VotU.17'Ie. Tlvte..e... Nllmb(Vt Two 1990 f' . ' .' ,.:-----.-'._I!!(L1g~t_Q~.3h,.!?_c..~n);mJ..QlJ-_13.ea,d. 'Re!,>~~ • B E ADS N G HAN A (W EST A F RCA) PAR T I I' , TWO FAMOUS BEADS '. ,,\ , . ' .~ The Aggrey Bead (After ~arbot, 1732, plate 22) "adorned 'with go1d spe l1s and s lfps of the sacred tree" • " A Bodan Bead (Two Views) In this iSsue: . Through the Rve of a Needle: The Editor's Page, 2 . The Mvsterio1:.s Ag-g-rey Bead. 3 •The B~om Be~d ~'. : ". " , , • • . • • .' 8 The Uses of Beads , • • • . • • • • 9 References for the Issue. ,11 . THE CENTER', FOR BEAD RESEARCH 4. Essex Street. Lake P 1ac; d. N. Y. 12946. p~(Vt Fnan~, 14.. D~e..C~04, {51S} S23~1794 • ISSN 0892-1989 2 This issue ha:s a new look, as we have upgraded our desktop publ i'shing to give us nnre. efficient tools. The next issue wi 11 be even differ,ent as it will be written,on the new word processing system. I also now have a ,laptop computer so I can work on the road. Herein we complete the topiF of bea~s in West Africa begun in the last issue.. Because of interest in jthese beads .' we may follow up with a separate publfcation, but will have to s'ee if there is time to do that before the middle of 1992. As this is our tenth issue after five years, we have put caTIolete sets of the Margaretologist into binders for those missing many issues land 'bead . -
Ghana's Glass Beadmaking Arts in Transcultural Dialogues
Ghana’s Glass Beadmaking Arts in Transcultural Dialogues Suzanne Gott PHOTOS BY THE AUTHOR EXCEPT WHERE OTHERWISE NOTED hanaian powder-glass beads first captured spread of West African strip-weaving technologies. my attention in 1990, when closely examin- With the beginnings of European maritime trade in the late ing a strand of Asante waist beads purchased fifteenth century, an increasing volume of glass beads and glass in Kumasi’s Central Market. Looking at the goods were shipped to trade centers along present-day Ghana’s complex designs of different colored glasses, Gold Coast,1 stimulating the growth of local beadworking and I was struck with the realization that each powder-glass beadmaking industries. The flourishing coastal bead had been skillfully and painstakingly crafted. This seem- trade achieved a more direct engagement between European Gingly humble and largely unexamined art merited closer study merchants and trading communities than had been possible and greater understanding (Fig. 1). I worked with Christa Clarke, with the trans-Saharan trade, and enhanced European abilities Senior Curator for the Arts of Global Africa at the Newark to ascertain and respond to local West African consumer pref- Museum, to develop the 2008–2010 exhibition “Glass Beads of erences. This interactive trade environment also facilitated the Ghana” at the Newark Museum to introduce the general public impact of the demands of Gold Coast consumers on European to this largely overlooked art (Fig. 2). The following study pro- product design and production, a two-way dynamic similar to vides a more in-depth examination of Ghanaian glass beadmak- the trade in African-print textiles (Nielsen 1979; Steiner 1985). -
Mead Art Museum Andrew W. Mellon Faculty Seminar: Jan 15 and 16, 2015
Mead Art Museum Andrew W. Mellon Faculty Seminar: Jan 15 and 16, 2015 Looking at Glass through an Interdisciplinary Lens: Teaching and Learning with the Mead’s Collection Books: Bach, Hans and Norbert Neuroth, eds. The Properties of Optical Glass. Berlin: Springer-Verlag, 1995. Barr, Sheldon. Venetian Glass: Confections in Glass, 1855-1914. New York: Harry N. Abrams, 1998. Battie, David and Simon Cottle, eds. Sotheby's Concise Encyclopedia of Glass. London: Conran Octopus, 1991. Blaszczyk, Regina Lee. Imagining Consumers, Design and Innovation from Wedgwood to Corning. Baltimore: Johns Hopkins University Press, 2000. Bradbury, S. The Evolution of the Microscope. Oxford: Pergamon Press, 1967. Busch, Jason T., and Catherine L. Futter. Inventing the Modern World: Decorative Arts at the World’s Fairs, 1951-1939. New York, NY: Skira Rizzoli, 2012. Carboni, Stefano and Whitehouse, David. Glass of the Sultans. New York: Metropolitan Museum of Art; Corning, NY: The Corning Museum of Glass; Athens: Benaki Museum; New Haven and London: Yale University Press, 2001. Charleston, Robert J. Masterpieces of glass: a world history from the Corning Museum of Glass. 