A comprehensive survey of German ceramics between 1955 and 1990 collected by Jakob Wilhelm Hinder and Lotte Reimers.

Horst Makus’s book “Ceramics in the Fifties”, which we published in 1998 and has long been out of print, succeeded in lifting the anonymity of object and designer. Its successor follows a completely new concept and is much enlarged to provide an impressive handbook with many new illustrations and important information about the ceramics of the 50s, at the same time highlighting their significance within a broader development with even greater clarity.
A long introductory essay discusses the novelties of the period (e.g., sgrafo and gemmo porcelain, terra sigillata). Some 500 colour illustrations of objects together with reproductions from contemporary journals, manufacturers’ catalogues and advertisements convey a lively picture. The handbook, arranged by headwords, contains many new biographies of artists and companies as well as ceramic terminology. Indices of more than 3200 model numbers and about 1350 names of designs with dates together with a digest of marks and signatures rounds off this new standard handbook.
A handbook for collectors of ceramics and a treasure-trove for enthusiasts of the 50s! With much new information about ceramics of the 50s. A reference work for identifying and dating the mostly unsigned objects.
 

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The last of the great 18th-century German porcelain factories was established by Carl Eugen, Duke of Württemberg, in Ludwigsburg on 5 April 1758. The present book is published on the occasion of the 250th anniversary of the founding of the Ludwigsburg Factory, and the Museum für Angewandte Kunst in Cologne is presenting the first special exhibition devoted to it in Germany. The book is definitely a “feast for the eyes”.
In February 1759, the Duke appointed the experienced arcanist Joseph Jakob Ringler as the first director of the Factory. Outstanding modellers and other specialists ensured that the Ludwigsburg Factory attained its zenith within the first decade of its existence (1760 to 1770). The Factory was, however, shut down in October 1824 due to lack of funds. More than a third of the approx. 150 objects from the heyday of the Ludwigsburg Factory have never been publicly shown. Alongside examples of services magnificently decorated with rocaille, imbricated patterns and exquisitely painted genre scenes and flowers, figurines as table-decoration are highlighted. The focal point of the collection is the so-called “Venetian Fair Group” depicting stalls and the corresponding figures at the Ludwigsburg Fair after the mid-18th century.
The exceptional sculpture produced by the Ludwigsburg Porcelain Factory reflects the luxury of ducal table-decorations and memorably documents Rococo culture and the intellectual achievements of the period. Exhibition "Glanz des rokoko ludwigsburg porcelain from the Jansen collection" at the Museum für Angewandte Kunst, Cologne: 29 March to 29 June 2008
 

Since founding his firm in Selb in 1891, Philip Rosenthal Sr. endeavored with great success to join porcelain and art together. Using a variety of different design styles, Rosenthal produced porcelain service, figures, ornaments, and art pieces, each with the highest artistic quality worthy of fine collections. With over 350 beautiful pictures, this book provides a history of the Rosenthal family and company, a description of the entire porcelain production proces, artists' biographies, and tips for collectors. The stars of course are the pieces themselves. Current market values are given to help the collector.

This book traces the history of Meissen porcelain from the "goldmaker" Johann Freidrich Bottger's first tests to the latest design, "Japan Form", for oriental dishes, that was first shown in 1983. Both the most typical and the most beautiful creations of Meissen are shown and described. Special attention is given to the 19th and 20th century products, neglected in most books about Meissen. In thirteen chapters the book describes all facets of the Meissen manufactory: The present state of the manufactory and its latest creations, Bottger's first ceramic invention, the red stoneware and its re-discovery in the 20th century, sculptural Meissen art, the different shapes and forms of tableware, Meissen painting and decorations, and often-neglected little things the manufactory made like medals and coins, lithopanes, tiles, knick-knacks and technical porcelain.

German Meissen porcelain figures made during the Kaendler Period are considered the best era in the Meissen factory's history. They are organized here by their subjects, depicting Street Traders, Court Life, Military and Hunting scenes, Italian Comedy, Children, Mythology, Artisans, and various nationalities. Many figures are matched to the original engravings that inspired them. By recognizing the colors used when the originals were made, one can date the figures; manufacturer marks alone are not reliable. This book guides and delights today's designers and collectors by presenting the figures in exquisite detail.

