DOCSLIB.ORG

Fall 2007/Winter 2008

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fall 2007/Winter 2008 Fall 2007/Winter 2008 Joint Exhibition with Getty Villa Examines Modern Glass Inspired the by Ancient Rome New Exhibition Kicks Off “Masters of Studio Glass” Series Education Programs Integrate Gather Glass into Local Schools Corning Museum of Glass DIRECTOR’S LETTER Houstonia caerulea L. Bluets, Leopold and Rudolf Blaschka, 1894. Harvard University Herbaria of The Harvard Museum Museum News of Natural History. It’s a Saturday in July and the galleries are filled with visitors speaking a dozen different languages. There is a buzz of anticipation. What’s next? Make a flower, Explore More through New Website Features Annual Seminar Reflects on Nature in Glass look at the Blaschkas’ flowers in the summer exhibition, or buy a bunch of flowers in the GlassMarket? The Corning Museum of Glass has something for everyone New media and other great features on The Corning Museum of Artists have long reflected the natural world in their work, and artists and we strive to make every visit memorable. Glass website, www.cmog.org, now offer even more access to the working in glass are no exception. This year’s annual Seminar will world of glass. You don’t need to be a technical wizard to enjoy: explore the topic of “Nature in Glass” through lectures, demonstra- tions, field trips, book signings and interactive sessions. Participants At the Museum, we show our visitors wonderful glass, and we communicate our • More than 40 viewable and downloadable short video may make their own glass, observe historical and contemporary passion for glass through labels, brochures, Audio Guides, and videos. Visitors segments on glassworking techniques. flameworking demonstrations, and watch artists create glass objects. Photo by Robert Barker. also can choose from an array of opportunities to interact with staff, docents, and • Meet the Artist podcasts, featuring interviews with studio glass artists by Tina Oldknow, the Museum’s curator of volunteers. They can sign up for a one-on-one Make Your Own Glass experience. They can The 46th Annual Seminar on Glass takes place October 11 – 13, modern glass. at the height of autumn beauty in the surrounding Finger Lakes learn how glassblowers create work in the Hot Glass Show, discover some of the proper- • Images and explanations of more than 1,500 objects in the region—an ideal backdrop for examining this subject. ties of glass in Magic of Glass demonstrations, and find out about making glass flowers in Museum’s collection in an easy-to-search tool (go to “Glass Speakers and artists include: Flameworking Live! We aim to pique our visitors’ curiosity, encourage them to ask ques- Collection” and “Browse the Collection”). • Segments about objects in the collection from our handheld • tions, and provide the answers. Curators of The Corning Museum of Glass Audio Guides that can be played on your desktop or down- • Paul Greenhalgh, director and president of the loaded for free onto an MP3 player (go to “Glass Collection,” In addition, we strive to stimulate creativity, not only at The Studio and the Make Your Own Corcoran Gallery of Art then “Listen to the Audio Guide”). • Lindsy Parrott, associate curator of The Neustadt Glass workshop, but also in the galleries. Draw and Discover programs encourage partici- • Rakow Library resources, including our unique international Collection of Tiffany Glass pants to look and, with paper and pencil, to interpret what they see. Draw Like the Blaschkas glass exhibition database, an online “Ask a Librarian” feature, • Debora Moore, 2007 Rakow Commission artist is an invitation to young (and not so young!) visitors to emulate the Blaschkas by observing and a number of searchable catalogues. • Susan Rossi-Wilcox, recently retired administrator of the Harvard Glass Flowers nature and drawing what they see. You Design It; We Make It! involves would-be designers In addition, visitors may now go online to buy admission and in a dialogue with glassblowers at the Hot Glass Show. Make Your Own Glass tickets, become a Member, or shop the The cost for the full seminar is $225 for Members, $250 for GlassMarket for select items any time of the day. non-Members and $150 for students. Individual lectures cost $20 Elsewhere in the galleries, our Explainers engage visitors in conversations about glass and per lecture for Members and $25 per lecture for non-Members. glassmaking—and give them the opportunity to handle selected objects. There are Hidden Contact Louise Maio at [email protected] or 607.974.4084. Treasures tours, tours of the summer exhibition “Botanical Wonders,” and customized tours for groups that book ahead of time. The list seems to be endless! Telling the World about Glass—in Other Languages We also reach outside the Museum to provide engaging, informative experiences for people who may never come to Corning. Our website (www.cmog.org) can bring glass into Did you know