DOCSLIB.ORG

The Earthenware Collector Uniform with This Volume

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE EARTHENWARE COLLECTOR UNIFORM WITH THIS VOLUME THE FURNITURE COLLECTOR THE GLASS COLLECTOR THE CHINA COLLECTOR THE STAMP COLLECTOR THE SILVER AND SHEFFIELD PLATE COLLECTOR " I, WiNCANTON Jug. Nathaniel Ireson, 1748." Glaisher Collection, THE EARTHENWARE COLLECTOR BY G. WOOLLISCROFT RHEAD WITH SIXTY ILLUSTRATIONS IN HALF-TONE AND NUMEROUS MARKS NEW YORK DODD, MEAD & COMPANY 1920 Printed in Great Britain by Butler & Tanner, Frome and London ; FOREWORD BY THE EDITOR. old as civilisation itself, the art of the potter AS presents a kaleidoscope of alluring charm. To paraphrase the word of Alexandre Brongniart, no branch of industry, viewed in reference either to its history or its theory, or its practice, offers more that is interesting and fascinating, regarding alike its economic appUcation and its artistic aspect, than does the fictile art ; nor exhibits products more simple, "more varied, and their frailty notwithstanding, more desirable. Of course the crude vessels of ancient times, as well as the more serviceable and scientifically more beauti- ful articles of to-day, exist primarily for one and the same object—the use and convenience of man. The story of the potter and his technique has been told repeatedly, sometimes as a general survey and some- times as a specialised branch of a widely extended subject, but notwithstanding the numerous books devoted to it there is always something new to be recorded, fresh pieces to describe, new points to advance and discuss. In these respects The Earthenware Collector will serve the twofold purpose of explaining clearly and concisely the various English wares and how to identify them FOREWORD and of relating the potter's life and the manifold difficulties that he has constantly to overcome ; for some of these men, with little knowledge of their craft, were yet adventurers, as the Elizabethan voyagersr were, saiHng into unknown seas in quest of discovery and fortune ! Mr. WooUiscroft Rhead is a practical potter. He has served the customary seven years' apprenticeship with Messrs. Mint on, the leading firm of Staffordshire potters during the seventies. He is, moreover, an artist and Art Examiner in Pottery to the Board of Education, and consequently is exceptionally qualified to treat of pottery wares whose intrinsic interest for the collector largely depends on their aesthetic value and charm. We need only cite M. Solon as a similarly gifted writer whose work, on that account, carried both authority and conviction. Naturally the author touches lightly on the earlier British wares as scarcely coming within the scope of the ordinary collector, whose interest is likely to be confined to a definite period beginning with the pictur- esque Slip ware of Wrotham in the early decades of the seventeenth century and continuing until the opening of the Victorian era, when Pottery shared with the rest of the arts the decline inseparable from the greatly increased resort to mechanical means of production, to say nothing of the tyranny of commercial and utilitarian principles*. It is rarely possible for a collector to cover so wide and so varied a field as the whole of British Ceramics ; but even if he specialise in a particular period, or in the ware of a particular factory, it is incumbent on him to appreciate the general development of the potter's art and craft, the extent and direction in FOREWORD which one potter influenced another, the peculiar characteristics of such wares as, for example, the Elers, and the way in which these wares merged into the more picturesque productions of Astbury, and the difference between a Whieldon Toby and one of the Ralph Wood type. Unless this knowledge be derived from the patient and careful consideration and com- parison of pieces with well authenticated examples, the collector will find himself encumbered with worth- less specimens and probably many forgeries, and no doubt he will have paid dearly for his acquisitions. It is hoped that this book will enable the collector to avoid these and similar pitfalls. The author has endeavoured to unfold the story of the potter's triumphs attractively, and the reader will rise from its perusal with enhanced knowledge and trained interest in the wares in his possession. H. W. LEWER. No Art With Potters Can Compare, We Make our Pots of what we Potters Are. R, W. {inscription on heirloom jug, made by Ralph Wood and signed at bottom: T. Locker. 