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Du 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 (Hausmaler). 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 approx. 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. The arts in Baroque Vienna represent the cultural background for the magnificent Du Paquier porcelain. These lavishly designed books provide a comprehensive introduction to this courtly society and the distinctive porcelain made by Du Paquier. Essays by distinguished scholars in the field make this publication a standard work, not only for specialists but also for collectors and connoisseurs of porcelain as well as anyone interested in the Baroque era

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On 23 January 1710, Augustus the Strong (1670-1733), Elector of Saxony and King of Poland, founded the first and most important European porcelain factory of the 18th century, thus breaking the supremacy of Chinese porcelain in Europe. He had the invention of porcelain as well as the establishment of the factory in Saxony celebrated in four languages. Production began on the Albrechtsburg in Meissen in June of that year. “White Gold” from Saxony would soon become the luxury item most coveted at European courts. Meissen – Barockes Porzellan presents a world-beating private porcelain collection and marks the 300th anniversary of the founding of the Meissen factory. The extremely rare and valuable exhibits from the 18th century – a total of over three hundred objects – convey insights into the diverse range of porcelains produced by the celebrated porcelain factory as well as the sophisticated cultural and intellectual world of the Baroque era. Colour illustrations of the objects – and numerous detail photographs – make the enchanting beauty and consummate artistry of the Meissen factory come alive. The exhibits include outstanding pieces of porcelain, a large number of exquisitely painted snuffboxes as well as tableware magnificently decorated with chinoiserie, landscapes, Hong scenes and flower painting. Our contribution to celebrating the re-invention of porcelain in Europe three centuries ago. Court porcelain from the early years of the first German porcelain factory.

The publication "Passion for Meissen Marouf Collection" of the Said and Roswitha Marouf Collection focuses the viewer’s eye on the magnificent art works of the Meissen porcelain manufactory, which in 2010, on the occasion of its 300 anniversary, will celebrate the multifarious artistic wealth of the first European manufactory for porcelain. This book is not about the history of Meissen porcelain in the eighteenth century, which has been examined in numerous publications, but is rather a feast for the senses. The collection documented here provides a representative survey of the early creative period of the Meissen manufactory, especially in the area of painting, with outstanding works of art by Johann Gregorius Höroldt and his workshop.
Also the small sculptural work of Johann Joachim Kaendler and co-workers is presented in detail. The diversity of the porcelain items, chosen with care and collector’s passion, is reflected in the some 500 reproductions – including numerous large-format reproductions – of the nearly 200 art works. In the clear commentaries and in magnificent reproductions – including many details – the individual characteristics and distinctive features of these works are vividly presented.
Since 1994 the author, Dr. Ulrich Pietsch, has been director of the Porcelain Collection of the Staatliche Kunstsammlungen Dresden, the world’s largest collection of Meissen porcelain of the eighteenth century.
This meticulously designed publication focuses on the artistic details of the masterpieces of Meissen porcelain.
 

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The 575-page volume is written by Ulrich Pietsch, director of the State Porcelain Collection in Dresden, Germany, the most important and most extensive collection of Meissen porcelain in the world.

The publication contains full color photographs and complete text entries for 689 pieces in the Wark Collection of Early Meissen Porcelain, given to The Cummer by St. Augustine siblings Ralph and Constance Wark. The collection they assembled is regarded as the most significant collection of its type in the United States and one of the top three collections in the world.

 

The result of an international interdisciplinary research project, the publication is the first comprehensive monograph of a ceramics factory in Lower Silesia, the “Feinsteinzeugfabrik Julius Paul & Sohn” in Bunzlau, active from 1893 to 1945.
A particular challenge for the authors was the fact that no historic source material had survived, all the regional archives and libraries having been destroyed during the war. Only a few original documents which had withstood expulsion and flight remained for evaluation. After the most thorough and wide-ranging researches it became possible to reconstruct almost completely the factory’s whole output on the basis of over 6000 Julius Paul ceramics scattered among more than 40 museums, collections and private owners in Poland, Germany, Austria and Holland, and finally to publish the results.
The present work seeks to trace the history of a small pottery that became a world-famous company. Through comparison of measurements, shapes and designs as well as production technologies, it is possible to clearly differentiate between Bunzlau and other ceramic producers. All shapes and variations (about 650) are documented with photographs and precise technical drawings, and the highly diverse designs (some 800) and glazing techniques have all been analysed. A full documentary section including a register of over 170 marks, logos, paper labels and merchants’ marks, complete this standard work.
Full scholarly monograph on a company history which sets new standards for future research on ceramics. It is published as a special edition of NEARCHOS 8-10 for professionals and collectors.
 

