Bulletin of the Royal Ontario Museum Of

Total Page:16

File Type:pdf, Size:1020Kb

Bulletin of the Royal Ontario Museum Of O O — Curator o the East Asiatic De artment P OF E O H E R R . E. F RNALD f p SS , A. B . MT . HOLY OKE — Curator o the Greek and Rom an De artm ent P OF E O W f R R . GR AH AM p SS , M . A . Ac . PH D . H. U , J. Curator o the Modern Euro ean De artm ent—F S . T . SP END f p p G . LOV E Curator o the Near Eastern De artment- M W NEED . LER B . A f p ISS , . Curator o the Textile De art — m ent MRS . G BR ETT f p . THE MUSEUM BOARD LL Chairman R B FENNE ES . C . O ERT , Q , Q , - S G S U ES . LL. D . 1 st Vice Chairman I MUND AM EL, Q , , DR Universit o Western On tari . R o ONALD ALLEN, y f ’ F n Universit . KE uee s PRO ESSOR M . B BA R, Q y H ES . M G C C . ENRY BORDEN , Q , Q . , W H RK ES . CLA E, Q W HN N S . D S . D E O SO E L. L . MU OC . D ARD ] , Q , , W . ES . R . A LAIDLA , Q ON . THE RT H . H. H. A . D . Chancellor E VINCENT MASSEY, C , M , LL D C L of the University of Toronto COL . H . D Chairm an o the Universit B oar W E P ILLIPS, C B E , LL f y d of Governors TH S . LL Pr S I S E C . D esident o the Univ ersit T DNEY E MI , Q , Q , M A , f y of oronto R O . GHAN . M S . D VAU MR S H ecretar - Treasurer o he Mus . t eum and ecretar ELEN MARRIOTT, S y f S y to the Board MEMBERS OF THE MUSEUM F BENE ACTORS ( Life Membership ) , who contribute SUSTAINING MEMB ERS PATRON ANNUAL ( individual or husband and wife ) ]UNIOR ( under 2 1 ) PRIVILEGES OF MEMBERS All Members receive Copies of the Annual Reports and of the Bulletin of th e Royal Ontario Museum of Archaeology . inv itat1ons v All Members receive to Special Lectures , Receptions and Pre iews b b m of Exhibitions held y the Museum Board and y the Museu of Archaeology . All Members receive information and folders about the Extension Courses b O organized y the Roy al ntario Museum of Archaeology , and Benefactors have the privilege of free attendance at these courses . The children of all Members may ’ have free membership in the Children s Saturday Morning Club and in the Sum mer Museum Club . Benefactors m ay arrange to hav e a member of the staff as a guide to the Museum galleries . All Members have free admission for themselves , their families and non is resident friends , at all times when the Museum open . ADMISSION 1 m . 5 m . 0 a . x The Museum is open from to p on all weekdays e cept Mondays , ’ D m t Da a . 2 5 . Chris mas y , and the forenoon of New Year s y It is open from to p on Sundays . s Admission is free on Sundays , Tuesdays , Thur days and Saturdays , and on On . all public holidays . Wednesdays and Fridays admission is fifteen cents U niv ersity stu dents are admitted free on presentation of their registration cards. All . classes from schools , art students , and study groups are admitted free s S af Members of the Museum and tho e who hold complimentary tickets , and t f Members and Members of other Museums are admitted free at all authorized hours on presentation of their cards of membership . PREFATORY NOTE THIS number of the Museum Bulletin is devoted to a catalogue of the ’ “ M o h useum s Special Exhibiti n East and West, w ich opens for three n 1952 months at the begin ing of October . There is first a series of Short articles by the Curators of the Departments concerned; this is followed by a detailed catalogue of all the pieces included . This publication has been made possible by the gift of a donor who m wishes to remain anony ous . GERARD BRETT Director INTRODUCTION THE interactions of the great civilizations form one of the most i fascinating branches of knowledge . Th s exhibition is devoted to one — aspect of the subject the artistic influence of the East on the West . is This is an influence that is Protean in form and variety . It illustrated here by pieces which are part of, or are on indefinite loan to , the M collections of this useum . For the purposes of the exhibition we s have drawn an arbitrary line of division between Ea t and West, to B . run North and South through ombay Thus India , South East Asia , C W hina , and Japan are considered to be East, hile