2nd ed.: New York, Harry N. Abrams, 1990. The Corning Museum of Glass. Innovations in Glass. Corning, New York: The Corning Museum of Glass, 1999. Lois Sherr Dubin. The History of Beads: from 30,000 B.C. to the present. London: Thames & Hudson, 2006. Fleming, Stuart. Roman Glass: Reflections of Everyday Life. Philadelphia: University of Pennsylvania Museum, 1997. ----Roman Glass: Reflections on Cultural Change. Philadelphia: University of Pennsylvania Museum of Archaeology and Anthropology, 1999. 1 Frelinghuysen, Alice Cooney. Louis Comfort Tiffany at the Metropolitan Museum. -
Imitation Amber Beads of Phenolic Resin from the African Trade
IMITATION AMBER BEADS OF PHENOLIC RESIN FROM THE AFRICAN TRADE Rosanna Falabella Examination of contemporary beads with African provenance reveals large quantities of imitation amber beads made of phenol- formaldehyde thermosetting resins (PFs). This article delves into the early industrial history of PFs and their use in the production of imitation amber and bead materials. Attempts to discover actual sources that manufactured imitation amber beads for export to Africa and the time frame have not been very fruitful. While evidence exists that PFs were widely used as amber substitutes within Europe, only a few post-WWII references explicitly report the export of imitation amber PF beads to Africa. However they arrived in Africa, the durability of PF beads gave African beadworkers aesthetic freedom not only to rework the original beads into a variety of shapes and sizes, and impart decorative elements, but also to apply heat treatment to modify colors. Some relatively simple tests to distinguish PFs from other bead materials are presented. Figure 1. Beads of phenol-formaldehyde thermosetting resins INTRODUCTION (PFs) from the African trade. The large bead at bottom center is 52.9 mm in diameter (metric scale) (all images by the author unless otherwise noted). Strands of machined and polished amber-yellow beads, from small to very large (Figure 1), are found today in the He reports that other shapes, such as barrel and spherical stalls of many African bead sellers as well as in on-line (Figure 2), were imported as well, but the short oblates stores and auction sites. They are usually called “African are the most common. -
Gooseberry Beads
'. Journal 01 the Center lor Bead Research Volume 7 Number 1 1994 1 5 YEARS OF SERVICE The Center for Bead Research is an outgrowth of the Bead Research Bureau, founded in 1979 with lapis Route Books and Cornerless Cube. A permanent location was planned in 1984 and operating the next year with a library, study collections. a print shop and ,a photo studio in place. The first issue of the Mmgareto/ogist was published in the same year. We have grown into an internationally recognized institution. Scholars and bead lovers from around the world avail themselves of our facilities. We have an expanding program of publications. lectures and workshops and co-sponsor Bead Expos and the Horace C. Beck Fund. Much of this is due to the backing of our Members, Patrons and Supporters. We thank you deeply. This issue. full of recent work done here at the Center, is dedicated to you. r'-'-'-'-'-'-'-'-'-'~ i For Puzzlers: i ! Howmany i lbe~ds of what i i kinds were ! • · I I used to make ! i the Birthday I I Cake? ! :• Answer on !I i p.14. 1 1_._._.-· ....._._._._._.:I THE BEAD SAMPLE Eye of the Needle/Calendar..... 2 CARD PROJECT Bead Sample Card Project ....3 Gooseberry Beads .... 5 :::·;.:::i·::"~,::.:::·., More on South India Stone Beadmaking ., .. 7 ;;; ~ F~; ~: :-:.:. First Horace C. Beck: Grant .... 8 limi Kola· Our First Intern .... 9 New Beadmakers .... 10 Bead Alert .. , . 10, GOOSEBERRIES, Short Notes .... 11 GOOSEBERRY BEADS Sources .... 12 & THE SLAVE TRADE Advertising and Announcements. , .. 13/14 The MARGARETOLOGIST ia published twice • year with the moat CUlTent inform&tion on bead reaearch, primarily our own. -