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The Vine Pottery was founded by Lawrence Arthur Birks and Charles Frederick Goodfellow in Stoke-upon-Trent in 1894. Beginning with small scale production of fine bone china tableware, the company fortunes were transformed in 1901 when Edmund G. Reuter was employed as designer. He introduced an ivory porcelain with middle eastern decoration known as 'Persindo Porcelain'. Many new designers were then attracted to the firm resulting in numerous international awards and even royal patronage from Queen Mary. Troubled times in the 1920s after the National Strike and the Wall Street Crash led ultimately to closure in 1934.
 

White Salt-Glazed Stoneware of the British Isles is the first book on salt-glazed stoneware since 1971. This book is the first to cover salt-glazed production in the whole of the British Isles, not simply the production in Staffordshire.
Beginning with the introduction of salt-glazed stoneware into England by German and Dutch potters in the mid-seventeenth century, and John Dwight's patent of 1672, this book goes on to discuss in detail early industrial stoneware, the manufacture from raw materials to producing and decorating the pots, to marketing and distribution, and even the history of collecting salt-glazed stoneware. There is a chapter on the American market and the final chapter identifies, for the first time, a number of manufacturers who produced salt-glazed stoneware, attributions made possible by the excavations of pottery sites. Beyond that, there are five invaluable appendices with details of all manufacturers of salt-glazed stoneware identified thus far, price lists from the eighteenth century and an extensive bibliography.

 

In this fascinating volume, china-ware expert Geoffrey Godden shows how collectable and decorative New Hall Porcelain is. The factory produced over three thousand patterns which served to enhance a long series of attractive yet very functional forms. They were welcomed for their excellence over a period of over fifty years, from 1782 to 1835. The success of these pleasing Staffordshire porcelains in the marketplace helped to turn the Staffordshire Potteries, then famed only for its earthenwares, into a porcelain-producing centre of world importance.
The New Hall firm in England were market-leaders in their own time, their shapes and styles widely copied by their several imitators. New Hall Porcelains presents historical facts in a novel, helpful manner, supporting with a broad selection of clear illustrations. Geoffrey Godden is able to illustrate how diverse and attractive these Staffordshire 'Real China' porcelains can be, placing New Hall in its rightful position in the study of British porcelains and their history.
 

Fairings were made specifically for the huge English Fair market. The word 'fair' comes from the Latin feria meaning holiday, a great day for the masses, a chance to catch up on gossip, fashions, new ideas and generally to have a good time and perhaps buy or win a small china ornament. Today we call these small German ornaments of the Victorian/ Edwardian period, Fairings.
This comprehensive work is the definitive guide for the novice and experienced collector of fairings, covering the history, values, repairs and fakes, with over 400 beautiful photographs in colour. These photographs are all indexed for quick, easy reference as to identification and value. The only book available on the subject, Victorian China Fairings - The Collectors Guide is an absolute must-have reference for collectors, auctioneers and dealers.
 

Surprisingly, this is the first book to be devoted to British Ironstone China and the related stone china and granite ceramic bodies. Yet they are as important in their way as the well-known, highly respected and well documented English creamwares or indeed bone china itself.Initially, the ironstone-type bodies were introduced - like most European ceramics, to emulate, rival and undersell the vast and popular importation of Oriental porcelains. Not only did the ironstone manufacturers succeed in this ideal but they progressed to take over the trade, develop new markets and supply the world with inexpensive but durable tableware. In the middle and latter half of the nineteenth century the British potters won markets undreamed of by the pioneers in the trade. The major manufacturers such as Mason and Spode produced superbly potted, richly decorated, ironstone or stone china table services and ornamental goods. Yet perhaps more importantly the smaller firms concentrated on less expensive utilitarian objects that were shipped to all parts of the world for everyday use. A large part of the world, therefore, would have eaten off or drunk from British ironstone type wares at this time.
 

