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Bullseye Glass Co. / Classes & Special Events
Bullseye Glass Co. | Classes & Special Events May to September 2012 • Emeryville, California From the Director Artist Klaus Moje at Resource Center Portland, 2007. What is Kiln-Glass? In 1974 three self-described “hippie glassblowers” started Bullseye Glass Company, a small factory for making specialty sheet glass in Portland, Oregon. While they initially focused on making colored sheets for use in stained glass, they aspired to do what had never been done before: to produce a palette of colored glasses tested to be compatible for fusing with one another for producing works in the kiln. By 1979 they had succeeded, but immediately ran into a challenge: they had created something remarkable for which almost no demand existed. Ever the innovators, they decided to embark on a long-term program of research projects working directly with artists to help pioneer and expand the technical, aesthetic and conceptual development of the field that is today known as kiln-glass. Kiln-glass is a term that describes an enormous range of techniques and outcomes that are radically more accessible than many other working methods, such as glassblowing, in which one must first develop basic physical skills for years before being able to effectively realize well-executed works. By contrast, many of the skills required for kiln-glass are things that most artists already possess: an understanding of design, composition, color theory, and the ability to conceive of layers of process and material application. And while kiln-glass does require basic knowledge of technical issues and nuances, these are readily obtained in short order through publications and curriculum that have been developed as an outgrowth of Bullseye’s years of collaboration with artists. -
以『前拉菲爾派』為例 Representation of Shakespeare’S Women in Pre-Raphaelite Art
國立臺灣師範大學國際與社會科學學院歐洲文化與觀光研究所 碩士論文 Graduate Institute of European Cultures and Tourism College of International Studies and Social Sciences National Taiwan Normal University Master Thesis 莎士比亞女角的再現 - 以『前拉菲爾派』為例 Representation of Shakespeare’s Women in Pre-Raphaelite Art 許艾薇 Ivy Tang 指導教授﹕陳學毅 博士 Dr. Hsueh-I CHEN 中華民國 107 年 06 月 June 2018 Acknowledgement This thesis could not have been written without the assistance of and support from numerous individuals. First and foremost, I would like to thank Professor Hsueh-I Chen for his generous encouragement, consistent guidance, and full support for the completion of this project. I am hugely appreciative to Professor Chen for encouraging me when I faced doubts and questioned myself throughout the process. I am grateful for the guidance and assistance that Professor Dinu Luca provided in the early stages of this thesis. I am fortunate for his close attention and assistance throughout the shaping of this thesis. My appreciation also goes to my thesis committee members Professor Louis Lo and Professor Candida Syndikus, for their careful examination of my thesis. Their comments and advice helped me to consider new interdisciplinary approaches in the study. I thank Professor Lo for the guidance since undergraduate for whom had first introduced me to the study of Ophelia’s madness and representations. Professor Syndikus’s careful reading and probing questioning added depth and coherence to my thesis. This thesis has benefited from the above individual’s vast knowledge of literature, Shakespeare, British art, philosophical theories, Victorian studies, sensitive editing, insightful interpretations of paintings, and sensitive editing. Without the help of them, this thesis would not have been able to be completed. -
Optical Glass
