2019 PCF Guide
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Shetland Craft Trail & Makers
SHETLAND CRAFT TRAIL & MAKERS 2017/18 CRAFT TRAIL p6-35 Look for roadside signage CRAFT TRAIL p24 SAC CRAFT TRAIL SIGNAGE - RIGHT MAP WHITE TEXT Look for a number next to each member OPEN on the Craft Trail to find their location on the map in the centre pages We recommend you check opening hours or call to arrange a time to suit your journey. OTHER OUTLETS p36 Design Jono Sandilands www.jonosandilands.com Cover photograph © Shona Anderson 2017 Members images by Mark Sinclair, John Coutts & Sandy Boak MEMBERS p38-46 Colour key ART & DESIGN HOME & GIFTS JEWELLERY KNITWEAR & TEXTILES LEATHERWORK PAPERCRAFT PHOTOGRAPHY POTTERY WOODCRAFT VEER NORTH www.shetlandartsandcrafts.co.uk @shetlandcrafts shetlandartsandcrafts THE STRONG INFLUENCE OF SHETLAND’S LANDSCAPE, HERITAGE AND CULTURE, CAN BE SEEN IN THE CREATIVE OUTPUT OF SHETLAND’S CRAFTMAKERS, DESIGNERS AND ARTISTS; IN CERAMICS, TEXTILES, LEATHERWORK, KNITWEAR, JEWELLERY, PHOTOGRAPHY, PRINTMAKING, SCULPTURE, PAINTING AND MUCH MORE.. Welcome to the Shetland Craft Trail artists who are part of a growing and map for 2017, created by the creative community. Often inspired Shetland Arts & Crafts Association. by their environment, culture or This map of Shetland’s creative indigenous materials, they create landscape can lead you on a journey contemporary works for sale and throughout Shetland, to craft exhibition in Shetland, and for galleries workshops and open studios, from and customers worldwide. In over Unst in the north, to Scousburgh and 26 craft workshops and working Fair Isle in the south - from the island studios you can meet the artists and of Whalsay in the east, to Sandness designers, commission special pieces, in the west. -
Cross-Cultural Exchange in the Post-Medieval Adriatic: an Examination of Glass Artefacts from the 15Th Through Mid-18Th Centuries
Cross-Cultural Exchange in the Post-Medieval Adriatic: An examination of glass artefacts from the 15th through mid-18th centuries By: Samantha Garwood A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Archaeology September 2017 ACKNOWLEDGEMENTS This thesis would not have been possible without the support, guidance, and access to materials provided by friends, family, and colleagues throughout the last four years. Thanks must first be given to my supervisor, Hugh Willmott, for allowing me this amazing research opportunity, and for putting up with my general lack of knowledge. Thanks must also be given to Phil McCluskey, who very kindly continued to support my research even after his time at Sheffield came to an end. Thanks also to the University of Sheffield Faculty of Arts and Humanities for the scholarship which made this possible. Thank you to the many museums who granted me access to their collections: Muzej grada Trogira, especially Lujana Paraman; the Arheološka zbirka Osor – Lošinjski muzej, particularly Jasminka Ćus-Rukonić; Marina Lambasa, Emil Podrug, and the Muzej grada Šibenika; Radmila Biondić and Marina Kovač at the Muzej Slavonije; Igor Mihajlović at the Hrvatski restauratorski zavod; Dr Vesna Bikić at the Institute of Archaeology in Belgrade; and Ðivo Bašić at Pomorski Muzej, Dubrovački Muzeji. Thank you also to Ilir Parangoni for showing me some of the glass finds from Butrint, and to Nikolina Topić, Margherita Ferri, and Luka Bekić for sharing their research with me. Finally, thank you to my family and friends for supporting me through all of this. -
SVETI PAVAO SHIPWRECK a 16Th Century Venetian Merchantman from Mljet, Croatia
