Telling Time for Archaeologists George L
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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. -
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). -
The Perils of Periodization: Roman Ceramics in Britain After 400 CE KEITH J
The Perils of Periodization: Roman Ceramics in Britain after 400 CE KEITH J. FITZPATRICK-MATTHEWS North Hertfordshire Museum [email protected] ROBIN FLEMING Boston College [email protected] Abstract: The post-Roman Britons of the fifth century are a good example of people invisible to archaeologists and historians, who have not recognized a distinctive material culture for them. We propose that this material does indeed exist, but has been wrongly characterized as ‘Late Roman’ or, worse, “Anglo-Saxon.” This pottery copied late-Roman forms, often poorly or in miniature, and these pots became increasingly odd over time; local production took over, often by poorly trained potters. Occasionally, potters made pots of “Anglo-Saxon” form using techniques inherited from Romano-British traditions. It is the effect of labeling the material “Anglo-Saxon” that has rendered it, its makers, and its users invisible. Key words: pottery, Romano-British, early medieval, fifth-century, sub-Roman Archaeologists rely on the well-dated, durable material culture of past populations to “see” them. When a society exists without such a mate- rial culture or when no artifacts are dateable to a period, its population effectively vanishes. This is what happens to the indigenous people of fifth-century, lowland Britain.1 Previously detectable through their build- ings, metalwork, coinage, and especially their ceramics, these people disappear from the archaeological record c. 400 CE. Historians, for their part, depend on texts to see people in the past. Unfortunately, the texts describing Britain in the fifth-century were largely written two, three, or even four hundred years after the fact. -
Collecting Vintage & Antique Milk Glass
COLLECTING MARCH 9, 2020 ADIRONDACK GIRL @ HEART MILK GLASS Some History Venetian glass makers devel- oped milky white glass some- time in the the 16th century and called it opal glass. The term we use today, milk glass, may have first been used by the Victorians who fell in love with it, due in part to its similarity to porcelain, which only the very wealthiest families could afford. After falling out of favor in the early 20th century, companies like Fenton, Westmoreland, and Indiana Glass ushered in a "golden age" of milk glass that extended After another serious down-turn, this simple white from about 1940 to 1970. glass entered our decorating consciousness again in the 2000's and it remains popular even now, in Victorian milk glass is often 2020. rather ornate and somewhat Interestingly enough, milk glass comes in a variety translucent, while newer pieces of colors, including, pink, yellow, blue, brown, and tend to be simpler and opaque. black. [You can see some examples in the blog post on this topic.] Quality milk glass has no mold marks and has a smooth, glossy Helpful Hints: finish. Florist grade glass is often I find milk glass most cheaply at garage sales, textured and contains unsightly sometimes for as little as a quarter and at thrift mold marks. stores, usually for $2-3/piece. Buy it only if you love it because you are unlikely to Fenton & Westmoreland Marks make a lot of profit on it if you try to sell it(!). If you want to sell it, colored milk glass sells better for me than plain white. -
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. -
2019-2020 Year in Review
Table of Contents 3 Director’s Welcome 7 Objects in Space: A Conversation with Barry Bergdoll and Charlotte Vignon 17 Glorious Excess: Dr. Susan Weber on Victorian Majolica 23 Object Lessons: Inside the Lab for Teen Thinkers 33 Teaching 43 Faculty Year in Review 50 Internships, Admissions, and Student Travel and Research 55 Research and Exhibitions 69 Gallery 82 Publications 83 Digital Media Lab 85 Library 87 Public Programs 97 Fundraising and Special Events Eileen Gray. Transat chair owned by the Maharaja of Indore, from the Manik Bagh Palace, 1930. Lacquered wood, nickel-plated brass, leather, canvas. Private collection. Copyright 2014 Phillips Auctioneers LLC. All Rights Reserved. Director’s Welcome For me, Bard Graduate Center’s Quarter-Century Celebration this year was, at its heart, a tribute to our alumni. From our first, astonishing incoming class to our most recent one (which, in a first for BGC, I met over Zoom), our students are what I am most proud of. That first class put their trust in a fledgling institution that burst upon the academic art world to rectify an as-yet-undiagnosed need for a place to train the next generation of professional students of objects. Those beginning their journey this fall now put their trust in an established leader who they expect will prepare them to join a vital field of study, whether in the university, museum, or market. What a difference a generation makes! I am also intensely proud of how seriously BGC takes its obligation to develop next-generation scholarship in decorative arts, design his- tory, and material culture. -