1770.) AUTHOR'S PREFACE ^^HE aim and purpose of the present work, is to supply the would-be collector, and especially the collector of more modest means, the connoisseur, student and general reader with a know- ledge of the development of British Earthenware, and an acquaintance with the character of the various wares and makers, so as to enable him, so far as is possible by means of the written word, to make his selections with some degree of intelhgence and under- standing, thereby saving him many a disappointment. The book covers the whole story of British Earthen- wares from those of the Slip and Salt Glazed period now more and more sought after, to the less coveted but still interesting specimens of the early nineteenth century. There is also an introductory chapter on Early British Pottery. ^ -;P1 The illustrations include many rare examples from well-known collections. The- bulk of them, however, are selected so far as is feasible, as typical examples of the different leading classes, marked pieces being given wherever possible. In some few instances, notably that of Church Gresley, earthenware was made at places hitherto associated with China alone. A number of marks are also included which will serve as a further means of identification. II AUTHOR'S PREFACE There is, besides, a full glossary of pottery and technical terms, together with a bibliography and list of sale prices by way of making the book as complete as possible. My thanks are due to Dr. J. W. L. Glaisher, F.R.S., for permission to reproduce a number of examples from his fine collection, and for many kindnesses. To Mr. Frank Falkner for several unique pieces, and for his kindness in reading the chapter on Slip wares and making valuable suggestions. To Mr. Edward Sheldon for a number of pieces hitherto unpublished, and to Dr. Sidebotham, Captain Price, Mrs. Comyns-Lewer, Mr. P. Entwistle, Mr. H. Stuart Page, Mr. W. Bosanko, Dr. Crawford and Mr. C. E. Parkinson for photographs of pieces and for help in various ways. G. WOOLLISCROFT RHEAD. Doune Lodge, Putney. 12 8 CONTENTS CHAPTER PAGE I EARLY BRITISH, MEDIAEVAL AND SIX- TEENTH CENTURY WARES - - - I9 II SLIP WARES ------ 35 III ENGLISH DELFT WARES - - - - 62 IV JOHN DWIGHT AND STONEWARES - - 79 V ELERS AND ASTBURY WARES - - - 95 VI STAFFORDSHIRE SALT-GLAZED WARES - 10 VII. THOMAS WHIELDON AND VARIEGATED WARES ------ 124 VIII WEDGWOOD ------ 135 IX THE WOOD FAMILY - - - - I58 X CONTEMPORARIES AND FOLLOWERS OF WEDGWOOD ----- 172 XI PRATT WARE - - - - - - I93 - XII TRANSFER PRINTED WARES^ . - - 200 XIII LUSTRED WARES ----- 220 XIV THE YORKSHIRE POTTERIES - - - 23O XV POTTERIES OF THE TYNE, WEAR AND TEES 243 XVI LIVERPOOL AND HERCULANEUM - - 252 XVII CAMBRIAN AND SALOPIAN WARES - - 260 XVIII SOME MINOR POTTERIES - - - - 270 XIX THE PHILPOT FAMILY - - - - 2^^ CONTENTS CHAPTER PAGE XX THE MAKERS OF IMAGE TOYS AND CHIMNEY ORNAMENTS ----- 287 GLOSSARY OF TERMS - _ - - 302 BIBLIOGRAPHY ----- 308 INDEX ------- 313 14 ILLUSTRATIONS TO FACE PAGE 1. WiNCANTON Jug • - - Frontispiece 2. Medieval Tile, Winchester Cathedral 26 3. Anglo Saxoi^ Jar c. 600 - - - - 26 4. Wrotham Tyg. 1659 - - - - 40 5. Toft Dish. Arms of Cordwainers' Com- ^ pany - - - - - - 40 6. Moulded Slip Dish. Adam and Eve - 52 7. Covered Tyg. John Hugheson. 1691 - 52 8. Blue Dash Charger. A.H.L. 1677 - 72 9. Bristol Covered Posset Pot. 1703 - 72 10. DwiGHT Bowl ------ 86 " " 11. Stoneware Jug. Marked Kishere - 86 12. Nottingham Bear ----- 92 - 13. Statuette : Lydia Dwight - - 92 14. Elers Covered Tea Poy - - - 98 15. PORTOBELLO BoWL ----- 98 16. " Pew " Group. White Salt Glaze - 112 17. Salt Glaze Mug. Ralph Shawe's Patent 112 18. " Scratched Blue " Mug. " Enoch Booth. 1742 " 112 15 ILLUSTRATIONS to face page 19. Salt Glaze Plate. Enamelled 120 20. White Salt Glaze Dish. Perforated - 120 21. Double Perforated Teapot. Tortoise- shell % - - - - •• '' " 22. Cauliflower Basin _ - - - 23. " Pegasus " Vase. Flaxman - 24. Cream-ware Figure of Fortitude - 25. Statuette of Voltaire. Black Basaltes 26. Ralph Wood Figure of Diogenes - 27. Salt Glaze Soup Tureen. Aaron Wood - 28. Plaque of Abelard. Enoch Wood - 29. Sauce Tureen and Cover. Elijah Mayer 30. Turner Cup and Saucer - ^ - - " " 31. Adams Stand ----- 32. Bottle-shaped Vase. J. Voyez 33. Satyr Mask Jug ----- " " 34. Jug and Platter. Mason's Ironstone " " 35. Teapot and Vases. Mason's Ironstone 36. Flask. Duke of Cumberland. Pratt - 37. Jug. "Nelson and Berry." Pratt 38. Tea Poy. Pratt ----- 39. Liverpool Mug. Transfer Printed 40. Mug. Transfer Printed. J. Aynsley 41. " Railway " Jug. Transfer Printed 42. " Railway " Jug. Transfer Printed 43. Goblet. Copper Lustre - - - - _ 44. Jug. Silver Lustre _ . 45. Leeds Centre-piece. Cre^m-w^are 16 ILLUSTRATIONS TO FACE PAGE Leeds Monogram pieces and Wedgwood Teapots 240 Cream-ware Mug. Granite decoration- 244 Rockingham Teapot ----- 244 Blue printed Plate. Herculaneum - 254 Black printe^d Plate - - - - 254 Dessert Dish. Painted by W. W. Young 266 Cup and Cover. Painted by W. Fifield - 266 Tureen. Church Gresley - - - 274 Cream-WARE Plates. Church Gresley - 274 Ralph Wood Toby Jugs - '-' - - 280 " Falstaff " Jug ----- 284 Female Toby. Marked " Davenport " - 284 " Tree " Group. Cow and Calf - - 290 Model of Potash Farm - - - - 290 Figures of Sportsman with Dog, and Pair " of Figures, " Age - - - - 290 ^7 THE EARTHENWARE COLLECTOR CHAPTER I EARLY BRITISH, MEDIEVAL AND SIXTEENTH CENTURY WARES art of the potter has always exercised, no THEless for the craftsman than for the man in the street, a charm and fascination of which no other craft can boast.
Recommended publications
  • Leeds Pottery