SVETI PAVAO SHIPWRECK A 16th Century Venetian Merchantman from Mljet, Croatia WITH ITALIAN AND CROATIAN ABSTRACTS by Carlo Beltrame, Sauro Gelichi and Igor Miholjek with contributions by Cristiano Alfonso, Jurica Bezak, Elisa Costa, !"#$%&"'()#*+,%-.'!"#/01#%$"'21##%.'3&%$"'415%-.'Antonija Jozi-.' 6"#+'78#*9"&.':/+#'!%0";5+,%-.'<+=1#$'!+>*+,%-.'!5"?1&'!)>$"@1*.' A+9"/+;'B1#*%-.'C";"&"'C#=+;1,%-'Vuki@1,%-'"&?'D1>&"'E9"%-'7#"5; Oxbow Books Oxford & Philadelphia PuBlisheD in the UniteD KingDom in 2014 By OXBOW BOOKS 10 Hythe BriDge Street, OxforD OX1 2EW anD in the UniteD States By OXBOW BOOKS 908 DarBy RoaD, Havertown, PA 19083 © OxBow Books anD the inDiviDual authors 2014 PaperBack EDition: ISBN 9781782977063 Digital EDition: ISBN 9781782977070 A CIP recorD for this Book is availaBle from the British LiBrary All rights reserveD. No part of this Book may Be reproDuceD or transmitteD in any form or By any means, electronic or mechanical incluDing photocopying, recorDing or By any information storage anD retrieval system, without permission from the puBlisher in writing. PrinteD in the UniteD KingDom By Berforts Information Press LtD, Eynsham, OxforDshire For a complete list of OxBow titles, please contact: UNITED KINGDOM OxBow Books Telephone (01865) 241249, Fax (01865) 794449 Email: [email protected] www.oxBowBooks.com UNITED STATES OF AMERICA OxBow Books Telephone (800) 7919354, Fax (610) 8539146 Email: [email protected] www.casemateacaDemic.com/oxBow OxBow Books is part of the Casemate Group 2#+&$'F+,1#G' Galleon on the Contarini monument in the Saint Anthony’s church in PaDua (miDDle of the XVI century AD). -
Made in Northern Ireland
What we do in Made in Northern Ireland Northern Ireland A celebration of crafts and The National Trust in Northern Ireland looks after the places you locally sourced giftware love, forever. This includes more than 200 special buildings and outdoor places across 46 square miles of beautiful countryside, farmland and coast. We are for everyone - with 2.5 million visitors enjoying these special places every year. As a charity we rely on the support of more than 72,000 passionate members and 2,500 dedicated volunteers, from all walks of life. Giant’s Causeway, 60 Causeway Road, Bushmills, Co. Antrim, BT57 8SU T: 028 2073 1855 We are proud to play a role in the E: [email protected] local economy - employing 500 W: nationaltrust.org.uk/giantscauseway people. We think and act locally, investing £20 million in projects in Northern Ireland over the next few years. The National Trust is a registered charity no. 205846 Designed and printed by Impact Printing, Ballycastle on recycled paper. Photography by Art Ward, visulante.com. Please recycle this booklet after use. © National Trust 2016. 2222. Mark Seaton 3333. Terrae Contents - the Artists and Artisans Graphic Design Prints Hand Crochet The Giant’s Causeway T: 07791 040 593 T: 07521 902 314 E: [email protected] E: [email protected] Artists and Artisans W: markseaton.co.uk W: facebook.com/terraejewellerydesigns Carrick-a-rede Rathlin Island 2323. McCullough Furniture 3434. The Early Bird White Park Bay Rope Bridge Page Page Natural Wood Craft Hand Crafted Home Wares Giant’s Causeway T: 07747 035 937 T: 07851 262 333 25 26 Key 1. -
Maine Crafts Association Members Exhibition Atrium Art Gallery
Atrium Art Gallery Located in the University of Southern Maine’s Lewiston-Auburn College, the Atrium Art Gallery features exhibitions of sculpture, painting, drawing, and contemporary crafts. In 2000 the Atrium Art Gallery, working in collaboration with the Maine Crafts Association, hosted The Inspired Hand. Its success led to the development of the biennial exhibition as a showcase of work by members of the Maine Crafts Association. The Maine Crafts Association The Maine Crafts Association, a non-profit Stephani Briggs, Ember in the Night founded in 1983, is a Maine based arts pin/pendant, fire