DOCSLIB.ORG

Inuit Ceramics Tech: Rapid Bisque Firing Clay Culture: Sonoma Ash Project “I’D Rather Switch Than Fight.”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Inuit Ceramics Tech: Rapid Bisque Firing Clay Culture: Sonoma Ash Project “I’D Rather Switch Than Fight.” Cover: A. Blair Clemo Review: Inuit Ceramics Tech: Rapid Bisque Firing Clay Culture: Sonoma Ash Project “I’d rather switch than fight.” Find out why experienced potters are switching to L&L rather than fighting with their kilns. L&L Kiln’s patented hard ceramic element holders protect your kiln. hotkilns.com/why KILNS BUILT TO LAST 505 Sharptown Road • Swedesboro, NJ 08085 Phone: 800-750-8350 • Fax: 856.294.0070 Email: [email protected] • Web: hotkilns.com Bailey Kilns at Lillstreet Art Center The Lillstreet Art Center is the premiere ceramic center in Chicago. They support the ceramic arts through many avenues: an artist residen- cy program, gallery, studio space, education, and outreach program. After 28 years, they moved into a new state-of-the-art facility in 2003. It’s spacious and serves as the perfect environment to inspire. In their new facility, they selected Bailey Kilns to meet the rigorous firing demands of their active program that serves 500 students per term. Their kiln room houses two Bailey 2-Car Trackless PRO 54 cu.ft. kilns. Each kiln has been fired over 1200 times! The 2-Car track- less design gives their program great flexibility in their firing requirements. Because they chose the 2-car design, they are firing one load while the next is being prepared on the mobile trackless car. As soon as the fired load is cool, out it comes and in goes the next load. Seamless efficiency. Beyond stacking and cycling efficiency, there is the maximum fuel efficiency. Lillstreet appreciates all the savings in fuel. Bailey Kilns fire on a fraction of traditional designs. Finally, they know they can rely on a constant stream of beautiful pots that come out of every firing. You can depend on Bailey for beautiful firings and maximum fuel efficiency. Think Bailey for the Best in Downdraft Design www.baileypottery.com TOLL FREE (800) 431-6067 www.ceramicsmonthly.org january 2019 1 O3.27–3O.2O19 • MINNEAPOLIS, MN REGISTER FOR THE 53RD ANNUAL CONFERENCE AT NCECA.NET Alexandra Engelfriet, 2019 NCECA ANNUAL EXHIBITION The Form Will Find Its Way: Contemporary Ceramic Sculptural Abstraction, Katherine E. Nash Gallery, Minneapolis, MN, January 22 – March 30, 2019 2 january 2019 www.ceramicsmonthly.org www.ceramicsmonthly.org january 2019 3 “I've relied on my Tucker’s Cone Art Kiln MONTHLY since 1995 for an even firing and Executive Director Mark J. Mecklenborg Publisher Bill Janeri Editorial dependability...It's a work horse that has [email protected] telephone: 614-794-5869 paid for itself over and over again!” fax: 614-891-8960 editor Jessica Knapp - Joan Bruneau associate editor Holly Goring editorial coordinator Katie Sleyman editorial assistant Kaitlynne Phillips editorial support Emily Arbogast technical editor Dave Finkelnburg Advertising/Classifieds [email protected] telephone: 614-794-5834 fax: 614-891-8960 classifi[email protected] telephone: 614-794-5826 national sales director Mona Thiel advertising services Pam Wilson Marketing telephone: 614-794-5809 audience development manager Sandy Moening Subscriptions/Circulation customer service: 800-342-3594 [email protected] Design/Production production artist Kerry Burgdorfer design Boismier John Design senior graphic designer Melissa Bury Editorial and advertising offices 550 Polaris Pkwy., Suite 510 Westerville, Ohio 43082 Editorial Advisory Board Scott