Ceramics Pairs & Their Values
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'A Mind to Copy': Inspired by Meissen
‘A Mind to Copy’: Inspired by Meissen Anton Gabszewicz Independent Ceramic Historian, London Figure 1. Sir Charles Hanbury Williams by John Giles Eccardt. 1746 (National Portrait Gallery, London.) 20 he association between Nicholas Sprimont, part owner of the Chelsea Porcelain Manufactory, Sir Everard Fawkener, private sec- retary to William Augustus, Duke of Cumberland, the second son of King George II, and Sir Charles Hanbury Williams, diplomat and Tsometime British Envoy to the Saxon Court at Dresden was one that had far-reaching effects on the development and history of the ceramic industry in England. The well-known and oft cited letter of 9th June 1751 from Han- bury Williams (fig. 1) to his friend Henry Fox at Holland House, Kensington, where his china was stored, sets the scene. Fawkener had asked Hanbury Williams ‘…to send over models for different Pieces from hence, in order to furnish the Undertakers with good designs... But I thought it better and cheaper for the manufacturers to give them leave to take away any of my china from Holland House, and to copy what they like.’ Thus allowing Fawkener ‘… and anybody He brings with him, to see my China & to take away such pieces as they have a mind to Copy.’ The result of this exchange of correspondence and Hanbury Williams’ generous offer led to an almost instant influx of Meissen designs at Chelsea, a tremendous impetus to the nascent porcelain industry that was to influ- ence the course of events across the industry in England. Just in taking a ca- sual look through the products of most English porcelain factories during Figure 2. -
Views of a Porcelain 15
THE INFLUENCE OF GLASS TECHNOLOGY vessels nor to ceramic figurines, but to beads made in imitation of imported glass.10 The original models were ON CHINESE CERAMICS eye-beads of a style produced at numerous sites around the Mediterranean, in Central Asia and also in southern Russia, and current in the Near East since about 1500 Nigel Wood BC.11 A few polychrome glass beads found their way to Research Laboratory for Archaeology and the History of Art, University of Oxford. China in the later Bronze Age, including one example excavated from a Spring and Autumn period (770-476 BC) site in Henan province.12 This particular blue and ONE OF THE MOST IMPORTANT AND ENDURING DIFFER- white eye bead was of a style current in the eastern ences between the ceramics of China and the Near East Mediterranean in the 6th to 3rd century BC and proved lies in the role that glass has played in the establishment to have been coloured by such sophisticated, but of their respective ceramic traditions. In the ceramics of typically Near Eastern, chromophores as calcium- Mesopotamia, Persia, Egypt, and Syria glass technology antimonate-white, cobalt-blue and a copper-turquoise, proved vital for the development of glazed ceramics. while its glass was of the soda-lime type, common in 13 Figure 2. Earthenware jar with weathered glazes. Warring States Following the appearance of glazed stone-based the ancient world. period. Probably 3rd century BC (height: 9.5 cm). The British ceramics in the fourth millennium BC, the first glazes These ‘western’ beads would have been wonders in Museum. -
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. -
European Art & Decorative Arts Wall Text and Extended Labels
European Art & Decorative Arts Wall Text and Extended Labels FIRST FLOOR The Morgan Memorial The construction of the Morgan Memorial, completed in two sections in 1910 and 1915, more than doubled the size of the original Wadsworth Atheneum that opened in 1844. The building is dedicated to Junius Spencer Morgan, whose bust by William Wetmore Story stands at the top of the western stairs. Morgan was a Hartford man who founded a banking empire, and his son, J. Pierpont Morgan, chose to build the museum’s new wing as a tribute to his father. The total cost of the Memorial—over $1,400,000—represents the largest of J. Pierpont Morgan’s generous gifts. He spent over twelve years purchasing the several properties on which the Memorial stands, and was involved in its construction until his death in 1913. Benjamin Wistar Morris, a noted New York architect, was selected to design what was to be a new home for the Wadsworth Atheneum’s art collection. It was built in the grand English Renaissance style, and finished with magnificent interior details. Four years after J. Pierpont Morgan’s death, his son, J. Pierpont Morgan Jr., followed the wishes outlined in his father’s will and gave the Wadsworth Atheneum a trove of ancient art and European decorative arts from his father’s renowned collection. Living in the Ancient World Ordinary objects found at sites from the countries surrounding the Mediterranean Sea and the Middle East reveal a great deal about daily life in the ancient world. Utensils for eating and drinking, glassware, lamps, jewelry, pottery, and stone vessels disclose the details of everyday life. -
Movers & Shakers in American Ceramics
