Before retiring in 2013, Neolia Cole, the eighty-six year old daughter of potter Arthur Ray Cole, was first to arrive and last to leave the Cole's Pottery shop. She possesses the indomitable spirit that has kept a Cole in pottery-making for more than two centuries. Once when asked how much pottery was produced by Cole's Pottery in a year's time, Neolia answered by saying instead how much income a year's sales represented. Despite the fact that Cole's Pottery charged very little for the wares made there, the annual sum collected in a year was considerable. Wielding a sly grin, Neolia unashamedly conceded, "And it's just dirt " In a way, pottery is just dirt. But collectors and lovers of the art form know that much more than dirt contributed to the incomparable successes of North Carolina's early twentieth-century art potteries. It's a success story marked by adaptation, innovation, collaboration, and immensely hard work - a legacy that endures today.
With its familiar white classical figures against a pale-blue background, Wedgwood has been one of the most recognizable brand names in the world for more than two hundred yearsathe epitome of quality and luxuryaand the Enlightenmentas most remarkable success story.
Born into a family of struggling potters, Josiah Wedgwood amassed a fortune that, at his death in 1795, was valued at the equivalent of $3.4 billion in todayas dollars and helmed an empire that stretched from England to Russia to the United States. As a member of the famous Lunar Society, whose members included James Watt, Joseph Priestley, and Erasmus Darwin, he combined rationality with bold experimentation, revolutionizing the business model of his time with a series of innovations that have continued to this day:
a Organizing skilled labor in one of the worldas earliest factories
a Encouraging employee loyalty by offering long-term contracts that included health insurance and pension plans
a Changing the very notion of shopping by utilizing showrooms and traveling salesmen
The story of how phenomenal wealth affected the lives of a family and of the turbulent political climate that threatened their very livelihood, this vivid and compelling portrait of a pioneer of commercial culture is sure to be a hit with loyal collectors and the business market alike.
Presents a moving chronicle of four generations of the Anderson family of Mississippi's Shearwater Pottery, a pottery workshop and art colony, and their struggle to preserve their traditional craftsmanship and family ties in the face of the Depression, war, and the changing cultural and industrial world of the Deep South.
One of the world's great decorative art traditions still in vogue today, brilliantly colored hand-painted tiles have decorated Portuguese buildings for centuries, from the humblest homes to the most lavish palaces, villas, churches, and monasteries. More than 200 full-color illustrations, specially commissioned for this book, vividly capture this traditional art form in its architectural context. The details of tile craftsmanship are also shown in close-up images. The text provides an overview of the history of azulejos (tiles) and features sites in Lisbon and the surrounding region where the finest examples of azulejo art are found. Azulejos reflect the Moorish influences of the 16th century, the exuberance of Mannerism and the Baroque, the 18th century golden age of azulejos, and modernist styles as found in the underground metropolitano of Lisbon. Complete captions, a glossary, an explanation of techniques, and a list of commercial sources make this volume as practical as it is inspirational.
A New York Times Bestseller
An Economist Book of the Year
Costa Book Award Winner for Biography
Galaxy National Book Award Winner (New Writer of the Year Award)
Edmund de Waal is a world-famous ceramicist. Having spent thirty years making beautiful pots--which are then sold, collected, and handed on--he has a particular sense of the secret lives of objects. When he inherited a collection of 264 tiny Japanese wood and ivory carvings, called netsuke, he wanted to know who had touched and held them, and how the collection had managed to survive.
And so begins this extraordinarily moving memoir and detective story as de Waal discovers both the story of the netsuke and of his family, the Ephrussis, over five generations. A nineteenth-century banking dynasty in Paris and Vienna, the Ephrussis were as rich and respected as the Rothchilds. Yet by the end of the World War II, when the netsuke were hidden from the Nazis in Vienna, this collection of very small carvings was all that remained of their vast empire.
Whether called maiolica or majolica, vivid tin-glazed ceramics have delighted pottery lovers for centuries with a depth and luminosity that cannot be achieved using other decorative techniques. This unique ceramic process offers endless possibilities for functional pieces as well as more sculptural works. Ceramicists who wish to begin exploring this historic and increasingly popular coloring method will find everything they need to know in Maiolica, a handbook by celebrated potter and educator Daphne Carnegy.