the countries C B k M bordering on the aspian , the lac Sea , the editerranean , and the M Atlantic are West . The useum is planning a second exhibition de n voted to the complementary influe ces of the West on the East, to ’ take place in about a year s time . Geography has made China and India the two most important C countries of the East in this context, and of the two , hina has always meant more to Europe . The approach from the West was either by C O land across entral Asia , or by sea through the Indian cean and the M Th e Straits of alacca . traveller on either route faced formidable d ifficulties , on the first those of mountains and deserts , on the second the monsoon in the Indian Ocean . The evidence we have suggests O -influ enced that the land route is the older . ccasional western objects C C . appear in hina in the late hou period At about the same time , and C the tu B . C . at least as early as third to first cen ries , hinese silk, and Mediter possibly other products too , were coming into the Eastern ranean i in quantity . Virgil speaks of Chinese S lk worms in the second eor ic k G g , and we may surmise that the sil came to the West by land . ’ ’ On C fCh ien s —2 B e 188 6 . C of the results of hang journeys in . had been the opening of the so- called Silk Roads across the C entral Asian deserts and through the Pamirs to Turkestan; the routes divided west of C e the mountains , the northern going by the aspian to Tr bizond on B k he the lac Sea , t southern onto the Persian plateau . Among the permanent motives of Ro man policy in the Near East was a com m ercial r C st uggle , probably in part for a share of the hinese exports , waged on the Euphrates frontier against the Parthian and Sassanian kingdoms of Persia . The eastern end of the trans -Asian trade route was not always in Chi C firm nese hands , and in the earlier years the periods when hinese o bjects seem to have been commonest in the West, and western in C i C . One h na , coincide with those of hinese control over Eastern Asia tu A . D. such period is the seventh and earlier eighth cen ries , when the T C ang dynasty of hina controlled the eastern, the Sassanids and s t later the Arabs in Persia the we tern end of the route , the lat er to the exclusion of all western competitors . Later this control weakened . It was not fully re - established until the Mongols ru led over the whole hi n k in route in the t rtee th century; Genghis Khan occupied Pe ing _ 1214 Hula u B 1258 . , and his son g captured aghdad in There followed a renewed East- West relationship marked by the Chinese journeys C Rubru ck of missionaries such as John of Pian arpini or William of , of M M C and , above all , Nicolo , affeo , and arco Polo . hinese influence k reflecting this is evident on Selju and later Persian ceramics , miniature M n o . w pai ting , and textiles , n tably carpets The do nfall of the ongols , M C 1368 O k when the ing took over hina in , and the ttoman Tur s the M Near and iddle East, ends this interlude . M O - k Although both ing and ttomans were anti foreign , the brea hi i c in relations p did not last long . Th s time the change omes from the O e o pening up of the s a route . Alexandria had always been the entrep t for both land and sea trade between the Mediterranean and the Red Sea , especially the ports of Arabia and beyond . The first dominant motive of this connection was the Arabian spice trade . The spice trade Old r is mentioned in the Testament, and Arabian spices fo m another of the enduring motives of Near Eastern history . Even in the seven teenth century Milton sensed Sabaean odours from the spicy shores r t OfA aby the bles . Alexandrian navigators traded first as far as Axum at the southern ' A D end of the Red sea . By the first century . they had pushed out across O i the Indian cean , and learned to use the monsoon , wh ch is referred o - w was c mbined with true china clay ( kaolin , a more broken do n form of the same substance ) these materials fired together with the addition a C of less import nt ingredients , such as lime , produced hinese porcelain — as we know it today .