WHITE IRONSTONE NOTES VOLUME 3 No
WHITE IRONSTONE NOTES VOLUME 3 No. 2 FALL 1996 By Bev & Ernie Dieringer three sons, probably Joseph, The famous architect Mies van was the master designer of the der Rohe said, “God is in the superb body shapes that won a details.” God must have been in prize at the Crystal Palace rare form in the guise of the Exhibition in 1851. master carver who designed the Jewett said in his 1883 book handles and finials for the The Ceramic Art of Great Mayer Brothers’ Classic Gothic Britain, “Joseph died prema- registered in 1847. On page 44 turely through excessive study in Wetherbee’s collector’s guide, and application of his art. He there is an overview of the and his brothers introduced Mayer’s Gothic. However, we many improvements in the man- are going to indulge ourselves ufacture of pottery, including a and perhaps explain in words stoneware of highly vitreous and pictures, why we lovingly quality. This stoneware was collect this shape. capable of whithstanding varia- On this page, photos show tions of temperature which details of handles on the under- occurred in the brewing of tea.” trays of three T. J. & J. Mayer For this profile we couldn’t soup tureens. Top: Classic find enough of any one T. J. & J. Octagon. Middle: Mayer’s Mayer body shape, so we chose Long Octagon. Bottom: Prize a group of four shapes, includ- Bloom. ing the two beautiful octagon Elijah Mayer, patriarch of a dinner set shapes, the Classic famous family of master potters, Gothic tea and bath sets and worked in the last quarter of the Prize Bloom. -
Pêcheurs, Pâturages, Et Petit Jardins: a Nineteenth-Century Gardien Homestead in the Petit Nord, Newfoundland
NOTE TO USERS This reproduction is the best copy available. UMI* Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57435-5 Our file Notre reference ISBN: 978-0-494-57435-5 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. -
Material Culture from the Wilson Farm Tenancy: Artifact Analysis
AT THE ROAD’S EDGE: FINAL ARCHAEOLOGICAL INVESTIGATIONS OF THE WILSON FARM TENANCY SITE 7 Material Culture from the Wilson Farm Tenancy: Artifact Analysis LABORATORY AND ANALYTICAL METHODS The URS laboratory in Burlington, New Jersey, processed the artifacts recovered from Site 7NC- F-94. All artifacts were initially cleaned, labeled, and bagged (throughout, technicians maintained the excavation provenience integrity of each artifact). Stable artifacts were washed in water with Orvis soap using a soft bristle brush, then air-dried; in some cases, on an individual basis, artifacts deemed too delicate to wash were dry brushed—this is often the case with badly deteriorated iron and bone objects considered noteworthy. Technicians then labeled items such as prehistoric lithics, historic ceramics, bone, glass, and some metal artifacts. Labeling was conducted using an acid free, conservation grade, .25mm Staedtler marking pen applied over a base coat of Acyloid B72 resin; once the ink dried, the label was sealed with a second layer of Acyloid B72. The information marked on the artifacts consisted of the provenience catalog number. Once the artifacts were processed, they were then inventoried in a Microsoft Access database. The artifacts were sorted according to functional groups and material composition in this inventory. Separate analyses were conducted on the artifacts and inventory data to answer site spatial and temporal questions. Outside consultants analyzed the floral and faunal materials. URS conducted soil flotation. In order to examine the spatial distributions of artifacts in the plowzone, we entered the data for certain artifact types into the Surfer 8.06.39 contouring and surface-mapping program. -
Ceramics Monthly Jun90 Cei069
