DOCSLIB.ORG

Art Deco 15 April 15 Single Page

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Deco 15 April 15 Single Page Art Deco, 20th Century Design & Retro Monday 13th April at 10am Special Notices for Purchasers Buyers Premium Certain lots are catalogued as (A.F.), damaged, restored, etc., however A buyer’s premium of 15 plus VAT will be added to the hammer price of each the absence of any such notice does not imply that the piece is free lot. from defects, nor does it indicate that other defects are not also present. Payment and Clearance Mention is not made of breakage, cracks, chips or any damage which can Payment can be made during or immediately after the sale by the following be noted by careful inspection, therefore, intending purchasers MUST, methods: in all cases, be responsible for determining the condition of lots themselves. Cash (up to a maximum of £12,000 including VAT in accordance with Money Special attention is drawn to the Conditions of Sale Laundering Regulations 2007). printed at the back of this catalogue. Debit Cards Estimates Credit Cards (not American Express) Please note there will be a surcharge of Presale estimates are intended only as a guide for intending purchasers, 2.5% plus VAT for the use of these cards. We will not release goods for a period are given in good faith and subject to revision. of 72 hours unless the cardholder attends the saleroom in person and presents the cards used for the transaction with proof of ID. Condition Reports Bank Transfer - Account Name: Clarke and Simpson Auctions Limited Clarke & Simpson are happy to give a Condition Report on the physical Account Number: Account No: 33222276 condition of goods, this will be provided on behalf of the seller on the Sort Code: 20-98-07 understanding that Clarke & Simpson are not entering into a contract We do not accept cheques unless by prior arrangement. with you in respect of the Condition Report and accordingly does not We do not offer a packaging and shipping service. assume responsibility to you in respect of it. All lots are available for your All requests are sent to our specialist handlers at: “the-saleroom.com Delivery own inspection or for inspection by an expert instructed by you, therefore Service” who can be contacted directly via [email protected] There are no These Condition reports are for guidance only and all lots are sold “as exceptions to this. found” (see our standard Terms and Conditions of Sale). Attribution of Pictures and Drawings Commission Bids Every effort is made to ensure the accuracy of any statement as to authorship, The auctioneers will be pleased to execute bids for those unable to attend attribution, origin, date, age, provenance and condition of any lot whether or not the sale. Lots will be purchased at the lowest bid the room bidding or such statement forms part of the description of any such lot. Whether any such any reserves will allow. In the event of identical bids, the earliest bid statement is made orally or in the catalogue it is an expression of opinion and not received will take precedence. There must always be a maximum limit to be taken as being or implying any warranties or representations of facts by the indicated. Buy or unlimited bids will not be accepted. Commission bids auctioneers. Each buyer by making a bid for a lot acknowledges that he has satis- placed by telephone are accepted at the client’s risk. We urge our clients fied himself fully as to the attribution and condition of the lot. to place suchcommission bids before the start of the sale. All such a) The forename(s) (or full stops where not known) and surname of an artist commissions are left entirely at the buyer’s risk. indicates in our opinion a work by the artist. Telephone Bids b) The initials of the forename(s) and the surname of the artist indicates in our Requests for telephone bidding must be registered with the auctioneer opinion a work of the period of the artist which may be wholly or in part his before the start of the sale. Whilst every effort will be made to execute work. telephone bidding, the auctioneers cannot be held responsible for any c) The surname of the artist indicates in our opinion a work of the school or by default or neglect in connection with this service. All such arrangements one of the followers of the artist or in his style and of uncertain date. therefore are made entirely at the prospective buyer’s risk. d) Signed, Dated, Inscribed indicates in our opinion work signed/dated/inscribed Registration by the artist. All prospective buyers must register their