First invented in Paris in the early 1700s, Limoges boxes were immensely popular that century. The small, hand-painted porcelain containers were used by all types of people - secret lovers, bawdy noblemen, even political dissidents - to express their innermost feelings. The popularity of the boxes waned around 1800 when they virtually disappeared after the French Revolution; however, they have experienced numerous resurgences of interest throughout the subsequent centuries. enthusiasts alike, shedding light on the trials and tribulations, competitions and failures of the early manufacturers. Nancy du Tertre's detailed account also draws parallels between the early manufacturers and their modern-day counterparts, including tales of industrial espionage, design theft and the competing foreign porcelain markets in Germany, England, China and Japan.
This beautiful, color-illustrated reference of British Art potteries includes detailed accounts of their histories, artists, designers, craftsmen, and personalities, together with a comprehensive list of marks. The ceramics reflect the highly imaginative, diverse art styles of this period, evolving from Arts and Crafts naturalism through preatomic Modernism. Over 250 sharp color and 85 black and white photographs display the innovative, and often quite colorful, bowls, vases, plates and jugs of British manufacture. Lively surface textures and glaze types were developed in this period through a combination of experimentation and experienced knowledge.The book presents all the major art potteries, arranged alphabetically, with detailed text, photographs of typical wares, identifying marks, glossary, bibliography and index. The examples shown here, therefore, represent the best as well as the most typical wares.
Celebrates the blown-glass Christmas ornament creations of artist-designer Christopher Radko, highlighting a wide variety of styles, offering advice on holiday decorating, and incorporating Radko's personal anecdotes about his work
Through ceramic works, as well as examples of furniture, glass, metal, jewelry, fashion, painting and sculpture from Europe and America, from the years following World War 1 to 1929, this volume looks at the sumptuous world of Art Deco.
Italian designers Domenico Rambelli, Francesco Nonni, Pietro Melandri, Riccardo Gatti and Giovanni Guerrini are among its protagonists; also represented are German ceramics of the Weimar Republic and works from France and Belgium.
Expanding the context of ceramic production, Deco Ceramics includes xilographies by Nonni and furniture by Berdondini and Golfieri. Outstanding works by Gio Ponti and Giovanni Gariboldi for Richard Ginori, and their work for the Lenci and Rometti companies, are also included.
This colorful book surveys the varied and beautiful ceramic wares produced during America's Great Depression years. Over 450 color photographs display the often dazzlingly colorful and streamlined wares from the late 1920s through the early 1940s. Table, kitchen, and artware all have their place in this inclusive volume. Accompanying this colorful display is a text that provides brief histories of the various potteries striving to bring their wares to cash-strapped American consumers. Examples of each firm's manufacturer's marks are provided as well. Updated values for the wares displayed are conveniently located in the photo captions. Rounding out this sweeping survey are a bibliography and index.
Paquier, an independently operating Viennese porcelain factory, was established in 1718, only eight years after Meissen. Although its heyday was brief, lasting only twenty-five years, Du Paquier produced porcelain of great beauty, notable for an enchantingly graceful style and consummate sophistication of execution. In three sumptuously illustrated volumes, scholars of international standing present the distinctive style and the exciting history of Du Paquier porcelain in the context of Baroque Vienna. The first comprehensive publication on this important porcelain factory, this work has been made possible through a five-year research programme conducted by the Melinda and Paul Sullivan Foundation for the Decorative Arts. The objects shown, many of them for the first time here, are in major public and private collections. The first volume deals with the historical and stylistic background of Du Paquier porcelain: art and architecture in early eighteenth-century Baroque Vienna; furthermore, the history of the porcelain factory, its style and its manifold sources of inspiration as well as Du Paquier's relationship to Meissen and the role played at Du Paquier by independent porcelain painters and decorators. The second volume places this Viennese porcelain in its cultural context, providing broad-ranging information on court banquet ceremony as well as private pleasures such as drinking and festive dining. Objects used in aristocratic circles are shown along with choice presents of state made to the Ottoman and Russian courts. In addition, this volume contains a new study on the Dubsky Room, the only room still in existence devoted to Du Paquier porcelain. The contents of the third volume include an annotated catalogue comprising approximately 500 objects, scholarly analysis and a chapter on the history of collecting Du Paquier porcelain, an inventory of the Dubsky Room, a bilingual glossary of terms and a complete bibliography. An enclosed CD-ROM contains transcriptions of original documents that have played an important role in the history of the Du Paquier porcelain factory.
This book offers a fresh take on the Victorian notion of expressing oneself with the symbolic language of flowers. Happy Day features bright, cheery flowers with uplifting sentiments. Each spread features a flower that "flips up" from the page, a brief description of the flower's meaning, and its special message for the recipient. When all of the blossoms are popped up, the book can be displayed on a desk just like a vase of flowers.
In the early nineteenth century, printed tablewares formed part of the new media of the age. Together with patterned textiles and wallpapers they assimilated, then disseminated the constructs of landscape imagery making the previously exclusive available to many. Printed tablewares played a significant role in the democratisation of artistic imagery as well as the development of cultural and national identities. Eventually, as newer media forms began to supersede the vitrified print, meaning became diluted, so that the genre eventually reached obsolescence and kitsch. Today there is a growing interest in this undervalued material from collectors, curators, museologists and contemporary artists who reference and celebrate the genre. The new artwork is international in nature, reflecting the significant cultural impact printed transferwares had as they were produced and exported around the world. Melding historical enquiry with contemporary practice, the book illustrates how artists re-appropriate this historical genre to observe, record, comment and re-animate.