agate and organization dedicated to creating glowing paraiba tourmalines set in 22kt gold with 18kt gold filigree opportunities for Maine craft artists to and a rutilated quartz cabochon. develop their professional careers through educational and marketing programs, as well as to increase their income through retail and wholesale sales. The Maine Crafts Association serves craft artists throughout the state with educational activities such as workshops and conferences, promotion of Maine Craft Saturday, Haystack Workshop Weekend, a Master Craft Awards program, exhibition and demonstration p.m.; opportunities. Members also have access p.m. to markets such as wholesale and retail 207-753-6500 Exhibition 6-8 tradeshows, The Center for Maine Craft a.m.-4:30 8 17, and seasonal craft markets. In a state with a 2014 Maine Fri., widespread population, MCA public 15, Jan. College stoneware Owen the p.m.; programming helps small Maine businesses , Members Gallery Jan Box intersect with Maine’s summer residents, to Southern a.m.-8 March Friday, visitors and larger marketplaces in Maine Art 8 - of Heroux, and New England. -
Monday 26 July
Open Studios Yearbook 2021 cover section.qxp_Layout 1 16/06/2021 12:25 Page 1 See page 43 for details FRIDAY 16 - MONDAY 26 JULY www.peppercreative.co.uk Open Studios Yearbook 2021 cover section.qxp_Layout 1 16/06/2021 12:25 Page 3 ARTIST INDEX NAME PAGE NAME PAGE NAME PAGE Peter Allen 31 Anna Hayward 19 Nichola Roe 20 Pollyanna J Bareham 36 Chris Hicks MA 27 Julie Sajous 22 Rai Barker 33 Charlotte Hodge Thomas 35 Becky Samuelson SWA 35 Elise Barnard 16 Elizabeth Hodgson 24 Scarecrows 42 Linda Beale 26 James Lord Art 19 Robert Scott 21 Birgit's Studio 13 Jools' Jewels 29 Angela Sowden 28 Maggie Boyce 14 Sandy Kendall 32 Sarah Stuart 42 Patsy Carter 17 Heather Knowles 38 Seacycle Studio 10 Sharon Chambers 18 Patricia Laking 9 Anya Stickland 18 Annette Chatting 23 Marion Large 10 Strata Original Art 28 Mark Chettle 11 Deni Lavender 18 Karen Taggart 27 Sally Clark 14 Rosemary Lawrey 33 Loren Thorn 33 Gillian Clarke 8 Barbara Long 9 Lis Toft 10 Edna Coatsworth 42 Julie Lymn 36 Anne Toms 42 Juliet Collins 28 Made By Rhian 38 Waddington Creative 17 Keith Coomber 29 Richard Mair 42 Andy Walker FRSA 24 Pat Cornwell 9 Brian Marriott 19 Maria Ward 22 Val Cranwell 16 Sarah Marsh 23 Marian Warren 28 Simon Dabell 40 Alison Mascarenhas 42 Kuki Waterstone 14 Deejavu Art 10 Lyndy Moles 31 Lesley Wellings 16 Carol Ann Eades 37 Boris Moscoff 22 Wendy Welsford 41 Guy Eades 37 Gill Mountford 42 Tony Westmore 15 Pauline Evans 9 Gillian Nye 17 Whitmarsh/Stripy Art 42 Andy Fortune 12 Sharon Ould 38 Wightgrownwool 39 Clare Frankl Bertram 14 Alyson Parker 21 Sally -
Using Ostraca in the Ancient World Materiale Textkulturen
Using Ostraca in the Ancient World Materiale Textkulturen Schriftenreihe des Sonderforschungsbereichs 933 Herausgegeben von Ludger Lieb Wissenschaftlicher Beirat: Jan Christian Gertz, Markus Hilgert, Hanna Liss, Bernd Schneidmüller, Melanie Trede und Christian Witschel Band 32 Using Ostraca in the Ancient World New Discoveries and Methodologies Edited by Clementina Caputo and Julia Lougovaya ISBN 978-3-11-071286-5 e-ISBN (PDF) 978-3-11-071290-2 e-ISBN (EPUB) 978-3-11-071295-7 ISSN 2198-6932 DOI https://doi.org/10.1515/9783110712902 This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International License. For details go to http://creativecommons.org/licenses/ by-nc-nd/4.0/. Library of Congress Control Number: 2020947108 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2020 Clementina Caputo and Julia Lougovaya, published by Walter de Gruyter GmbH, Berlin/ Boston The book is published open access at www.degruyter.com. Typesetting: Sonderforschungsbereich 933 (Nicolai Schmitt), Heidelberg Cover: Ostracon from the praesidium of Didymoi, O. Did. inv. 445; © Adam Bülow-Jacobsen. Printing and binding: CPI books GmbH, Leck www.degruyter.com Contents Clementina Caputo and Julia Lougovaya Introduction 1 I Documentation and Interpretation of Ostraca as Archaeological Objects Paola Davoli Papyri and Ostraca as Archaeological -