Recommended publications
  • Phase Evolution of Ancient and Historical Ceramics
    EMU Notes in Mineralogy, Vol. 20 (2019), Chapter 6, 233–281 The struggle between thermodynamics and kinetics: Phase evolution of ancient and historical ceramics 1 2 ROBERT B. HEIMANN and MARINO MAGGETTI 1Am Stadtpark 2A, D-02826 Go¨rlitz, Germany [email protected] 2University of Fribourg, Dept. of Geosciences, Earth Sciences, Chemin du Muse´e6, CH-1700 Fribourg, Switzerland [email protected] This contribution is dedicated to the memory of Professor Ursula Martius Franklin, a true pioneer of archaeometric research, who passed away at her home in Toronto on July 22, 2016, at the age of 94. Making ceramics by firing of clay is essentially a reversal of the natural weathering process of rocks. Millennia ago, potters invented simple pyrotechnologies to recombine the chemical compounds once separated by weathering in order to obtain what is more or less a rock-like product shaped and decorated according to need and preference. Whereas Nature reconsolidates clays by long-term diagenetic or metamorphic transformation processes, potters exploit a ‘short-cut’ of these processes that affects the state of equilibrium of the system being transformed thermally. This ‘short-cut’ is thought to be akin to the development of mineral-reaction textures resulting from disequilibria established during rapidly heated pyrometamorphic events (Grapes, 2006) involving contact aureoles or reactions with xenoliths. In contrast to most naturally consolidated clays, the solidified rock-like ceramic material inherits non-equilibrium and statistical states best described as ‘frozen-in’. The more or less high temperatures applied to clays during ceramic firing result in a distinct state of sintering that is dependent on the firing temperature, the duration of firing, the firing atmosphere, and the composition and grain-size distribution of the clay.
    [Show full text]
  • 'A Mind to Copy': Inspired by Meissen
    ‘A Mind to Copy’: Inspired by Meissen Anton Gabszewicz Independent Ceramic Historian, London Figure 1. Sir Charles Hanbury Williams by John Giles Eccardt. 1746 (National Portrait Gallery, London.) 20 he association between Nicholas Sprimont, part owner of the Chelsea Porcelain Manufactory, Sir Everard Fawkener, private sec- retary to William Augustus, Duke of Cumberland, the second son of King George II, and Sir Charles Hanbury Williams, diplomat and Tsometime British Envoy to the Saxon Court at Dresden was one that had far-reaching effects on the development and history of the ceramic industry in England. The well-known and oft cited letter of 9th June 1751 from Han- bury Williams (fig. 1) to his friend Henry Fox at Holland House, Kensington, where his china was stored, sets the scene. Fawkener had asked Hanbury Williams ‘…to send over models for different Pieces from hence, in order to furnish the Undertakers with good designs... But I thought it better and cheaper for the manufacturers to give them leave to take away any of my china from Holland House, and to copy what they like.’ Thus allowing Fawkener ‘… and anybody He brings with him, to see my China & to take away such pieces as they have a mind to Copy.’ The result of this exchange of correspondence and Hanbury Williams’ generous offer led to an almost instant influx of Meissen designs at Chelsea, a tremendous impetus to the nascent porcelain industry that was to influ- ence the course of events across the industry in England. Just in taking a ca- sual look through the products of most English porcelain factories during Figure 2.
    [Show full text]
  • Porcelain Cíqì ​瓷 器
    ◀ POLO, Marco Comprehensive index starts in volume 5, page 2667. Porcelain Cíqì ​瓷​器 Porcelain was first made in China about 850ce . The essential ingredient is kaolin, a white clay that when fired at an extremely high temper- ature acquires a glassy surface. Porcelain wares were first exported to Europe during the twelfth century. By 1700 trade in Chinese porcelain was immense, with Ming dynasty wares, characterized by cobalt-​­blue-painted motifs, highly prized. orcelain is ceramic material made with kaolin, which is a fine, white clay. Porcelain wares were first made in China about 850ce during the Tang Ornately painted porcelain bowl. Potters of the dynasty (618– 907 ce). An Islamic traveler who had vis- Ming dynasty concentrated more on painted ited China in 851 saw clay vessels that resembled glass. design and less on form. Photo by Berkshire Evidence indicates that fine, white stoneware (pottery Publishing. made from high-​­firing clay other than kaolin) was made in China as early as 1400 bce, and potters appear to have been familiar with kaolin during the Han dynasty rather than gray or brown or rust colored) and high fusion (206 bce – 2 2 0 ce). But the forerunner of modern-day​­ por- temperature (the high heat required to turn the ingredi- celain was not made until the Tang dynasty. Tang dynasty ents into porcelain). Chemically kaolin is made up of kao- porcelain is known as “hard-paste”​­ or “true porcelain” and linite, quartz, feldspar, muscovite, and anastase. Kaolin was made by mixing kaolin, which is formed by the decay and petuntse are fused by firing in a kiln at 980º C, then of feldspar, a chief constituent of granite, with petuntse, dipped in glaze and refired at about 1,300º C.