Bennett; Sculptor, Birmingham, Alabama Meira Mathison; Director, Metchosin Art School, Canada Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Michael Strand; Fargo, North Dakota Susan York; Santa Fe, New Mexico Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 550 Polaris Pkwy., Suite 510, Westerville, Ohio 43082; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. GST#:RT0001; BN: 12399 4618. Opinions expressed are those of the contributors and do Sole proprietor of Nova Terra Cotta not necessarily represent those of the editors or The American Ceramic Society. Pottery in Nova Scotia, Canada, The publisher makes no claim as to the food safety of pub- Joan Bruneau is part time faculty at lished glaze recipes. Readers should refer to MSDS (material safety data sheets) for all raw materials, and should take all appropriate NSCAD, and has taught at Emily Carr recommended safety measures, according to toxicity ratings. University. Her work can be found in subscription rates: One year $34.99, two years $63.94, galleries across North America, as well three years $89.91. Canada: One year $49, two years $89, three years $130. [plus applicable GST and PST] International: One year as in Jingdezhen, China. Joan was a $60, two years $99, three years $145. demonstrating artist at NCECA 2017. back issues: When available, back issues are $7.50 each, plus Joan Bruneau $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and Joan counts on Cone Art, joanbruneau.com . $9 for shipping outside North America. Allow 4–6 weeks for delivery. how about you? change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address No other kiln can match the “The to: Ceramics Monthly, PO Box 8556, Big Sandy TX 75755-9799 features & benefits of a Tucker’s insulated contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. Cone Art Kiln. walls ensure indexing: Visit the Ceramics Monthly website at slow cooling www.ceramicsmonthly.org to search an index of article titles and artists’ names. Feature articles are also indexed in the Art Index, for the juicy daai (design and applied arts index). copies: Authorization to photocopy items for internal glaze surfaces or personal use beyond the limits of Sections 107 or 108 of that are a big part the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee of my aesthetic. I've is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; 978-750-8400; earned my livelihood with this kiln www.copyright.com. Prior to photocopying items for classroom bisqueing and glaze firing for over 23 use, please contact Copyright Clearance Center, Inc. Tucker's Cone Art Kilns This consent does not extend to copying items for general Tel: 905.889.7705 | 800.304.6185 years and have done zero distribution, or for advertising or promotional purposes, or to maintenance or repairs. It still has the republishing items in whole or in part in any work in any format. [email protected] Please direct republication or special copying permission requests original elements and switches!” - to the Publisher, The American Ceramic Society, 550 Polaris Pkwy., www.coneartkilns.com Suite 510, Westerville, Ohio 43082, USA. Joan Bruneau postmaster: Send address changes to Ceramics Monthly, PO Box 8556, Big Sandy TX 75755-9799. Form 3579 requested. Copyright © 2019, The American Ceramic Society. All rights reserved. Cone Art Kilns @Cone.Art.Kilns #CountOnConeArt www.ceramicsmonthly.org 4 january 2019 www.ceramicsmonthly.org www.ceramicsmonthly.org january 2019 5 contentsjanuary 2019 volume 67, number 1 editorial 8 From the Editor Jessica Knapp quick tip 10 Sponges Forever by Jared Zehmer exposure 12 Images from Current and Upcoming Exhibitions reviews 46 New Forms, New Voices: Contemporary Japanese Ceramics reviewed by Elizabeth Kozlowski An exhibition at the New Orleans Museum of Art displayed contemporary and historical Japanese ceramics from the Gitter-Yelen Collection. 