Christmas Craft Fair
Christmas Craft Fair 8 - 10 November 2019 Clickimin Centre www.shetlandartsandcrafts.co.uk cover photograph © Sandy Boak 2019 @shetlandcrafts shetlandartsandcrafts 1 The Shetland Arts and Crafts Association would like to welcome you to the 2019 Christmas Craft Fair. Here you will find a unique range of products all created by producers in Shetland; choose from textiles, cards, woodcraft, leatherwork, paintings, jewellery and much more. We hope you will enjoy browsing through the diverse collection of products; the show provides you with an ideal opportunity to pick up some unique gifts in plenty of time for Christmas. The Shetland Arts and Crafts logo is used in the guide to denote full members of the association. These producers must pass a quality assessment by demonstrating that they have an original approach to the design of their product, a thorough understanding of the materials they are using, consideration to the presentation of the product and by maintaining consistent quality of work throughout. If you would like any more information on the Shetland Arts and Crafts Association, or becoming a member log onto our website, or contact us on the telephone number or email address below. Shetland Arts and Crafts 07747 377856 [email protected] www.shetlandartsandcrafts.co.uk 2016, © John Coutts © Sandy Boak 2019, & member photographs Fair Craft and © Ria Moncrie 2015 Mark Sinclair 2015 Photography © Phatsheep 742000) Design & Print Shop (01595 Graphic STudio Design by 2 www.shetlandartsandcrafts.co.uk 70 Aryssa 07570923040 Young enterprise group working to produce high quality pieces of woodwork for locals and tourists 60 Aamos Designs 07593720397 www.aamosdesigns.com Aamos Designs is a unique and talented textile design company, who specialise in contemporary woven textiles. -
Landscape Dynamics and Settlement Patterns in Northern Anatolia During the and Byzantine Period Roman
After his victory over Mithradates VI the and transformed the territory. This vol- GH 32 Roman general Pompey founded a num- ume reviews current knowledge regarding Landscape Dynamics and Settlement ber of cities in order to shape the newly these new founded Roman cities in rela- founded Roman province in the inland of tion to their territories, necropoleis and Patterns in Northern Anatolia the conquered former Pontic kingdom, sanctuaries. It consists of 18 articles, which in the southern Black Sea region. This explore dynamics in settlement patterns, during the Roman and Byzantine Period sparked the beginning of an intense pro- architecture, urban and mortuary spaces, cess of urban and rural development peak- monetary circulation and epigraphic habit. Edited by Kristina Winther-Jacobsen ing in the 2nd century AD and continuing Some articles present the results of recent until the Byzantine period, a level of in- field research, others review little known and Lâtife Summerer tensity never accomplished in northern material ripe for new interpretations, Anatolia until today. The reorganization while new archaeological data is provided of space through the development of new by the reports of rescue excavations car- urban centers affected the whole region ried out by local museums. Landscape Dynamics and Settlement Landscape Dynamics and Settlement Patterns in Northern Anatolia during the and Byzantine Period Roman www.steiner-verlag.de VSWG Alte Geschichte Geographica Historica – 32 Franz Steiner Verlag Franz Steiner Verlag Lâtife Summerer -