    [Show full text]
  • Phase Evolution of Ancient and Historical Ceramics
    EMU Notes in Mineralogy, Vol. 20 (2019), Chapter 6, 233–281 The struggle between thermodynamics and kinetics: Phase evolution of ancient and historical ceramics 1 2 ROBERT B. HEIMANN and MARINO MAGGETTI 1Am Stadtpark 2A, D-02826 Go¨rlitz, Germany [email protected] 2University of Fribourg, Department of Geosciences, Earth Sciences, Chemin du Muse´e 6, CH-1700 Fribourg, Switzerland [email protected] This contribution is dedicated to the memory of Professor Ursula Martius Franklin, a true pioneer of archaeometric research, who passed away at her home in Toronto on July 22, 2016, at the age of 94. Making ceramics by firing of clay is essentially a reversal of the natural weathering process of rocks. Millennia ago, potters invented simple pyrotechnologies to recombine the chemical compounds once separated by weathering in order to obtain what is more or less a rock-like product shaped and decorated according to need and preference. Whereas Nature reconsolidates clays by long-term diagenetic or metamorphic transformation processes, potters exploit a ‘short-cut’ of these processes that affects the state of equilibrium of the system being transformed thermally. This ‘short-cut’ is thought to be akin to the development of mineral-reaction textures resulting from disequilibria established during rapidly heated pyrometamorphic events (Grapes, 2006) involving contact aureoles or reactions with xenoliths. In contrast to most naturally consolidated clays, the solidified rock-like ceramic material inherits non-equilibrium and statistical states best described as ‘frozen-in’. The more or less high temperatures applied to clays during ceramic firing result in a distinct state of sintering that is dependent on the firing temperature, the duration of firing, the firing atmosphere, and the composition and grain-size distribution of the clay.
    [Show full text]
  • 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]
  • The Exploration of Sr Isotopic Analysis Applied to Chinese Glazes: Part Oneq
    Journal of Archaeological Science xxx (2013) 1e8 Contents lists available at ScienceDirect Journal of Archaeological Science journal homepage: http://www.elsevier.com/locate/jas The exploration of Sr isotopic analysis applied to Chinese glazes: part oneq Hongjiao Ma a, Julian Henderson a, *, Jane Evans b a Department of Archaeology, University of Nottingham, University Park, Nottingham NG7 2RD, UK b NERC Isotope Geosciences Laboratory, British Geological Survey, Keyworth, Nottingham NG12 5GG, UK article info abstract Article history: Ash glaze and limestone glaze are two major glaze types in southern Chinese ceramic technology. In this Received 4 March 2013 study strontium isotope compositions were determined in ash glaze samples from the Yue kiln dated to Received in revised form between the 10th and 12th centuries AD, limestone glaze samples from Jingdezhen dated to between the 26 July 2013 15th and 18th centuries AD and ceramic raw materials from Jingdezhen. The Sr isotopic characteristics of Accepted 12 August 2013 limestone glaze and ash glaze are completely different. The Sr isotope characteristics of limestone glaze is characterised by low Sr concentrations, large 87Sr/86Sr variation, and a two component mixing line. On Keywords: the other hand the strontium isotope characteristic of ash glaze samples is characterised by a consistent Chinese glaze 87 86 Raw materials Sr/ Sr signature and high Sr concentrations with a large variation. The different Sr isotope composi- fl Strontium isotopes tions for the two types of glazes are a re ection of the various raw materials involved in making them. TIMS The Sr isotopic composition has been altered by the refinement process that the raw material was subjected to.
