2009 EFP Catalog 14

Total Page:16

File Type:pdf, Size:1020Kb

2009 EFP Catalog 14 1 Ephraim Faience Pottery www.ephraimpottery.com 888-704-7687 Flights of Fancy Potter and sculptor Mary Pratt designed this box to com- memorate her fifth anniversary with Ephraim Faience Pottery. John Ray- mond contributed the glaze design. The Damselfly Box was born out of Mary’s fascination and appreciation for insects along with her passion for creating lidded Silk Moth Shady Shoreline 5˝ x 6¼˝ jars and boxes. She 5¼˝ x 7˝ #A09 $188.00 has explored lid- Dancing Dragonflies #B01 $218.00 ded objects in her 6˝ x 5˝ #530 $198.00 work for the past 10 years and was excited to be able to integrate this interest into her work at Ephraim. Mary calls her Ephraim colleagues “an amazing group of skilled artisans. Having this rare opportunity to work collaboratively allows me to continue to strengthen and expand my own skills and ideas,” she affirms. She notes that Ephraim’s high standards continue to challenge her in her daily work, adding, “Over the next five years I plan to continue to expand and sharpen my sculpting and throwing skills while remaining open to new ideas SB based on historically sound motifs.” While we would like to invite you to join us in congratu- lating Mary on five years of creative accomplishments at Ephraim, she would like to thank you. “Without the continued support of our devoted collectors, I would not be able to continue to pursue my passion,” she gratefully observes. “Being able to provide a stable home PK for my children by creating meaningful, high-quality Dragonfly Cabinet Vase objects is a rarity in our society, and I am thankful for 3˝ x 3½˝ Beautiful Butterflies Beauty and the Bats the opportunity to make my life doing this.” #A17 8¼˝ x 4˝ $108.00 9¼˝ x 4¾˝ #A19 $208.00 Ordering deadline for the Fifth Anniversary Damselfly #B15 $228.00 Box is June 30, 2010. 2 Ephraim Faience Pottery www.ephraimpottery.com 888-704-7687 Fifth Anniversary Collection To sleep, per- chance to dream… In the late 1800s, the work of Sigmund Freud brought dream analysis to the public consciousness. A rush of wings breaks the eerie stillness of the Freud’s theories played a role in the symbolism forest at night. Barely visible against the night sky, utilized by Art Nouveau, in which both bats and a bat swoops low to catch an insect and then glides poppies were used to symbolize the altered state up to its resting place in a tree. of consciousness brought on by sleep. Night Flight Dream Time 5½˝ x 7 4¼˝ x 6 #C16 $228.00 #C17 Specify orange or purple flowers $208.00 With its seemingly In the evening, as dusk magical transforma- begins to settle, the tion from caterpil- swallows come out. lar to cocoon to Darting and swooping, graceful winged they flit in and out insect, the butterfly of the darkness in has long been symbol pursuit of insects of positive change. for their evening As the beautiful but- meal. This piece terfly emerges from its attempts to cap- cocoon, a hopeful new ture the moment beginning takes flight. in which the The butterflies on this swallow emerges Damselfly Box piece rise on gossamer from the indigo twilight, wings 4½˝ x 4 wings to a hopeful new flashing. #C40 $158.00 day. Hope Rises Evening 8½˝ x 4½˝ Swallow #C21 $208.00 8½˝ x 5¼˝ All Fifth Anniversary pieces include this #C15 $248.00 special stamp on the bottom. Story card available with purchase. 3 Ephraim Faience Pottery www.ephraimpottery.com 888-704-7687 Exotics In the Victorian language of flowers, orchids were of- ten used to symbolize rare beauty. This piece, designed by Laura Klein with glaze design by Eric Anderson, truly cap- tures the beauty as well as the rare and precious nature of the orchid. Eric’s outstanding glaz- ing on this piece, as well as his affection for orchids, led him to select the Rare Beauty as his Fifth Anniversary piece. Eric hopes that others will enjoy this piece as much as he enjoys using this special combination of glazes on such a beautiful flower. Working with a group of people who are so devoted to clay, says Eric, “is a great way to go through life. The flower shown on the With people coming from so many different back- Maiden's Tears Vase comes from grounds, there’s a lot of give and take of ideas. I think a South American tree called the energy and craftsmanship are visible in each piece.” the palo borracho. A legend about the tree from an ancient What does Eric see for himself for the next five years? Argentinean forest tribe tells of “I envision that the company I keep