For centuries, elegant and beautiful stained glass has enhanced churches, homes and other buildings. Its popularity continues today as increasing numbers of homeowners, interior designers, and craftspeople turn to this attractive form of decoration. Now stained glass workers can have a treasury of attractive, usable designs at their fingertips, ready for use in almost any stained glass projects. This collection includes over 160 patterns -- in both traditional and contemporary styles -- all easily adaptable as templates for stained glass work. Landscapes, geometric shapes, florals, and birds are among the wealth of motifs presented. What's more, the designs come in a wide variety of sizes and shapes, making them ideal as patterns for windows, mirrors, panels, sidelights, and other stained glass configurations. Immediately usable and royalty-free, these designs also lend themselves to a broad range of other art and craft projects.
- On the occasion of the 300th anniversary of the Vienna Porcelain Manufactory, the catalogue attests to the significance that Viennese porcelain has enjoyed as an outstanding cultural achievement of Austria since the Baroque era - The work of the Vienna Porcelain Manufactory displayed in numerous colorful illustrations - Various essays on different aspects of the history of the Viennese Porcelain Manufactory provide most recent scientific insights In 2018 the Vienna Porcelain Manufactory celebrates its 300th anniversary. Having obtained the charter to produce porcelain in 1718, it is considered the second oldest porcelain manufactory in Europe after Meissen. The volume accompanying the exhibition in the MAK - Austrian Museum of Applied Arts / Contemporary Art in Vienna will now reopen the history of the Vienna Porcelain Manufactory, which closed in 1864, where major works such as the porcelain chamber from the Palais Dubsky (Dubsky Room) and the Zwettl centerpiece are presented in light of new findings. With numerous illustrations of leading pieces from the MAK's collection and international loans, the catalogue attests to the significance that Viennese porcelain has enjoyed as an outstanding cultural achievement of Austria since the Baroque era. Text in English and German. Contents: Christoph Thun-Hohenstein: Viennese Porcelain as a Resonance; Rainald Franz: Three Centuries of Viennese Porcelain and Three Centennials; Rainald Franz & Michael Macek: The Dubsky Chamber and the MAK. An 18th-Century Aristocratic Porcelain Room and its History; Andreas Gamerith: At a Loss for Words. The Zwettl Centerpiece and its Origins; Rainald Franz: The Viennese Porcelain Set for the Duke of Wellington; Errol Manners: The Travels of an Arcanist, Joseph Jakob Ringler; Johannes Wieninger: Exemplars from East Asia; Elisabeth Schmuttermeier: Porcelain versus Silver; Michael Macek: The H lfswerk von Engelhardtszell 1798-1809 and its Impact beyond 1809; Waltraud Neuwirth: Johann Poysel, First Modelleur of the Vienna Porcelain Manufactory. His 1858 Journey to Limoges, Paris, S vres, Wallerfangen, and Nymphenburg; Kathrin Pokorny-Nagel & Ulrike Scholda: The Museum as the Administrator of an Estate. The Closure of the Vienna Porcelain Manufactory and Transfer of Its Holdings to the Imperial Royal Austrian Museum of Art and Industry; Leonhard Weidinger: The Viennese Porcelain Scene. The Museum and Private Collections; Rainald Franz: Paul Wittgenstein's Porcelain Room; A. Philipp Revertera: Etcetera: Random Thoughts on Collecting (and) Viennese Porcelain; Rainald Franz & Michael Macek: History of the Vienna Porcelain Manufactory 1718-1864 in its Cultural and Political Context; A Visual History of the Vienna Porcelain Manufactory: Claudius Innocentius Du Paquier (1718-1744), Imperial Porcelain Manufactory: Phase 1 (1744-1749), Imperial Porcelain Manufactory: Phase 2 (1750-1783), Conrad S rgel von Sorgenthal (1784-1805), Matthias Niedermayer (1805-1827), Benjamin von Scholz (1827-1833), Andreas Baumgartner (1833-1842), Franz von Leithner (1842-1855), Alexander L we (1856-1862), Alois Auer von Welsbach (1862-1864), Augarten Porcelain Manufactory (since 1923-24). Published to accompany an exhibition at MAK - Austrian Museum of Applied Arts/Contemporary Art, Vienna, 16 May-23 September 2018.
Stained glass craftspeople looking for authentic Victorian- and Edwardian-era designs will find them in this rich collection by period stained glass expert Hywel G. Harris.