Glass and Glass-Ceramics
Chapter 3 Sintering and Microstructure of Ceramics 3.1. Sintering and microstructure of ceramics We saw in Chapter 1 that sintering is at the heart of ceramic processes. However, as sintering takes place only in the last of the three main stages of the process (powders o forming o heat treatments), one might be surprised to see that the place devoted to it in written works is much greater than that devoted to powder preparation and forming stages. This is perhaps because sintering involves scientific considerations more directly, whereas the other two stages often stress more technical observations M in the best possible meaning of the term, but with manufacturing secrets and industrial property aspects that are not compatible with the dissemination of knowledge. However, there is more: being the last of the three stages M even though it may be followed by various finishing treatments (rectification, decoration, deposit of surfacing coatings, etc.) M sintering often reveals defects caused during the preceding stages, which are generally optimized with respect to sintering, which perfects them M for example, the granularity of the powders directly impacts on the densification and grain growth, so therefore the success of the powder treatment is validated by the performances of the sintered part. Sintering allows the consolidation M the non-cohesive granular medium becomes a cohesive material M whilst organizing the microstructure (size and shape of the grains, rate and nature of the porosity, etc.). However, the microstructure determines to a large extent the performances of the material: all the more reason why sintering Chapter written by Philippe BOCH and Anne LERICHE. -
Book Reviews and End Matter
BEADS: Journal of the Society of Bead Researchers Volume 1 Volume 1 (1989) Article 10 1989 Book Reviews and End Matter Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation (1989). "Book Reviews and End Matter." BEADS: Journal of the Society of Bead Researchers 1: 95-101. Available at: https://surface.syr.edu/beads/vol1/iss1/10 This End Matter is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. BOOK REVIEWS The History of Beads from 30,000 B.C. to the It is to be hoped that the _degree of completeness Present. represented in the map of North America is not indi cative of the completeness of the other maps. Only Lois Sherr Dubin. Harry N. Abrams, New those tribes or archaeological cultures mentioned in York, 1987. 346 pp., 130 figs., 248 color figs. the text are included, thus the Chumash represent the $60.00. California Culture Area, the Yakima represent the Plateau, and the Haida represent the Probably the most important line in this work is Northwest Coast. We are told in the caption that on the title page: "Original Photography by Togashi." italics represent prehis toric cultures, yet three of the four This will be the final word in coffee-table books on listed are the three traditional Southwest cultures the subject of beads. -
Zemanek 100313.Pdf
60. Tribal Art (167. Auktion) Zemanek-Münster Würzburg Samstag, 13. März 2010 Saturday, 13th March 2010 Vorbesichtigung Preview Mittwoch, 10. März bis Freitag, 12. März 2010 Wednesday, 10th March to Friday, 12th March 2010 10.00 bis 19.00 Uhr 10 am to 7 pm und and Samstag, 13. März 2010 – 9.00 bis 13.30 Uhr Saturday, 13th March 2010 – 9 am to 1.30 pm © Zemanek-Münster Katalogbearbeitung Auktion Auction 97070 Würzburg Petra Felder, M.A. Kunstgeschichte Hörleingasse 3 - 5 / Schildhof 2 Sabine Reis, M.A. Kunstgeschichte Würzburg, Auktionshaus Würzburg, Auction House Tel. +49 9 31 1 77 21 Nadine Waldmann, M.A. Kunstgeschichte Samstag, 13. März 2010, 14.00 Uhr Saturday, 13th March 2010, 2 pm Fax. +49 9 31 1 77 36 David Zemanek, Master Ethnologie [email protected] www.tribal-art-auktion.de Redaktion / Editor: Petra Felder M.A. Ansprechpartner für Afrika Hinweis nächste Auktion