will push my efforts a beautiful young maiden and into more thinking ‘outside the box’ and will encourage her true love, a brave warrior. me to further explore my career in clay.” Moonlit Orchid The colors of the tree’s flowers 10˝ x 4½˝ represent the maiden’s tears The Rare Beauty is an excellent example of Eric’s #A05 $238.00 and the warrior’s blood. Read achievements in his first five years at Ephraim. Please this beautiful story in its entirety Spider Orchid join us in wishing Eric many more years of creativity at www.ephraimpottery.com/ 13½˝ x 5¼˝ and success. palo.htm. #B08 $278.00 Ordering deadline for the Fifth Anniversary Rare Maiden’s Tears Beauty Vase is June 30, 2010. 10¾˝ x 5˝ #A06 $278.00 Story card available with purchase. 4 Ephraim Faience Pottery www.ephraimpottery.com 888-704-7687 Fifth Anniversary Collection The Vanilla Orchid is the source of the real vanilla pods that are used in baking and the perfume in- dustry. Each vanilla orchid bloom lasts only one day and must be pollinated or it will be shed, never to open again. After pollination, it takes the blossom 9 months to mature into a dried vanilla pod. The In the flower symbolism first created during the Vanilla Orchid was first cultivated in Mexico by the Victorian era, pink orchids symbolized pure affec- ancient Totonaco people. Legend says that the tion. The delicate pink tree orchids on this piece are blood of two fallen lovers marked the spot where juxtaposed with the quiet strength of the vessel, re- the first vanilla orchid grew and that its scent is the sulting in a piece that exudes a graceful confidence. aroma of true love and beauty. Rare Beauty Pure Affection Vanilla Orchid 10˝ x 4¼˝ 12½˝ x 6˝ 6½˝ x 4¾˝ #C09 $268.00 #C10 $338.00 #C08 $198.00 All Fifth Anniversary pieces include this Story card available with purchase. Story card available with purchase. special stamp on the bottom. 5 Ephraim Faience Pottery www.ephraimpottery.com 888-704-7687 Trees and Leaves PK SB SY LG CN IN AG Ginkgo Candle Holder 1¾˝ x 7˝ #B23 $98.00 Oak Grove Wall Pocket CP 8˝ x 3¼˝ Cathedral Forest (4-sided) #B14 $198.00 Gingko Cabinet Vase 10˝ x 3½˝ 3˝ x 4˝ #A30 $248.00 #B30 $88.00 The ginkgo’s vitality and tenacity are legendary. When the atom bomb was dropped on Hiroshima in 1945, it de- stroyed nearly every living thing in the area. However, some plants, among them four ginkgo trees, survived. Although Ginkgo Lantern the trunks of these hibaku trees were Two pieces with removable lid; charred, they survived without major designed to hold a tea light candle. deformations and are still alive today. For 7˝ x 7˝ this reason, the ginkgo tree is sometimes #A25 $248.00 called the “bearer of hope.” Tree of Hope 4¼˝ x 6¾˝ #B26 $208.00 Story card available with purchase. 6 Ephraim Faience Pottery www.ephraimpottery.com 888-704-7687 In the far northern reaches of Wisconsin, wild places still exist. Traveling the back roads, it is still possible to come across a rustic old fire lane The form of this piece or logging road lined with was inspired by art glass tall pines. In this boreal vases with Grecian pedestal wilderness, the soft bases. Newly leafed-out rushing of the wind trees accentuate the and the fresh, clean sinuous form. scent of pine wash through you, sweeping Springtime Forest the dust from the cor- 8½˝ x 3¼˝ ners of your soul. With #C23 $188.00 its roots buried firmly in the earth and its uppermost AR branches sweeping the sky, the pine tree harmoniously links the heavens and earth in a universal symbol of peace. The Rustic Pine vase attempts to capture the peaceful reverence of a pine forest in the quietest seasons: autumn and winter. Rustic Pine 4¾˝ x 5 #C11 SO (see back cover), AR $128.00 Story card available with purchase. With their distinc- tive leaves that turn deep red in the fall, the Japanese Maple The outstretched is a treasured favor- limbs of these arch- ite of gardeners in ing trees invite you both Japan and the to take a leisurely walk No tree conveys a sense of strength and resilience U.S. A leaf design is like the proverbial mighty oak. The tiny acorn contains under their cool green gently inscribed on a canopy. Let your imagi- everything necessary to grow into a strong, tall tree treelike form and ac- that is able to withstand the ravages of weather and nation lead you down this cented with a delicate shady lane — what will you time. This piece reminds us that strength and resil- red wash. ience, while they may be manifested on the outside, find? originate in that essential kernel within.