that about able to visitors when they arrive Institute of Technology’s Ameri- from around the world. These every home or classroom that has a computer and Internet access. Recent additions to the one-fourth of the visitors to at the Museum. can University in Kosovo trained graduates are multi-lingual, The Corning Museum of Glass in the GlassMarket, Make Your and have been an invaluable site include more than 40 video segments on glassworking techniques, Meet the Artist pod- The Museum also offers come from outside the United Own Glass workshop, and in resource in providing the best Audio Guides and exhibition casts, segments from our handheld Audio Guides, and images of more than 1,500 objects in States? In response to the Guest Services assisting visitors services to our customers. brochures in Mandarin and the collection. growing number of tourists who Spanish, the two most common do not speak English as their non-English languages spoken Our publications also reach internationally. Annually, in addition to Journal of Glass Studies primary language, the Museum by our visitors. On most days, recently launched a targeted and New Glass Review, we publish on average one scholarly book or exhibition catalogue. Mandarin translation is available translation initiative. This year, there will be two: Drawing upon Nature and Reflecting Antiquity (the catalogue of for the Hot Glass Show demon- our forthcoming exhibition with the J. Paul Getty Museum). The initiative begins by speak- strations. ing to visitors, in their own The Museum’s staff is incred- language, before they reach And, of course, the Hot Glass Roadshow will be, well, on the road. Future venues include ibly multi-lingual. In a pinch, Corning. The Museum’s website a return visit to the design workshop at Boisbuchet in southwestern France. It is one of the staff members can speak to now contains visit planning visitors in more than a dozen many ways we live up to our promise to tell the world about glass. information in eight languages: languages, including Bulgarian, English, Spanish, Mandarin, Ital- Macedonian, and Swahili. ian, Japanese, French, Korean, and German. Tour maps in This past summer, seven recent Photo by Maria Strinni Gill. these same languages are avail- graduates from the Rochester Arlinda Ahmeti (far left) and Bulezim Azemi (far right) are two of the recent graduates from the American University in Kosovo who trained at the Museum this summer helping international visitors. 1 The Gather | Fall 2007/Winter 2008 2 Reflecting Antiquity Modern Glass Inspired by Ancient Rome By David Whitehouse, Executive Director A groundbreaking exhibition produced 19th century. Also, Japonisme bor- wood poured money and the efforts There are nine imitations, and these in- Above left: by the J. Paul Getty Museum and The rowed motifs and aesthetic ideas from of his best craftsmen into perfecting clude the first modern example, made Cage cup, early fourth century A.D., Arthur Rubloff Residuary Trust. Corning Museum of Glass, “Reflect- Japan after that country opened its ceramic replicas of the Portland Vase, from a design by Leó Valentin Pantoc- Above middle: ing Antiquity: Modern Glass Inspired ports to foreign trade in 1854. and, later, John Northwood and Jo- sek in the 1860s. Plaque, Italy, Venice, probably by Ancient Rome” opens October 18 seph Locke sealed their reputations by workshop of Francesco Toso Borella, Ancient mosaic glass became widely late 19th century. Formerly in the at the Getty Villa in Los Angeles, and Revivals in Glass making glass replicas. (One of Wedg- known following the rediscovery and collection of Mrs. Applewhaite-Abbott. runs through January 14, 2008. Then A number of 19th-century glassmakers wood’s first ceramic versions, together excavation of the buried remains of Above right: it travels to The Corning Museum of responded to the demand for products with Northwood’s and Locke’s unique Cane slice with head of satyr, Pompeii in 1748. In the 19th century, Glass, where it will be on view February inspired by historical or exotic styles. glass replicas, are in the show.) These Roman Empire, first century B.C. glassmakers, especially in Murano, to first century A.D. Formerly in 15 – May 27, 2008. No other venues are “Reflecting Antiquity” explores the replicas excited a craze for cameo glass the collection of Ray Winfield Smith. experimented with designs based on planned. ways in which they drew inspiration in late-Victorian England. Brothers these spectacular originals. Sometimes from the glass of ancient Rome. The George and Thomas Woodall, working “Reflecting Antiquity” is the first major the ancient and modern glasses are so show begins with an overview of the for Thomas Webb & Sons, led a team Related Publications exhibition to focus on the influence similar that experts have difficulty tell- ways in which glassmakers in the 1800s of extraordinarily skilled cold workers, and Activities of ancient Roman styles on the glass- ing them apart.