    Leeds Pottery

    Leeds Art Library Research Guide Leeds Pottery Our Art Research Guides list some of the most unique and interesting items at Leeds Central Library, including items from our Special Collections, reference materials and books available for loan. Other items are listed in our online catalogues. Call: 0113 378 7017 Email: [email protected] Visit: www.leeds.gov.uk/libraries leedslibraries leedslibraries Pottery in Leeds - a brief introduction Leeds has a long association with pottery production. The 18th and 19th centuries are often regarded as the creative zenith of the industry, with potteries producing many superb quality pieces to rival the country’s finest. The foremost manufacturer in this period was the Leeds Pottery Company, established around 1770 in Hunslet. The company are best known for their creamware made from Cornish clay and given a translucent glaze. Although other potteries in the country made creamware, the Leeds product was of such a high quality that all creamware became popularly known as ‘Leedsware’. The company’s other products included blackware and drabware. The Leeds Pottery was perhaps the largest pottery in Yorkshire. In the early 1800s it used over 9000 tonnes of coal a year and exported to places such as Russia and Brazil. Business suffered in the later 1800s due to increased competition and the company closed in 1881. Production was restarted in 1888 by a ‘revivalist’ company which used old Leeds Pottery designs and labelled their products ‘Leeds Pottery’. The revivalist company closed in 1957. Another key manufacturer was Burmantofts Pottery, established around 1845 in the Burmantofts district of Leeds.
  • HO060710 Sale

    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.
  • Reflecting Antiquity Explores the Rediscovery of Roman Glass and Its Influence on Modern Glass Production

    Reflecting Antiquity Explores the Rediscovery of Roman Glass and Its Influence on Modern Glass Production

