WHITE IRONSTONE NOTES VOLUME 3 No
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Multiplicity: Contemporary Ceramic Sculpture' Exhibition Catalog Anne M Giangiulio, University of Texas at El Paso
University of Texas at El Paso From the SelectedWorks of Anne M. Giangiulio 2006 'Multiplicity: Contemporary Ceramic Sculpture' Exhibition Catalog Anne M Giangiulio, University of Texas at El Paso Available at: https://works.bepress.com/anne_giangiulio/32/ Contemporary Ceramic Sculpture Organized by the Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso This publication accompanies the exhibition Multiplicity: Contemporary Ceramic Sculpture which was organized by the Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso and co-curated by Kate Bonansinga and Vincent Burke. Published by The University of Texas at El Paso El Paso, TX 79968 www.utep.edu/arts Copyright 2006 by the authors, the artists and the University of Texas at El Paso. All rights reserved. No part of this publication may be reproduced in any manner without permission from the University of Texas at El Paso. Exhibition Itinerary Portland Art Center Portland, OR March 2-April 22, 2006 Stanlee and Gerald Rubin Center for the Visual Arts Contemporary Ceramic Sculpture The University of Texas at El Paso El Paso, TX June 29-September 23, 2006 San Angelo Museum of Fine Arts San Angelo, TX April 20-June 24, 2007 Landmark Arts Texas Tech University Lubbock, TX July 6-August 17, 2007 Southwest School of Art and Craft San Antonio, TX September 6-November 7, 2007 The exhibition and its associated programming in El Paso have been generously supported in part by the Andy Warhol Foundation for the Visual Arts and the Texas Commission on the Arts. -
Transferware Database of Patterns and Sources
Transferware Database of Patterns and Sources Pattern #4864 Pattern Name: Roman #01 Center Pattern Border Alternate Names: Greek Pattern, Kirk Series Category: Literature and the Performing Arts / Mythology Border: Miscellaneous / Classical themes / Decorative panels Additional Information: Plate, 9.5 inches. Two sections of the border are shown. Priestman2001, pp. 114-119, identifies a series of patterns on tablewares that Minton was producing by 1810, based on the engravings of Thomas Kirk that had been used to illustrate a catalogue of the collection of ancient Greek, Roman and Etruscan vases that had been put together by the British diplomat Sir William Hamilton in the latter half of the 18thC. Minton called them the Roman patterns, though the characters portrayed were not all Roman nor were the vases from which the drawings were taken all of Roman origin. The patterns have also been referred to as the Kirk series, after the artist and engraver. The pattern shown here is based on plate 54 in Kirk1804. The pattern and the source print are illustrated on p. 117 of Priestman2001, but no indication is given of what the scene represents. A circular cartouche containing various freemasonry symbols has been added to the central design, suggesting that the plate may have been part of a special order from Freemasons' Lodge. See also CoyshHenrywood1989, pp120-121, for a description of this series (here named Kirk series)and illustrations, including one of this pattern. Moore2010, pp. 120-121, illustrates the Kirk drawing and one from Tischbein, pl. 9, Vol. I in connection with a Spode pattern called 'Apollo Seated on a Winged Chair". -
001. Outstanding Double Stamped John Bell Sitting Molded Spaniel Dog W/ Collar & Chain, 8 ½” Tall
Pa. OnSite Auction Saturday Nov. 17, 2018 Charles & Elizabeth Roby Auction Sale Catalog 001. Outstanding double stamped John Bell sitting molded Spaniel dog w/ collar & chain, 8 ½” tall. 002. Very good splint basket w/ green paint & wooden handle. 003. “White Utica” bulbous stoneware jug w/ blue decoration. 004. Blue & white granite coffee boiler. 005. Early oblong wooden trencher maintaining some original bark. 006. Signed “H.W. Hayden pat. Dec. 16, 1851 brass bucket. 007. Early iron grappling hook w/ loop top. 008. Cornucopia & eagle w/ shield dark green glass flask. 009. 1994 Book w/ dust cover: “The Pottery Of The Shenandoah Valley Region” by H.E. Comstock, signed “To Charles Roby Good Luck In Collecting J. Bell Pottery H.E. Comstock 11/10/95”. 010. Very good olive green glass nice form demijohn. 011. Early 3 legged iron hearth frypan w/ wrought iron handle. 012. “Wm. Radam’s Microbe Killer No. 1” stoneware jug. 013. Very good oak splint flower gathering basket w/ full wooden handle & rest stops on base. 014. Very good wooden dry measure w/ iron bands. 015. Large pair tailors scissors signed “R. Heinisch Inventor Newark N.J.” 016. Large green glass bottle “Clarke’s Vegetable Sherry Wine Bitters Sharon Mass.”\ 017. 4 pc. Kitchen Tool Set: wrought iron fork, brass spatula w/ wrought iron handle, brass bowl ladle & strainer both w/ wrought iron handles, all pcs. signed “F.B.S. Canton O. Pat. Jan 26, 1886”. 018. Sheet iron cow or goat bell. 019. Signed “J.T. 1978” wrought iron adjustable candle lamp. 020. 12 count candle mold. -