Recommended publications
  • Ford Ceramic Arts Columbus, Ohio
    The Journal of the American Art Pottery Association, v.14, n. 2, p. 12-14, 1998. © American Art Pottery Association. http://www.aapa.info/Home/tabid/120/Default.aspx http://www.aapa.info/Journal/tabid/56/Default.aspx ISSN: 1098-8920 Ford Ceramic Arts Columbus, Ohio By James L. Murphy For about five years during the late 1930s, the combination of inventive and artistic talent pro- vided by Walter D. Ford (1906-1988) and Paul V. Bogatay (1905-1972), gave life to Ford Ceramic Arts, Inc., a small and little-known Columbus, Ohio, firm specializing in ceramic art and design. The venture, at least in the beginning, was intimately associated with Ohio State University (OSU), from which Ford graduated in 1930 with a degree in Ceramic Engineering, and where Bogatay began his tenure as an instructor of design in 1934. In fact, the first plant, begun in 1936, was actually located on the OSU campus, at 319 West Tenth Avenue, now the site of Ohio State University’s School of Nursing. There two periodic kilns produced “decorated pottery and dinnerware, molded porcelain cameos, and advertising specialties.” Ford was president and ceramic engineer; Norman M. Sullivan, secretary, treasurer, and purchasing agent; Bogatay, art director. Subsequently, the company moved to 4591 North High Street, and Ford's brother, Byron E., became vice-president. Walter, or “Flivver” Ford, as he had been known since high school, was interested primarily in the engineering aspects of the venture, and it was several of his processes for producing photographic images in relief or intaglio on ceramics that distinguished the products of the company.
    [Show full text]
  • 2013 EFP Catalog 19 April
    Ephraim Pottery Studio Collection April 2013 Welcome! Dear pottery and tile enthusiasts, As you can see from this catalog, we’ve been busy working on new pottery and tiles over the past several months. While this is an ongo- ing process, we have also been taking a closer look at what we want our pottery to represent. Refocusing on our mission, we have been reminded how important the collaborative work environment is to our studio. When our artists bring their passion for their work to the group and are open to elevating their vision, boundaries seem to drop away. I like to think that our world would be a much better place if a collaborative approach could be emphasized in our homes, schools, and workplaces... in all areas of our lives, in fact. “We are better to- gether” is a motto that is in evidence every day at EFP. Many times in the creative process, we can develop a new concept most of the way quickly. Often, it’s that last 10% that requires work, grit and determination. It can take weeks, months, or even years to bring a new concept to fruition. Such has been the case with frames and stands for our tiles. Until recently, John Raymond was in charge of glaz- ing. As some of you know, John is also a talented woodworker who has been developing a line of quarter-sawn oak frames and stands for our tiles. While we have been able to display some of these at shows and in our galleries over the past year, we would like to make frames and stands available to all our customers.
    [Show full text]
  • U.S. Pottery: by Company
    U.S. POTT ERY: BY COMPANY 137 Understanding Roseville Pottery. Mark Santa Barbara Ceramic Design: Art Pottery Treasure Craft Pottery & Pottery Craft Bassett. Over 800 color photos display Roseville from America’s Riviera. Terry Gerratana. This Stoneware. George A. Higby, ISA. Over 650 Pottery artware, particularly the Artcraft, Cherub is the story of Santa Barbara Ceramic Design color photos document Treasure Craft and Cameo, Donatello, Pine Cone Modern, and (SBCD) and how a studio pottery defi ned by one Pottery Craft ceramics, with Disneyana items, Wincraft lines and Della Robbia and Olympic person producing hand thrown, hand decorated 200+ novelty cookie jars, Hawaiiana, fi gurines, items. The text provides a company history pottery evolved into a full-blown production and dinnerware lines, and including works by from 1890 through 1954, reveals the key roles pottery with distinct colorways, shapes, and Ray Murray, Don Winton, and Robert Maxwell. of famous staff members, and shows previously designs. This profi le captures the voices of the Information on manufacturers’ marks, look-alike unpublished manufacturer’s marks. creative forces behind SBCD. products, and values in the captions are included. Size: 8 1/2" x 11" • 800+ color & 70 b/w photos Size: 8 1/2" x 11" • 400 color images • 256 pp. Size: 8 1/2" x 11" • 665 color photos Price Guide/Index • 288 pp. ISBN: 978-0-7643-3888-5 • hard cover • $39.99 Price Guide • 176 pp. ISBN: 0-7643-1659-1 • hard cover • $39.95 Schiffer LTD ISBN: 0-7643-2072-6 • soft cover • $29.95 Bassett’s Roseville Prices.