    Reflecting Antiquity explores the rediscovery of Roman glass and its influence on modern glass production. It brings together 112 objects from more than 24 lenders, featuring ancient Roman originals as well as the modern replicas they inspired. Following are some of the highlights on view in the exhibition. Portland Vase Base Disk The Portland Vase is the most important and famous work of cameo glass to have survived from ancient Rome. Modern analysis of the vase, with special attention to the elongation of the bubbles preserved in the lower body, suggest that it was originally shaped as an amphora (storage vessel) with a pointed base. At some point in antiquity, the vessel suffered some damage and acquired this replacement disk. The male figure and the foliage on the disk were not carved by the same Unknown artist that created the mythological frieze on the vase. Wearing a Phrygian cap Portland Vase Base Disk Roman, 25 B.C.–A.D. 25 and pointing to his mouth in a gesture of uncertainty, the young man is Paris, a Glass Object: Diam.: 12.2 cm (4 13/16 in.) prince of Troy who chose Aphrodite over Hera and Athena as the most beautiful British Museum. London, England GR1945.9-27.2 goddess on Mount Olympus. It is clear from the way the image is truncated that VEX.2007.3.1 it was cut from a larger composition, presumably depicting the Judgment of Paris. The Great Tazza A masterpiece of cameo-glass carving, this footed bowl (tazza) consists of five layers of glass: semiopaque green encased in opaque white, green, a second white, and pink.
  • 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

    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.
  • Eec.S Arts Ca..Enc.Ar 7He Libraries and Arts Sub-Committee No

    Eec.S Arts Ca..Enc.Ar 7He Libraries and Arts Sub-Committee No

    : eec.s Arts Ca..enc.ar 7he Libraries and Arts Sub-Committee No. 56 1965 Art Gallery and Temple JVewsam House The Lord Mayor Contents Chairman Alderman A. Adamson Editorial page 2 Alderman F. H. O'Donnell, J.p. Alderman Mrs M. Pearce, J.p. Country House Alderman H. S. Vick, J.p. Paraphernalia at Alderman J. T. V. Watson, LL.B. Temple Newsam page 5 Councillor Mrs G. Bray Councillor P. Crotty, cc.tt. Councillor F. W. Hall Arts Calendar page 12 Councillor E. Kavanagh Councillor S. Lee Councillor Mrs Lyons The Leeds Pottery L. its Councillor Mrs A. Malcolm and Wares Councillor A. S. Pedley, D.F.c. A bibliography page 15 Co-opted Members Lady Martin Cover Quentin Bell, M.A. Prof Hatchmenl for Arlhur, third Viscounl, Mr W. T. Oliver, M.A. Irwin, d. 1702. Mr Eric Taylor, R.E., A.R.G.A. The arms of IJtlGRA M impaling Director MACHEL. Mr Robert S. Rowe, M.A., F.M.A. Painted by Robert Greaves of Fork in 1702. Oil on canvas, 43 x 43 in. 7he Leeds Art Collection Fund President H.R.H. The Princess Royal Vice-Presidenl The Rt Hon the Earl of Harewood, LI..D. Trustees Sir Herbert Reacl, D.s.o., M.c. Mr W. Gilchrist Mr. C. S. Reddihough Committee Alderman A. Adamson Mrs E. Arnold Prof Quentin Bell Mr George Black Mr W. T. Oliver Hon Mrs Peake Mr Fric Taylor Hon. Treasurer Mr Martin Arnold Leeds Art Collections Fund Hon Secretary Mr Robert S. Rowe This is an appeal to all who are interested in the Arts.
  • 1 Appalachian Center for Crafts Vince Pitelka, 2016 Glossary of Colored

    1 Appalachian Center for Crafts Vince Pitelka, 2016 Glossary of Colored

    Appalachian Center for Crafts Vince Pitelka, 2016 Glossary of Colored Clay Techniques Basalt Body: a clay body containing enough metallic oxides to fire to a gray-black or chocolate brown color. Basalt bodies may be fine-grained and smooth, as in Wedgewood black basalt ware, or may be grainy and rough, as in some sculptural works by Peter Voulkos and John Mason. Burnishing: historically the third stage in pottery decoration in almost every culture, after surface impressing and slip painting. Burnishing allows for a smooth, dense, glassy surface on any clay without the use of glazes. Color intensity is enhanced with burnishing almost as effectively as with the “wetting” effect of a clear glaze, and burnishing gives a satin texture achievable through no other method. Burnishing is generally done at the bone dry stage after re-introducing moisture into the clay with a thin coat of lard, glycerin, shortening, or cooking oil. One the lard or oil is absorbed, the surface is rubbed with a smooth hard object such as a shiny pebble or the back of a steel spoon. After firing, burnished wares are often polished further with pure tung-oil (a wood-finishing oil) or furniture polish. Clay Marquetry: similar to marquetry in wood. Small pieces of damp colored clays are assembled on a clay back-up slab (with a spray of vinegar water) to create pictorial imagery. Sometimes the designs are improvised during assembly, often overlapping components. For greater precision and pictorial clarity, an original design may be executed on poster-board, which is then cut up into individual templates.
  • Leeds Arts Calendar LEEDS ARTS CALENDAR MICROFILMED Starting with the First Issue Published in 1947, the Entire Leeds Art Calendar Is Now Available on Micro- Film