Tactile Digital: an Exploration of Merging Ceramic Art and Industrial Design
INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION 8 & 9 SEPTEMBER 2016, AALBORG UNIVERSITY, DENMARK TACTILE DIGITAL: AN EXPLORATION OF MERGING CERAMIC ART AND INDUSTRIAL DESIGN Dosun SHIN1 and Samuel CHUNG2 1Industrial Design, Arizona State University 2Ceramic Art, Arizona State University ABSTRACT This paper presents a pilot study that highlights collaboration between ceramic art and industrial design. The study is focused on developing a ceramic lamp that can be mass-produced and marketed as a design artefact. There are two ultimate goals of the study: first, to establish an iterative process of collaboration between ceramic art and industrial design through an example of manufactured design artefact and second to expand transdisciplinary and collaborative knowledge. Keywords: Trans-disciplinary collaboration, emerging design technology, ceramic art, industrial design. 1 INTRODUCTION The proposed project emphasizes collaboration between disciplines of ceramic art and industrial design to create a ceramic lamp that can be mass-produced and marketed as a design artefact. It addresses issues related to disciplinary challenges involved in the process and use of prototyping techniques that make this project unique. There are two ultimate goals of the project. First is to establish an iterative process of collaboration between ceramic art and industrial design through an example of manufactured 3D ceramic lamp. The second goal is to develop a transdisciplinary ceramic design course for Arizona State University students. The eventual intent is also to share generated knowledge with scholars from academia and industry through various conferences, academic, and technical platforms. In the following, we will first discuss theoretical perspectives about collaboration between ceramic art and industrial design to highlight positives and negatives of disciplinary associations. -
Pekin Japan – a Pattern with a Long Run
Pekin Japan – a Pattern with a Long Run By Connie Rogers n our work in the TCC Database, we cessful Ashworth firm continued Ifind that some patterns are short- from 1860-1968 when it was re- lived. Others were popular enough named ‘Mason’s Ironstone China that when the pottery that pro- Ltd.’ This paper will discuss and duced them went out of busi- illustrate some of the Pekin Ja- ness, another pottery bought pan pattern variations of the the copper plates and continued two firms that helped to keep the pattern for many years un- it popular for nearly a century. der different marks – and occa- Now, the name: Pekin Ja- sionally a new name. In the case pan. Where did that come of Pekin Japan, the pattern and from? Pekin surely relates to its name were found in a pattern the city of Peking in China. Ja- book, dated c. 1825-30 from the C. pan is a totally different country. J. Mason & Co. In Mason Porcelain Was this Mason’s way of choos- & Ironstone 1796-1853, the authors, ing a name for an Oriental land- Reginald Haggar & Elizabeth Adams, scape that was not directly copied illustrate a page from the pattern book Figure 1. from a Chinese Export pattern? By 1825- in Plate 101, and a 10 inch plate with 30 when this pattern came out, there were Pekin Japan, c. 1825-30 in Plate 102. The pat- thousands of pieces of Chinese Export tern was first produced by the Masons in an porcelain in Britain, and many of the pat- underglaze blue transfer print as seen here terns were known in general as “Chinese in Figure 1 with its mark (1a). -
9. Ceramic Arts
Profile No.: 38 NIC Code: 23933 CEREMIC ARTS 1. INTRODUCTION: Ceramic art is art made from ceramic materials, including clay. It may take forms including art ware, tile, figurines, sculpture, and tableware. Ceramic art is one of the arts, particularly the visual arts. Of these, it is one of the plastic arts. While some ceramics are considered fine art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artifacts in archaeology. Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery".[1] In a one-person pottery studio, ceramists or potters produce studio pottery. Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made this way. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat. It excludes glass and mosaic made from glass tesserae. There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures. Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics. 2. -
Part 5: Exploration & Excavation