Ceramics is the definitive resource to every aspect of twenty-first-century ceramics. Through a combination of clear, in-depth instructions, step-by-step photographs, and troubleshooting tips, Louisa Taylor shares the practical knowledge she has gained during her academic and professional career.
Techniques covered include:
• Handbuilding: coiling, pinching, extruding, slab work, press moulds, waste moulds, slip casting, handcarved models, rapid-prototyped models
• Throwing: cylinders, bowls, bottles, closed forms, lidded jars, foot rings, handles
• Firing: oxidized, reduction, sait, wood, raku
• Glazing: dipping, pouring
• Decoration: painting, slip trailing, scraffito, feathering, marbling, resists, stencils, monoprinting, burnishing, enamels, lustres, transfers, engraving, sandblasting
• Finishing: assembling, gluing, lacquer, polish, inks, gilding, flocking
Throughout the book these techniques are accompanied by a selection of finished works by contemporary artists, including Chris Keenan, Alice Mara, Neil Brownsword, Natasha Daintry, Janet Mansfield and Prue Venables. These offer both a practical illustration of the technique discussed and a wealth of inspiration for any aspiring ceramicist.
Artist profiles highlight the range of methods and styles employed by today's makers, showcasing the exciting work of contemporary ceramics' leading names. An extensive resource section, including details of trade shows and training courses, suggestions for markets and galleries, and a list of suppliera, provides further invaluable tools.
 

This catalogue of the Ewers-Tyne Collection provides lovers of fine porcelain with a very special opportunity. Curiously, this is the first time that all three centuries of Worcester porcelain have been presented together in a single book. The earliest pieces at Cheekwood were made in the middle of the eighteenth century. During the Dr Wall Period, Worcester porcelain was inspired by China and Japan and yet has an English charm all of its own. Important early coloured wares copy royal productions from Dresden and Sèvres. Here are special pieces from famous services, some painted in the Giles workshop in London. Split into two separate factories during the Regency period, the Flight family ran the original Worcester works in partnership with the Barrs. Meanwhile the Chamberlain family set up a rival factory across the city. Many masterpieces from the early nineteenth century are in the Ewers-Tyne Collection, including specimens from some of the finest armorial services finished off with sumptuous gilding. The Worcester Royal Porcelain Company, known today as Royal Worcester, was established in 1862. The Victorian period is represented at Cheekwood by the incredible figures of James Hadley and Thomas Brock, while painted porcelain by senior artists show how the traditions of fine craftsmanship continued into the twentieth century. Henry and John Sandon are the leading authorities on Worcester porcelain and their informative text accompanies clear colour illustrations of every piece. The result is a beautiful as well as invaluable reference book detailing the long history of porcelain making at Worcester. This sumptuous volume provides a fitting tribute to an inspired collection housed in the gorgeous setting of Cheekwood in Nashville, Tennessee.

Delftware has been made in England since the sixteenth century, when floor files and drag pots were produced in Aldgate, London by immigrant potters from the Low Countries. Once called `galleyware', this type of pottery came to be known as delftware after the Dutch town of Delft which was renowned for its manufacture. This stunning book introduces a magnificent selection of English and Irish delftware drawn from the British Museum's important collection. In the early seventeenth century factories making dishes and other wares were set up in London close to the River Thames, their products initially influenced by Italian majolica and subsequently by Chinese porcelain. Manufacture spread from London to Bristol, Liverpool and Dublin. Delftware was made for many domestic uses: for eating and drinking, for pharmaceutical and hygienic purposes, and not infrequently for display. It was usually decorated by hand with painted inscriptions, coats-of-arms or splendid scenes – mainly biblical, allegorical or pastoral – or else in imitation Chinese style. Delftware continued to be made in centres all over the British Isles and in Ireland until the early nineteenth century, enjoying almost 300 years of continuous production. The British Museum collection of delftware is one of the finest in the world. It is especially notable for the number of pieces bearing dates and for those which document historical personages and events. "English & irish Delftware 1570-1840" from Aileen Dawson features more than 185 items from this extensive collection and includes pieces which have never before been published in colour.