Holmqvist Et Al 2018 Tracing Grog and Pots to Reveal Neolithic CWC
Author's Accepted Manuscript Final published version of the article is available at https://doi.org/10.1016/j.jas.2017.12.009 Journal of Archaeological Science 91 (2018) 77–91 Tracing grog and pots to reveal neolithic Corded Ware Culture contacts in the Baltic Sea region (SEM-EDS, PIXE) Elisabeth Holmqvist, Åsa M. Larsson, Aivar Kriiska, Vesa Palonen, Petro Pesonen, Kenichiro Mizohata, Paula Kouki, Jyrki Räisänen Abstract The Neolithic Corded Ware Culture (CWC) complex spread across the Baltic Sea region ca. 2900/2800– 2300/2000 BCE. Whether this cultural adaptation was driven by migration or diffusion remains widely debated. To gather evidence for contact and movement in the CWC material culture, grog-tempered CWC pots from 24 archaeological sites in southern Baltoscandia (Estonia and the southern regions of Finland and Sweden) were sampled for geochemical and micro-structural analyses. Scanning electron micro-scopy with energy dispersive spectrometry (SEM-EDS) and particle-induced X-ray emission (PIXE) were used for geochemical discrimination of the ceramic fabrics to identify regional CWC pottery-manufacturing traditions and ceramic exchange. Major and minor element concentrations in the ceramic body matrices of 163 individual vessels and grog temper (crushed pottery) present in the ceramic fabrics were measured by SEM- EDS. Furthermore, the high-sensitivity PIXE technique was applied for group confirmation. The combined pot and grog matrix data reveal eight geochemical clusters. At least five geochemical groups appeared to be associated with specific find locations and regional manufacturing traditions. The results indicated complex inter-site and cross-Baltic Sea pottery exchange patterns, which became more defined through the grog data, i.e., the previous generations of pots. -
Committee and All Who Have Made This Event Possible: Thank You for This Exciting Event
Jakarta Contemporary Ceramics Biennale # 2 1 A Welcome from The Head of Museum Seni Rupa dan Keramik Greetings to you, A museum is a permanent non-profi t institution, whose aim is to serve the public by communicating and exhibiting works of historical import, as a place for public learning. It also serves as a center of information and as a place for educational recreation. As part of the museum’s tangible role as a place for knowledge exchange, this year, in 2012, we are proud to present an international-scale exhibition: the Second Jakarta Contemporary Ceramics Biennale (JCCB#2), with the theme of “Crafting Identity”. This exhibition has become the Museum’s routine two-yearly program. Certainly, we will continue to develop upon the exhibition format and expand our international network. This exhibition also includes overseas ceramic artists, who will exhibit their works alongside Indonesian ceramic artists. And so we hope that there will be an exchange of skills and knowledge between them. We also hope to encourage and highlight these creative artists so that their works will receive wider recognition, both at home and abroad. In addition, this exhibition is held with the hopes that the public will be encouraged to visit museums more frequently. We also wish to introduce Museum Seni Rupa dan Keramik (the Museum of Fine Arts and Ceramics) to a wider Indonesian public, as well as visitors from abroad. It is very fi tting for the Museum to take an active role in supporting Indonesian ceramic art development. We hope that this exhibition will become an inspiration for creative individuals to continue their work and a chance to highlight the Museum’s advantages to the visiting public.