50 Ceramics from Rankin Inlet reviewed by Heidi McKenzie The Art Gallery of Burlington exhibited contemporary ceramics from Rankin Inlet, Canada, showcasing figurative sculptures that tell stories in the round. techno file 58 Rapid Bisque Firing by Larry Camm Most beginning potters pay little attention to bisque firings until they experience an explosion. More often than not, glaze blemishes can be traced directly to improper bisque firings. Taking a cue from industry, we can learn better bisque firing techniques. tips and tools 62 Knockdown Cup Display Shelves by Madeleine Coomey Are you on the pottery show circuit? Or just want to show off some pots? Try these plans for simple, collapsible shelves. resources 66 Residencies and Fellowships Need some seriously focused studio time? Need a creative jump start? Need a place to work and make connections? Need a change of scenery? Apply for a residency! 77 Call for Entries Information on submitting work for exhibitions, fairs, and festivals. 78 Classifieds Looking to buy? Looking to sell? Look no further. 79 Index to Advertisers 12 spotlight 80 Finding an Artistic Voice Ronnie and Peggy Avants share the benefits of creating with clay for adult students at The Caddo Kiowa Technical Center in western Oklahoma. 6 january 2019 www.ceramicsmonthly.org clay culture 16 Sonoma Ash Project by Gregory Roberts This ceramic artist fostered healing within a community devastated by the 2017 Tubbs Fire by incorporating the ash of lost homes into the glaze on symbolic vessels. 20 Nurturing Community by Julie Wilson Stemming from one artist’s desire to mentor and reconnect, The Village Potters Clay Center offers a supportive and knowledgable community studio environment for artists to develop their skills and find their perspective in clay. studio visit 24 Kristine Poole, Santa Fe, New Mexico Built to suit the active practices of two artists, this home and studio features walls of windows that allow the surrounding mountains and landscape to serve as the backdrop for sculpting, researching, and running a business. features 28 Practice and Problem Finding by A. Blair Clemo In order to progress, A. Blair Clemo actively seeks out problems in his work. While this may seem counterintuitive, Clemo demonstrates how addressing the right problems can focus your creative exploration and lead to growth. 32 Neil Forrest: Ships and Voids by Glen R.
Load more

Recommended publications
  • Ackland Ceramics Guide
    ! ! CERAMICS!GUIDE! Ceramics:"objects"formed"from"moistened"clay"and"hardened"by"firing;"distinguished"by" permeability"and"firing"temperatures" • Earthenware:"Porous,"low<firing" • Stoneware:"Non<porous,"high<firing" • Hard<Paste"Porcelain:"Non<porous,"high<firing" Single!firing:"clay"mixture"and"glaze"reach"maximum"density"and"hardness"in"a"single"firing,"with" the"glaze"being"applied"directly"to"the"unfired"clay"beforehand" Biscuit!firing:"glazed"objects"can"also"undergo"multiple"firings,"the"first"being"the"firing"of"the" unglazed"(biscuit)"object;"helps"stabilize"a"work"before"a"glaze"or"painted"decoration"is"applied" Glost!firing:"fuses"glaze"to"an"object"that"has"already"been"biscuit<fired" Glaze:!natural"materials"applied"to"a"clay"object"(either"as"a"powder"or"mixed"with"water)," fusing"with"the"clay"when"fired;"makes"porous"ceramics"impervious"to"liquid;"also"used"on"non< porous"ceramics"for"purely"decorative"effects,"either"as"transparent"coating"or"colored"by"the" addition"of"various"metal"oxides;"comprised"of"ground"silica,"which"melts"to"create"a"glassy" surface,"as"well"as"(1)"an"alumina"stabilizer"to"increase"viscosity"and"(2)"a"mineral"flux"to"lower" the"silica’s"melting"point." Common!glaze!types:"distinguished"by"flux"material" th • Lead:"low<firing,"used"on"earthenware;"largely"discontinued"by"the"late"19 "century"due" to"dangers"of"prolonged"lead"exposure" • Tin:"lead"glaze"with"the"addition"of"tin"oxide,"resulting"in"an"opaque"white"surface;" originates"in"Middle"East,"9th"century;"European"tin<glazed"earthenware"classified"by"
    [Show full text]
  • Colonial Archaeology: 070 333 Spring 2006 Prof C. Schrire Room 201
    Colonial Archaeology: 070 333 Spring 2006 Prof C. Schrire [email protected] Room 201/202 RAB Phone: 932 9006 Course Outline: This course will teach the rudiments of identification and analysis of colonial artifacts dating from about 1600-1900 AD. Our teaching collection includes a variety of ceramics, pipes, glass and small finds. The course if taught largely by supervision and not lectures. Students will sort collections, draw objects, measure objects and identify them according to numerous criteria. Course Requirements: A prerequisite for this course is 070: 208, Survey of Historical Archaeology, normally taught in the Fall term. Students for whom this requirement was waived are expected to study a suitable textbook on the subject, such as Orser, C. 1995 Historical Archaeology and Deetz, J In small things forgotten. Students will attend one three hour class, once a week. During this time they will handle material, analyze it, and draw objects. Each student will need a clean writing pad or notebook, a pad of graph paper, pencils, colored pencils, eraser, a ruler, and a divider. There will be two exams, a midterm and final. Useful Texts: 1. Noel-Hume, I. 2001. The Artifacts of Colonial America 2. Fournier, Robert. Illustrated Dictionary of Practical Pottery. Paperback, 4th ed. 2000 Radnor Pa. Available at Amazon.com ($31.96) 3. Numerous additional sources will be present at class for used during the practicals. Colonial Archaeology: 070 330 Significant technical terms: (see Fournier 2000) Absorption: The taking up of liquid into the pores of a pot. The water absorption of a ceramic is an indicator of its degree of vitrification.
    [Show full text]
  • Japan Ese Pottery Being a Native Report with an Introduction And
    S OUTH KENSINGTON MUSEUM ART HANDBOOK JAPANESE POTTERY J A PA N E S E POTT E RY BE IN G A N ATIV E REPORT WITH A N I NTROD U CTION A N D C ATA LOGU E w R N M A . P. A U GUS T US F A KS , . , S A . WITH I LLUSTRATI O N S AN D MARKS ” ’ ‘ ' P ublic/zed f or 1113 Commz z fee of Counc il on E duc alz on BY L . LOND ON : C HA PMA N A N D HA LL, D F . M . E V N S A N D c o . L I M IT E D C RYS T L P L CE A , , A A A , CON TEN TS . H isto ry Tec hnique S hapes and uses o f vases Dec o rati on Marks REPORT A N D CATA LOGU E A nc ient wares Karatsu ware Seto ware Xi- Seto ware Shin o ware Ge m pin ware Oribe ware S eto - Suke ware Seto - Kuro ware I nu- yam a ware Mi no ware Bizen ware vi jA P A N E S E P OTTE R Y. hi araki 0 0 S g ware 0 I ga ware Tamba ware Shito to ware Zeze A sahi ware Takatori ware Hagi ware Matsum o to ware idsum o ware Fujxna ware A kahada ware Minato ware Yanagawa ware T oyo - ura ware Raku ware Ohi ware H oraku ware [A sakusa] Raku ware [To kio] Raku ware [Osaka] Raku ware [Dfihac hi] Raku ware Fushimiware I mado ware Ki6to ( S aikiyo ) fac tories N inseiware A wata ware Kenz an ware Kiyom idz u ware Ye iraku ware O to ware N T T CO E N S .
