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Hamada Shōji (1894-1978)
HAMADA SHŌJI (1894-1978) Hamada Shōji attained unsurpassed recognition at home and abroad for his folk art style ceramics. Inspired by Okinawan and Korean ceramics in particular, Hamada became an important figure in the Japanese folk arts movement in the 1960s. He was a founding member of the Japan Folk Art Association with Bernard Leach, Kawai Kanjirō, and Yanagi Soetsu. After 1923, he moved to Mashiko where he rebuilt farmhouses and established his large workshop. Throughout his life, Hamada demonstrated an excellent glazing technique, using such trademark glazes as temmoku iron glaze, nuka rice-husk ash glaze, and kaki persimmon glaze. Through his frequent visits and demonstrations abroad, Hamada influenced many European and American potters in later generations as well as those of his own. 1894 Born in Tokyo 1912 Saw etchings and pottery by Bernard Leach in Ginza, Tokyo 1913 Studied at the Tokyo Technical College with Itaya Hazan (1872-1963) Became friends with Kawai Kanjiro (1890-1966) and visits in Kyoto (1915) 1914 Became interested in Mashiko pottery after seeing a teapot at Hazan's home 1916 Graduated from Tokyo Technical College and enrolled at Kyoto Ceramics Laboratory, visits with Tomimoto Kenkichi (1886-1963) Began 10,000 glaze experiments with Kawai 1917 Visited Okinawa to study kiln construction 1919 Met Bernard Leach (1887-1979) at his Tokyo exhibition, invited to him his studio in Abiko where meets Yanagi Sōetsu (1889-1961) Traveled to Korea and Manchuria, China with Kawai 1920 Visited Mashiko for the first time Traveled to England with Leach, built a climbing kiln at St. Ives 1923 Traveled to France, Italy, Crete, and Egypt after his solo exhibition in London 1924 Moved to Mashiko. -
Quaker Values and Arts and Crafts Principles Pamela
THE BRYNMAWR EXPERIMENT 1928-1940 QUAKER VALUES AND ARTS AND CRAFTS PRINCIPLES by PAMELA MANAS SEH A thesis submitted to the University of Plymouth in partial fulfilment for the degreeof DOCTOR OF PHILOSOPHY Faculty of Art and Design University College, Falmouth October, 2009 2 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior consent. PAMELA MANASSEH THE BRYNMAWR EXPERIMENT, 1928-1940: QUAKER VALUES AND ARTS AND CRAFTS PRINCIPLES ABSTRACT This is a study of the social work of Quakers in the town of Brynmawr in South Wales during the depressions of the 1920s and 1930s. The work, which took place during the years 1928 to 1940, has become known as the Brynmawr Experiment. The initial provision of practical and financial relief for a town suffering severely from the effects of unemployment, was developed with the establishment of craft workshops to provide employment. Special reference is made to the furniture making workshop and the personnel involved with it. The thesis attempts to trace links between the moral and aesthetic values of Quakerism and the Arts and Crafts Movement and explores the extent to which the guiding principles of the social witness project and the furniture making enterprise resemble those of the Arts and Crafts Movement of the inter-war years, 1919-1939. All aspectsof the Quaker work at Brynmawr were prompted by concern for social justice and upholding the dignity of eachindividual. -
The Leach Pottery: 100 Years on from St Ives