    [Show full text]
  • Ceramics Monthly Jan86 Cei01
    William C. Hunt........................................ Editor Barbara Tipton ...................... Associate Editor Robert L. Creager ........................ Art Director Ruth C. Butler............................. Copy Editor Valentina Rojo ...................... Editorial Assistant Mary Rushley................ Circulation Manager Mary E. Beaver. Circulation Assistant Jayne Lohr .................... Circulation Assistant Connie Belcher .... Advertising Manager Spencer L. Davis.............................. Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year SI8, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to: Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed­ itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index.
    [Show full text]
  • February 5, 2002 - JANUARY 5, 2003
    february 5, 2002 - JANUARY 5, 2003 WINTER PARK, FLORIDA American Terra Cotta and Ceramic lines, exotic and extremely ornamental Art Nouveau refers to a style that developed in the last Company [Teco] (1895 - 1921) forms with whiplash and tendril two decades of the 19th century. It waned quickly and Pottery in Terra Cotta, Illinois. designs, sometimes dusted with gilt. Founder William Day Gates (1852- virtually disappeared by World War I. During its peak at 1935), a lawyer, won two gold medals Ashbee, Charles Robert (1863 – 1942) the turn of the century, Art Nouveau revolutionized the for his crystalline glaze art ware at the English architect, interior designer, decorative arts and architecture. St. Louis world’s fair in 1904. Lotus silversmith, artist craftsman, art theo- blossoms, water lilies, leaves, and plant retician, and poet. Inspired by William stalks influenced Teco’s green matte- Morris (1834-1996), Ashbee founded glazed ware, a pottery trademark for Art Nouveau is French for “new subject, they favored attractive, often the Guild and School of Handicraft ten years. Afterwards brown, buff and art.” Centers of this new art arose in sensuous images of flowers, vines, in London in 1888. The guild was so shades of red were introduced. Pottery Paris, Vienna, Munich, London, and youth, and women. successful that several London firms, pieces were always molded or carved Milan, and in short order designers In seeking liberation from the including Liberty & Co., copied and in relief. from Central Europe to the American past, the practitioners of the new art sold its versions of his designs. Ashbee Midwest adopted and adapted the ideas zealously turned away from historical published books and essays on the of the new art.
    [Show full text]
  • Ceremic Arts
    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. PRODUCT & ITS APPLICATION: Ceramic arts have very ancient history and developed all over the world.
    [Show full text]
  • Architectural Tiles: Conservation and Restoration Lesl-Fm.Qxd 11/10/04 10:16 AM Page Ii
    Lesl-Fm.qxd 11/10/04 10:16 AM Page i Architectural Tiles: Conservation and Restoration Lesl-Fm.qxd 11/10/04 10:16 AM Page ii Butterworth-Heinemann Series in Conservation and Museology Series Editors: Arts and Archaeology Andrew Oddy British Museum, London Architecture Derek Linstrum Formerly Institute of Advanced Architectural Studies, University of York US Executive Editor: Norbert S. Baer New York University, Conservation Center of the Institute of Fine Arts Consultants: Sir Bernard Feilden Page Ayres Cowley, Conservation Architect, New York David Bomford National Gallery, London John Fidler English Heritage, London C.V. Horie Manchester Museum, University of Manchester Sarah Staniforth National Trust, London Jeanne Marie Teutonico The Getty Conservation Institute, Los Angeles Published titles: Care and Conservation of Geological Material (Howie) Chemical Principles of Textile Conservation (Timár-Balázsy, Eastop) Conservation and Restoration of Ceramics (Buys, Oakley) Conservation and Restoration of Glass (Davison) Conservation of Building and Decorative Stone (Ashurst, Dimes) Conservation of Earth Structures (Warren) Conservation of Furniture (Rivers, Umney) Conservation of Historic Buildings (Feilden) Conservation of Historic Timber Structures (Larsen, Marstein) Historic Floors: Their History and Conservation (Fawcett) A History of Architectural Conservation ( Jokilehto) Lacquer: Technology and Conservation (Webb) The Museum Environment, 2nd Edition (Thomson) The Organic Chemistry of Museum Objects, 2nd Edition (Mills, White) The Textile
    [Show full text]
  • Analyzing Ancient Egyptian Faience