    Leeds Arts Calendar LEEDS ARTS CALENDAR MICROFILMED Starting with the First Issue Published in 1947, the Entire Leeds Art Calendar Is Now Available on Micro- Film

    Leeds Arts Calendar LEEDS ARTS CALENDAR MICROFILMED Starting with the first issue published in 1947, the entire Leeds Art Calendar is now available on micro- film. Write for information or send orders direct to: University Microfilms, Inc., 300N Zeeb Road, Ann Arbor, Michigan 48106, U.S.A. Leeds Art Collections Fund This is an appeal to all who are interested in the Arts. The Leeds Art Collections Fund is the source of regular funds for buying works of art for the Leeds collection. We want more subscribing members to give one and a half guineas or upwards each year. Why not identify yourself with the Art Gallery and Temple Newsam; receive your Arts Calendar free, receive invitations to all functions, private views and organised visits to places ot Cover Design interest, by writing for an application form to the Detail of a Staffordshire salt-glaze stoneware mug Hon Treasurer, E. M. Arnold Butterley Street, Leeds 10 with "Scratch Blue" decoration of a cattle auction Esq., scene; inscribed "John Cope 1749 Hear goes". From the Hollings Collection, Leeds. LEEDS ARTS CALENDAR No. 67 1970 THE AMENITIES COMMITTEE The Lord Mayor Alderman J. T. V. Watson, t.t..s (Chairman) Alderman T. W. Kirkby Contents Alderman A. S. Pedley, D.p.c. Alderman S. Symmonds Councillor P. N. H. Clokie Councillor R. I. Ellis, A.R.A.M. Councillor H. Farrell Editorial 2 J. Councillor Mrs. E. Haughton Councillor Mrs. Collector's Notebook D. E. Jenkins A Leeds 4 Councillor Mrs. A. Malcolm Councillor Miss C. A. Mathers Some Trifles from Leeds 12 Councillor D.
  • AUD AP96 Page 1 of 148 City of Cedar Rapids Accounts Payable Expenditures for the Week Ending May 23, 2017

    AUD AP96 Page 1 of 148 City of Cedar Rapids Accounts Payable Expenditures for the Week Ending May 23, 2017

    City of Cedar Rapids Accounts Payable Expenditures for the Week Ending May 23, 2017 Name Vendor Department Name Voucher Invoice Date Description Qty Unit Price Amount 7G Distributiing LLC 0000027306 GLF Ellis Golf Clubhouse 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 6,500.00 6,500.00 7G Distributiing LLC 0000027306 GLF Gardner Clubhouse 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 6,500.00 6,500.00 7G Distributiing LLC 0000027306 GLF Jones Club House 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 3,000.00 3,000.00 7G Distributiing LLC 0000027306 GLF Twin Pines Club House 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 5,000.00 5,000.00 7G Distributiing LLC 0000027306 REC Tait Cummins 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 6,300.00 6,300.00 A Shaw Investments 8359732346 Water 00008045 8359732346 2017-05-21 UTILITY REFUND 0 0.00 207.56 A1A Sandblasting 0000030259 Swimming Pool Improvements 00608746 44 2017-04-17 Caulking & Painting Services 1 21,890.00 21,890.00 AEC Contracting Inc 0000032798 Admin.-Housing Services 00611205 7428B 2017-05-03 CDBG - 384 19th Street SE 1 6,800.00 6,800.00 AEC Contracting Inc 0000032798 Lead Base Grant 00611204 7428A 2017-05-03 CDBG - 384 19th Street SE 1 19,747.80 19,747.80 AFSCME Local 620 0000000154 Misc Employee Deductions 00611135 AFSCME051 2017-05-19 Union Dues 1 11,175.63 11,175.63 AKM Property Management LLC 0000017300 Leased Housing - HAP 00328290 V1251-1 2017-05-01 Rental Assistance 0 0.00 258.00 ASI Flex 0000021324 Flexible Spending Accounts 00610736 ASIF051517 2017-05-15 2017 FSA
  • HO160210 Sale