    [Show full text]
  • Fast Fossils Carbon-Film Transfer on Saggar-Fired Porcelain by Dick Lehman
    March 2000 1 2 CERAMICS MONTHLY March 2000 Volume 48 Number 3 “Leaves in Love,” 10 inches in height, handbuilt stoneware with abraded glaze, by Michael Sherrill, Hendersonville, North FEATURES Carolina. 34 Fast Fossils 40 Carbon-Film Transfer on Saggar-Fired Porcelain by Dick Lehman 38 Steven Montgomery The wood-firing kiln at Buck Industrial imagery with rich texture and surface detail Pottery, Gruene, Texas. 40 Michael Sherrill 62 Highly refined organic forms in porcelain 42 Rasa and Juozas Saldaitis by Charles Shilas Lithuanian couple emigrate for arts opportunities 45 The Poetry of Punchong Slip-Decorated Ware by Byoung-Ho Yoo, Soo-Jong Ree and Sung-Jae Choi by Meghen Jones 49 No More Gersdey Borateby JejfZamek Why, how and what to do about it 51 Energy and Care Pit Firing Burnished Pots on the Beach by Carol Molly Prier 55 NitsaYaffe Israeli artist explores minimalist abstraction in vessel forms “Teapot,” approximately 9 inches in height, white 56 A Female Perspectiveby Alan Naslund earthenware with under­ Female form portrayed by Amy Kephart glazes and glazes, by Juozas and Rasa Saldaitis, 58 Endurance of Spirit St. Petersburg, Florida. The Work of Joanne Hayakawa by Mark Messenger 62 Buck Pottery 42 17 Years of Turnin’ and Burnin’ by David Hendley 67 Redware: Tradition and Beyond Contemporary and historical work at the Clay Studio “Bottle,” 7 inches in height, wheel-thrown porcelain, saggar 68 California Contemporary Clay fired with ferns and sumac, by The cover:“Echolalia,” San Francisco invitational exhibition Dick Lehman, Goshen, Indiana. 29½ inches in height, press molded and assembled, 115 Conquering Higher Ground 34 by Steven Montgomery, NCECA 2000 Conference Preview New York City; see page 38.
    [Show full text]
  • 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.
    [Show full text]
  • Etch Imitation System for Porcelain and Bone China (One-Fire-Decal-Method)
    Etch Imitation System for Porcelain and Bone China (One-Fire-Decal-Method) 1 General Information Etched decorations belong to the richest, most valuable precious metal designs to be found on tableware. However, etched decorations are not only work-intensive and expensive but they also require working with aggressive acids. Instead, producers work with etching imitation systems in which first a decal with a matt underlay and a bright relief on top is produced, applied onto the substrate to be decorated, and fired. Secondly, a liquid precious metal is applied by brush on top of the relief and the item is fired for a second time. With this Technical Information, Heraeus Ceramic Colours introduces a one-fire-etch imitation system for decals. The new decoration system consists of carefully adjusted components: special underlay, special medium, relief, precious metal paste. The perfect harmony of these components allows the production of an imitation etching in one decal, which only needs to be transferred and fired once! 2 Firing Conditions Substrate Firing Condition s Porcelain 800 - 820°C (1470-1508°F), 2 to 3 hours cold/cold Bone China 800 - 820°C (1470-1508°F), 2 to 3 hours cold/cold Worldwide there are many different glazes. The firing conditions differ from producer to producer. Pre-tests under own individual conditions are absolutely necessary. 3 Characteristics of the Products The product composition and the production process determine the major product characteristics of the components of the decoration system. Testing each production lot guarantees a constant product quality. With regard to the bright precious metal pastes of the system we regularly check the viscosity, the printing characteristics, the outline of printed test decorations as well as the precious metal colour shade and the brightness of the decoration after firing on a defined test substrate.
    [Show full text]
  • Volume 18 (2011), Article 3
    Volume 18 (2011), Article 3 http://chinajapan.org/articles/18/3 Lim, Tai Wei “Re-centering Trade Periphery through Fired Clay: A Historiography of the Global Mapping of Japanese Trade Ceramics in the Premodern Global Trading Space” Sino-Japanese Studies 18 (2011), article 3. Abstract: A center-periphery system is one that is not static, but is constantly changing. It changes by virtue of technological developments, design innovations, shifting centers of economics and trade, developmental trajectories, and the historical sensitivities of cultural areas involved. To provide an empirical case study, this paper examines the material culture of Arita/Imari 有田/伊万里 trade ceramics in an effort to understand the dynamics of Japan’s regional and global position in the transition from periphery to the core of a global trading system. Sino-Japanese Studies http://chinajapan.org/articles/18/3 Re-centering Trade Periphery through Fired Clay: A Historiography of the Global Mapping of Japanese Trade Ceramics in the 1 Premodern Global Trading Space Lim Tai Wei 林大偉 Chinese University of Hong Kong Introduction Premodern global trade was first dominated by overland routes popularly characterized by the Silk Road, and its participants were mainly located in the vast Eurasian space of this global trading area. While there are many definitions of the Eurasian trading space that included the so-called Silk Road, some of the broadest definitions include the furthest ends of the premodern trading world. For example, Konuralp Ercilasun includes Japan in the broadest definition of the silk route at the farthest East Asian end.2 There are also differing interpretations of the term “Silk Road,” but most interpretations include both the overland as well as the maritime silk route.