Load more

Recommended publications
  • Reflecting Antiquity Explores the Rediscovery of Roman Glass and Its Influence on Modern Glass Production
    Reflecting Antiquity explores the rediscovery of Roman glass and its influence on modern glass production. It brings together 112 objects from more than 24 lenders, featuring ancient Roman originals as well as the modern replicas they inspired. Following are some of the highlights on view in the exhibition. Portland Vase Base Disk The Portland Vase is the most important and famous work of cameo glass to have survived from ancient Rome. Modern analysis of the vase, with special attention to the elongation of the bubbles preserved in the lower body, suggest that it was originally shaped as an amphora (storage vessel) with a pointed base. At some point in antiquity, the vessel suffered some damage and acquired this replacement disk. The male figure and the foliage on the disk were not carved by the same Unknown artist that created the mythological frieze on the vase. Wearing a Phrygian cap Portland Vase Base Disk Roman, 25 B.C.–A.D. 25 and pointing to his mouth in a gesture of uncertainty, the young man is Paris, a Glass Object: Diam.: 12.2 cm (4 13/16 in.) prince of Troy who chose Aphrodite over Hera and Athena as the most beautiful British Museum. London, England GR1945.9-27.2 goddess on Mount Olympus. It is clear from the way the image is truncated that VEX.2007.3.1 it was cut from a larger composition, presumably depicting the Judgment of Paris. The Great Tazza A masterpiece of cameo-glass carving, this footed bowl (tazza) consists of five layers of glass: semiopaque green encased in opaque white, green, a second white, and pink.
    [Show full text]
  • HO160210 Sale
    For Sale by Auction to be held at Dowell Street, Honiton Tel 01404 510000 Fax 01404 44165 th Tuesday 16 February 2010 Silver, Silver Plate, Coins, Jewellery Ceramics, Glass & Orientals Works of Art & Collectors’ Items Pictures and Furniture yeer SALE COMMENCES AT10.00am Buyers are reminded to check the ‘Saleroom Notice’ for information regarding WITHDRAWN LOTS and EXTRA LOTS SALE REFERENCE HO01 Catalogues £1.50 Silver & Silver Plate Lots 1 – 165 On View: Coins – Lots 200 - 247 Jewellery Lots 250 - 360 th Saturday 13 February 9.00am – 12.00 Ceramics, Glass & Oriental Monday 15th February 9.00am – 7.00pm Lots 361 - 497 Works of Art & Collectables Morning of Sale from 9.00am Lots 500 – 559 Pictures Lots 560 - 619 Carpets, Rugs & Furniture Lots 620 - 723 TUESDAY 16TH FEBRUARY 2010 Sale commences at 10am SILVER AND SILVER PLATE 1. A set of six silver cocktail sticks with cockerel finials, Birmingham 1931, cased, together with a silver cigarette case with engine turned decoration, total weight 6ozs. (2). 2. A silver pepper mill, Birmingham 1934, height 8.5cm, together with a late Victorian silver replica of a late 17th Century bleeding bowl, London 1900, by George Jackson & David Fullerton, weighing 2.5ozs (2) 3. A silver four division bachelor toast rack, Sheffield 1927, also a silver desk or bedroom candlestick, with reeded column, Birmingham 1903, loaded, 11cm high and a silver bachelor cream jug, of an oval half fluted form, Birmingham 1901, weighable silver 3.5ozs (3). 4. A pair of late Victorian silver bachelor salts in the form of porringers, London 1896, by Mappin and Webb, with blue glass liners and non matching spoons, 2.5cm high, also a pair of cut glass salts with silver rims, Birmingham 1906, an eastern silver pepper with foliate spray decoration and a plated acorn shaped pepper.