    [Show full text]
  • 1 Bouilloire À Eau (Tetsubin) De Forme Cylindrique Décorée D’Un Dragon Et De Nuages En Relief
    1 Bouilloire à eau (tetsubin) de forme cylindrique décorée d’un dragon et de nuages en relief. Période Meiji – Taisho. H. : 17 cm; l. : 14 cm. 150 - 180 € Round cylindrical iron water-kettle (tetsubin) decorated with a dragon with clouds relief. Meiji - Taisho Period. 2 Bouilloire à eau en métal de forme plate et arrondie (tetsubin). Avec une anse fixe et un motif en bas-relief figurant des chevaux. Le couvercle arbore une poignée en forme de pomme de pin. Période Meiji. H. : 22,5 cm; D. : 21 cm. 250 - 350 € Round flat iron water-kettle (tetsubin) with a fixed handle and decorated in low relief with horses. The lid has a pine-cone shaped knob. Meiji period. 3 Bouilloire à eau (tetsubin) de forme globulaire. Motifs en relief à picots (arare). Le couvercle de cuivre affiche sur l’intérieur la marque Ryûbundô. Période Meiji. l. : 17,5 cm; D. : 16,5 cm 280 - 320 € Globular iron water-kettle (tetsubin) decorated with hailstone (arare) motive. Copper lid marked at the inside Ryûbundô. Meiji Period. 4 Bouilloire à eau (tetsubin) en métal de forme ronde. Motifs en relief à picots (arare). Période Meiji – Taisho. l. : 20 cm; D. : 14 cm. 200 - 250 € Round iron water-kettle (tetsubin) decorated with hailstone (arare) motive. Meiji - Taisho Period. 5 Bouilloire à eau en métal (tetsubin). L’objet arbore un couvercle et des anses en laiton et des décors en relief figurant des phénix. Période Meiji – Taisho. l. : 19 cm; D. : 15 cm. 350 - 450 € Iron water-kettle (testubin) with brass lid and handle and decorated with a relief of phoenixes.
    [Show full text]
  • Related Voices Hamada: Three Generations
    Related Voices HAMADA: Three Generations PUCKER GALLERY BOSTON Tomoo Hamada Shoji Hamada Bottle Obachi (Large Bowl), 1960-69 Black and kaki glaze with akae decoration Ame glaze with poured decoration 12 x 8 ¼ x 5” 4 ½ x 20 x 20” HT132 H38** Shinsaku Hamada Vase Ji glaze with tetsue and akae decoration Shoji Hamada 9 ¾ x 5 ¼ x 5 ¼” Obachi (Large Bowl), ca. 1950s HS36 Black glaze with trailing decoration 5 ½ x 23 x 23” H40** *Box signed by Shoji Hamada **Box signed by Shinsaku Hamada All works are stoneware. Three Voices “To work with clay is to be in touch with the taproot of life.’’ —Shoji Hamada hen one considers ceramic history in its broadest sense a three-generation family of potters isn’t particularly remarkable. Throughout the world potters have traditionally handed down their skills and knowledge to their offspring thus Wmaintaining a living history that not only provided a family’s continuity and income but also kept the traditions of vernacular pottery-making alive. The long traditions of the peasant or artisan potter are well documented and can be found in almost all civilizations where the generations are to be numbered in the tens or twenties or even higher. In Africa, South America and in Asia, styles and techniques remained almost unaltered for many centuries. In Europe, for example, the earthenware tradition existed from the early Middle Ages to the very beginning of the 20th century. Often carried on by families primarily involved in farming, it blossomed into what we would now call the ‘slipware’ tradition. The Toft family was probably the best known makers of slipware in Staffordshire.