The Leach Pottery: 100 years on from St Ives Exhibition handlist Above: Bernard Leach, pilgrim bottle, stoneware, 1950–60s Crafts Study Centre, 2004.77, gift of Stella and Nick Redgrave Introduction The Leach Pottery was established in St Ives, Cornwall in the year 1920. Its founders were Bernard Leach and his fellow potter Shoji Hamada. They had travelled together from Japan (where Leach had been living and working with his wife Muriel and their young family). Leach was sponsored by Frances Horne who had set up the St Ives Handicraft Guild, and she loaned Leach £2,500 as capital to buy land and build a small pottery, as well as a sum of £250 for three years to help with running costs. Leach identified a small strip of land (a cow pasture) at the edge of St Ives by the side of the Stennack stream, and the pottery was constructed using local granite. A tiny room was reserved for Hamada to sleep in, and Hamada himself built a climbing kiln in the oriental style (the first in the west, it was claimed). It was a humble start to one of the great sites of studio pottery. The Leach Pottery celebrates its centenary year in 2020, although the extensive programme of events and exhibitions planned in Britain and Japan has been curtailed by the impact of Covid-19. This exhibition is the tribute of the Crafts Study Centre to the history, legacy and continuing significance of The Leach Pottery, based on the outstanding collections and archives relating firstly to Bernard Leach. -
Bernard Leach and His Circle
Bernard Leach and his Circle Spring 2008 26 January – 11 May 2008 Notes for Teachers Information and practical ideas for groups Written by Angie MacDonald Ceramics by Bernard Leach and key studio potters who worked alongside him can be seen in the Showcase (Upper Gallery 2). These works form part of the Wingfield-Digby Collection, recently gifted to Tate St Ives. For discussion • There has been much discussion in recent years as to whether ceramics is an art or a craft. Leach insisted that he was an ‘artist-potter’ and he always regarded his individual pots as objects of art rather than craft. • Why do you think he considered these pots more important than the standard ware (tableware)? • What do you think the display at Tate St Ives says about the status of these objects? Are they sculptures or domestic objects? • The Japanese critic Soetsu Yanagi complimented Leach by describing his earthenware as ‘born not made’. What do you think he meant by this? • Leach said he wanted his pots to have ‘vitality’ – to capture a sense of energy and life. Can you find examples that you feel have this quality? • The simplified motif of a bird was a favourite for Leach. He considered it a symbol of freedom and peace. Can you find other motifs in his work and what do you think they symbolise? Things to think about This stoneware tile has the design of a bird feeding its young, painted in iron. It has sgraffito detailing where Leach scratched through the wet clay slip before firing. It is an excellent example of Leach’s commitment to quiet, contemplative forms with soft, muted colours derived from the earth. -
Lowell Libson Limited
LOWELL LI BSON LTD 2 0 1 0 LOWELL LIBSON LIMITED BRITISH PAINTINGS WATERCOLOURS AND DRAWINGS 3 Clifford Street · Londonw1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LOWELL LI BSON LTD 2 0 1 0 Our 2010 catalogue includes a diverse group of works ranging from the fascinating and extremely rare drawings of mid seventeenth century London by the Dutch draughtsman Michel 3 Clifford Street · Londonw1s 2lf van Overbeek to the small and exquisitely executed painting of a young geisha by Menpes, an Australian, contained in the artist’s own version of a seventeenth century Dutch frame. Telephone: +44 (0)20 7734 8686 · Email: [email protected] Sandwiched between these two extremes of date and background, the filling comprises Website: www.lowell-libson.com · Fax: +44 (0)20 7734 9997 some quintessentially British works which serve to underline the often forgotten international- The gallery is open by appointment, Monday to Friday ism of ‘British’ art and patronage. Bellucci, born in the Veneto, studied in Dalmatia, and worked The entrance is in Old Burlington Street in Vienna and Düsseldorf before being tempted to England by the Duke of Chandos. Likewise, Boitard, French born and Parisian trained, settled in London where his fluency in the Rococo idiom as a designer and engraver extended to ceramics and enamels. Artists such as Boitard, in the closely knit artistic community of London, provided the grounding of Gainsborough’s early In 2010 Lowell Libson Ltd is exhibiting at: training through which he synthesised -