    [Show full text]
  • English Cameo Glass
    ENGLISH CAMEO GLASS THE CORNING MUSEUM OF GLASS ENGLISH CAMEO GLASS IN THE CORNING MUSEUM OF GLASS DAVID WHITEHOUSE THE CORNING MUSEUM OF GLASS CORNING, NEW YORK Cover: Moorish Bathers. England, Amblecote, Thomas Webb & Sons, carved and engraved by George Woodall, 1898. D. 46.3 cm. The Corning Museum of Glass (92.2.10, bequest of Mrs. Leonard S. Rakow). Copyright © 1994 The Corning Museum of Glass Corning, New York 14830-2253 Editor: John H. Martin Photography: Nicholas L. Williams Design and Typography: Graphic Solutions, Corning, New York Printing: Upstate Litho, Rochester, New York Standard Book Number 0-87290-134-3 Library of Congress Catalog Card Number 94-071702 FRONTISPIECE. The Great Dish. CONTENTS Preface 7 Introduction 11 The Early Years 17 Stevens & Williams 31 Thomas Webb & Sons 33 A Woodall Miscellany 42 Epilogue 56 Further Reading 58 Notes on the Illustrations 59 Notes 63 FIG. 1. The Portland Vase. PREFACE THIS SHORT BOOK has two objectives: to cele- makers tried unsuccessfully to make a replica of brate the achievements of 19th-century English it, and in the 1820s and 1830s several silver ver- cameo glass makers and to focus attention on the sions were made by the London firm of Rundle, outstanding examples of their work in the collec- Bridge, and Rundell. tion of The Corning Museum of Glass. In the early 19th century—possibly as early Cameos are objects with two or more layers as 1804—glassmakers in Bohemia began to of different colors. The outer layer or layers are "case," or cover, colorless glass with a layer of partly removed to create relief decoration on a colored glass that was then cut through to reveal background of contrasting color.
    [Show full text]
  • Chapter 4: the Wedding: Glasses and Glazes
    CHAPTER 4 The Wedding (Glasses and Glazes) Therefore, thou gaudy gold, Hard food for Midas, I will none of thee Nor none of thee thou pale and common drudge Tween man and man: but thou, thou meagre lead Which rather threaten’st than dost promise aught, Thy palidness moves me more than eloquence and here chose I. Joy be the consequence Shakespeare Merchant of Venice his chapter examines two interrelated high concentrations of Sn and Zn are also present.. uses of lead: glass technology and The low Na2O content implies that Anglo- Tglazes. Why was lead and not some Saxon glass technology did not derive directly from other material used in these technologies? How did the that of the Roman period, which utilized soda glass. technologies spread? The high Sn/Zn content suggests the use of recycled It will be shown that lead was used for similar metallurgical material. This hypothesis is supported by reasons as in metallurgy (energy conservation, among the similar composition of early medieval red enamel others) and that transmission of technology follows an glass to that of 3rd century A.D. German slags. In the East/West and West/East configuration, consistent with German metallurgy of the time, a regular cupellation trends discussed in the preceding chapter. Time lines was blended with scrap metal to produce litharge up to of events in the “Mesopotamian”, “Egyptian,” and 2% ZnO and 10% SnO2. A 10th century Anglo-Saxon “Classical” worlds are given in Appendix J, Tables 4.1- site shows evidence of a similar metallurgical process 6-9.