Vol. 150, No. 3807 SATURDAY, OCTOBER 17, 1942 On e Sh illin g & Six pe n c e CHANCE-PARSONS OPTICAL GLASS PLATES AND MOULDED BLANKS FOR PRISMS AND LENSES OF FINEST OPTICAL QUALITY Unworked Coloured Glass for W.&J.GEORGE LTD contrast filters PROPRIETORS OF F. E. B EC K ER & CO Sextant shade glasses Didymium and Uranium Glass 17-29 HATTON W ALL LONDON E.C.I I 157 GT. CHARLES ST. BIRMINGHAM 3 Telephone." CHAncery 6011 (4 lines) I T elephone; CENtral 764 1 (3 lines) T elcgram i: Becker, Hatton W all, London | Telegram s.- Chemistry, Birmingham 3 C hance Brothers 81 Co. Limited GLASS WORKS SMETHWICK Double Gear Release - New Rider System - Pan Guides THE B.T.L. APERIODIC BALANCE (Patent Nos. 523, 483/39) With automatic Rider System, Ease and accuracy of manipulation and reading. • Capacity 200 g. • One Knob controlling • Sensitivity 0-1 mg. • Three Riders covering a 1600 hullc „ particularsi sent on application, range° of m g° . BAIRD & TATLOCK (LONDON) LTD. 14-17 St. Cross Street, Hatton Garden, London, E.C.I W D C 259a SOLVING NEW PROBLEMS “ Aquadag” colloidal graphite in water is a true colloidal dispersion of the purest graphite. High technical quality has en abled it to solve many unique problems in modern industry. Coatings formed with it are electrically conducting, lubri cating, tend to protect from corrosion, while the colloidal dispersion can be used to impregnate fibrous materials to confer on them some of the properties of graphite. “ Aquadag” is continuing to solve im portant problems. If you have one in mind we would remind you that our technical experience is at your disposal. -
Textileartscouncil William Morrisbibliography V2
TAC Virtual Travels: The Arts and Crafts Heritage of William and May Morris, August 2020 Bibliography Compiled by Ellin Klor, Textile Arts Council Board. ([email protected]) William Morris and Morris & Co. 1. Sites A. Standen House East Grinstead, (National Trust) https://www.nationaltrust.org.uk/standen-house-and-garden/features/discover-the- house-and-collections-at-standen Arts and Crafts family home with Morris & Co. interiors, set in a beautiful hillside garden. Designed by Philip Webb, taking inspiration from the local Sussex vernacular, and furnished by Morris & Co., Standen was the Beales’ country retreat from 1894. 1. Heni Talks- “William Morris: Useful Beauty in the Home” https://henitalks.com/talks/william-morris-useful-beauty/ A combination exploration of William Morris and the origins of the Arts & Crafts movement and tour of Standen House as the focus by art historian Abigail Harrison Moore. a. Bio of Dr. Harrison Moore- https://theconversation.com/profiles/abigail- harrison-moore-121445 B. Kelmscott Manor, Lechlade - Managed by the London Society of Antiquaries. https://www.sal.org.uk/kelmscott-manor/ Closed through 2020 for restoration. C. Red House, Bexleyheath - (National Trust) https://www.nationaltrust.org.uk/red-house/history-at-red-house When Morris and Webb designed Red House and eschewed all unnecessary decoration, instead choosing to champion utility of design, they gave expression to what would become known as the Arts and Crafts Movement. Morris’ work as both a designer and a socialist were intrinsically linked, as the creation of the Arts and Crafts Movement attests. D. William Morris Gallery - Lloyd Park, Forest Road, Walthamstow, London, E17 https://www.wmgallery.org.uk/ From 1848 to 1856, the house was the family home of William Morris (1834-1896), the designer, craftsman, writer, conservationist and socialist. -
'Art of a Second Order': the First World War from the British Home Front Perspective
‘ART OF A SECOND ORDER’ The First World War From The British Home Front Perspective by RICHENDA M. ROBERTS A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham September 2012 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. Abstract Little art-historical scholarship has been dedicated to fine art responding to the British home front during the First World War. Within pre-war British society concepts of sexual difference functioned to promote masculine authority. Nevertheless in Britain during wartime enlarged female employment alongside the presence of injured servicemen suggested feminine authority and masculine weakness, thereby temporarily destabilizing pre-war values. Adopting a socio-historical perspective, this thesis argues that artworks engaging with the home front have been largely excluded from art history because of partiality shown towards masculine authority within the matrices of British society. Furthermore, this situation has been supported by the writing of art history, which has, arguably, followed similar premise. -