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This book focuses on the art deco ceramics that were produced by the British pottery industry during the late twenties and early thirties. It covers all the important aspects of the popular style from its origins in France, its breakthrough in Britain and how the style took on during the early thirties.

The background of art deco is examined and how it developed in France during the early part of the twentieth century: how European designers created new shapes and patterns and how these ideas eventually made their way into British design.

Art Deco Ceramics in Britain looks at the well-established factories such as Josiah Wedgwood and Sons Ltd and Minton who produced the top of the range wares for the upper classes and how they were forced, due to market forces, to produce art deco styled wares. At the same time the smaller factories were able to respond quickly to the art deco style, using hand painted decoration, which was an important feature of art deco patterning with the big names such as Clarice Cliff and Susie Cooper still being well known today.

Also documented in the book are concise, yet comprehensive biographies of many smaller factories that are not so well known today. This listing provides an invaluable source of ideas for new areas of collecting.

Andrew Casey has been collecting art deco ceramics for over twenty years. He specialises in and collects the works of Susie Cooper. Andrew is the author of many other books including Twentieth Century Ceramic Designers in Britain, Starting to Collect Twentieth Century Ceramics and, with Ann Eatwell, Susie Cooper: A Pioneer of Modern Design, all published by the Antique Collectors' Club.
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Here is the first comprehensive reference guide to twentieth century porcelain models of animals and figurines by Royal Copenhagen. An invaluable reference for collectors and dealers, it includes all the well-known pieces together with many others which are rarely seen. Nearly 400 color plates are used to identify more than 500 separate models, among which only about one hundred are in production. Most models are cataloged according to their original sculptors, and more than forty of the modelers are recognized; including biographical information and diagrams of their monograms to aid in identification. Each example is described in detail and nearly all are accompanied by a photograph to illustrate salient points from the model profile. A complete list of known models and a values reference for secondhand examples are included..

Scandinavian art pottery, long appreciated regionally, has enjoyed a rediscovery by international collectors over the past five years. Using almost 500 dramatic color photos, this book explores the major factories, workshops, and studios that initiated and created ceramic modernism in Scandinavia, including Royal Copenhagen, Saxbo, Kahler Keramiks, Ipsen, Gustavsberg, and Tobo. Also recounted are brief histories of Denmark and Sweden's most influential designers, including Patrick Nordstrom, Axel Salto, Nils Thorsson, Cathinka Olsen, Gertrud Vasegaard, Josef Ekberg, and Gunnar Nylund. Written by a recognized expert in the field, this long anticipated book provides well researched, up-to-date information on the factories and ceramicists that collectors are most interested in, plus accurate information on marks, dating, and updated values. Clearly photographed and written, this essential reference will provide collectors with the knowledge necessary to enhance and build unique and valuable collections of some of the finest art pottery ever created.

"A collector's guide to Royal Copenhague" from Nick and Caroline Pope is an extensive reference identifies and describes over 2,400 pieces, including 800 figurines. These Scandinavian porcelain figurines were produced by Royal Copenhagen of Denmark from c. 1910 through 2000. Among the 976 beautiful color photographs are related shop signs, dishes, bowls, and vases. The text provides a brief history of the firm, established in 1775, explains the company's marks, and includes a bibliography. Values are found in the captions. This book is a welcome reference for all who collect and enjoy Scandinavian porcelain and figurines.

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Ceramic Delftware has never been more popular or collectible. This important new book documents the world's most famous and oldest surviving Dutch Delftware factory, De Porceleyne Fles (Royal Delft), which dates back to 1653. Publication of this volume coincides with the 350th Jubilee celebrations of the factory in 2003. Beautiful plates, vases, covered pots, candlesticks, clocks, tableware, tiles, and watering cans are all here, from inexpensive pieces to breathtaking artwork worth tens of thousands. More than 650 color photographs show the distinctive quality and over 100 archival black and white photos are largely drawn from factory sales catalogs. Rick Erickson provides a wealth of detail to attract and teach the novice enthusiast while also inspiring the knowledgeable veteran collector. This important reference includes guides to original and current prices, rarity, factory marks, year codes, and painter's signatures.