    [Show full text]
  • Glass Circle Publications
    INDEXOF GLASS CIRCLE PUBLICATIONS by Hazel Bell Incorporating and modifying the previous indexes by Peter Lole Indexed publications Key Glass Circle News Issues 1-140 (1977–2016) 1.1 (Issue no.page no(s);) The Glass Circle Journal 1-11 (1972-2009) JL The Centenary Supplement (2004) CS GCN (2004) Ex. ExFromcerpts Palace from to the Parlour first 99(2003) issues of PP The Glass Circle Diamond Jubilee 1937–1997 DJ Glass Collectors and their Collections (1999) Col. Strange and Rare: 50th Anniversary Exhibition 1937–1987 SR Major references to a topic are given in bold type Abbreviations used: c. GCN for Glass Circle News. Notesexh. for exhibition; for century; GC for Glass Circle; Short forms of article and book titles are used. Article titles, and titlesin ofitalics talks reported, are given ‘in quotes’ under the names of the speakers. Book titles are given under the names of the authors, except for multi-author books, listed under their titles. GlassReviewers Circle of books,News andreferences writers of are letters given and in obituaries, the form: are rarely included. Issue number.page number(s) with the Issue numbers followed by stops; page numbers in the same issue separated by commas; Issue numbers separated by semi-colons. Newsletters for April and July 1983 are both numbered 26; references to those issues are given in the index as 26A and 26Jy. The first page of Issue 115, 2 June 2008, shows Issue number as 114. Announcements of coming events, advertisements, auctions, fairs, and sales reports are not indexed; of exhibitions, only major ones are indexed.
    [Show full text]
  • A Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers
    This is a repository copy of A Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/42902/ Book: Westgarth, MW (2009) A Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers. Regional Furniture, XXIII . Regional Furniture Society , Glasgow . Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ promoting access to White Rose research papers Universities of Leeds, Sheffield and York http://eprints.whiterose.ac.uk/ White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/42902/ Published book: Westgarth, MW (2009) A Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers. Regional Furniture, XXIII . Regional Furniture Society White Rose Research Online [email protected] 148132:97095_book 6/4/10 10:11 Page cov1 REGIONAL FURNITURE 2009 148132:97095_book 6/4/10 10:11 Page cov2 THE REGIONAL FURNITURE SOCIETY FOUNDED 1984 Victor Chinnery President Michael Legg Vice President COUNCIL David Dewing Chairman Alison Lee Hon.
    [Show full text]
  • Roman Art Kindle
    ROMAN ART PDF, EPUB, EBOOK Paul Zanker | 216 pages | 10 Jan 2012 | Getty Trust Publications | 9781606061015 | English | Santa Monica CA, United States Roman Art PDF Book If you don't know about Paracas textiles Construction of the Baths of Diocletian , for instance, monopolised the entire brick industry of Rome, for several years. Roman aqueducts , also based on the arch, were commonplace in the empire and essential transporters of water to large urban areas. The Romans also made frequent use of the semicircular arch, typically without resorting to mortar: relying instead on the precision of their stonework. The heads of the Marcus Aurelius figures are larger than normal, to show off their facial expressions. However it never lost its distinctive character, especially notable in such fields as architecture, portraiture, and historical relief. This led to a popular trend among the ancient Romans of including one or more such statues in the gardens and houses of wealthier patrons. With the authenticity of the medallion more firmly established, Joseph Breck was prepared to propose a late 3rd to early 4th century date for all of the brushed technique cobalt blue-backed portrait medallions, some of which also had Greek inscriptions in the Alexandrian dialect. They also served an important unifying force. Useing vivid colours it simulates the appearance of marble. From Wikipedia, the free encyclopedia. Sculpture: Types and Characteristics. A higher relief is used, permitting greater contrast between light and shadow. Further information: Roman portraiture. As another example of the lost "Golden Age", he singled out Peiraikos , "whose artistry is surpassed by only a very few But flagship buildings with domes were far from being the only architectural masterpieces built by Ancient Rome.
