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.
From the early years of the twentieth century to the 1980s, the A. E. Hull Pottery Company has produced imaginative ceramics that have entranced both consumers and collectors alike. Hundreds of brilliant color photographs present a sweeping survey of the broad scope of Hull pottery produced over many decades. Novelty items, flower pots, cookie jars and containers, vases, and serving wares are all included in this informative book. Additionally, a brief history of the company, an examination of its many manufacturer's marks, an Index, and a Bibliography are included. Revised values for the wares displayed are provided in the captions. Every collector of twentieth century ceramics and fans of Ohio pottery will find this engaging reading.
Some of the greatest glories of Ottoman art are the luxurious ceramic vessels and splendid tiles made to decorate newly founded mosques and palaces by the Turkish pottery at Iznik (ancient Nicaea). Their designs combine purely Turkish motifs with elements ingeniously transposed from imported Chinese blue-and-white porcelain. Over time a more subtle painterly style and complex palette were developed, culminating in the brilliant combination of cobalt blue, turquoise, olive green, magenta, and red that became the internationally recognized Iznik hallmark. Iznik ceramics were highly prized far beyond the Ottoman Empire, and although the factories had passed their peak by the late seventeenth century, their influence lived on through nineteenth-century European imitations by such potters as William de Morgan and Cantagalli.
Hundreds of beautiful color pictures and recently-discovered, important information give this new study of 19th and 20th century Japanese porcelain a most refreshing approach. Visual comparisons of the major styles can be made even by the beginning student because there are so many fine color pictures of the examples. Kakiemon, Nabeshima, Arita, Hirado and Fukagawa styles of Imari; Kutani; Satsuma; and known craftsmen's works are shown in profusion. The European-influenced styles of the mid-20th century such as Nippon, Noritake, and those pieces marked Occupied Japan are presented as trade items necessary for the changing Japanese economy. Fascinating historical and technical background aids in the recognition of each style. Since research continues to add evidence to changing attributions of origins and artists, the author explains both old and new theories and encourages further research. In what is seen as a quickly growing field of collecting, this book stands at the crossroads of scholarship and popularity. Both groups will find information of keen interest and delight in the gorgeous products of the Japanese artistic and commercial communities.
This richly illustrated book tells the story of the successful collaboration of Jacques and Juliana Royster Busbee in the creation of a remarkable folkcraft enterprise called Jugtown. This improbable venture, founded in a most unlikely setting, has left its indelible mark on a remote Southern community.
Fully illustrated with numerous black-and-white and color photographs of the place, the people who made pottery there, and the pottery produced by them, the book tells how the Busbees convinced a few of rural Moore County's old-time utilitarian potters to make new-fangled wares for them to sell in Juliana's Greenwich Village tea room and shop. Following New Yorkers' wild acceptance of their primitive-looking and alluring pottery offerings, the Busbees built their own workshop in rural Moore County and called it Jugtown. Today, nearly one hundred potters make and sell their wares within a few miles of Jugtown--all because a hundred years ago, the Busbees and their Jugtown potters found a new way to make old jugs.
Stephen C. Compton is an independent scholar and an avid collector of historic, traditional North Carolina pottery. Steve has written numerous articles and books about the state's pottery. Widely recognized for his North Carolina pottery expertise, the author is frequently called upon as a lecturer and exhibit consultant and curator. He has served as president of the North Carolina Pottery Center, a museum and educational center located in Seagrove, North Carolina, and is a founding organizer, and former president, of the North Carolina Pottery Collectors' Guild.
This is a collection of essays by distinguished scholars that will introduce the student or museum-goer to the study of Greek vases. Although the book is roughly chronological in arrangement--beginning with the appearance of human figures on Geometric vases, and ending with their virtual disappearance from Hellenistic pottery--it is not a history of Greek vase painting, or a handbook. It offers instead a series of suggestions on how to read the often complex images presented by Greek vases, and also explains how the vases were made and distributed. The volume is fully illustrated throughout.