Marshall University Marshall Digital Scholar C.S.S. Alabama: An Illustrated History Library Special Collections Fall 10-11-2017 Part 5: Exploration & Excavation Jack L. Dickinson Marshall University, [email protected] Follow this and additional works at: http://mds.marshall.edu/css_al Part of the Military History Commons, and the United States History Commons Recommended Citation Dickinson, Jack L., "Part 5: Exploration & Excavation" (2017). C.S.S. Alabama: An Illustrated History. 4. http://mds.marshall.edu/css_al/4 This Article is brought to you for free and open access by the Library Special Collections at Marshall Digital Scholar. It has been accepted for inclusion in C.S.S. Alabama: An Illustrated History by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. CSS Alabama : An Illustrated History In Six Parts: You are here Part 1: Building of Ship 290 Part 2: Officers and Crew Part 3: Cruise of the Alabama Part 4: Battle with USS Kearsarge ---> Part 5: Exploration & Excavation Part 6: Miscellaneous and Bibliography (the Alabama Claims, poems, music, sword of Raphael Semmes) To read any of the other parts, return to the menu and select that part to be downloaded. Designed and Assembled by Jack L. Dickinson Marshall University Special Collections 2017 Investigation of the Confederate Commerce Raider CSS Alabama 2001 CSS Alabama Association P. O. Box 2744 Mobile, Alabama 36652-2744 Association CSS Alabama 34 Avenue de New York 75116 Paris Investigation of the Confederate Commerce Raider CSS Alabama 2001 Submitted to: Joint French American Scientific Committee for the CSS Alabama Submitted by: Gordon P. -
Phase Two Phase
Phase One 2012 2013 2014 2015 Phase Two 2016 2017 2018 2019 2020 BB B SU B BB NU BB BB Further Thoughts on Earthy Materials B MA RD Abaration Topographies of the Obsolete Receipt of Funding from Material Memory: Kunsthaus Hamburg Initial visit to Spode by KHiB staff discussion Visningsrommet USF in Bergen BB Plymouth College of Art Norwegian Artistic …When People Get to the The Post-Industrial with the British Ceramic Biennial BB End There’s Always the Brick Landscape as site for Cont(R)act earth Research Council BB Launch of website Gråsten, Denmark Creative Practice BB First Central China International BB NT topographies.khib.no Newcastle University BB Ceramics Biennale, Putting It at Stake SH BB Factory, Neil Brownsword Developing A Research Inquiry Partner Institution visits Henan Museum RIAN Design Museum, Sweden BB BB B Research Group meetings in all institutions Blås & Knåda, Stockholm into the Haptic Use of Clay as a Dancing in the Boardroom Cause and Effect Many a Slip Obsolescence and Renewal Project blog launch to map out sites for Phase Two National Centre for Craft and Design, Therapeutic Assistant Presentation of project to Museum of Contemporary Art, Marsden Woo, London NT SH m2 Gallery, London internal KHiB staff Sleaford 4th International Conference for Research BB MA NU NT RD SH Detroit Returns group in Gestalt Psychotherapy, Santiago, Chile NT SH BB MA NU NT RD SH Residency 6 NT NT SH AirSpace Gallery, Digging through Dirt: Archaeology re-turning Residency 2 Topographies of the Obsolete BB Retreat Stoke-on-Trent Topographies of the Obsolete Past, Present, Precious and Unwanted BB Participant artist reflections and discussion BB published Stoke-on-Trent BB SU B with selected artists and students. -
Ford Ceramic Arts Columbus, Ohio
The Journal of the American Art Pottery Association, v.14, n. 2, p. 12-14, 1998. © American Art Pottery Association. http://www.aapa.info/Home/tabid/120/Default.aspx http://www.aapa.info/Journal/tabid/56/Default.aspx ISSN: 1098-8920 Ford Ceramic Arts Columbus, Ohio By James L. Murphy For about five years during the late 1930s, the combination of inventive and artistic talent pro- vided by Walter D. Ford (1906-1988) and Paul V. Bogatay (1905-1972), gave life to Ford Ceramic Arts, Inc., a small and little-known Columbus, Ohio, firm specializing in ceramic art and design. The venture, at least in the beginning, was intimately associated with Ohio State University (OSU), from which Ford graduated in 1930 with a degree in Ceramic Engineering, and where Bogatay began his tenure as an instructor of design in 1934. In fact, the first plant, begun in 1936, was actually located on the OSU campus, at 319 West Tenth Avenue, now the site of Ohio State University’s School of Nursing. There two periodic kilns produced “decorated pottery and dinnerware, molded porcelain cameos, and advertising specialties.” Ford was president and ceramic engineer; Norman M. Sullivan, secretary, treasurer, and purchasing agent; Bogatay, art director. Subsequently, the company moved to 4591 North High Street, and Ford's brother, Byron E., became vice-president. Walter, or “Flivver” Ford, as he had been known since high school, was interested primarily in the engineering aspects of the venture, and it was several of his processes for producing photographic images in relief or intaglio on ceramics that distinguished the products of the company. -
1 the Willow Pattern