    [Show full text]
  • Contextualizing the Archaeometric Analysis of Roman Glass
    Contextualizing the Archaeometric Analysis of Roman Glass A thesis submitted to the Graduate School of the University of Cincinnati Department of Classics McMicken College of Arts and Sciences in partial fulfillment of the requirements of the degree of Master of Arts August 2015 by Christopher J. Hayward BA, BSc University of Auckland 2012 Committee: Dr. Barbara Burrell (Chair) Dr. Kathleen Lynch 1 Abstract This thesis is a review of recent archaeometric studies on glass of the Roman Empire, intended for an audience of classical archaeologists. It discusses the physical and chemical properties of glass, and the way these define both its use in ancient times and the analytical options available to us today. It also discusses Roman glass as a class of artifacts, the product of technological developments in glassmaking with their ultimate roots in the Bronze Age, and of the particular socioeconomic conditions created by Roman political dominance in the classical Mediterranean. The principal aim of this thesis is to contextualize archaeometric analyses of Roman glass in a way that will make plain, to an archaeologically trained audience that does not necessarily have a history of close involvement with archaeometric work, the importance of recent results for our understanding of the Roman world, and the potential of future studies to add to this. 2 3 Acknowledgements This thesis, like any, has been something of an ordeal. For my continued life and sanity throughout the writing process, I am eternally grateful to my family, and to friends both near and far. Particular thanks are owed to my supervisors, Barbara Burrell and Kathleen Lynch, for their unending patience, insightful comments, and keen-eyed proofreading; to my parents, Julie and Greg Hayward, for their absolute faith in my abilities; to my colleagues, Kyle Helms and Carol Hershenson, for their constant support and encouragement; and to my best friend, James Crooks, for his willingness to endure the brunt of my every breakdown, great or small.
    [Show full text]
  • ARCL0132 Collections Curatorship
    INSTITUTE OF ARCHAEOLOGY ARCL0132 Collections Curatorship Module Handbook 2019-20 (Term 2) Coordinator: Georgios Alexopoulos Co-taught with UCL Curators: Anna Garnett, Andrea Fredericksen, Tannis Davidson, Ian Carroll and Hannah Cornish Badge Collection (Image Credit: Drew McLellan https://www.flickr.com/photos/drewm/468436732/in/gallery-lwr- 72157622484964869/. CC BY-NC 2.0) UCL INSTITUTE OF ARCHAEOLOGY ARCL0132 COLLECTIONS CURATORSHIP 2019-20 (term 2) MA Museum Studies 15-credit Optional Module Module Co-ordinator Dr Georgios Alexopoulos Room: B21 (basement) Email: [email protected] Direct telephone: + 44 (0)20 7679 4941 (internal: 24941) Office hours (drop-in): Tuesdays 14:00-15:00, Wednesdays 12:00-13:00 (not Reading Week) Term Dates 2019-20: Second Term: Monday 13th January 2020 - Friday 27th March 2020 Third Term: Tuesday 27th April 2020 - Friday 12th June 2020 Reading Week (no classes): 17 –21st February 2020 Deadlines *Assessment 1 (group project): Friday 27th March 2020 (11.59pm) 2x paper copies with cover sheet and final PDF to the Module Co-ordinator (no Turnitin submission) + Group Presentations in class on Monday 23rd March 2020. *Assessment 2 (individual project): Friday 1st May 2020 (11:59pm) 1x paper copy with cover sheet and 1x digitally via Turnitin Target dates for return of marked assessments: 1. 25th April; 2. 30th May 2020 Module Moodle site: https://moodle.ucl.ac.uk/course/view.php?id=364 Online Reading list: http://readinglists.ucl.ac.uk/modules/arcl0132.html Please see the Appendix at the end of this document for important information about submission and marking procedures, and links to the relevant webpages.
