Antikviteter og samlerobjekter: keramik og porcelæn

Ceramics in America 2024 continues to publish new research on ceramics made, used, or collected in America. Articles in this issue include several on Thomas Commeraw, the free Black potter working in New York from about 1797 to 1819; a newly-discovered French porcelain figure that belonged to George Washington that descended in an African American family; new discoveries about porcelain figures of characters from Uncle Tom's Cabin; the long history of face vessels in America; how a baby squirrel inspired a collection of tin-glazed earthenware.

This is the first comprehensive survey of the colourful ceramic tiles produced by Morris & Company. From the earliest examples made for Red House to the tiles produced in the twentieth century, all the many different designs are illustrated and discussed in detail. Richard and Hilary Myers are proud to include a previously unrecorded tile panel among the many little-known examples described in this book. Found in a Sussex church, the panel takes its place with such masterpieces as the overmantel at Queens' College, Cambridge, and the Membland panels. All Morris & Co.'s tile designs are analysed and linked to related stained-glass, textile or graphic work produced by the Firm. The authors reveal the various contributions of individual designers, including Edward Burne-Jones, D. G. Rossetti, Ford Madox Brown, Kate Faulkner and William Morris himself. Morris & Co.'s connections with the Dutch tileries, William de Morgan, Murray Marks and Barnard, Bishop & Barnard, and the roles they played in the production and distribution of the tiles, are all thoroughly examined.

"Melancholy Wedgwood is an experimental biography that traces multiple strands in the ceramic entrepreneur's life to propose an alternative look at eighteenth-century England's tenuous relationship to our own lives and times"--

The stoneware manufactured in Hartford, Connecticut in the nineteenth century is a well-known subject today, which served a larger area than just the local marketplace, utilizing the Connecticut River for transportation. In fact, some of the stoneware was inspired by the industry in New York City. Although, it was red earthenware that was actually the original type of household pottery produced in the area, dating as early as the 1700s, where some of the early wares may have been influenced by production in Massachusetts. In some years, thousands of pieces of red earthenware were produced, utilizing the local clays, resulting in a wide range of accomplished wares, some of which were embellished with dramatic styles of hand-applied slip decoration. The most famous of the potters were the Seymours, the Goodwins and Hervey Brooks, but there were other potters as well. This book is the first of its kind to take an in-depth look at the various types of wares manufactured in the Hartford area, as well as the variety of domestic red earthenware artifacts recovered along the Connecticut River within eighteenth and nineteenth century archaeological contexts.

For almost 300 years, pocket watches were important accessories for the nobility and middle-classes. In order to store the watches securely and stylishly, artfully designed stands that matched the wearer's interior were developed and were an impressive reflection of the history of European art and culture from the Baroque to the early twentieth century. The stands ranged from miniature versions of grandfather and mantle clocks to one-off works of art made from wood, ceramic or metal.Until now, research on pocket-watch stands has attracted little attention. This publication provides a first representativeoverview of some 450 objects from a unique private collection in southern Germany, documenting its wealth of designs, whichencompass a large repertoire of Christian, mythological and political themes. Scholarly texts on the history of the objects,their designs, and restoration issues make this an indispensable standard work in this field.

This volume has content of interest to students of American ceramics history. The topics are wide ranging and include ceramics made in Louisiana, South Carolina, and Virginia. Several articles feature thematic discussions about historic ceramics designed to promote the abolition of slavery both in America and England.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The 2020 volume is a celebration of the depth and diversity of ceramics in the American context. Beautifully illustrated articles explore the use of clay from the most basic building bricks to refined earthenwares promoting the political and economic issues of the American Revolution.

After being encouraged many times to do so, author Hugh Sykes has written this book which shows how the Blue Willow Pattern has been used to advertise and promote various products and services across the world. Containing over 250 pictures showing how the pattern has been used, the book also provides historical and background information on each piece. In this book you will see that many businesses have come and gone, one thing for sure though is that the legend of the Blue Willow Pattern remains strong and will continue to be used to advertise products for many years.This book is now held at the National Museum of American History at the Smithsonian.

"It may start with just one special piece that catches your eye and captures your heart, stirring an affection that quickly grows into an assemblage so dear, its sentimental value is beyond calculation. Whether it is a passion for exquisite linens, sterling silver, or fine English china--or simply the thrill of the hunt--that entices us to sift through old attics and antiques shops, estate sales, and European brocantes, we are kindred spirits, linked by an unbridled fervor for curating our favorite things"--Publisher marketing.

Temporary The early years of the famous Worcester porcelain factory established by Dr Wall have always been a little mysterious, owing to the destruction of the records of the business for this period. Alec Cobbe's discoveryof family papers listing the purchases over a period of years of a particularly beautiful and ornate table set have enabled him to give a vivid glimpse of how the factory interacted with its customers, He is able to describe the commissioning of perhaps the largest service of first period Worcester porcelain on record by Thomas and Lady Betty Cobbe for Newbridge House Co. Dublin. It was bought in stages from 1763 as the family travelled from Dublin to Batheach year, stopping at Worcester en route, as other Irish gentry did. The Cobbe servicet, uniquely in the context of British porcelain, was accompanied by a full set of Irish silver and steel cutlery fitted with Worcester porcelain handles matching the service. The various pieces of porcelain and their historical context are described as well as their painted decoration, and the sources for it. The later history of the service is outlined and its gradualdispersal in the 19th century, culminating in a final sale of the remaining pieces lot by lot in a Christies sale in 1920. Overall, the book gives an important insight into Irish social life and patronage in the mid-eighteenth century.

The aesthetics of utilitarian domestic red earthenware are what collectors and museums have been drawn to for more than a century now, although, it was likely an important factor in the marketplace even when red earthenware was originally produced in the eighteenth and nineteenth century. In New England, the wares manufactured in southeastern Massachusetts, Bristol County and Cape Cod were unquestionably at the forefront of the visual appeal of the region's red earthenware production. The wares produced in this part of Massachusetts have it all: form, glaze, skill and refinement, transforming many of these objects into works of art that can be displayed at any art museum in America. This book is the first of its kind to explore this region's red earthenware production through archaeology, a historical context, as well as the artistry and creativity behind this industry's production.

Bestik fortæller historier – særligt socialhistorie. Holder du af kulturarv, historiefortælling og hverdagslivet flettes det i denne bog sammen med forfatterens bestiksamlinger. Historierne fortælles igennem 4 generationer, startende mednutidens teenagers syn på bestik, og slutter af med hvad der gemte sig i skufferne hos oldemor.Bogen er rigt illustreret med de beskrevne bestik, og indeholder bestikkataloget fra den tidligere sølvvarefabrik Horsens Sølv. Du finder tips og tricks til at holde sølv, pletsølv og rustfrit stål pænt de næste 100 år. Bogen dækker perioden fra da bestik bliver allemandseje for 100 år siden, til sølv bliver håbløst umoderne og frem til nutidens nostalgiske og bæredygtige tanker