    HO160210 Sale

    For Sale by Auction to be held at Dowell Street, Honiton Tel 01404 510000 Fax 01404 44165 th Tuesday 16 February 2010 Silver, Silver Plate, Coins, Jewellery Ceramics, Glass & Orientals Works of Art & Collectors’ Items Pictures and Furniture yeer SALE COMMENCES AT10.00am Buyers are reminded to check the ‘Saleroom Notice’ for information regarding WITHDRAWN LOTS and EXTRA LOTS SALE REFERENCE HO01 Catalogues £1.50 Silver & Silver Plate Lots 1 – 165 On View: Coins – Lots 200 - 247 Jewellery Lots 250 - 360 th Saturday 13 February 9.00am – 12.00 Ceramics, Glass & Oriental Monday 15th February 9.00am – 7.00pm Lots 361 - 497 Works of Art & Collectables Morning of Sale from 9.00am Lots 500 – 559 Pictures Lots 560 - 619 Carpets, Rugs & Furniture Lots 620 - 723 TUESDAY 16TH FEBRUARY 2010 Sale commences at 10am SILVER AND SILVER PLATE 1. A set of six silver cocktail sticks with cockerel finials, Birmingham 1931, cased, together with a silver cigarette case with engine turned decoration, total weight 6ozs. (2). 2. A silver pepper mill, Birmingham 1934, height 8.5cm, together with a late Victorian silver replica of a late 17th Century bleeding bowl, London 1900, by George Jackson & David Fullerton, weighing 2.5ozs (2) 3. A silver four division bachelor toast rack, Sheffield 1927, also a silver desk or bedroom candlestick, with reeded column, Birmingham 1903, loaded, 11cm high and a silver bachelor cream jug, of an oval half fluted form, Birmingham 1901, weighable silver 3.5ozs (3). 4. A pair of late Victorian silver bachelor salts in the form of porringers, London 1896, by Mappin and Webb, with blue glass liners and non matching spoons, 2.5cm high, also a pair of cut glass salts with silver rims, Birmingham 1906, an eastern silver pepper with foliate spray decoration and a plated acorn shaped pepper.
  • Thematic Manifestations: an Aesthetic Journey. Jeff Kise East Tennessee State University

    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.
  • Information to Users

    Information to Users

    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TASTE AND CHOICE IN EARLY PORTSMOUTH, NEW HAMPSHIRE AS SEEN THROUGH CERAMIC ARCHAEOLOGICAL EVIDENCE, 1700-1860 by Suzanne Rae Findlen A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in Early American Culture Summer 2001 Copyright 2001 Suzanne Rae Findlen All Rights Reserved Reproduced with permission of the copyright owner.
  • Caves of Missouri

    Caves of Missouri

    CAVES OF MISSOURI J HARLEN BRETZ Vol. XXXIX, Second Series E P LU M R I U BU N S U 1956 STATE OF MISSOURI Department of Business and Administration Division of GEOLOGICAL SURVEY AND WATER RESOURCES T. R. B, State Geologist Rolla, Missouri vii CONTENT Page Abstract 1 Introduction 1 Acknowledgments 5 Origin of Missouri's caves 6 Cave patterns 13 Solutional features 14 Phreatic solutional features 15 Vadose solutional features 17 Topographic relations of caves 23 Cave "formations" 28 Deposits made in air 30 Deposits made at air-water contact 34 Deposits made under water 36 Rate of growth of cave formations 37 Missouri caves with provision for visitors 39 Alley Spring and Cave 40 Big Spring and Cave 41 Bluff Dwellers' Cave 44 Bridal Cave 49 Cameron Cave 55 Cathedral Cave 62 Cave Spring Onyx Caverns 72 Cherokee Cave 74 Crystal Cave 81 Crystal Caverns 89 Doling City Park Cave 94 Fairy Cave 96 Fantastic Caverns 104 Fisher Cave 111 Hahatonka, caves in the vicinity of 123 River Cave 124 Counterfeiters' Cave 128 Robbers' Cave 128 Island Cave 130 Honey Branch Cave 133 Inca Cave 135 Jacob's Cave 139 Keener Cave 147 Mark Twain Cave 151 Marvel Cave 157 Meramec Caverns 166 Mount Shira Cave 185 Mushroom Cave 189 Old Spanish Cave 191 Onondaga Cave 197 Ozark Caverns 212 Ozark Wonder Cave 217 Pike's Peak Cave 222 Roaring River Spring and Cave 229 Round Spring Cavern 232 Sequiota Spring and Cave 248 viii Table of Contents Smittle Cave 250 Stark Caverns 256 Truitt's Cave 261 Wonder Cave 270 Undeveloped and wild caves of Missouri 275 Barry County 275 Ash Cave