XIX Century Murano Glass Tableware Kindle
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A Multi-Media Guide to Shopping, Dining, Lodging, Recreation, Entertainment, Art & Historic Points of Interest for The American Heritage Tourist EVENTS... 4 INDEX OF CITIES... 6-7 ON THE ROAD... 27 Establish Your Community as a GREAT AMERICAN DESTINATION FALL / WINTER 2017-2018 (for less than a dime a day per lister) www.AmericanAntiquities.com See inside front cover 2 / AMERICAN JOURNAL Volume 25, FALL/WINTER 2017-18 AMERICAN ANTIQUITIES JOURNAL Volume 25, FALL/WINTER 2017-18/ 3 Enjoy your next road trip to one of our 500+ client cities. Let this be your guide for AboutAbout thethe CoCovverer shopping, dining, lodging, recreation, entertainment & historic points of interest for the AMERICAN HERITAGE TOURIST www.AmericanAntiquities.com Depression glass is clear or a specified number of colored translucent magazine subscriptions, thus glassware. It was produced in making its way into almost a multitude of colors, ranging every American home. from the deep colors of purple, Depression glass started one black, cobalt, and red to the of the largest collecting trends pastels of pink, yellow, green, ever, from collectors to amber, and blue which nostalgia hunters. Over created to bring a bright note 100,000 eager collectors now into the otherwise drab times seek this prized glass, of the depression. Most of this whether to complete a glassware was made in the handed-down family set of Ohio River Valley of the United dishes, or to find the highly States, where access to raw sought and elusive rare materials and power made pieces. manufacturing inexpensive. Depression glass is More than twenty becoming more scarce on the manufacturers made more open market. -
Bullseye Glass Catalog
CATALOG BULLSEYE GLASS For Art and Architecture IMPOSSIBLE THINGS The best distinction between art and craft • A quilt of color onto which children have that I’ve ever heard came from artist John “stitched” their stories of plants and Torreano at a panel discussion I attended a animals (page 5) few years ago: • A 500-year-old street in Spain that “Craft is what we know; art is what we don’t suddenly disappears and then reappears know. Craft is knowledge; art is mystery.” in a gallery in Portland, Oregon (page 10) (Or something like that—John was talking • The infinite stories of seamstresses faster than I could write). preserved in cast-glass ghosts (page 25) The craft of glass involves a lifetime of • A tapestry of crystalline glass particles learning, but the stories that arise from that floating in space, as ethereal as the craft are what propel us into the unknown. shadows it casts (page 28) At Bullseye, the unknown and oftentimes • A magic carpet of millions of particles of alchemical aspects of glass continually push crushed glass with the artists footprints us into new territory: to powders, to strikers, fired into eternity (page 31) to reactive glasses, to developing methods • A gravity-defying vortex of glass finding like the vitrigraph and flow techniques. its way across the Pacific Ocean to Similarly, we're drawn to artists who captivate Emerge jurors (and land on the tell their stories in glass based on their cover of this catalog) exceptional skills, but even more on their We hope this catalog does more than point boundless imaginations. -
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. -
Rosa Barovier Mentasti and Cristina Tonini Some Questions About The
R osa Barovier Mentasti and Cristina Tonini SOME QUESTIONS ABOUT THE MURANO REVIVAL After the fall of the Republic of Venice in 1797, the Venetian economy underwent a deep crisis both in its industrial and commercial activity. Glass production was one of the worst affected sectors. Almost all luxury glass production stopped and an entire generation of young glassmakers was unable to practise the ancient production techniques. Starting in the 1820s various attempts were made to revive old working techniques, but the Murano glassworks only overcame the long crisis after 1866, when Veneto was annexed to the Kingdom of Italy. Murano glassblowers and technicians were also able to recover traditional techniques thanks to the foundation of the Museo Vetrario at Murano, where they could study old artworks. The magazine La Voce di Murano, founded in 1867, gave useful information for the progress of glass technology and announced all the stages in the progress itself. Today the same magazine is the best source for historians who want to explain the development of Venetian glassmaking in the nineteenth century and investigate how and when every traditional technique was recovered, by whom or in which glassworks. Moreover, other techniques were inspired by archaeological masterpieces and, later, some innovations, such as iridescence, were introduced. Thanks to the books and essays written byV incenzo Zanetti, the first director of the Museo Vetrario, and articles published in La Voce di Murano a lot is now known about the several stages of recovering, for instance, the techniques of retortoli and reticello filigree, the recipes for chalcedony glass and the date (1877) when mosaic glass, the so called murrina, entered into the Murano technical heritage and in which glassworks (Venice and Murano Glass and Murano Company). -