Be advised next auction Ernst Zemanek, Auktionator Fotos: Eye-D Photodesign, Nürnberg David Zemanek, Master Ethnologie Unsere 61. Tribal-Art-Auktion findet statt Our 61st Tribal Art Auction will take place Satz und Layout: Radke & Selke, Würzburg am 10. Juli 2010. on 10th July 2010. Print: Schefenacker, Deizisau Für unsere Tribal Art Auktionen nehmen wir gerne We are looking for collections and quality single Umschlag/cover: lot 258, lot 353 Sammlungen und qualitätsvolle Einzelobjekte an. items for future tribal art auctions. – 4 – – 5 – Inhalt / Content [lot] Philippinen / Philippines ...................................1 Burkina Faso / Burkina Faso ......................78-94 Indonesien / Indonesia ...................................2-9 Elfenbeinküste / Ivory Coast ...................395-138 Ozeanien / Oceania .........................................10 Ghana / Ghana ....................................... -
Inorganic Glasses Third Edition
Fundamentals of Inorganic Glasses Third Edition ARUN K. VARSHNEYA Saxon Glass Technologies Inc. and Alfred University, Alfred, New York JOHN C. MAURO The Pennsylvania State University, University Park, Pennsylvania Contents Preface xv Acknowledgments xvi i 1. Introduction 1 1.1 Brief history 1 1.2 Glass families of interest 2 1.3 Vitreous silica 2 1.4 Soda lime silicate glass 5 1.5 Borosilicate glass 5 1.6 Lead silicate glass 6 1.7 Aluminosilicate glass 6 1.8 Bioactive glasses 6 1.9 Other silica-based oxide glasses 7 1.10 Other nonsilica-based oxide glasses 7 1.11 Halide glasses 7 1.12 Amorphous semiconductors 8 1.13 Chalcogenide and chalcohalide glasses 9 1.14 Metallic glasses 10 1.15 Glass-like carbon 11 1.16 Mixed anion glasses 11 1.17 Metal-organic framework glasses 12 1.18 A brief note on glasses found in nature 12 1.19 Glass greats Antonio Neri and Norbert J Kreidl 14 Summary 16 Online resources 17 Exercise 17 References 17 2. Fundamentals of the glassy state 19 2.1 What is glass7 19 2.2 The V-T diagram 20 2.3 Pair correlation function and RDF 23 2.4 Anomalies in the V-T diagram 29 2.5 Revisiting the definition of glass and its distinction from an amorphous solid and a liquid 30 2.6 Glass greats A R Cooper, Jr 32 VII vin Contents Summary 33 Online resources 34 Exercises 34 References 35 3. Glass formation principles 37 3.1 Structural theories of glass formation 37 3.2 Russian workers' criticism of Zachariasen's hypothesis 46 3.3 The kinetic theory of glass formation 49 3.4 Beyond classical nucleation theory 65 3.5 Glass greats WH Zachariasen and E A Porai-Koshits 65 Summary 67 Exercises 68 References 69 4. -
City of Light: the Story of Fiber Optics
City of Light: The Story of Fiber Optics JEFF HECHT OXFORD UNIVERSITY PRESS City of Light THE SLOAN TECHNOLOGY SERIES Dark Sun: The Making of the Hydrogen Bomb Richard Rhodes Dream Reaper: The Story of an Old-Fashioned Inventor in the High-Stakes World of Modern Agriculture Craig Canine Turbulent Skies: The History of Commercial Aviation Thomas A. Heppenheimer Tube: The Invention of Television David E. Fisher and Marshall Jon Fisher The Invention that Changed the World: How a Small Group of Radar Pioneers Won the Second World War and Launched a Technological Revolution Robert Buderi Computer: A History of the Information Machine Martin Campbell-Kelly and William Aspray Naked to the Bone: Medical Imaging in the Twentieth Century Bettyann Kevles A Commotion in the Blood: A Century of Using the Immune System to Battle Cancer and Other Diseases Stephen S. Hall Beyond Engineering: How Society Shapes Technology Robert Pool The One Best Way: Frederick Winslow Taylor and the Enigma of Efficiency Robert Kanigel Crystal Fire: The Birth of the Information Age Michael Riordan and Lillian Hoddesen Insisting on the Impossible: The Life of Edwin Land, Inventor of Instant Photography Victor McElheny City of Light: The Story of Fiber Optics Jeff Hecht Visions of Technology: A Century of Provocative Readings edited by Richard Rhodes Last Big Cookie Gary Dorsey (forthcoming) City of Light The Story of Fiber Optics JEFF HECHT 1 3 Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Sa˜o Paulo Shanghai Taipei Tokyo Toronto Copyright ᭧ 1999 by Jeff Hecht Published by Oxford University Press, Inc. -