name and address at our auction e) Bears signature indicates in our opinion that this is not the signature of the office and collect a numbered bidding card before the sale commences. artist. If you are a successful purchaser please ensure that your number can be f ) Attributed to may be used to denote a traditional attribution based on style. seen by the auctioneer and that it is your number that is called out at the g) Manner of indicates in our opinion a work executed in the artist/craftsman’s fall of the hammer. Should there be any doubts as to the price or buyer, style but of a later date. please draw the auctioneer’s attention to it before the next lot is offered. h) After indicates in our opinion a copy (of any date) of work of an artist or Value Added Tax craftsman. The symbol * after any lot number indicates that Value Added Tax is The addition of a question mark after any of the cataloguing terms above payable by the buyer on the “hammer price”. indicates an element of doubt. Auctioneers Margin Scheme The Auctioneers Margin Scheme allows auctioneers to sell items without VAT on the hammer price. Under the margin scheme an amount equivalent to VAT at the current rate is added to the buyer’s premium. This amount cannot be refunded. The VAT element will not be shown separately on the buyer’s invoice. 2 Art Deco Art Deco, 20th Century Design & Retro Monday 13th April 2015 at 10am Viewing: Friday 10th April 2pm - 7pm Saturday 11th April 9am - 12noon Morning of Sale from 8.30am Enquiries: James Shand, Auctioneer & Valuer Geoffrey Barfoot, Auction Room Manager & Valuer Buyers Premium: 15% plus VAT Please see www.the-saleroom.com Campsea Ashe Nr Woodbridge Suffolk IP13 0PS Tel: 01728 746323 Fax: 01728 748173 Email: [email protected] www.clarkeandsimpson.co.uk 1 17 A cigarette dispenser, mounted with model of A glass shop display head, 30cm. £20 - 30 the Empire State building, raised on marble base, 18 22cm. £20 - 30 A three piece coffee set, of conical form. 2 £20 - 30 An Art Deco style model of an ocean liner, 19 33cm. £10 - 20 An Art Deco table lamp, decorated with stylised 3 female figure and flowers, 23cm in extremes. A chrome and red Bakelite three branch can- £20 - 30 delabra, 8cm high. £10 - 20 20 4 A Promende Pottery of Brighton vase, in the After Ferdinand Preiss, cold painted Spelter form of an Art Deco female profile, with all over figure of a dancing female, raised on marble base, white glaze, 27cm. £20 - 30 37cm. £80 - 120 21 Lot 4 5 An illuminated metal "Exit" sign, 27cm x A brass reception bell, 13cm. £10 - 20 29.5cm. £40 - 60 6 22 A Vintage black dial telephone. £10 - 20 An Art Deco style bronzed figure of a dancing 7 female, raised on marble base, 46cm high in An Art Deco ceiling light fitting, of oval form, extremes. £70 - 100 30cm. £10 - 20 23 Lot 11 8 A white and red "Exit" sign, by Ready Made An Art Deco chrome ice bucket, with swing Sign Company, New York, 25.5cm x 35.5cm. handle, 20cm high. £20 - 30 £10 - 20 9 24 An Art Deco Sparklets soda syphon and stand, An Art Deco walnut cased two hole mantel 30cm. £15 - 20 clock, of circular form, 29cm. £10 - 20 10 25 A pair of Art Deco style perspex and metal A metal and glass table lamp, in the form of candlesticks, 38cm. £10 - 20 Empire State Building, (for restoration), 37cm. 11 £20 - 30 A pair of Art Deco book-ends, mounted with 26 chromed squirrels on marble bases, 11cm. A 1950's/60's microphone, on adjustable base, £30 - 40 38cm to 57cm. £50 - 70 12 27 Lot 22 An Art Deco pewter spot hammered teapot, of An original Jumbo dial thermometer, by The angular form, marked to base "English hand Ohio Thermometer Company, U.S.A., 30cm dia. hammered pewter, Sheffield", 14cm. £10 - 20 £20 - 30 13 28 A cocktail shaker, in the form of a snowman, A reproduction "Martini", advertising sign, 26cm. £10 - 20 44.5cm x 29cm. £10 - 20 14 29 A cocktail shaker, with integral menu, 25cm. A reproduction "Twilight Lounge", advertising £10 - 20 sign, 31.5cm z 40.5cm. £10 - 20 15 30 A chrome and phenolic adjustable shop display An Art Deco golden oak two door cupboard, stand, 44cm. £50 - 60 27cm high x 35.5cm wide x 15cm deep. £20 - 30 16 A "Tannoy" hand microphone, 22cm. £20 - 30 Lot 25 4 Art Deco 31 44 A figural table lamp, mounted with black Glynn Thomas, pencil signed limited edition painted model of Diana the Huntress, with print, "The Deben" no. 27/200, 15cm x 43cm. circular frosted glass shade, raised on stepped £20 - 40 base, 27cm in extremes. £50 - 70 45 32 A "Player's Please", advertising mirror, A French Spelter model of bird above waves, 26cm x 18cm.