William C. Hunt........................................Editor Ruth C. Buder.......................... Associate Editor Robert L. Creager........................... Art Director Kim Schomburg....................Editorial Assistant Mary Rushley................... Circulation Manager Mary E. Beaver.................Circulation Assistant Jayne Lx>hr.......................Circulation Assistant Connie Belcher.................Advertising Manager Spencer L. Davis.................................Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio43212 (614) 488-8236 FAX (614) 488-4561 Ceramics Monthly (ISSN 0009-0328) is pub lished monthly except July and August by Professional Publications, Inc., 1609 North west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks advance notice. Send both the magazine address label and your new ad dress to: Ceramics Monthly, Circulation Of fices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (including 35mm slides), graphic illustra tions, announcements and news releases about ceramics are welcome and will be considered for publication. A booklet de scribing standards and procedures for the preparation and submission of a manu script is available upon request. Mail sub missions to: The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Infor mation may also be sent by fax: (614) 488- 4561; or submitted on 3.5-inch microdisk- ettes readable with an Apple Macintosh™ computer system. Indexing: An index of each year’s articles appears in the December issue. Addition ally, articles in each issue ofCeramics Monthly are indexed in the Art Index; on-line (com puter) indexing is available through Wilson- line, 950 University Avenue, Bronx, New York 10452. -
The Physical Evolution of the North Avon Levels a Review and Summary of the Archaeological Implications
The Physical Evolution of the North Avon Levels a Review and Summary of the Archaeological Implications By Michael J. Allen and Robert G. Scaife The Physical Evolution of the North Avon Levels: a Review and Summary of the Archaeological Implications by Michael J. Allen and Robert G. Scaife with contributions from J.R.L. Allen, Nigel G. Cameron, Alan J. Clapham, Rowena Gale, and Mark Robinson with an introduction by Julie Gardiner Wessex Archaeology Internet Reports Published 2010 by Wessex Archaeology Ltd Portway House, Old Sarum Park, Salisbury, SP4 6EB http://www.wessexarch.co.uk/ Copyright © Wessex Archaeology Ltd 2010 all rights reserved Wessex Archaeology Limited is a Registered Charity No. 287786 Contents List of Figures List of Plates List of Tables Editor’s Introduction, by Julie Gardiner .......................................................................................... 1 INTRODUCTION The Severn Levels ............................................................................................................................ 5 The Wentlooge Formation ............................................................................................................... 5 The Avon Levels .............................................................................................................................. 6 Background ...................................................................................................................................... 7 THE INVESTIGATIONS The research/fieldwork: methods of investigation .......................................................................... -
Antiques-February-1990-Victorian-Majolica.Pdf
if It1ud!!&/ ';"(* ./J1!11L. /,0t£~ltldtiJlR~~~rf;t;t r{/'~dff;z, f!71/#/~i' 4 . !(Jf~f{ltiJ(/dwc.e. dJ /¥ C\-Cit!Ja? /Hc a4 ~- t1 . I. le/. {./ ,...."".. //,; J.(f)':J{"&Tf ,4.~'.£1//,/1;"~._L~ • ~. ~~f tn.~! .....•. ... PL IL Baseball and Soccer pitcher made by Griffen, Smith and Company, PllOeni;'Cville,Pennsylvania. c.1884. Impressed "GSH "in nlOnogram on the bottom. Height 8 inches. The Wedgwood pattern book illustration of the same design is shown in PL Ila. Karmason/Stacke collection; White photograph. PL /la. Design from one of the pattern books of Josiah Wedgwood and Sons, Barlaston, Stoke-on-Trent, England. Wedgwood Museum, Barlaston, Stoke-on-Trent, England. and Company, Josiah Wedgwood and Sons, and majolica.! New designs for majolica ceased to be made George Jones and Sons. From these books one be• in the early 1890's, and production of majolica ceased comes familiar with the style of the maker and comes early in this century. to appreciate the deliberate choice of details that gives The Minton shape books are valuable not only be• each piece its unity. cause they help date the first production of a piece but By 1836 Herbert Minton (1792- 1858) had succeed• also because they show the development of the eclectic ed his father, Thomas (1765-1836), the founder of the and revivalist styles used by Minton artists. The earli• prestigious Minton firm. In 1848 Joseph Leon Fran• est style used by the firm was inspired by Renaissance ~ois Arnoux (1816-1902) became Minton's art direc• majolica wares.Z Large cache pots, urns, and platters tor, chief chemist, and Herbert Minton's close col• were decorated with flower festoons, oak leaves, car• league.