    [Show full text]
  • Catazacke 20200425 Bd.Pdf
    Provenances Museum Deaccessions The National Museum of the Philippines The Herbert F. Johnson Museum of Art, Cornell University New York, USA The Monterey Museum of Art, USA The Abrons Arts Center, New York, USA Private Estate and Collection Provenances Justus Blank, Dutch East India Company Georg Weifert (1850-1937), Federal Bank of the Kingdom of Serbia, Croatia and Slovenia Sir William Roy Hodgson (1892-1958), Lieutenant Colonel, CMG, OBE Jerrold Schecter, The Wall Street Journal Anne Marie Wood (1931-2019), Warwickshire, United Kingdom Brian Lister (19262014), Widdington, United Kingdom Léonce Filatriau (*1875), France S. X. Constantinidi, London, United Kingdom James Henry Taylor, Royal Navy Sub-Lieutenant, HM Naval Base Tamar, Hong Kong Alexandre Iolas (19071987), Greece Anthony du Boulay, Honorary Adviser on Ceramics to the National Trust, United Kingdom, Chairman of the French Porcelain Society Robert Bob Mayer and Beatrice Buddy Cummings Mayer, The Museum of Contemporary Art (MCA), Chicago Leslie Gifford Kilborn (18951972), The University of Hong Kong Traudi and Peter Plesch, United Kingdom Reinhold Hofstätter, Vienna, Austria Sir Thomas Jackson (1841-1915), 1st Baronet, United Kingdom Richard Nathanson (d. 2018), United Kingdom Dr. W. D. Franz (1915-2005), North Rhine-Westphalia, Germany Josette and Théo Schulmann, Paris, France Neil Cole, Toronto, Canada Gustav Heinrich Ralph von Koenigswald (19021982) Arthur Huc (1854-1932), La Dépêche du Midi, Toulouse, France Dame Eva Turner (18921990), DBE Sir Jeremy Lever KCMG, University
    [Show full text]
  • Piese De Artă Decorativă Japoneză Din Colecţia Muzeului Ţării Crișurilor
    Piese de artă decorativă japoneză din Colecţia Muzeului Ţării Crișurilor și colecţiile particulare din Oradea TAMÁS Alice* Japanese decorative art pieces from the collections of Criş County Museum and private properties in Oradea - Abstract - The history of japanese pottery reveled the evolution of ceramic arts styles and technics and also the activities of many masters, craftsmans, artists by the different periods of Japan history like Jomon (8000B.C.- 300B.C.), Yayoi (300B.C.-300A.D.), Kofun (300A.D.- 710A.D.), Nara (710-794), Heian (794-1192), Kamakura (1192-1333), Muromachi (1333- 1573), Momoyama (1573-1603), Edo(1603-1868), Meiji (1868-1912), Taisho (1912-1926) and Showa (1926-1988). The most beautiful Satsuma pottery that found in the collections of the Criș County Museum and private properties in Oradea, was made in Meiji periode, for the occidental art consumers and described historical scenes, that was painted with many technics like underglase, overglase, Moriaje (rice) Keywords: Japanese pottery, tradition, industry, Satsuma, art styles, În urma investigaţiilor arheologice şi a datării cu carbon radioactiv s-a ajuns la concluzia că arhipeleagul japonez, cândva parte din continentul eurasiatic a fost locuit din Pleistocen (Era glaciară), uneltele din piatră găsite datând dinainte de 30.000 î. Hr., iar meș- teșugul și arta ceramicii se practica de mai bine de 12.000 de ani. Istoria culturii și civilizaţiei din arhipeleagul Japonez cunoaște o împărţire pe perioade. Urmărind perioadele istorice din cele mai vechi timpuri și până azi se poate constata o evoluţie a spiritualităţii, a mentalităţilor precum și a diverselor tehnici de execuţie a ceramicii japoneze, având perioade incipiente, de apogeu și declin de-a lungul timpului.
    [Show full text]
  • Download .PDF
    Yale university press Fall/Winter 2020 Marcus Carey Batchelor Bate Under the Red White A Little History of The Art of Solitude Radical Wordsworth and Blue Poetry Hardcover Hardcover Hardcover Hardcover 978-0-300-25093-0 978-0-300-16964-5 978-0-300-22890-8 978-0-300-23222-6 $23.00 $35.00 $26.00 $25.00 Unwin/Tipling Delbanco Leibovitz Campbell Flights of Passage Why Writing Matters Stan Lee Year of Peril Hardcover Hardcover Hardcover Hardcover 978-0-300-24744-2 978-0-300-24597-4 978-0-300-23034-5 978-0-300-23378-0 $40.00 $26.00 $26.00 $30.00 Van Engen Reynolds Taylor Musonius Rufus City on a Hill Allah Sons of the Waves That One Should Hardcover Hardcover Hardcover Disdain Hardships 978-0-300-22975-2 978-0-300-24658-2 978-0-300-24571-4 Hardcover $30.00 $30.00 $30.00 978-0-300-22603-4 $22.00 RECENT GENERAL INTEREST HIGHLIGHTS Yale university press FALL/WINTER 2020 GENERAL INTEREST 01 JEWISH LIVES® 24 MARGELLOS WORLD REPUBLIC OF LETTERS 26 SCHOLARLY AND ACADEMIC 56 PAPERBACK REPRINTS 73 ART + ARCHITECTURE A 1 front cover illustration: Via Roma, Genoa, Italy, ca. 1895. From Stories for the Years, page 28 “This book is superb, utterly FROM TAKE ARMS AGAINST A SEA OF TROUBLES: convincing, and absolutely invigorating. Bloom’s final argument with mortality What you read and how deeply you read matters almost as much as how you ultimately has a rejuvenating love, work, exercise, vote, practice charity, strive for social justice, cultivate effect upon the reader, kindness and courtesy, worship if you are capable of worship.