Capturing, Preserving, and Sharing the Sounds of Glassmaking
arts Article Makers Marks: Capturing, Preserving, and Sharing the Sounds of Glassmaking Lisa Naas 1,* and David Faleris 2 1 School of Design, Edinburgh College of Art, University of Edinburgh, Edinburgh EH3 9DF, UK 2 Independent Composer, Glasgow G12 9SW, UK; [email protected] * Correspondence: [email protected] or [email protected] Received: 30 November 2018; Accepted: 24 January 2019; Published: 30 January 2019 Abstract: The Makers Marks Collaborative, an international team of glass artists, visual designers, composers, and engineers, embarked on a project together from 2015–2016 to use the glassmaking studio as a staging ground for interdisciplinary, collaborative making. The team aimed to capture and preserve the sounds of traditional studio glassmaking, and then to share them outside the workshop domain through digital technologies and glass art objects. The goal was also to fulfill a public engagement grant from the Royal Academy of Engineering to highlight the engineering through the art and the engineers’ vision within the art making. The team recorded and isolated the unique sounds of the glassblowing process and its studio environment, and then used the resulting digital sound collection as the foundation for developing artistic outputs: a virtual instrument library, a glass object-instrument of performance, a series of glass objects translating selected virtual instruments, and a music composition. They questioned the nature and materiality of glass through dialogue between media and conversation among team members, while exploring the practice-based research question: “How can we embed our recorded sounds of the glassmaking process back into the glass itself?” This paper focuses on the collaborative, interdisciplinary making process of the team, the project outputs, and the metaphorical language that was a key process facilitation tool. -
The Gothic Revival Character of Ecclesiastical Stained Glass in Britain
Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 MARTIN CRAMPIN University of Wales THE GOTHIC REVIVAL CHARACTER OF ECCLESIASTICAL STAINED GLASS IN BRITAIN At the outset of the nineteenth century, commissions for (1637), which has caused some confusion over the subject new pictorial windows for cathedrals, churches and sec- of the window [Fig. 1].3 ular settings in Britain were few and were usually char- The scene at Shrewsbury is painted on rectangular acterised by the practice of painting on glass in enamels. sheets of glass, although the large window is arched and Skilful use of the technique made it possible to achieve an its framework is subdivided into lancets. The shape of the effect that was similar to oil painting, and had dispensed window demonstrates the influence of the Gothic Revival with the need for leading coloured glass together in the for the design of the new Church of St Alkmund, which medieval manner. In the eighteenth century, exponents was a Georgian building of 1793–1795 built to replace the of the technique included William Price, William Peckitt, medieval church that had been pulled down. The Gothic Thomas Jervais and Francis Eginton, and although the ex- Revival was well underway in Britain by the second half quisite painterly qualities of the best of their windows are of the eighteenth century, particularly among aristocratic sometimes exceptional, their reputation was tarnished for patrons who built and re-fashioned their country homes many years following the rejection of the style in Britain with Gothic features, complete with furniture and stained during the mid-nineteenth century.1 glass inspired by the Middle Ages. -