First Historic House of Justice Is Elected
NEWS PUBLI SHED BY THE NATI ONAL SP IRITUAL ASSEMBLY OF THE BA HA'I S OF THE UNITED STATES FOR CIRC ULA TION AMONG BAHA'IS ONLY No. 387 BAHA'I YEAR 120 JUNE 1963 First Historic House of Justice Is Elected (On the) occasion (of) worldwide celebration (of the) 1ost Great Jubilee commemorating (the) centenary (of the) ascension (of ) Baha'u'llah (to the) throne (of) His sovereignty, with hearts overflowing (with) gratitude (for ) Hi unfailing protection (and) overflowing bounties, (we) joy ou ly announce (to the) friends (of the) East (and) West (the) election (of the) supreme legis lative body ordained by Him in His Most Holy Book (and ) promised by Him (to ) receive Hi s infallible guidance. Members (of the) first historic House (of) Ju ti ce, duly elected by delegates comprising members (of) fifty-six national a emblies, are Charle Wolcott Ian Semple Hugh Chance 'Ali Nak_bjavani Lotfullah Hakim Amen Gibson H. Borrah Kavelin David Hofman Hooshmand Fatheazam To (the) jubilation (of the) entire Baha'i world (for the) victoriou completion (of the) be loved Guardian's unique Crusade (is) now added (the) humble gratitude (and ) profound thanks giving (of the) followers (of ) Baha'u'llah for (th e) erection (of the) Universal House (of) Justice, (that) august body to whom all believers must turn, whose destiny is to guide (the) un foldment (of) His embryonic world order through (the) administrative institutions prescribed by Ba ha 'u'llah, elaborated by 'Abdu'l-Baha (and) laboriously erected by Shoghi Effendi, and (to ) insure (the) early dawn (of th e) Golden Age (of the ) Faith when the Word of the Lord will cover the earth as the waters cover the sea. -
Bernard Leach and British Columbian Pottery: an Historical Ethnography of a Taste Culture
BERNARD LEACH AND BRITISH COLUMBIAN POTTERY: AN HISTORICAL ETHNOGRAPHY OF A TASTE CULTURE by Nora E. Vaillant B. A. Swarthmore College, 1989 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in The Faculty of Graduate Studies (Department of Anthropology and Sociology) We accept this thesis as conforming to the required standard The University of British Columbia October 2002 © Nora E. Vaillant, 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of J^j'thiA^^ The University of British Columbia Vancouver, Canada Date DE-6 (2/88) ABSTRACT This thesis presents an historical ethnography of the art world and the taste culture that collected the west coast or Leach influenced style of pottery in British Columbia. This handmade functional style of pottery traces its beginnings to Vancouver in the 1950s and 1960s, and its emergence is embedded in the cultural history of the city during that era. The development of this pottery style is examined in relation to the social network of its founding artisans and its major collectors. The Vancouver potters Glenn Lewis, Mick Henry and John Reeve apprenticed with master potter Bernard Leach in England during the late fifties and early sixties. -
Mr David Hofman a Luminary in the Century of Light – Mr David Hofman
http://www.bahaijournal.org.uk/BJ200307/obit.htm Go APR JUN DEC 18 captures 7 11 Jun 04 - 20 Apr 13 2006 2007 2011 Journal of the Bahá'í Community of the United Kingdom of Great Britain and Northern Ireland Volume 20, No.2 – July/August, 2003 / 160BE LARGE PRINT / Standard Print. Obituary: Mr David Hofman A Luminary in the Century of Light – Mr David Hofman IF THE 20TH CENTURY was the Century of Light then David Hofman, whose life spanned almost the entire period, may well be seen by future generations as one of its indefatigable torchbearers. This was a life of service par excellence. With his passing, the Bahá’í community of the United Kingdom has lost one of its