    [Show full text]
  • An Overview of Overlapping Interests in East Asian and Western Conservation
    Adapt & Evolve 2015: East Asian Materials and Techniques in Western Conservation. Proceedings from the International Conference of the Icon Book & Paper Group, London 8–10 April 2015 https://icon.org.uk/node/4998 An overview of overlapping interests in East Asian and Western conservation T.K. McClintock, Lorraine Bigrigg and Deborah LaCamera Copyright information: This article is published by Icon on an Open Access basis under a Creative Commons Attribution-NonCommercial-NoDerivatives License (CC BY-NC-ND) https://creativecommons.org/licenses/by-nc-nd/4.0/. You are free to copy and redistribute this material in any medium or format under the following terms: You must give appropriate credit and provide a link to the license (you may do so in any reasonable manner, but not in any way which suggests that Icon endorses you or your use); you may not use the material for commercial purposes; and if you remix, transform, or build upon the material you may not distribute the modified material without prior consent of the copyright holder. You must not detach this page. To cite this article: T.K. McClintock, Lorraine Bigrigg and Deborah LaCamera, ‘An overview of overlapping interests in East Asian and Western conservation’ in Adapt & Evolve 2015: East Asian Materials and Techniques in Western Conservation. Proceedings from the International Conference of the Icon Book & Paper Group, London 8–10 April 2015 (London, The Institute of Conservation: 2017), 168–81. Adapt & Evolve 2015: East Asian Materials and Techniques in Western Conservation. Proceedings from the International Conference of the Icon Book & Paper Group, London 8-10 April 2015 168 T.K.
    [Show full text]
  • MW-Catalogue-2017.Pdf
    Maxwell & Williams Spot Colours Red PMS 186 Black c86 m85 y79 k100 CONTENTS DARK OPULENCE COLLECTION CASHMERE NOCTURNE 05 SWANK 11 SYMPHONY 15 TALISMAN 19 MUGS & COASTERS 22 FOCUS COLLECTION ELEMENTAL 29 MEZZE 33 ICHACHA 35 MUGS 37 RECONNECT COLLECTION ARTISAN 41 MUGS 47 NEW CLASSICS COLLECTION CASHMERE BLOEMS 51 EUPHEMIA HENDERSON 55 LILLE 59 COTTAGE KITCHEN 63 VITROMAX 67 WHITE BASICS 69 GALLEY 71 MUGS & COASTERS 73 “DARK OPULENCE EXPLORES THE ALLURE OF RICH DARK JEWEL COLOURS AND CONTRASTS THEM WITH CALMING WHITES. PRECIOUS METALLIC DARK EMBELLISHMENTS GIVE THE PIECES A MAGICAL GLAMOUR; THE NIGHT AND DAY CONTRAST MAKES FOR A STRIKING OPULENCE LAYERED TABLE SETTING.” CLAIRE CHILCOTT, CREATIVE DIRECTOR 2 DARK OPULENCE 3 YOUR STYLE. YOUR WAY. CASHMERE NOCTURNE Cashmere Nocturne is inspired by the harmony of opposites with a range of beautiful dinnerware in exquisite fine bone china. Each piece features a delicate gold pattern on black or white, giving the collection an elegantly opulent feel. EF0055 Nocturne Demi Cup & Saucer Black, 90ML EF0056 Nocturne Demi Cup & Saucer White, 90ML EF0044 Nocturne Cup & Saucer Black, 220ML EF0045 Nocturne Cup & Saucer White, 220ML EF0028 Nocturne Mug Black, 350ML EF0038 Nocturne Mug White, 350ML EF0048 Nocturne Bowl Black, 17cm EF0049 Nocturne Bowl White, 17cm EF0026 Nocturne Side Plate Black, 20cm EF0036 Nocturne Side Plate White, 20cm EF0025 Nocturne Dinner Plate Black, 27.5cm EF0035 Nocturne Dinner Plate White, 27.5cm EF0027 Nocturne Rim Bowl Black, 23.5cm EF0037 Nocturne Rim Bowl White, 23.5cm EF0046 Nocturne Dinner Set 12pc Black GB EF0047 Nocturne Dinner Set 12pc White GB ED0010 Nocturne Coaster Black Set of 6 GB ED0009 Nocturne Placemat Black Set of 6 GB 5 YOUR STYLE.