CIS Insulation Limited Previous Names
EMPLOYERS’ LIABILITY REGISTER (effective date: 1 April 2014) FRN (Firm Reference Number): 202021 Name of Insurer: Ashdowns Limited Policy Number: Policy of Employers' Liability covering period 1 April 1971 to 31 March 1999 ONLY Policy inception date: See above Policy end date: see above Name of Original Insurer: Ashdowns Limited Policyholder name: Pilkington Brothers Limited and subsidiaries * * The companies listed were insured by Ashdowns Limited for a period of time but not necessarily for the entire life of the company. Other group companies may have been insured by Ashdowns, please enquire if you believe this to be so. Employer’s Name Postcode Address ERN CHRN Andrewartha Limited L40 5UF European Technical Centre, Hall Lane, Lathom, Near Ormskirk, Lancashire. 00229916 Barr and Stroud Limited L40 5UF C/O Group Legal Department, Pilkington Group Limited, European Technical SC008495 Centre, Hall Lane, Lathom, Near Ormskirk, Lancashire. C.I.S. Windows Limited L40 5UF C/O Group Legal Department, Pilkington Group Limited, European Technical 00957216 previous names: Centre, Hall Lane, Lathom, Near Ormskirk, Lancashire. C.I.S. Insulation Limited Chance Brothers (Established 1824) Limited L40 5UF European Technical Centre, Hall Lane, Lathom, Near Ormskirk, Lancashire. 00027422 previous names: Chance Brothers Limited Chance Brothers Limited L40 5UF C/O Group Legal Department, Pilkington Group Limited, European Technical 01606175 Centre, Hall Lane, Lathom, Near Ormskirk, Lancashire. Chance Pilkington (1997) Limited L40 5UF European Technical Centre, Hall Lane, Lathom, Near Ormskirk, Lancashire. 02698104 previous names: Lakeside Training and Development Limited Chance Propper Limited (Dissolved) L40 5UF C/O Group Legal Department, Pilkington Group Limited, European Technical 01010297 Centre, Hall Lane, Lathom, Near Ormskirk, Lancashire. -
New Glass Review 10.Pdf
'New Glass Review 10J iGl eview 10 . The Corning Museum of Glass NewG lass Review 10 The Corning Museum of Glass Corning, New York 1989 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie the 1988 calendar year. innerhalb des Kalenderjahres 1988 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1989 Alle Rechtevorbehalten, 1989 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-87290-119-X ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der KongreB-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstler und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 53 er Wunsch zu verallgemeinern scheint fast ebenso stark ausgepragt Jury Statements Dzu sein wie der Wunsch sich fortzupflanzen. Jeder mochte wissen, welchen Weg zeitgenossisches Glas geht, wie es in der Kunstwelt bewer- tet wird und welche Stile, Techniken und Lander maBgeblich oder im Ruckgang begriffen sind. Jedesmal, wenn ich mich hinsetze und einen Jurybericht fur New Glass Review schreibe (dies ist mein 13.), winden he desire to generalize must be almost as strong as the desire to und krummen sich meine Gedanken, um aus den tausend und mehr Dias, Tprocreate. -
2018 Annual Report
2A018 nnual Report Details Trustees, staff and volunteers The William Morris Society PRESIDENT WMS VOLUNTEER ROLES Registered address: Jan Marsh (to 12 May 2018) Journal Editor: Owen Holland Kelmscott House Lord Sawyer of Darlington (from 12 May 2018) Magazine Editor: Susan Warlow 26 Upper Mall Librarian: Penny Lyndon Hammersmith TRUSTEES Journal Proofreader: Lauren McElroy London W6 9TA Martin Stott, Chair (to 12 May 2018) Stephen Bradley, Chair (from 12 May 2018) The William Morris Society is extremely Tel: 020 8741 3735 Rebecca Estrada-Pintel, Vice Chair fortunate to be able to draw on a wide range Email: [email protected] Andrew Gray, Treasurer of expertise and experience from our www.williammorrissociety.org Natalia Martynenko-Hunt, Secretary volunteers, who contribute many hundreds of Philip Boot (from 12 May 