most distinguished believers. In its tribute to Mr Hofman, the Universal House of Justice speaks of his “exemplary zeal”, his “adamantine loyalty to the Cause”, his “unfailing response to the call and guidance of the Guardian and the The Universal House of Justice in 1987 – Universal House of Justice”, his “central role Mr Hofman is second from the right. in the advancement of the British Bahá’í community and the launching of the brilliant Africa Campaign”, and “his outstanding contributions to Bahá’í literature both as an author and a publisher.” Born in 1908 in Poona, India where his father served in the British Army, Mr Hofman spent a brief unhappy spell in the Royal Air Force before setting off to see the world. In the 1930s he travelled to Canada where he worked variously as a clerk in lumber camps, an actor, a bookkeeper, a life insurance salesman and as an announcer with CFCF Montreal – one of the country’s first public service radio stations. -
File:Unfolding Destiny Pt7.Pdf
BIOGRAPHICAL NOTES BIOGRAPHIES These biographies appear strictly in the order the names first appear in the text of the book. Where a fuller report is published elsewhere, a summary only is given together with a reference to the other material. NAME PAGE NAME PAGE Dr. John E. Esslemont 9 John L. Marshall 210 Edward T. Hall 9 Mrs. M. Olga K. Mills 210 Mrs. Thornburgh-Cropper 9 Alfred and Lucy Sugar 210 George P. Simpson 9 Charles N. Dunning 2II Miss Ethel J. Rosenberg II Miss Claire Gung 2II I)ia'u'llah A~gharzadih 24 Mrs. Lizzie F. Hainsworth 2II Lady Blomfield 30 Miss Margaret Sullivan 2II Rev. George Townshend 55 Cyril and Margaret Mrs. Isobel Slade 6I Jenkerson 2I7 Mrs. Louise Ginman 63 Richard H. Backwell 2I8 Miss Florence Pinchon 72 Miss Ada Williams 222 Mrs. Claudia Coles 88 Mrs. Constance Langdon- Sister Grace Challis 88 Davies 224 David Hofman 108 George K. Marshall 228 Mrs. Lilian Stevens II6 Mrs. Marguerite Preston 23I Miss Evelyn Baxter II7 Bernard Leach, CH, OBE 239 l::lasan M. Balyuzi I22 Samuel Scott 240 Frank Hurst I26 John Ferraby 250 Mrs. Mary Basil-Hall I27 Mrs. Florence "Mother" Albert and JeffJoseph I46 George 256 Dr. R. St. Barbe Baker I63 Musa Banani 257 Miss Jessica Young I72 'Ali Nakhjavani 257 Lady Kathleen Hornell I72 I::Iassan and Isobel Sabri 266 Mrs. Ursula Samandari I72 Arthur Norton 267 Mrs. Marion Hofman I79 Eric Manton 273 Miss Una Townshend I8I Dr. 'Abbas and Shomais Joseph Lee I8I Afnan 278 Mrs. Dorothy Ferraby I84 Edmund Cardell 28I Philip Hainsworth I87 Dr.John G. -
Leach Pottery Announce Collaborative Project to Restore Documentary Film Compendium on Bernard Leach and the Mingei Movement
Leach Pottery Announce Collaborative Project to Restore Documentary Film Compendium on Bernard Leach and the Mingei Movement The Leach Pottery and Marty Gross Film Productions, Canada, announce their collaboration in the restoration and re-release of historically important films from the 1930’s to the 1970’s which profile key figures in the history of The Leach Pottery and the Japanese Mingei Movement. The Great Britain Sasakawa Foundation have provided a generous £5000 donation in support of this unique project, and following this initial funding further funding has been pledged or received from The Museum of Ceramic Art New York, Ceramica Stiftung Basel, Warren and Nancy MacKenzie, scholar Dr. Paul Griffith and art collector Dr. John Driscoll. Film subjects include Bernard Leach, Shoji Hamada, Soetsu Yanagi, Janet Leach, William Marshall and others. Bernard Leach, founder of The Leach Pottery, was an important figure in the history of contemporary ceramics and a key member of the group that founded the Mingei Movement. His writings on Japan and its ceramic traditions are central documents in the history of the Modern craft movement. Over the neXt three years, the project will restore and digitize important and never before seen footage which documents the studies of Bernard Leach and his colleagues in Japan as they developed ideas that became central to the Mingei movement. The resulting compendium will consist of DVDs and a booklet containing the following films and new documentation: ▪ Trip to Japan, filmed by Bernard Leach, 1934-35 ▪ Mashiko Village Pottery, Japan 1937 ▪ Bernard Leach visit to San Francisco, 1950 ▪ The Art of the Potter (1971), by David Outerbridge and Sidney Reichman ▪ Excerpts from 10 hours of unseen film footage from The Art of the Potter ▪ An exclusive Video Interview by Marty Gross with Mihoko Okamura, D.T. -