Prompted by a desire to preserve authentic specimens of domestic stained glass designs -- rapidly disappearing in postwar England because of destruction, adulteration, and neglect -- the author photographed a multitude of windows, transoms, sidelights, and other stained glass elements in houses constructed between 1890 and 1920. The designs in this practical compendium have been directly rendered from those photographs and presented in a wide range of sizes and shapes. Included are lovely floral and foliate motifs, a remarkable array of geometrics, transitional designs showing the influence of Art Nouveau and more.
Of immense value to stained glass workers, this impressive, easily affordable sourcebooks will also function as an inspiration for graphic artists and a useful reference for architectural historians.
In this stunning monograph, Berger presents her evocative light fixtures, functional objects, furnishings, and large-scale sculptures in combination with the diverse imagery and objects that inspired them. Obsessed with light for as long as she can remember, Alison Berger used to catch fireflies as a child and put them in glass jars - an activity that has inspired more than twenty years' worth of exquisite work in handblown glass. Using age-old glass-blowing techniques to create essential forms that capture light and its reflection in different configurations and times of day, Berger's unique process and its rich results feel at once Old World and modern. Featuring more than 200 full-color photographs of Berger's glassworks, sketches, sources, and studio, Alison Berger: Glass and Light celebrates the magic of light and the medium of glass as brought together by one of America's most innovative artists.
This brand new book introduces both specialists and generalists alike to the remarkable world of glass manufacture and design from the Ancient World to the present day, as presented in one of the world's great collections of glass.Published on the occasion of the opening of the new Glass Pavilion at the Toledo Museum of Art, designed by Kazuyo Sejima and Ryue Nishizawa, lead architects of SANAA Ltd., Tokyo, in 2006, this book draws on the superb quality of the collections at Toledo. The Museum has consciously collected the best examples of the glassmaker's art across all ages. Today the Museum is internationally renowned for the quality and scope of its glass collection. The Museum has trail-blazed new areas of glass collecting. Thanks to its founder, glass industrialist Edward D. Libbey, the Museum has collected art in glass for more than a century. The Museum was also the birthplace of the Studio Glass Movement in the 1960s. The opening of the Glass Pavilion will further enhance the Museum's leading position in this field of art - it will offer visitors the matchless experience of being able to see a broad range of historic glass next to studios where glass artists are creating works. In this way the Museum and this publication will provide a unique insight into the design and working of glass through the ages, all within the context of a purpose built art museum space. This volume presents more than 100 major examples of the glassmaker's art from ancient times to the present, accompanied by discursive texts written by leading writers. The combination of these thought-provoking entries and the wealth of illustration makes this title a must for specialist collectors and generalists alike.
Arguably the most famous glass artist since Louis Comfort Tiffany, Dale Chihuly has been credited with elevating blown glass from delicate decorative object to groundbreaking fine art. Chihuly's "Blanket Cylinders," "Seaforms," "Persians" and chandeliers are exhibited and collected throughout the world, and many volumes have been devoted to his bold, complex, fiercely colorful work. Little documented, however, though crucial to an understanding of his art, is the role played by physical space in his overall aesthetic--installation spaces, work spaces, but also spaces for living and for housing his extensive personal collections. Chihuly: Through the Looking Glass focuses on the artist's pieces and installations in relation to the spaces that generate, shape and surround them. The text, a mix of critical exegesis and Chihuly's own commentary (much of it solicited specifically for this book), provides a new entr e into the work, mind, and creative process of one of America's most critically and popularly acclaimed artists.One of the few contemporary artists who is truly a household name, Dale Chihuly (born 1941) studied interior design and architecture before beginning to experiment with glassblowing. After receiving degrees in sculpture and ceramics, Chihuly worked with master glass craftsmen in Murano, Venice. On returning to the United States, Chihuly established the glass program at the Rhode Island School of Design in 1968 and cofounded the Pilchuck Glass School in 1971. In 1979, after losing an eye, Chihuly ceased to blow glass himself, though he maintains a firm hold on the artistic direction of his studio.
Dale Chihuly is arguably the best known glass artist in the world. Each title in the 'Chihuly Mini Book' series takes readers on a visual tour of Chihuly's work, exploring what makes each of his genres unique.
This book highlights the Chinese glass collections of Mr. and Mrs. Barney Dagan, Dr. Alan E. Feen, and Walter and Phyllis Shorenstein. Together these collections provide a rare opportunity to comprehend the range and depth of Chinese work in glass. Through the 103 examples of glasswork included in this book the history of Chinese glass artistry comes into focus as never before.