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"Based around the matchless collections of British ceramics in the Victoria and Albert Museum, which curators began to assemble as early as the 1840s, this book charts the story of their development from the simple slipware drinking-vessel of the seventeenth century to the sophisticated enamelled and transfer-printed tableware of the early 1800s. The narrative takes us through successive changes of taste and manners, as British potters assimilated and adapted new, and often disparate, influences from Europe and the Far East. Ceramics, ubiquitous, disposable and quintessentially domestic, tended to reflect social changes quicker than other branches of the applied arts; for example, new fashions in dining and the taking of tea were responsible for major aspects of design and decoration, while the rapid rise of the Staffordshire figure enabled it to become a vehicle for satire, religion, or the commemoration of wildly popular but ephemeral events such as boxing matches and visits from touring menageries." "Keeping carefully chosen pieces, illustrated, at the forefront of his discussion, Robin Hildyard treats the subject variously by material, form, decoration or by broader theme, sometimes cutting across traditional boundaries in order to look behind established myths and the often misleading evidence of what has survived. The methods and history of manufacture are fully explored, from the workshop of the independent village potter to the industrialized nineteenth-century factory struggling with the stormy beginnings of trade unionism. The complex trade in ceramics both at home and abroad, and the transition from utilitarian household object to cherished item in collector's cabinet is also examined, along with the symbiotic relationship between collector and museum. This volume, filling the gap in current ceramic literature between narrower scholarly studies and the opulent catalogues of private collections, presents an expert and yet highly accessible view of a particularly rich seam of British material culture, guiding us from familiar ground into wider and sometimes uncharted territory."--BOOK JACKET.
Starting with the basic question "What is pottery?" this book investigates ceramic production throughout the world over the past 12,000 years. Drawing on the collections of the British Museum, the contributors examine more than thirty pottery traditions, including those of ancient Egypt, Mesopotamia, prehistoric Japan, pre-Hispanic Peru, classical Greece, Ming China, and medieval and Renaissance Europe, as well as the ceramics of contemporary Africa and India. With an emphasis on the technological aspects of pottery production, Pottery in the Making also addresses the broader environmental, political, and cultural contexts in which the potters worked. Discussing the role of tradition in modern studio pottery, this comprehensive volume illuminates the continuing link between potters past and present.
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Presented in conjunction with the September 2000 exhibition at the Metropolitan Museum, this volume presents the complex story of the proliferation of the arts in New York and the evolution of an increasingly discerning audience for those arts during the antebellum period. Thirteen essays by noted specialists bring new research and insights to bear on a broad range of subjects that offer both historical and cultural contexts and explore the city's development as a nexus for the marketing and display of art, as well as private collecting; landscape painting viewed against the background of tourism; new departures in sculpture, architecture, and printmaking; the birth of photography; New York as a fashion center; shopping for home decorations; changing styles in furniture; and the evolution of the ceramics, glass, and silver industries. The 300-plus works in the exhibition and comparative material are extensively illustrated in color and bandw. Oversize: 9.25x12.25". Annotation copyrighted by Book News Inc., Portland, OR
English dry-bodied stoneware was the ultimate ceramic expression of the neoclassical wave which erupted in England and on the Continent in the mid-eighteenth century. Initially basalt commanded the scene, with its imposing black stoneware forms imitating Greek vases. However, it was Wedgwood's invention of the jasper body which was to be the tour de force associated with his name. Wedgwood's jasper vases, purchased by gentry and nobility alike, were soon imitated by a myriad of potters. This book is the first to explore the vast subject of English dry-bodied stoneware with discussions on the antecedents of the eighteenth century neoclassical wares, the red stonewares of the seventeenth century, as well as the other bodies produced by Wedgwood and his contemporaries: caneware, white felspathic stoneware and, of course, the flagship of the Wedgwood name, jasper. The authors have, for the first time, utilised Wedgwood's surviving sales records from 1774-1794 and these have made it possible to allow
This dictionary brings together as many facts as possible about blue and white printed pottery at the height of its popularity and production. The authors have produced a comprehensive guide, covering every possible aspect of the subject, with Appendices which include makers' initial marks and a list of source books used by makers. The discovery that prints could be transferred to porcelain and pottery helped transform the ceramics industry. Inevitably, the market demand at the end of the nineteenth century for brightly coloured wares put an end to this extraordinary potting endeavour but the interest of collectors has never declined. This book was awarded the Library Association's 1982 McColvin Medal for an outstanding reference book. It is the first of a two volume set, having been supplemented in 1989 by a separate and entirely new companion volume containing additional entries and further information.--Amazon.com.
The first book to deal exclusively with the subject of Pratt Ware is now available in a fully revised edition. Pratt Ware takes it name from a family firm of potters who worked in Staffordshire in the 18th and 19th centuries, but in fact this type of ware was made by many other potters not only in Staffordshire but also in Yorkshire, Liverpool, Sunderland, Tyneside, Devonshire and on the East and West coasts of Scotland. The wares made were very varied, as a glance through the book will reveal. They are also appealing often with a primitive quality, the generous use of a rich but limited range of oxide colours producing pieces which, like Oriental rugs, seem at home in most surroundings. Now with over 600 illustrations, many reproduced in colour for the first time, a vast amount of research and travel have been involved in what is quite clearly a labour of love by the authors.
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Crime, Policing and Punishment in England, 1660-1914 offers an overview of the changing nature of crime and its punishment from the Restoration to World War 1. It charts how prosecution and punishment have changed from the early modern to the modern period and reflects on how the changing nature of English society has affected these processes. By combining extensive primary material alongside a thorough analysis of historiography this text offers an invaluable resource to students and academics alike. The book is arranged in two sections: the first looks at the evolution and development of the criminal justice system and the emergence of the legal profession, and examines the media's relationship with crime. Section two examines key themes in the history of crime, covering the emergence of professional policing, the move from physical punishment to incarceration and the importance of gender and youth. Finally, the book draws together these themes and considers how the Criminal Justice System has developed to suit the changing nature of the British state.
At the beginning of the twenty-first century, scholarly interest in ceramics is at an all-time high. As a vehicle for much-needed synthesis, Ceramics in America is an interdisciplinary annual journal that examines the role of historical ceramics in the American context. Intended for collectors, historical archaeologists, curators, decorative arts students, social historians and contemporary potters, every issue features a variety of ground-breaking scholarly articles, new discoveries in the field, and book and exhibition reviews for this diverse audience. The 2006 issue of Ceramics in America will offer another comprehensive compilation of articles and new discoveries. This issue will review evidence of Dutch and English delft tiles used in seventeenth- and eighteenth-century American fireplaces. It will also feature new information about American stoneware and the archaeological recovery of commemorative wares related to George Washington in Alexandria, Virginia. The highlight of the journal will be the second part of John Austin's examination of potter Palin Thorely's career and production in Williamsburg, Virginia.

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