Baltic Glass the Development of New Creative Models Based on Historical and Contemporary Contextualization
Vesele, Anna (2010) Baltic Glass The development of new creative models based on historical and contemporary contextualization. Doctoral thesis, University of Sunderland. Downloaded from: http://sure.sunderland.ac.uk/3659/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. Baltic Glass The development of new creative models based on historical and contemporary contextualization Anna Vesele A thesis submitted in partial fulfilment of the requirements of the University of Sunderland for the degree of Doctor of Philosophy Faculty of Arts, Design and Media, University of Sunderland April 2010 1 Abstract The aim of this research was to demonstrate the creative potential of a particular type of coloured flat glass. This glass is produced in Russia and is known as Russian glass. The present researcher has refined methods used by Baltic glass artists to create three- dimensional artworks. The examination of the development of glass techniques in Estonia, Latvia and Lithuania was necessary in order to identify these methods and to contextualize the researcher’s personal practice. This study describes for the first time the development of glass art techniques in the Baltic States from the 1950s to the present day. A multi-method approach was used to address research issues from the perspective of the glass practitioner. The methods consisted of the development of sketches, models and glass artworks using existing and unique assembling methods. The artworks underlined the creative potential of flat material and gave rise to a reduction in costs. In conjunction with these methods, the case studies focused on the identification of similarities among Baltic glass practices and similarities of approach to using various glass techniques. -
132 the London Gazette, January 8, 1897
132 THE LONDON GAZETTE, JANUARY 8, 1897. Drugs.—Robert Hogg and Son. E.. Grisbrook. .Roskell; John Wells ; Frederick Elkington ; and Robert Wood, Windsor. [ C. F. Hancock ; Collingwood and Co.; Lambert Lavender Essence.—Sarah Sprules. and Co.; F. P. Bhumgara; George Edward and Van Builders.—Hazeldine Brothers, Royal. Laun- Sons ;' Henry Lewis Turner and Co.; Phillips dry, Richmond. ' . ? Brothers and Son ; Albert Barker; John Wells. T. C. MARCH, . Gunmakers.—James* Purdey, Alexander Henry Secretary. '. Ltd. Board of Green Cloth, Buckingham Palace, Gymnastic Apparatus Maker.—George Spencer. January 1, 1897. Harp and Pianoforte Ma'kers.—S. and P. Erard ; Imhof and Muckle; John Broadwood and Sons ; Carl F..W. Bechstein ; Steinway.and Sons. LIST of Tradesmen who hold Warrants of Hatters.—Cater and Co. Appointment from the Lord Chamberlain,'with Herald Painters.—G. and C. Bishop. Authority to Use the Royal Arms :— Home Art Decorator.—Miss Charlotte Robinson. LONDON. Insignia Riband Makers.—Redmayne and Co. Art Fabrics.—Liberty and Co. Limited. Invalid Chair Maker.—John Ward. Art Printsellers and Publishers. — Thomas Ironmongers and Stove Makers.—Adams and Son; McLean ; Dickinson; Algernon Graves; P. and M. Feetham and Co.; Barron and Wilson. D. Colnaghi; Isaac P. Mendoza; Boussod Joiners.—George Smith and Co. Valadon and Co. Lamp and Lustre Manufacturers.—Arthur T. Artists' Colourmen.—Winsor and Newton. Miller ; Perry and Co. Bedding Manufacturers.—Blyth and Sons. Lift Manufacturers.—R. Waygood and Co. Billiard Table Manufacturers.—Thurston and Co. Linen Drapers.—Capper Son and Co.; Alfred Limited. Stratton. Black lead Manufacturer. —-W. G. Nixey. Lithographers.—Maclure and Company ; J. A. Boat Builders.—James A. -
Cersaie Bologna | International Exhibition of Ceramic Tile
INTINTERNATIONAL EXHIBITION OF CERAMIC TILE AND BATHROOM FURNISHINGS 28 SEPTEMBER - 2 OCTOBER 201 Cersaie Bologna | International Exhibition of Ceramic Tile ... ERNATIONAL EXHIBITION OF CERA AND BATHROOM FURNISHINGS Home > Events > Protagonists Protagonists Claudio Musso Digicult Network Oscar G. Colli Biographical notes Columnist for the magazine “il Bagno Oggi e Domani” of which he was co-founder and editorial director. He is been part for about 16 years of the ADI’s Permanent Observatory of Design. From 2008 to 2010 he directed the selection and publication on the ADI-Design-Index of the best products and services among which the winners of the “Compasso d’Oro” are selected. He held many conferences and talks with students in various