    [Show full text]
  • BRITISH MUSEUM Information and Plans
    BRITISH MUSEUM Information and Plans The British Museum is one of the great museums in the world, showing the works of man from all over the world from prehistoric to comparatively modem times. The displays in the galleries are the responsibility of the following Departments: Egyptian Greek and Roman Western Asiatic Prehistoric and Romano-British Medieval and Later Coins and Medals Oriental Prints and Drawings Ethnography The ethnographical collections are displayed at the Museum of Mankind, Burlington Gardens, London W l. A separate leaflet concerning this Department is available on request. Upper floor (35- 74) Prehistoric and Romano-British 57 Ancient Syria 35 Prehistory and Romain Britain 58 Nimrud Ivories 36 Man before Metals 59 South Arabia 37/39 Later Prehistory of Europe Egyptian 40 Roman Britain 60/61 Mummies Medieval and Later 62 Tomb Paintings and Papyri 41 Early Medieval Art 63 Daily Life in Ancient Egypt 42 Medieval Art 64 Pottery and Small Objects 43 Medieval Tiles and Pottery 65 Small Sculptures 44 Clocks and Watches 66 Coptic Art 45 Waddesdon Bequest 67 Prints and Drawings 46/47 Renaissance and Later Special Exhibitions 48 Modem Gallery Greek and Roman 49 Special Exhibitions 68 Greek and Roman Bronzes and 50 Coins and Medals Terracottas 2000 Years of British Coins 69 Greek and Roman Life Room 70 The Image of Augustus Western Asiatic 71 Sutton Hoo Treasure 51 Ancient Iran 72/73 Greek Vase Rooms 52 Ancient Anatolia 53 Neo-Hittite Landing Oriental 54 Ancient Babylonia—Royal 74 Special Exhibitions Tombs of Ur 55 Western Asiatic
    [Show full text]
  • 357773-Sample.Pdf
    Sample file THE BOOK OF RANDOM TABLES STEAMPUNKSample file CREDITS Written by Matt Davids Layout & Design by Matt Davids Cover & Interior Art by Albert Robida WWW.DICEGEEKS.COMSample file Contents copyright © 2021 dicegeeks. All rights reserved. All images in the public domain. GET MORE FREE RANDOM TABLES AT WWW.DICEGEEKS.COM/FREE Sample file TABLE OF CONTENTS How to Use this Book...................................................................................5 ITEMS & THINGS Airship Cargo................................................................................................7 Artifacts #1..............................................................................................8-9 Artifacts #2...........................................................................................10-11 Drugs and Medicines..................................................................................12 Items in a Desk...........................................................................................13 Items in a Scientist’s Lab.............................................................................14 Items in a Study..........................................................................................15 Steam Engine and Boiler Parts...................................................................16 Victorian Era Books #1...............................................................................18 Victorian Era Books #2..............................................................................19 FAMOUS VICTORIANS
    [Show full text]
  • Glass of the Roman World Belongs to the Publishers Oxbow Books and It Is Their Copyright
    This pdf of your paper in Glass of the Roman World belongs to the publishers Oxbow Books and it is their copyright. As author you are licenced to make up to 50 offprints from it, but beyond that you may not publish it on the World Wide Web until three years from publication (June 2018), unless the site is a limited access intranet (password protected). If you have queries about this please contact the editorial department at Oxbow Books ([email protected]). An offprint from GLASS OF THE ROMAN WORLD Hardcover Edition ISBN 978-1-78297-774-2 Digital Edition ISBN 978-1-78297-775-9 Edited by Justine Bayley, Ian Freestone and Caroline Jackson © Oxbow Books 2015 Oxford & Philadelphia www.oxbowbooks.com Published in the United Kingdom in 2015 by and in the United States by OXBOWBOOKS OXBOWBOOKS 10 Hythe Bridge Street, Oxford OX1 2EW 908 Darny Road, Havertown, PA 19083 in association with THE ASSOCIATION FOR THE HISTORY OF GLASS © Oxbow Books and the individual authors 2015 Hardcover Edition ISBN 978-1-78297-774-2 Digital Edition ISBN 978-1-78297-775-9 A CIP record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Glass of the Roman world / edited by Justine Bayley, Ian Freestone, and Caroline Jackson. pages cm Summary: "These 18 papers by renowned international scholars include studies of glass from Europe and the Near East. The authors write on a variety of topics where their work is at the forefront of new approaches to the subject. They both extend and consolidate aspects of our understanding of how glass was produced, traded and used throughout the Empire and the wider world drawing on chronology, typology, patterns of distribution, and other methodologies, including the incorporation of new scientific methods.
    [Show full text]