    [Show full text]
  • Chromaphobia | Chromaphilia Presenting KCAI Alumni in the Ceramic Arts
    Chromaphobia | Chromaphilia Presenting KCAI Alumni in the Ceramic Arts Kansas City Art Institute Gallery March 16 – June 3, 2016 Exhibition Checklist Chromaphobia Untitled Chromaphilia Lauren Mabry (’07 ceramics) 2015 Curved Plane Laura De Angelis (’95 sculpture) Silver plated brass and porcelain Cary Esser (‘78 ceramics) 2012 Hybrid Vigor 13 x 16 x 20 inches Chromaphilia Veils Red earthenware, slips, glaze 2012 Courtesy of the Artists 2015-2016 24 x 60 x 15 inches Ceramic, encaustic, fresh water pearls Glazed earthenware Dick and Gloria Anderson Collection, 20.5 x 16 x 9 inches Nathan Mabry (’01 ceramics) 16 x 79 x .75 inches Lake Quivira, Kansas Courtesy of Sherry Leedy Vanitas (Banana) Courtesy of Sherry Leedy Contemporary Art, Kansas City 2007 Contemporary Art, Kansas City and Fragmented Cylinder Cast rubber the Artist 2012 Teri Frame (’05 ceramics; art history) 8 x 8 x 8 inches red earthenware, slips, glaze Sons of Cain Lithophane #1 Courtesy of Cherry and Martin, Los Christian Holstad (’94 ceramics) 20 x 24 x 22 inches 2016 Angeles and the Artist Ouroboros 6 (Red with green and yellow snake) Dick and Gloria Anderson Collection, Bone china, walnut 2012 Lake Quivira, Kansas 9 x 7 x .25 inches Nobuhito Nishigawara Vintage glove, fiberfill and antique obi Courtesy of the Artist (’99 ceramics) 39 x 17 x 16 inches Pipe Form Untitled - Manual 3D Like Printer Courtesy of the Artist and Andrew 2014 Sons of Cain Lithophane #2 2013 Kreps Gallery, New York Red earthenware, slips and glaze 2016 Clay 20 x 28 x 28 inches Bone china, walnut 23 x
    [Show full text]
  • The Kangaroo Island China Stone and Clay Company and Its Forerunners
    The Kangaroo Island China Stone and Clay Company and its Forerunners ‘There’s more stuff at Chinatown – more tourmalines, more china clay, silica, and mica – than was ever taken out of it’. Harry Willson in 1938.1 Introduction In September 2016 a licence for mineral exploration over several hectares on Dudley Peninsula, Kangaroo Island expired. The licensed organisation had searched for ‘ornamental minerals’ and kaolin.2 Those commodities, tourmalines and china stone, were first mined at this site inland and west of Antechamber Bay some 113 years ago. From March 1905 to late 1910, following the close of tourmaline extraction over 1903-04, the Kangaroo Island China Stone and Clay Company mined on the same site south-east of Penneshaw, and operated brick kilns within that township. This paper outlines the origin and short history of that minor but once promising South Australian venture. Tin and tourmaline The extensive deposits inadvertently discovered during the later phase of tourmaline mining were of china (or Cornish) stone or clay (kaolin), feldspar (basically aluminium silicates with other minerals common in all rock types), orthoclase (a variant of feldspar), mica, quartz, and fire-clay. The semi-precious gem tourmaline had been chanced upon in a corner trench that remained from earlier fossicking for tin.3 The china stone and clay industry that was poised to supply Australia’s potteries with almost all their requisite materials and to stimulate ceramic production commonwealth-wide arose, therefore, from incidental mining in the one area.4 About 1900, a granite dyke sixteen kilometres south-east of Penneshaw was pegged out for the mining of allegedly promising tin deposits.
    [Show full text]