Load more

Recommended publications
  • Long Gallery Educator’S Pack This Pack Contains Information Regarding the Contents and Themes of the Objects in the Long Gallery
    Long Gallery Educator’s Pack This pack contains information regarding the contents and themes of the objects in the Long Gallery. On our website you can find further activities and resources to explore. The first exhibition in this gallery, ’Reactions’ focuses on Dundee’s nationally important collection of studio ceramics. This pack explores some of the processes that have created the stunning pieces on display and shares some of the inspirations behind the creation of individual ceramics. Contents Reactions: Studio Ceramics from our Collection Introduction and Origins 01 Studio Pottery - Influences 02 The Process 03 Glossary 05 List of Objects - by theme What is Studio Pottery? 10 Influences 11 Ideas and Stories 14 What on Earth is Clay? 16 Getting your Hands Dirty 19 The Icing on the Cake - Glaze and Decoration 21 Fire 24 Artist Focus Stephen Bird 27 Reactions: Studio Ceramics from our collection Introduction- background and beginnings 'Studio Ceramics' or 'Studio Pottery' - can be best described as the making of clay forms by hand in a small studio rather than in a factory. Where the movement in the early days is referred to as 'Studio Pottery' due to its focus on functional vessels and 'pots', the name of 'Studio Ceramics' now refers broadly to include work by artists and designers that may be more conceptual or sculptural rather than functional. As an artistic movement Studio Ceramics has a peculiar history. It is a history that includes changes in artistic and public taste, developments in art historical terms and small and very individual stories of artists and potters.
    [Show full text]
  • HO060710 Sale
    For Sale by Auction to be held at Dowell Street, Honiton Tel 01404 510000 Fax 01404 44165 th Tuesday 6 July 2010 Ceramics, Glass & Oriental, Works of Art, Collectables & Pictures Furniture SALE COMMENCES AT 10.00am yeer Buyers are reminded to check the ‘Saleroom Notice’ for information regarding WITHDRAWN LOTS and EXTRA LOTS SALE REFERENCE HO09 Catalogues £1.50 On View: Order of Sale: Saturday 3rd July 9.00am – 12.00 Ceramics, Glass & Oriental Monday 5th July 9.00am – 7.00pm Lots 1 - 126 Morning of Sale from 9.00am Pictures Lots 131 - 195 Works of Art & Collectables Lots 200 - 361 Carpets, Rugs & Furniture Lots 362 - 508 TUESDAY 6TH JULY 2010 Sale commences at 10am. CERAMICS, GLASS & ORIENTAL 1. A pair of bookend flower vases in Whitefriars style. 2. A bohemian style green and clear glass vase, of trumpet shape, painted with floral sprays and gilt embellishment, 17cm high. 3. A pair of overlaid ruby glass decanters with floral knop stoppers. 4. An amber and milk glass globular vase, probably Stourbridge with vertical fluted decoration, 15cm high. 5. A pair of cut glass decanters with stoppers and one other. 6. A quantity of Carnival and other moulded glassware. 7. A quantity of cut and other glass. 8. A part suite of cut glass to include tumblers and wine glasses. 9. A quantity of various drinking glasses and glass ware. 10. A pair of cut glass decanters, two other decanters and stoppers, six tumblers and five brandy balloons. 11. A collection of twenty five various glass paperweights to include millefiore style paperweights, floral weights, candlestick and others.
    [Show full text]
  • CELSIUS a Peer-Reviewed Bi-Annual Online Journal Supporting the Disciplines of Ceramics, Glass, and Jewellery and Object Design
    CELSIUS A peer-reviewed bi-annual online journal supporting the disciplines of ceramics, glass, and jewellery and object design. ISSUE 1 July 2009 Published in Australia in 2009 by Sydney College of the Arts The Visual Arts Faculty The University of Sydney Balmain Road Rozelle Locked Bag 15 Rozelle, NSW 2039 +61 2 9351 1104 [email protected] www.usyd.edu.au/sca Cricos Provider Code: 00026A © The University of Sydney 2009 This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this publication may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the copyright owners. Sydney College of the Arts gratefully acknowledges the contribution of the artists and their agents for permission to reproduce their images and papers. Editor: Jan Guy Publication Layout: Nerida Olson Disclaimers 1. The material in this publication may contain references to persons who are deceased. 2. The artwork and statements in this catalogue have not been classified for viewing purposes and do not represent the views or opinions of the University of Sydney or Sydney College of the Arts. www.usyd.edu.au/sca/research/projects/celsiusjournal CELSIUS A peer-reviewed bi-annual online journal supporting the disciplines of ceramics, glass, and jewellery and object design. Mission Statement The aims of Celsius are to - provide an arena for the publication of scholarly papers concerned with the disciplines of ceramics, glass and jewellery and object design - promote artistic and technical research within these disciplines of the highest standards -foster the research of postgraduate students from Australia and around the world - complement the work being done by professional journals in the exposure of the craft based disciplines -create opportunities of professional experience in the field of publication for USYD postgraduate students Editorial Board The Celsius Editorial Board advises the editor and helps develop and guide the online journal’s publication program.