    [Show full text]
  • PDF Download Japanese Export Ceramics: 1860-1920 Ebook, Epub
    JAPANESE EXPORT CERAMICS: 1860-1920 PDF, EPUB, EBOOK Nancy N. Schiffer | 224 pages | 01 Mar 2000 | Schiffer Publishing Ltd | 9780764310430 | English | Atglen, United States Japanese Export Ceramics: 1860-1920 PDF Book Fine Satsuma porcelain with distinctive crackle. All items are well packaged- I make the assumption that gorillas may handle them at some point along the way. Please keep in mind, most of our items are over years old and normal age should be expected. Repairs, or signs or normal use. Creamy or off-white and sometime beige appearance. There is some wear to the. As the goma melts, it becomes a substance that looks like a flowing glassy glaze, which is called "tamadare" egg dripping. All shipments are made via Israeli Post registered airmail. Sort by highest price first. And my hours upon hours of research has found nothing close! Pottery coated with the white glaze of rice straw ash are known as Madara Karatsu. Firing the iron-rich soil at high temperatures, creates a pottery featuring a rustic and rugged finish. She was an avid collector of Japanese antiques and woodblocks. Extra Notes The figure wearing long elaborate robes is seated in front of a banana plant and tree with his accoutrements gathered around him. Sort by newest results first. The signature I have unable to track down. However, the kiln was not managed well and ended up being consigned by the domain to private management. The discovery of white clay was an extremely important event for Shiro Satsuma, which exclusively relied on precious Korean white clay. Olive Green In the late edo period, enamel coating technique was imported from China.
    [Show full text]
  • ENQUÊTE SUR L'accoutumance AUX INTERFACES TACTILES PAR L'entremise D'une PRODUCTION SCULPTURALE D'objets DE CÉRAMIQUE IMITANT LE Iphone
    UNIVERSITÉ DU QUÉBEC À MONTRÉAL CE QUE L'IMAGE EST À LA MATIÈRE ET VICE VERSA : ENQUÊTE SUR L'ACCOUTUMANCE AUX INTERFACES TACTILES PAR L'ENTREMISE D'UNE PRODUCTION SCULPTURALE D'OBJETS DE CÉRAMIQUE IMITANT LE iPHONE MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ARTS VISUELS ET MÉDIATIQUES PROFIL CRÉATION PAR CHARLES-ANTOINE BLAIS MÉTIVIER JANVIER 2018 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.0?-2011 ). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l 'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l 'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l 'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire. » REMERCIEMENTS En premier lieu , j'aimerais remercier mes directeurs, Emanuel Licha et David Tomas pour leur soutien, leur patience, et la rigueur dont ils ont fait preuve dans la direction de ma recherche.
    [Show full text]