2018) hours of their time to help with welcoming TheWilliamMorrisSociety Jane Cohen visitors to the museum, delivering education @WmMorrisSocUK Serena Dyer (to 12 May 2018) sessions to schools and families, giving printing williammorrissocietyuk Michael Hall demonstrations, answering enquiries, Kathy Haslam (to 12 May 2018) cataloguing and caring for our collections, Registered Charity number 1159382 Jane Ibbunson (from 12 May 2018) office administration, serving refreshments and Fiona Rose maintaining our garden. John Stirling (from 12 May 2018) We are grateful to all who give up their time The Trustee Board operates through five to help with the work of the Society. committees. These are: Finance and General -
Dudley Metropolitan Borough Council Polling Station List
Dudley Metropolitan Borough Council Polling Station List European Parliamentary Election Thursday 23 May 2019 Reference Address Districts 1 Foxyards Primary School, Foxyards Road, Tipton, West Midlands, A01 DY4 8BH 2 Caravan, Forest Road, Dudley, West Midlands, DY1 4BX A02 3 Sea Cadet H Q, Tipton Road, Dudley, West Midlands, DY1 4SQ A03 4 Ward Room, Priory Hall, Training Centre, Dudley, West Midlands, A04 DY1 4EU 5 Priory Primary School, Entrance In Cedar Road and Limes Road, A05 Dudley, West Midlands, DY1 4AQ 6 Reception Block Bishop Milner R C School, (Car Access The A06 Broadway), Burton Road, Dudley, West Midlands, DY1 3BY 7 Midlands Co-Op, Dibdale Road West, Milking Bank, Dudley, DY1 A07 2RH 8 Sycamore Green Centre, Sycamore Green, Dudley, West Midlands, A08,G04 DY1 3QE 9 Wrens Nest Primary School, Marigold Crescent, Dudley, West A09 Midlands, DY1 3NQ 10 Priory Community Centre, Priory Road, Dudley, West Midlands, DY1 A10 4ED 11 Rainbow Community Centre, 49 Rainbow Street, Coseley, West B01 Midlands, WV14 8SX 12 Summerhill Community Centre, 28B Summerhill Road, Coseley, B02 West Midlands, WV14 8RD 13 Wallbrook Primary School, Bradleys Lane, Coseley, West Midlands, B03 WV14 8YP 14 Coseley Youth Centre, Clayton Park, Old Meeting Road, Coseley, B04 WV14 8HB 15 Foundation Years Unit, Christ Church Primary School, Church Road, B05 Coseley, WV14 8YB 16 Roseville Methodist Church Hall, Bayer Street, Coseley, West B06 Midlands, WV14 9DS 17 Activity Centre, Silver Jubilee Park, Mason Street, Coseley, WV14 B07 9SZ 18 Hurst Hill Primary School, -
Stained Glass&: Glass Painters
GLA TRADES DIRECTORY, 1915. GLA 1623 GLASS GRINDERS-OPTICAL. •tGreen Richard & Sons, 95 Hatton gdn E C Zimmer & Schmidt, 108 & 109 Fore streetE C GLASS-WRITERS & GILDERS ON. &e alsrJ PhrJtogmphic Len1 Manufacturers ; •tGreener & Co. 12 Thavi!'8 inn E C See Writer& d: Gilder• on Glan. auo Spectacles Lens Manufacturers. Greiner G. & Co. every description of cut, Ste. du Verre Etire, hard temp. glass tubes, moulded & plain table glass for home & resist. 25° ath. 10 r. Thimonnier, Paris GLAZED BRICK MAKERS. Heath & Oo. Limited (parallel), export trade, 10 & 12 Milton st.CripplgtE C 2 Tower Royal. Cannon ~treet E C & •Grohmann A. 36 Milton street E C GLASS MERCHANTS-WINDOW. See also Brick Makf'rs. Observatory work8, Crayford, Kent *tGuggenheim M. & J. 82 Hatton garden E C; &eWindoYGlass Merchants .t Manufacturn"l. Brookes' Ltd. Oaxton houee, Tothill street SW Hummel Maurice Fredk. 73 Hatton gdn E C helgian & french table glass :Hurmantofts Works, i & 3 Norfolk street WC Le Personne L. & Co. 99 Cannon street E C ; tGuilbert-Martin (Arthur Hamburger), GLASS MOSAIC MANUFACTURERS. Oandy & Oo. Ltd. 87 Newman st W; works, optical glass in the rough in slabs & moulded enamels & tubes, rods, gauge glasses, 9 Heathfield station, Newton Abbot, Devon for all purpoSPS, viz. :-spectacles, photo See alllo Marble Mosaic Pavement Manufac Edmund place E C tw·ers; also Mosaic Manufacturers. Olift' Jogeph & Sons (branch of the Leeds graphy, scientific instruments &c Hamilton & Oo. 41 Great Tower street E C ; Fireclay Oo. Ltd.), 2 & 3 Norfolk streetWC enamels for all purposes. vitreous paints, CHANCE BROTHERS &:: CO. LIMITED, Edwards J.