    [Show full text]
  • Download New Glass Review 17
    NewGlass The Corning Museum of Glass NewGlass Review 17 The Corning Museum of Glass Corning, New York 1996 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie inner- the 1995 calendar year. halb des Kalenderjahres 1995 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 Telephone: (607) 937-5371 Fax: (607) 937-3352 All rights reserved, 1996 Alle Rechte vorbehalten, 1996 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-i 1-137-8 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 12 Some of the Best in Recent Glass 32 Bibliography/Bibliographie 40 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 71 Jury Statements lthough Vermeer still outdraws Mondrian, it seems to me that many uch wenn Vermeer noch immer Mondrian aussticht, scheint mir, Amore people have come to enjoy both. In this particular age of AdaB es immer mehr Leute gibt, denen beide gefallen.
    [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]
  • New Glass Review 10.Pdf
    'New Glass Review 10J iGl eview 10 . The Corning Museum of Glass NewG lass Review 10 The Corning Museum of Glass Corning, New York 1989 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie the 1988 calendar year. innerhalb des Kalenderjahres 1988 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1989 Alle Rechtevorbehalten, 1989 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-87290-119-X ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der KongreB-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstler und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 53 er Wunsch zu verallgemeinern scheint fast ebenso stark ausgepragt Jury Statements Dzu sein wie der Wunsch sich fortzupflanzen. Jeder mochte wissen, welchen Weg zeitgenossisches Glas geht, wie es in der Kunstwelt bewer- tet wird und welche Stile, Techniken und Lander maBgeblich oder im Ruckgang begriffen sind. Jedesmal, wenn ich mich hinsetze und einen Jurybericht fur New Glass Review schreibe (dies ist mein 13.), winden he desire to generalize must be almost as strong as the desire to und krummen sich meine Gedanken, um aus den tausend und mehr Dias, Tprocreate.
    [Show full text]
  • English Slipware Pottery
    24 GETTING THINGS DONE NAN MUSGROVE is a young potter working in the English Slipware tradition. She trained in the workshop of John Pollex, one of the best-known contemporary slipware potters, and moved to Marsden, near Huddersfield, in March 1979 to establish her own workshop. Training in slipware was a deliberate choice for her, partly because it gives great scope for decoration and partly because she responds to its intrinsic 'Englishness'. Most people are familar with craft copy of the Willow Pattern, in the 1702 said that it was nicknamed 'Little pottery that is glazed with sombre col- customary brown and yellow colours London' by the locals, presumably ours: greys, dull greens and soft of earthenware. because of its activity and smoke. browns. Often it is decorated with There is a little rhyme about the subtle brush patterns, but the overall Yearsley pottery, which was estab- impression is usually restrained. This 0174 lished by a branch of the Wedgewood is stoneware pottery in the oriental family in the late seventeenth tradition, which was introduced into century: this country by Bernard Leach, who "At Yearsley there were panche- did more than any other person to ons made re-establish a tradition of hand- 4 ry By Willie Wedgewood that thrown pottery here. He was trained lle young blade" Ga in Japan and, when he set up his work- t These potteries produced a great shop in St. Ives in the 1920's, he Ar naturally continued to use oriental range of slipware dishes, jugs, cups City glazes, although he adapted his r and chamber pots as well as the big shapes to his English market.