A Ceramics Monthly Handbook Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Published by The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, Ohio 43082 USA The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 © 2003, 2011 by The American Ceramic Society, All rights reserved. ISBN: 1-57498-165-X (Paperback) ISBN: 978-1-57498-560-3 (PDF) No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher, except by a reviewer, who may quote brief passages in review. Authorization to photocopy for internal or personal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923 U.S.A., www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copyright items for general distribution or for advertising or promotional purposes or to republishing items in whole or in part in any work in any format. Requests for special photocopying permission and reprint requests should be directed to Director, Publications, The American Ceramic Society, 600 N. -
Philippa H Deeley Ltd Catalogue 17 Oct 2015
Philippa H Deeley Ltd Catalogue 17 Oct 2015 1 A Pinxton porcelain teapot decorated in gilt with yellow cartouches with gilt decoration and hand hand painted landscapes of castle ruins within a painted botanical studies of pink roses, numbered square border, unmarked, pattern number 300, 3824 in gilt, and three other porcelain teacups and illustrated in Michael Bertould and Philip Miller's saucers from the same factory; Etruscan shape 'An Anthology of British Teapots', page 184, plate with serpent handle, hand painted with pink roses 1102, 17.5cm high x 26cm across - Part of a and gilt decoration, the saucer numbered 3785 in private owner collection £80.00 - £120.00 gilt, old English shape, decorated in cobalt blue 2 A Pinxton porcelain teacup and saucer, each with hand painted panels depicting birds with floral decorated with floral sprigs and hand painted gilt decoration and borders, numbered 4037 in gilt landscapes with in ornate gilt surround, unmarked, and second bell shape, decorated with a cobalt pattern no. 221, teacup 6cm high, saucer 14.7cm blue ground, gilt detail and hand painted diameter - Part of a private owner collection £30.00 landscape panels - Part of a private owner - £40.00 collection £20.00 - £30.00 3 A porcelain teapot and cream jug, possibly by 8A Three volumes by Michael Berthoud FRICS FSVA: Ridgway, with ornate gilding, cobalt blue body and 'H & R Daniel 1822-1846', 'A Copendium of British cartouches containing hand painted floral sparys, Teacups' and 'An Anthology of British Teapots' co 26cm long, 15cm high - -
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. -
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. -
China: Qing Dynasty Porcelain and Global Exchange Pre-Visit
China: Qing Dynasty Porcelain and Global Exchange Pre-Visit Share this background information with students before your Distance Learning session. Grade Level: Grades 9-12 Collection: East Asian Art Culture/Region: China, East Asia Subject Area: History and Social Science Activity Type: Distance Learning WHY LOOK AT PLATES AND VASES? When visiting a relative or a fancy restaurant, perhaps you have dined on “fine china.” While today we appreciate porcelain dinnerware for the refinement it can add to an occasion, this conception is founded on centuries of exchange between Asian and Western markets. Chinese porcelain production has a long history of experimentation, innovation, and inspiration resulting in remarkably beautiful examples of form and imagery. At the VMFA, you will examine objects from a small portion of this history — the 18th century during the Qing Dynasty — to expand your understanding of global exchange in this era. Because they were made for trade outside of China, these objects are categorized as export porcelain by collectors and art historians. Review the background information below, and think of a few answers you want to look for when you visit VMFA. QING DYNASTY Emperors, Arts, and Trade Around the end of the 16th century, a Jurchin leader named Nurhaci (1559–1626) brought together various nomadic groups who became known as the Manchus. His forces quickly conquered the area of present-day Manchuria, and his heirs set their sights on China. In 1636 the Manchus chose the new name of Qing, meaning “pure,” to emphasize their intention to purify China by seizing power from the Ming dynasty. -
Page 1 578 a Japanese Porcelain Polychrome Kendi, Kutani, 17Th C
Ordre Designation Estimation Estimation basse haute 551 A Chinese mythological bronze group, 19/20th C. H: 28 cm 250 350 552 A Chinese bronze elongated bottle-shaped vase, Ming Dynasty H.: 31 600 1200 cm 553 A partial gilt seated bronze buddha, Yongzheng mark, 19th C. or earlier 800 1200 H: 39 cm L: 40 cm Condition: good. The gold paint somewhat worn. 554 A Chinese bronze jardiniere on wooden stand, 19/20th C. H.: 32 cm 300 600 555 A Chinese figural bronze incense burner, 17/18th C. H.: 29 cm 1000 1500 556 A Chinese bronze and cloisonne figure of an immortal, 18/19th C. H.: 31 300 600 cm 557 A Chinese bronze figure of an emperor on a throne, 18/19th C. H.: 30 cm 800 1200 Condition: missing a foot on the right bottom side. 558 A bronze figure of Samanthabadra, inlaid with semi-precious stones, 4000 8000 Ming Dynasty H: 28 cm 559 A Chinese gilt bronze seated buddha and a bronze Tara, 18/19th C. H.: 600 1200 14 cm (the tallest) 560 A Chinese bronze tripod incense burner with trigrams, 18/19th C. H.: 350 700 22,3 cm 561 A tall pair of Chinese bronze “Luduan� figures, 18/19th C. H.: 29 1200 1800 cm 562 A tall gilt bronze head of a Boddhisatva with semi-precious stones, Tibet, 1000 1500 17/18th C. H.: 33 cm 563 A dark bronze animal subject group, China, Ming Dynasty, 15-16th C. H.: 1500 2500 25,5 cm 564 A Chinese dragon censer in champlevé enameled bronze, 18/19th C.