Card Our Precious Heritage.Pdf
OUR PRECIOUS HERITAGE . THE COMING OF THE FAI!H TO !.'ALES +++++++++++++++++++++ ++++++++++ By C. Edmund Ca r d DEDICATED TO THAT GA'LLANT 'ARMY OF GOD' \.IHO , THOUGH FEW IN NUMBERS, WERE VALIANT IN FA ITil AND WHO SET FORTH TO ' CONQUER THESE COUNTRIES TilROUGH TilE LOVE OF GOD AND THE ILLUMINATION OF DIVINE TEACHINGS.' Acknowledgments To Mrs Christine Abbas , foremo st among many who encouraged me to ma ke a start. To my dear wife, without whose willing co- operation the task could never have been und ertaken. To Hrs Ros e Jones, Hu gh Mc Kinley, Brian Giddins and others for their inval uable recollections of the early days . To a long succession of Assemb l y secretaries in Cardiff who have carefully preserved voluminous archive material over a period of nearly forty years. Finally to David and Barbara Lewis for their correction of a (very) rough first draft . To all these kind hel pers , my heartfelt thanks . Ca r l 'l'he FIRST SPIRITUAL AS SEHBLY of the llAHA' IS of CARDIFF . Standing;- Hugh !'!cKi nley, Joan Giddings, :,uzaooe :,olcmon:, Geo. Ro"'ley :, eated, Fred s tabler, Claire Gung, Violet KcK inley, ' Rose J on.es Ata-o'llab Kbocbbin.e, l OUR PREC IOUS HERITAGE This ~r i ef treatise on t he coming of the Bah~'{ Faith to ~ales is but one min~ce facet of an almost unimaginably vase epic. In the contemplation of this story one ma y see bu t a small reflection of a process whi:h has its counterparts in many a thousand other locations, in different lands, in diverse cultures among many nations scattered throughout the length and breadth of this our planet. -
Yuko Kikuchi Hybridity and the Oriental Orientalism of Mingei Theory Downloaded From
Yuko Kikuchi Hybridity and the Oriental Orientalism of Mingei Theory Downloaded from Orientalism is not a rigid one-way phenomenon projected on to the Orient from the Occident. It is an infectious phenomenon, open to appropriation by 'others', at least in the case of modern Japan. This article presents a case study o/Mingei (folk crafts) theory created by Yanagi Soetsu and evaluated in the Occident as an 'Oriental' theory for what is deemed to be its greatest merit—'traditional authenticity'. The intention of this article is firstly to demystify the essential 'Orientalness' o/Mingei http://jdh.oxfordjournals.org/ theory by showing its 'hybrid' nature and the process of hybridization involved in the course of its formation; and secondly to show the strategic significance of 'hybridity' in the context of Japanese cultural nationalism in the dichotomic framework of Orient and Occident. This article presents a case study of Japanese Japanese art in the nineteenth century, following objects in the modern period as related to on from interest in the art of China, India and the 1 Yanagi Soetsu (1889-1961) [1] and his Mingei Middle East. 'Orientalism' is an integral part of at UNIVERSITY OF THE ARTS LONDON on October 6, 2014 (folk crafts) theory, Japan's first modern craft/ the discipline for studying Japanese art, and has design theory created in the 1920s. The main focus been particularly evident in the way the Occident of discussion is on the creation of a Japanese defined Japan as medieval and primitive, and as a national identity, the invention of Japanese 'tradi- country of 'decorative art' without 'fine art'.