    [Show full text]
  • ORIENTAL and EUROPEAN CERAMICS and GLASS
    SECOND DAY’S SALE THURSDAY 21st APRIL 2011 ORIENTAL AND EUROPEAN CERAMICS AND GLASS Commencing not before 10.30pm Oriental and European Ceramics and Glass will be on view on: Saturday 16th April 9.00am to 1.00pm Sunday 17th April 2.00pm to 4.00pm Monday 18th April 9.00am to 5.15pm Tuesday 19th April 9.00am to 5.15pm Wednesday 20th April 9.00am to 5.15pm Limited viewing on sale day Enquiries: Andrew Thomas Enquiries: Nic Saintey Tel: 01392 413100 Tel: 01392 413100 Email: [email protected] Email: [email protected] 87 323 324 321. 323. 325. A pair of clear glass A champagne or sweetmeat A small sweetmeat glass or decanters of mallet shaped glass, the pan shaped bowl stand of shallow flaring and form with facet cut decoration with diamond moulded externally ribbed form, the fold beneath a mushroom stopper, exterior with double basal over rim applied with eight together with a claret jug en blade knops set on a teared loops terminating in strawberry suite, each 25.5 cm high, early and inverted baluster stem and prunts set on a short stem with 20th century. (3) diamond moulded and domed moulded domed and fold over £80-120 fold over foot, 12 cm high, foot, 10 cm diameter, mid 322. circa. 1730-40, retailer’s label 18th century. A pair of clear glass for Churchill to underside. £100-150 confitures of pedestal form £250-300 326. and with domed covers cut 324. A pair of glass patty pans of with fretted panels, 30 cm A sweetmeat glass the externally ribbed form with high, early 19th century, rounded funnel bowl with fold over rims, 8 cm diameter, staple repair to one together diamond moulded exterior mid 18th century.
    [Show full text]
  • At the Crossroads Pottery by Mark Hewitt Pucker Gallery | Boston 2
    1 At the CrossroAds Pottery by Mark hewitt Pucker Gallery | Boston 2 BiG Vase, CArPenter’s eGG, black manganese glaze with revealed salt glaze, yellow, and pink polka dots 43.5 x 24 x 24" Mh101 Cover: ten GAllon vAse, alkaline glaze with blue glass runs and black manganese neck 26 x 17.5 x 17.5" Mh99 All works Are stonewAre. 3 At the CrossroAds Pottery by Mark hewitt essAy By ChristoPher Benfey strAnGe thin Gs hAPPen At A southern Southern potters and comes up with his own distinctive kind of crossroads. Consider the red-clay town of Pittsboro, North ceramic music, utterly new and fresh—and very, very big. Carolina, where Mark Hewitt turns and burns his big-hearted Take a long look at two of Hewitt’s monumental pots, pots, down a winding gravel lane called Johnny Burke Road. Ike’s Peacock (MH102) and Carpenter’s Egg (MH101). These Smack-dab in the center of town, where two highways cross, magnificent pots, in their burgeoning scale, are unprecedented stands the Chatham County Courthouse, built in 1881 of in the North Carolina folk pottery canon. Solemn and seductive, rugged brick made down the highway in Sanford, the self- with their scale providing a thrilling clout, they have an immediate designated “Brick Capital of the U.S.A.” Or rather, the new appeal like that of Martin Puryear’s visionary sculptures, with courthouse stands there, since the old building, except for their own intersection of folk tradition and modernist panache. its façade and its statue of a Confederate soldier standing at They also represent the passage from the past to the present.
    [Show full text]
  • Thematic Manifestations: an Aesthetic Journey. Jeff Kise East Tennessee State University
    East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2004 Thematic Manifestations: an Aesthetic Journey. Jeff Kise East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Art and Design Commons Recommended Citation Kise, Jeff, "Thematic Manifestations: an Aesthetic Journey." (2004). Electronic Theses and Dissertations. Paper 877. https://dc.etsu.edu/ etd/877 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Thematic Manifestations: an Aesthetic Journey ______________________ A thesis presented to the faculty of the Department of Art and Design East Tennessee State University ______________________ In partial fulfillment of the requirements for the degree of Master of Fine Arts in Studio Art ______________________ by Jeff Kise May 2004 _____________________ Don Davis, Chair Anita DeAngelis Catherine Murray Keywords: Ceramics, Simplicity, Aesthetics, Saggar Firing, Flash Firing, Naked Raku ABSTRACT Thematic Manifestations: An Aesthetic Journey by Jeff Kise This thesis, in support of the Master of Fine Arts exhibition entitled Thematic Manifestations at East Tennessee State University, Carroll Reece Museum, Johnson City, Tennessee, March 2-12, 2004, describes in detail three aesthetic themes that are manifested in the work exhibited. The artist discusses his journey in establishing a “criterion of aesthetic values” whereby his work is conceptually developed. The three themes – The Paradox of Simplicity, The Decorative Power of Nature, and The Beauty of the Irregular – are founded on historical and contemporary influences and are further described in practical application of form and process.