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENTS OF MATERIALS SCIENCE AND ENGINEERING AND ART HISTORY EXPLORING ANCIENT EGYPTIAN FAIENCE WITH NANOTECHNOLOGY: COMPOSITIONAL MAPPINGS, MICROSTRUCTURE ANALYSIS, AND MODERN APPLICATIONS ELYSSA IRIS OKKELBERG Summer 2011 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Materials Science and Engineering and Art History with interdisciplinary honors in Materials Science and Engineering and Art History Reviewed and approved∗ by the following: Paul Howell Professor of Metallurgy Thesis Supervisor Honors Advisor Elizabeth Walters Associate Professor of Art History Honors Advisor Digby MacDonald Distinguished Professor of Materials Science and Engineering Faculty Reader ∗Signatures are on file in the Schreyer Honors College. Abstract This thesis investigated Egyptian faience, an ancient ceramic material that consists of granular quartz or sand coated with an alkali-based glaze. Of interest is the pro- duction process of faience, in particular the raw materials and the glazing method. Previous investigations examined the production process using compositional and microstructural data from ancient and replicate faience. This study confirmed prior results by investigating faience beads produced in Abydos, Egypt during the 22nd Dynasty (c. 940–720 BC). Furthermore, this investigation improved upon earlier works by creating compositional mappings and analyzing previously over- looked parts of faience. Moreover, modern applications for faience technology were explored. i Table of Contents Abstract i List of Figures iv List of Tables vi Acknowledgments vii Chapter 1 Egyptian Faience 1 1.1 Background ............................... 1 1.2 Production ............................... 3 1.2.1 Rawmaterials.......................... 4 1.2.2 Shaping ............................. 7 1.2.3 GlazingMethod......................... 8 1.2.4 Firing .............................
    [Show full text]
  • The Earliest Maiolica Ceramic Dishes in the Old Town in Vilnius
    THE EARLIEST MAIOLICA CERAMIC DISHES IN THE OLD TOWN IN VILNIUS MIGLĖ URBONAITĖ-UBĖ BALTICA 21–22 BALTICA Abstract The paper analyses maiolica ceramic dishes from the late 16th and early 17th centuries found in Vilnius’ Old Town. The items in question were the first imported maiolica dishes in the town. They are classified and their production sites are identified on the basis of their technical and stylistic characteristics, and in accordance with foreign analogies. Thus, five plates are as- signed to the Antwerp production centre, while the stylistic and manufacturing characteristics of another plate are found to be ARCHAEOLOGIA similar to the Haarlem and Antwerp maiolica production centres. One small bowl with religious inscriptions is assigned to the Faenza production centre in Italy. A fragment of a berrettino-type plate is associated with the Liguria region or Venice. The paper attempts to assess the significance of the first maiolica dishes in daily life in Vilnius in the late 16thand early 17th cen- turies. The relationship between the find spots and historical data suggests that four dishes could be associated with Catholic monasteries. During the period in question, maiolica ceramics were a rarity: they performed both an aesthetic and a luxury function; on three pieces of bottoms of plates, holes were found for hanging the plate on the wall. The information presented in the paper provides an opportunity to deepen our knowledge about maiolica dishes in Vilnius’ Old Town, which have not been investigated much, and to identify the prospects for further research. Key words: Vilnius’ Old Town, ceramic dishes, maiolica, Antwerp, Faenza, Liguria.
    [Show full text]
  • Contemporary Jason Jacques Gallery: Then and Now
    JASON JACQUES GALLERY CONTEMPORARY JASON JACQUES GALLERY: THEN AND NOW Design Miami/ 2015. The Orb: Morten Løbner Espersen Moon Vessels & NASA Photographs from the Lunar Orbiter Missions 1966-1967. June 9 – July 30, 2016 at Jason Jacques Gallery. “The attractions of ceramics lie partly in its He has exhibited exceptional works by the ceramic Street and Madison Avenue gallery, in addition to contradictions,” wrote Japanese-American artist artists Ernest Chaplet, Edmond Lachenal, Pierre- participating in design fairs in Miami, San Francisco, Isamu Noguchi. “It is both difficult and easy, with Adrien Dalpayrat, Taxile Doat, and Vilmos Zsolnay. Maastricht, and New York. The gallery’s touted an element beyond our control. It is both extremely Many of these works have been acquired by New publications include Exotica, a compendium of fragile and durable. Like ‘Sumi’ ink painting, it does York’s Metropolitan Museum of Art, Cooper Hewitt essays by leading scholars on French master not lend itself to erasures and indecision.” National Design Museum, and the Museum of Arts ceramists. Works sold by Jason Jacques Gallery and Design, among other institutions. are owned by art museums throughout the country, Ceramics specialist Jason Jacques—whose Upper including the Wadsworth Atheneum, Nelson- East Side Manhattan gallery represents some of the In 2010 while exhibiting at Paris’ Biennale des Atkins Museum of Art, Detroit Institute of Arts, and greatest artists of the past and present— has long Antiquaires, an explosive work by contemporary Museum of Fine Arts, Houston. attempted to influence the world of what Noguchi ceramicist Gareth Mason caught Jacques’ eye. clearly understood: A finely crafted vase or bowl Fascinated by Mason’s patchwork approach to can be as captivating as any painting or sculpture.
