Black Knight Table Porcelains, Venetian Blown Glass, Dutch Cut Glass Tableware (Classic Reprint)


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Excerpt from Black Knight Table Porcelains, Venetian Blown Glass, Dutch Cut Glass Tableware Twelve green and gold porcelain place plates Cream ware, centred with a gilded medallion and latticed leaf scrollings spreading onto the valanced marli, which is finely decorated with a Solid bed of green fabric pattern. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




Black Knight Table Porcelains Venetian Blown Glass, Dutch Cut Glass Tableware


Book Description

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 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. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.




Library Catalog


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European Glass in the J. Paul Getty Museum


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The Getty Museum’s collection of postclassical European glass represents a well-defined chapter within the history of the medium. These objects—which range in date from the late Middle Ages to the late seventeenth century—originated in important Italian, German, Bohemian, Netherlandish, Silesian, and Austrian centers of production. The sixty-eight pieces presented in this catalogue include vessels made to resemble rock crystal or chalcedony; glass blown into unusually large or remarkably refined shapes; and glass decorated with ornament that is intricately applied, elegantly enameled, or gilded. Each object is described in detail, including provenance, bibliography, and relevant comparative examples. An introductory essay traces the history of European glass from classical times to the present.




The Arts of Fire


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Students and scholars of the Italian Renaissance easily fall under the spell of its achievements: its self-confident humanism, its groundbreaking scientific innovations, its ravishing artistic production. Yet many of the developments in Italian ceramics and glass were made possible by Italy's proximity to the Islamic world. The Arts of Fire underscores how central the Islamic influence was on this luxury art of the Italian Renaissance. Published to coincide with an exhibition at the Getty Museum on view from May 4 to August 5, 2004, The Arts of Fire demonstrates how many of the techniques of glass and ceramic production and ornamentation were first developed in the Islamic East between the eighth and twelfth centuries. These techniques - enamel and gilding on glass and tin-glaze and lustre on ceramics - produced brilliant and colourful decoration that was a source of awe and admiration, transforming these crafts, for the first time, into works of art and true luxury commodities. Essays by Catherine Hess, George Saliba, and Linda Komaroff demonstrate early modern Europe's debts to the Islamic world and help us better understand the interrelationships of cultures over time.




The Parks Canada Glass Glossary for the Description of Containers, Tableware, Flat Glass, and Closures


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The glossary grew out of the need to have a standardized system for the cataloguing of glass artifacts from sites excavated by Parks Canada. It presents information on the general aspects of glass artifacts, such as their colour, condition, and manufacturing techniques. It provides guidance on terminology, measurements to take, and attributes to describe.




Understanding Antiques


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Antiques Investigator


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Judith Miller's super-sleuth guide to spotting, buying and collecting antiques, now in ebook(PDF) format If you are looking to discover a valuable treasure or nab a bootsale bargain then antiques and collectables expert Judith Miller shows you how to solve any collecting case. Find out how to tell a genuine antique piece from a fake. Spot signs that indicate an object has been restored. Discover makers and styles to look out for, and whether an object should be kept, or not. Includes expert advice on makers, questions to ask, tips for identifying the best examples in furniture, ceramics, glass, silver, dolls, teddy bears, textiles and more. With hundreds of photographs that reveal every detail of each piece, you'll soon know exactly what to look for. Get more at www.antiques.dk.com with over 30,000 photos, descriptions and price guides. "Super-easy to use, may save or make you a bob or two." 5-star rating, Web User Magazine.




Luxury Arts of the Renaissance


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Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.