This practical, concise guide covers the essential steps of creating maiolica ware, from clay selection to glaze firing. In a down-to-earth tone, Daphne Carnegy explains how to choose the right clay body, compose glazes, and use glaze application techniques such as brushwork, wax resist, decals, lusters, and enamels. Maiolica includes glaze recipes and a chapter on troubleshooting, as well as important health and safety information. Each procedure and concept is presented in clear detail, accompanied by color photographs and easy-to-read tables. In addition to providing how-to instruction, this inspiring book celebrates maiolica traditions as far back as ninth-century Mesopotamia. It also shares useful insights from many of the best artists working in the medium today.
With 100 full-color illustrations and supportive instruction from one of the world's finest potters, this beautiful and useful book is an excellent choice for novice potters and ceramics teachers alike.
Clay is back: the age-old craft of ceramics is being embraced by a new generation of urban makers and collectors--and by interior designers. Here, Katie Treggiden explores the con-temporary revival of pottery, focusing on six inspiring cities and their makers. Twenty-five young and passionate ceramicists in New York, London, Tokyo, Copenhagen, Sydney, and Sao Paulo introduce us to their work, their studios, and their inspiration. Urban Potters: Makers in the City will appeal to a broad audience--not only to those who practice pottery themselves, but also to anyone interested in the handmade. The book also includes a practical source list of places to buy handmade ceramics in the six cities featured.
The designs of Clarice Cliff are among the most striking and collectable ceramics produced in the 20th century. Angular and uncompromising, embellished in strident primary colors, they were a sensation when they appeared in the 1920s, capturing the spirit of the Art Deco movement. Her teaware is as sought after today as it was then, her most collected designs, such as her Bizarre ware, commanding high prices. This beautifully photographed book evokes the mood of the Art Deco era as it conveys the enormous charm and range of Cliff's work in china tea services. It offers a complete record of her teaware designs as well as a fascinating look at her life and work.
In the mid-20th century, ceramics evolved from a utilitarian craft or therapeutic hobby into a well-recognized fine art that continues to occupy a place in today's art world. In this pioneering study, leading scholar Martha Drexler Lynn explores how and why this shift occurred by examining the pivotal period for the maturation of American studio ceramics. Lynn traces critical developments in ceramics education, exhibition, patronage, and technology from 1940 to 1979, as magazines dedicated to the practice appeared, institutional support flourished, audiences grew, and star artists emerged.
The most in-depth history of American studio ceramics to date, this book is the first to fully explore the works of art alongside the societal trends that shaped them and the organizations that propelled the movement. Lynn considers the movement's fluctuation across geographic regions as well as stylistic responses to advances in technology and cultural influences from across the United States and abroad. Key patrons and practitioners such as Aileen Osborn Webb, Glen Lukens, Peter Voulkos, and Robert Arneson are featured alongside lesser-known figures. This groundbreaking volume illustrates how studio ceramics came to define itself and challenged the boundaries between fine art and craft. It will be a definitive resource on the movement for years to come.
Howard Kottler (1930-1989) was one of the West Coast ceramists who helped to redefine the entire field of contemporary American ceramic art. Patricia Failing's comprehensive and richly illustrated study is the first survey and summation of his work and is based on a series of interviews Kottler initiated after learning of his terminal illness. The artist's remarks - informed and wittily unpretentious - provide a vivid subtext to Failing's own thoughtful and compelling observations linking Kottler's innovative work with other developments in American visual arts.
The book chronicles the evolution of an artist, thoroughly grounded in the traditional crafts and ceramics technology in the 1950s, who then established a rapport between his work and new directions in mainstream painting and sculpture. By the 1980s Kottler had become a conceptual artist who approached his materials as vehicles for art-historical commentary and physical eroticism, and as metaphors for probing the unbridgeable gap between the Self and the Other.
In assessing Kottler's position and influence, Failing discusses his long teaching career and his role as exuberant gadfly to the ceramics establishment, but the focus of her analysis is on the intellectual range and sophistication of his artistic accomplishment. She establishes the major influences on Kottler, including his earliest teachers at Ohio State University and Cranbrook, significant art movements, travel, and his enduring interaction with his students at the University of Washington. Her book affords a masterful review of Kottler's complex development as an artist and, in so doing, provides an index of the profound transitions undergone by the field of American ceramics since the late 1950s.