Marco Verità* Secrets and Innovations of Venetian Glass Between The
Marco Verità* SECRETS AND INNOVATIONS OF VENETIAN GLASS BETWEEN THE 15TH AND THE 17TH CENTURIES: RAW MATERIALS, GLASS MELTING AND ARTEFACTS From the fifteenth to the end of the seventeenth century,V enice has been the world leader in glassmaking. Murano’s primacy was due to the extraordinary quality of its glass (homogeneity, transparency, palette of colours, etc.), the style of Venetian glassware, the skill of glassmasters and the wide range of products. This supremacy could be reached and maintained thanks to the fact that glassmaking in Venice has always been a dynamic craft. Since its beginnings it underwent radical changes and incorporated many innovations along the centuries. The oldest extant document attesting a production of glassware in Venice is a manuscript dating to 982 A.D.; nevertheless archaeological evidence of glassworking since the 7-8th centuries was found in the island of Torcello in the Venetian lagoon. Since the origins the Venetian glass was (and is still today) of the soda-lime-silica type, that is mainly composed of sodium (Na2O), 1 calcium (CaO) and silicon (SiO2) oxides . The reluctance ofV enetian glassmakers to change the composition of their glass is rather complex to explain. Any glass represents a combination of properties: thermal (viscosity, workability), optical (colour, transparency), chemical (resistance to environmental attack, …), etc., which cannot be modified separately and vary by changing the composition of glass (type and ratios of the components). * Laboratorio Analisi Materiali Antichi LAMA, Sistema dei Laboratori, IUAV University, Venice, Italy. 1 Other types of glass were created and manufactured in Venice, such as lead silica glass for the production of imitation gemstones, not discussed in this paper. -
2 Image Caption Title –
Image Caption Title – Cum sociis natoque penatibus et magnis dis parturient montes, nas scetur ridiculus mus. 2 Sponsors & Colophon – First published in Great Britain in 2013 by London College of Fashion, University of the Arts London, 20 John Prince’s Street, London W1G 0BJ, United Kingdom ISBN 978-1-903455-29-6 © London College of Fashion Authors: James Putnam, Adriano Berengo, Suzanne Higgott, David Toop Design: Freytag Anderson All rights reserved. No part of this publication may be reproduced in any form or by any means without the permission of the publishers. Contents Contents – – 7 — 8 23 — 28 Foreword White Light | White Heat Professor Frances Corner OBE James Putnam Pro Vice-Chancellor Co-Curator Glasstress: University of the Arts London & White Light | White Heat Head of London College of Fashion 31 — 40 9 — 1 4 Historic Venetian Glass The Quantum Leap of Glass Suzanne Higgott Adriano Berengo Curator of Glass, Limoges Painted Director Berengo Studio Murano, Enamels and Earthenwares Venice & Co-Curator Glasstress: The Wallace Collection White Light | White Heat 43 — 174 17 — 20 Artists Is Glass Silent? David Toop 175 UAL Alumni Foreword Frances Corner OBE – – Professor Frances Corner OBE Pro Vice-Chancellor University of the Arts London & Head of London College of Fashion White Light | White Heat is a development of exquisite glass collection and the cutting edge envi- Glasstress, conceived by Adriano Berengo, President ronment of London College of Fashion where tradi- of Berengo Glass Studio and Venice Projects, in 2009. tional notions of fashion are challenged every day. This new exhibition is a dramatic expansion of the The exhibition had its opening at the magnificent original Glasstress concept to include London Palazzo Franchetti as part of the 55th Venice College of Fashion (LCF), University of the Arts Biennale with a selection of work being restaged in London and t he Wallace Collection working in col- London at the Fashion Space Gallery at LCF as well laboration with Berengo Glass Studio.