The East India Company at Home, 1757-1857 – UCL History The Willow Pattern: Dunham Massey By Francesca D’Antonio Please note that this case study was first published on blogs.ucl.ac.uk/eicah in June 2014. For citation advice, visit: http://blogs.uc.ac.uk/eicah/usingthewebsite. Unlike other ‘objects studies’ featured in the East India Company At Home 1757-1857 project, this case study will focus on a specific ceramic ware pattern rather than a particular item associated with the East India Company (EIC). With particular attention to the contents of Dunham Massey, Greater Manchester, I focus here on the Willow Pattern, a type of blue and white ‘Chinese style’ design, which was created in 1790 at the Caughley Factory in Shropshire. The large-scale production of ceramic wares featuring the same design became possible only in the late eighteenth century after John Sadler and Guy Green patented their method of transfer printing for commercial use in 1756. Willow Pattern wares became increasingly popular in the early nineteenth century, allowing large groups of people access to this design. Despite imitating Chinese wares so that they recalled Chinese hard-stone porcelain body and cobalt blue decorations, these wares remained distinct from them, often attracting lower values and esteem. Although unfashionable now, they should not be merely dismissed as poor imitations by contemporary scholars, but rather need to be recognized for their complexities. To explore and reveal the contradictions and intricacies held within Willow Pattern wares, this case study asks two simple questions. First, what did Willow Pattern wares mean in nineteenth-century Britain? Second, did EIC families—who, as a group, enjoyed privileged access to Chinese porcelain—engage with these imitative wares and if so, how, why and what might their interactions reveal about the household objects? As other scholars have shown, EIC officials’ cultural understandings of China often developed from engagements with the materials they imported, as well as discussions of and visits to China. -
N C C Newc Coun Counc Jo Castle Ncil a Cil St Oint C E-Und Nd S Tatem
Newcastle-under-Lyme Borough Council and Stoke-on-Trent City Council Statement of Community Involvement Joint Consultation Report July 2015 Table of Contents Introduction Page 3 Regulations Page 3 Consultation Page 3 How was the consultation on Page 3 the Draft Joint SCI undertaken and who was consulted Main issues raised in Page 7 consultation responses on Draft Joint SCI Main changes made to the Page 8 Draft Joint SCI Appendices Page 12 Appendix 1 Copy of Joint Page 12 Press Release Appendix 2 Summary list of Page 14 who was consulted on the Draft SCI Appendix 3 Draft SCI Page 31 Consultation Response Form Appendix 4 Table of Page 36 Representations, officer response and proposed changes 2 Introduction This Joint Consultation Report sets out how the consultation on the Draft Newcastle-under- Lyme Borough Council and Stoke-on-Trent City Council Statement of Community Involvement (SCI) was undertaken, who was consulted, a summary of main issues raised in the consultation responses and a summary of how these issues have been considered. The SCI was adopted by Newcastle-under-Lyme Borough Council on the 15th July 2015 and by Stoke-on-Trent City Council on the 9th July 2015. Prior to adoption, Newcastle-under-Lyme Borough Council and Stoke-on-Trent City Council respective committees and Cabinets have considered the documents. Newcastle-under- Lyme Borough Council’s Planning Committee considered a report on the consultation responses and suggested changes to the SCI on the 3RD June 2015 and recommended a grammatical change at paragraph 2.9 (replacing the word which with who) and this was reported to DMPG on the 9th June 2015. -
Stoke-On-Trent (Uk) Policy Brief #4 • Liveability
STOKE-ON-TRENT (UK) POLICY BRIEF #4 • LIVEABILITY EXECUTIVE SUMMARY This policy brief showcases a successful initiative to improve urban liveability in a shrinking city through repurposing its historical heritage. It shows how old industrial buildings could be used to accommodate new creative arts entrepreneurs and host high profile cultural events. The brief focusses on Spode Works, a 10-acre bone china pottery and homewares production site located in Stoke-on-Trent – a medium-size polycentric industrial city in central England1, coping with population loss. Building on local knowledge and stakeholders’ experiences of using the Spode site after the factory’s closure in 2009, this brief demonstrates how a shrinking city can challenge a negative stereotype, raise its profile, and improve attractiveness by generating new creative arts and culture dynamics from within the effectively repurposed old industrial assets. The key lesson learnt is that to enhance liveability one should not drive it down to specific concerns like housing, jobs, or leisure. Urban liveability is about the dynamism and wider significance of a place. These qualities can be improved by a visionary local authority, enthusiastic civil society, and risk-taking private sector partners, all committed to urban regeneration and raising the city profile through the development of local creative capacity for impactful events and knowledge exchange. INTRODUCTION Over the last two decades, Stoke-on-Trent actors have undertaken a series of initiatives aimed at making the city more attractive and liveable, including improvements in the social and private sector housing provision, tourist infrastructure developments, and civic-led creative arts projects. The local art and culture community and other stakeholders have acknowledged the city’s untapped potential for creativity and innovation.