universities and he is often moderator for conventions and seminars about interior design and industrial design. Marco Vismara Architect Biographical notes Studio D73 by Marco Vismara and Andrea Viganò is specialized in architectural and design projects in a wide international dimension. Studio D73 deals with interior design, different commercial and private projects, from analysis to production, and carries out the project phases thanks to a very efficient team of professionals based in the headquarter in Italy and the two other offices in Moscow, Tunis and Tbilisi. Within the past few years, Studio D73 has grown and reached many countries abroad, mainly in Russia, East Europe and North Africa, with the aim of keeping growing in new countries in the near future. State-of- the-art design project solutions by Studio D73 include Spa, hotel, showroom, and residential buildings. Giampietro Sacchi Interior designer Biographical notes Interior designer and director of the masters “High education design” at POLI.design – Polytechnic University of Milan. -
Pennsylvania Folklife Vol. 29, No. 2 Ivy Kemp Yost
Ursinus College Digital Commons @ Ursinus College Pennsylvania Folklife Magazine Pennsylvania Folklife Society Collection Winter 1980 Pennsylvania Folklife Vol. 29, No. 2 Ivy Kemp Yost John D. Kendig William Munro Howell J. Heaney Carter W. Craigie See next page for additional authors Follow this and additional works at: https://digitalcommons.ursinus.edu/pafolklifemag Part of the American Art and Architecture Commons, American Material Culture Commons, Christian Denominations and Sects Commons, Cultural History Commons, Ethnic Studies Commons, Fiber, Textile, and Weaving Arts Commons, Folklore Commons, Genealogy Commons, German Language and Literature Commons, Historic Preservation and Conservation Commons, History of Religion Commons, Linguistics Commons, and the Social and Cultural Anthropology Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Yost, Ivy Kemp; Kendig, John D.; Munro, William; Heaney, Howell J.; Craigie, Carter W.; and Twiss, Beth Ann, "Pennsylvania Folklife Vol. 29, No. 2" (1980). Pennsylvania Folklife Magazine. 87. https://digitalcommons.ursinus.edu/pafolklifemag/87 This Book is brought to you for free and open access by the Pennsylvania Folklife Society Collection at Digital Commons @ Ursinus College. It has been accepted for inclusion in Pennsylvania Folklife Magazine by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Authors Ivy Kemp Yost, John D. Kendig, William Munro, Howell J. Heaney, Carter W. Craigie, and Beth Ann Twiss This book is available at Digital Commons @ Ursinus College: https://digitalcommons.ursinus.edu/pafolklifemag/87 ~ontril1utor~ . IVY KEMP YOST has written a number of accounts of the local history of Eastern Berks County. -
Asian Artists in Crystal: Steuben Glass at Sunnylands
ASIAN ARTISTS IN CRYSTAL: STEUBEN GLASS AT SUNNYLANDS January 28, 2016, through January 22, 2017 Essays by Geoffrey Cowan, Frank Lopez, and William Warmus The Unicorn (page 48) Previous page Dawn (page 59) Text, design, and all contemporary images Contents © The Annenberg Foundation Trust at Sunnylands 2015 Black-and-white photographs of Steuben crystal (pages 24 through 59 inclusive) © Erich Hartmann/Magnum Photos Steuben historical images (pages 10 through 22 inclusive unless otherwise noted) © Steuben Glass/The Corning Museum of Glass Reproductions of original drawings for the Asian Artists in Crystal series from the permanent collection of The New York Public Library (pages 60 through 77 inclusive), Print Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs, The New York Public Library, Astor, Lenox and Tilden Foundations The Annenbergs and Cultural Diplomacy by Geoffrey Cowan page 6 Due to the different naming conventions used by The New York Public Library and Steuben Glass, the titles of works and artist names are based on Asian Artists in Crystal: Designs by An Historical Account of Asian Artists in Crystal by Frank Lopez pages 8 – 15 Contemporary Asian Artists Engraved on Steuben Crystal by Steuben Glass, 1956. Images have been provided in many cases by the owners or custodians of the work. Individual Reflections on Asian Artists in Crystal by William Warmus pages 16 – 22 works of art appearing herein may be protected by copyright in the United States of America or elsewhere, and may not be reproduced in any form without the permission of the rights holders. Asian Artists in Crystal Collection pages 24 – 59 In reproducing the images contained in this publication, The Annenberg Foundation Trust at Sunnylands obtained the permission of the rights holders whenever possible. -
GV 2016 All.Pdf