    [Show full text]
  • Wales, UK Canolfan Y Celfyddydau Aberystwyth, Cymru, DU
    International Ceramics Festival Gwyl^ Serameg Ryngwladol Friday 28 – Sunday 30 June 2013 Dydd Gwener 28 - Dydd Sul 30 Mehefin 2013 Aberystwyth Arts Centre, Wales, UK Canolfan y Celfyddydau Aberystwyth, Cymru, DU Organised by Aberystwyth Arts Centre, North Wales Potters and South Wales Potters Trefnir gan Canolfan y Celfyddydau Aberystwyth, Chrochenwyr Gogledd Cymru a Chrocenwyr De Cymru Contents Awards & Special Events Cont’d 14 Welcome 3 Lectures & Films 14-15 Demonstrators & Guest Artists 4-8 Aberystwyth Arts Centre 16 Master of Ceremonies & North Wales Potters 16 Festival President 9 South Wales Potters 16 Exhibitions 10 Trade Stands 17 Activities, Awards & Special Events 11 General Information, Food & Drink 18 Programme of Events 12-13 Floor Plans 19 Directors and Organisers: Marketing: Louise Amery 01970 622889 [email protected] Aberystwyth Arts Centre Festival Directors: Useful Contacts: Alan Hewson, Kraig Pugh PR: Pandora George, Bullet PR 01273 775520 North Wales Potters Festival Directors: Pea Restall, Paul Lloyd [email protected] South Wales Potters Festival Directors: Jeffrey Taylor, Festival Photographer: Glenn Edwards Peter Bodenham www.glennedwardsphotojournalist.com For Aberystwyth University: Moira Vincentelli Festival Accommodation: Conference Office, For Aberystwyth University: Cath Sherrell Aberystwyth University. Festival Co-ordinator: Sophie Bennett 01970 622338 Email: [email protected] Tel: 01970 621960 [email protected] Festival Assistant: Gwen Morgan With thanks to all Aberystwyth Arts Centre Staff, in particular: Site Manager: Pete Goodridge Eve Ropek, Nick Bache, Pete Lochery and the Technical team; Joan Materials Organiser: Roger Guy Young Rowlands, Jim West, Sarah Hughes, Serena Michael and all the Cafe Stage Demonstrations Co-ordinator: Jez Waller and Bar staff; Lynette Evans and the Services Team; all the Box Student Demonstration Co-ordinator: Avril Ryan Office and Marketing team, and everyone else who has helped to Cup Sale: Kate Mills & Stephen Mills make the festival a success.
    [Show full text]
  • Glass Circle Publications
    INDEXOF GLASS CIRCLE PUBLICATIONS by Hazel Bell Incorporating and modifying the previous indexes by Peter Lole Indexed publications Key Glass Circle News Issues 1-140 (1977–2016) 1.1 (Issue no.page no(s);) The Glass Circle Journal 1-11 (1972-2009) JL The Centenary Supplement (2004) CS GCN (2004) Ex. ExFromcerpts Palace from to the Parlour first 99(2003) issues of PP The Glass Circle Diamond Jubilee 1937–1997 DJ Glass Collectors and their Collections (1999) Col. Strange and Rare: 50th Anniversary Exhibition 1937–1987 SR Major references to a topic are given in bold type Abbreviations used: c. GCN for Glass Circle News. Notesexh. for exhibition; for century; GC for Glass Circle; Short forms of article and book titles are used. Article titles, and titlesin ofitalics talks reported, are given ‘in quotes’ under the names of the speakers. Book titles are given under the names of the authors, except for multi-author books, listed under their titles. GlassReviewers Circle of books,News andreferences writers of are letters given and in obituaries, the form: are rarely included. Issue number.page number(s) with the Issue numbers followed by stops; page numbers in the same issue separated by commas; Issue numbers separated by semi-colons. Newsletters for April and July 1983 are both numbered 26; references to those issues are given in the index as 26A and 26Jy. The first page of Issue 115, 2 June 2008, shows Issue number as 114. Announcements of coming events, advertisements, auctions, fairs, and sales reports are not indexed; of exhibitions, only major ones are indexed.
    [Show full text]