    [Show full text]
  • FINE EUROPEAN CERAMICS Wednesday 14 June 2017
    FINE EUROPEAN CERAMICS Wednesday 14 June 2017 SPECIALIST AND AUCTION ENQUIRIES EUROPEAN CERAMICS Sebastian Kuhn Nette Megens Sophie von der Goltz FINE EUROPEAN CERAMICS Wednesday 14 June 2017 at 2pm New Bond Street, London VIEWING ENQUIRIES CUSTOMER SERVICES PHYSICAL CONDITION OF Sunday 11 June Nette Megens Monday to Friday 8.30am LOTS IN THIS AUCTION 11am - 3pm Head of Department to 6pm PLEASE NOTE THAT ANY Monday 12 June +44 (0) 20 7468 8348 +44 (0) 20 7447 7447 REFERENCE IN THIS 9am - 4.30pm [email protected] CATALOGUE TO THE PHYSICAL Tuesday 13 June Please see page 2 for bidder CONDITION OF ANY LOT IS FOR 9am - 4.30pm Sebastian Kuhn information including after-sale GENERAL GUIDANCE ONLY. +44 (0) 20 7468 8384 collection and shipment INTENDING BIDDERS MUST SALE NUMBER [email protected] SATISFY THEMSELVES AS TO 24223 THE CONDITION OF ANY LOT Sophie von der Goltz AS SPECIFIED IN CLAUSE 14 OF CATALOGUE +44 (0) 20 7468 8349 THE NOTICE TO BIDDERS [email protected] CONTAINED AT THE END OF £25.00 THIS CATALOGUE. International Director BIDS As a courtesy to intending +44 (0) 20 7447 7447 European Ceramics & Glass bidders, Bonhams will provide a +44 (0) 20 7447 7401 fax John Sandon written indication of the physical To bid via the internet please +44 (0) 20 7468 8244 condition of lots in this sale if a visit bonhams.com [email protected] request is received up to 24 hours before the auction starts. This Please note that bids should be written Indication is issued submitted no later than 4pm on subject to Clause 3 of the Notice the day prior to the sale.
    [Show full text]
  • Seagrove Pottery Festivalandthecelebrationofseagrovepotters
    he town of Seagrove was named for Edwin G. Seagroves, a local official responsible for routing the TTrailroad through the area. According to local sources, after a unanimous decision to name the railroad station after Seagroves, the town name resulted from a sign painter running out of space and simply dropping the “s” from the end of the name. The railroad served Seagrove until December 31, 1951. The old train depot later became a pottery museum. Seagrove is located just 15 minutes south of Asheboro and approximately 40 miles northwest of Pinehurst. Seagrove’s pottery tradition dates back to the 1700s before the American Revolution. Many of the first area potters were English and German immigrants who produced primarily functional, glazed pottery. Due to the high quality of the local clay, the Plank Road passing through the town, and the railroad, Seagrove grew into a destination for pottery shoppers. As a result of the Industrial Revolution and the advent of modern food preparation, the popularity of Seagrove pottery rapidly decreased during the mid 1800s. For a time, whiskey jugs were a succesful EAGROVE EAGROVE PERSPECTIVE HISTORICAL source of income, but the beverage was outlawed and potteries continued their decline into the 1900s. The potteries struggled until around 1920, when they became popular with Northern tourists visiting S nearby Pinehurst. The new tourist industry marked a general change from utilitarian pottery to the addition of more decorative ware. After another decline from the 1950s through 1970s, a renewed interest in traditional pottery was beginning to sweep the area. In 1982, local citizens, recognizing the strength of preserving the history and heritage of their craft, began to celebrate annually the weekend before Thanksgiving by organizing the Seagrove Pottery Festival.
    [Show full text]