ISTITUTO VENETO DI SCIENZE, LETTERE ED ARTI ATTI TOMO CLXXIV CLASSE DI SCIENZE FISICHE, MATEMATICHE E NATURALI Fascicolo I CLXXVIII ANNO ACCADEMICO 2015-2016 VENEZIA 2016 ISSN 0392-6680 © Copyright Istituto Veneto di Scienze, Lettere ed Arti - Venezia 30124 Venezia - Campo S. Stefano 2945 Tel. 041 2407711 - Telefax 041 5210598 [email protected] www.istitutoveneto.it Progetto e redazione editoriale: Ruggero Rugolo Direttore responsabile: Francesco Bruni Autorizzazione del Tribunale di Venezia n. 544 del 3.12.1974 stampato da CIERRE GRAFICA - Sommacampagna (VR) 2016 ISTITUTO VENETO DI SCIENZE, LETTERE ED ARTI STUDY DAYS ON VENETIAN GLASS T he Birth of the great museum: the glassworks collections between the Renaissance and the Revival edited by ROSA BAROVIER MENTASTI and CRISTINA TONINI VENEZIA 2016 Si raccolgono qui alcuni dei contributi presentati dall’11 al 14 marzo 2015 al Corso di alta formazione organizzato dall’Istituto Veneto sul tema: Study Days on Venetian Glass. The Birth of the Great Museums: the Glassworks Collections between the Renaissance and Revival Giornate di Studio sul vetro veneziano. La nascita dei grandi musei: le collezioni vetrarie tra il Rinascimento e Revival higher education course With the support of Corning Museum of Glass Ecole du Louvre Fondazione Musei Civici di Venezia Venice International Foundation Victoria & Albert Museum With the participation of UNESCO Regional Bureau for Science and Culture in Europe Venice (Italy) Organised with the collaboration of AIHV – Association Internationale pour l’Historie -
Attribution Enhanced: an SEM/EDS - LA-ICP-MS Investigation of a Suspected Mid-18Th-Century Wistarburgh Glass Globular Bottle
Attribution Enhanced: An SEM/EDS - LA-ICP-MS Investigation of a Suspected Mid-18th-Century Wistarburgh Glass Globular Bottle J. Victor Owen, Patrick Cruise, John D. Greenough, and Joseph Petrus ABSTRACT works operating in the Mid-Atlantic states during the 18th century. The data are compared with an analytical database The Wistarburgh glassworks (Alloway, New Jersey, (Greenough and Owen 2016) for 42 samples of this glass. ca. 1739–1782) was the first commercially successful glass The results support a Wistarburgh origin for this artifact. manufactory in what is now the United States. It mostly produced pane glass and bottles, the latter with a distinc- Sample Description tive yellowish green color. Analyzed Wistarburgh bottle glass has calcium-rich compositions, but so too does some The analyzed sample is a yellow-olive green glass, thick- of the glass produced by other prominent 18th-century walled, globular (shaft and globe) bottle with an elongated, Germanic American glass manufacturers on the eastern conical neck and a sheared lip (Figure 1). Although its color seaboard. Distinguishing between the wares originating at closely resembles bottle glass generally attributed to the these factories has traditionally relied on aesthetic criteria, Wistarburgh factory, and more specifically that of a seal but compositional data, particularly trace elements, pro- bottle in the Corning Museum of Glass marked “RW” (evi- vide an objective means of identifying them. dently for Richard Wistar, a proprietor of the glassworks), Compositional data for an intact, blown glass globular its globular form is highly unusual. The “RW”-marked seal bottle suspected to have been made at Alloway are consis- bottle notwithstanding, most Wistarburgh bottles have flat- tent with a Wistarburgh origin for this artifact. -
Robert Lehman Papers
Robert Lehman papers Finding aid prepared by Larry Weimer The Robert Lehman Collection Archival Project was generously funded by the Robert Lehman Foundation, Inc. This finding aid was generated using Archivists' Toolkit on September 24, 2014 Robert Lehman Collection The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY, 10028 [email protected] Robert Lehman papers Table of Contents Summary Information .......................................................................................................3 Biographical/Historical note................................................................................................4 Scope and Contents note...................................................................................................34 Arrangement note.............................................................................................................. 36 Administrative Information ............................................................................................ 37 Related Materials ............................................................................................................ 39 Controlled Access Headings............................................................................................. 41 Bibliography...................................................................................................................... 40 Collection Inventory..........................................................................................................43 Series I. General