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The appearance of the Rörstrand porcelain factory from Stockholm at the 1900 world exhibition in Paris was brilliant: the world had never seen such expert handling of porcelain mass – some in the form of waferthin petals – and an underglaze colour palette with such subtle nuances. The critics were full of praise and the economic success was soon to follow.
The foundation for this laid in the cooperation between Rörstrand and the painter Alf Wallander, who had worked for the manufacturer from 1894/1895. By 1896 Rörstrand had his first big success with the porcelain designed by Wallander at exhibitions in Stockholm, Malmö and Gothenburg. Its artistic rise finally began in 1897 with the Art and Industry Exposition in Stockholm and found its crowning moment in Paris, the International Exhibition of Modern Art in Turin in 1902 and the World Exhibition in St. Louis in 1904. Rörstrand could now compete on an international level alongside the two significant Danish manufacturers Royal Copenhagen and Bing & Grøndahl.
Wallander combined the underglaze painting cultivated in Copenhagen with a plastic modelling. The reliefs of the famous Rörstrand vases were all carried out by hand and are unique pieces. Other artists who worked with Rörstrand included Per Algot Eriksson, Nils Lundström and Karl and Waldemar Lindström, who all advocated a naturalistic Art Nouveau style (ca. 1895 to 1910).
Rörstrand’s porcelain factory had already been founded in 1726 as a faience factory. For over 120 years it produced fine stoneware; later majolica, bisque porcelain and Parian ware were added, and also the porcelain production from around 1895, with which Rörstrand rose to world renown.
Finest underglaze painting and delicate free-formed relief and a jour decoration helped establish the Rörstrand porcelain factory’s rise to international fame. With approximately 170 objects the publication shows outstanding examples of the Rörstrand production at the time of Art nouveau.
Exhibition in the International Ceramics Museum,Weiden (branch of Die Neue Sammlung Neue Sammlung, Munich) from 16.10.2011 – Mid-January 2012
 

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The Porcelain Collection of the Grand Dukes of Hesse is admired worldwide. It comprises about one hundred and fifty objects, making it an important source of Frankenthal porcelain. The Frankenthal factory was one of the leading European porcelain makers in the latter half of the 18th century.
Founded by Paul Anton Hannong in Strasbourg in 1721 as a faience manufactory, it moved to Frankenthal in 1755. The factory flourished after it was taken over by Carl Theodor, the Elector Palatine, in 1762. Modellers such as Franz Conrad Linck, Johann Friedrich Lück and Karl Gottlieb Lück enriched the stock of figurines by adding original and elegant models. Production at Frankenthal concentrated on court scenes, hunting scenes, allegories and the chinoisierie so popular in the Rococo period. The factory was disbanded in 1800 after a turbulent history.
All pieces of porcelain in the porcelain collection of the grand dukes of Hesse are reproduced in colour and described. Introductory texts on the factory, technical data on the individual works and pointers on condition, provenance and comparable pieces make for a scholarly and complete presentation of the collection.

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•Some 1800 photographic images are contained in the catalogue
•A valuable source of reference for the collector of Meissen porcelain
•Up to date colour photographs enhance the original illustrations
•The book contains a scholarly introduction and a detailed index
Early in the 20th century Meissen published two editions of a catalogue of the porcelain manufactured by the factory in the latter part of the 19th century and in the first decade of the 20th century. This book is an annotated version of that very rare catalogue, reproducing the illustrations and relating each item to its series and cross-matching to its pair where one exists. The models shown are, in the main, copies of designs originating from 1750 onwards. Prominent is the work of the renowned modeller Kändler and there are examples by lesser known modellers such as Kirchner. Many colour illustrations of the pieces described in the catalogue are illustrated in this important new publication. Meissen porcelain is highly collectable and this book will be an invaluable source of reference for collectors, the trade and to the insurance industry.

Laurence Mitchell is an antique dealer specialising in Meissen porcelain.
(ACC)

A special feature of this outstanding book is its lavish use of colour, with hundreds of wonderful full-colour illustrations depicting some 800 individual pieces from this unique collection. As these are fully supported by an authoritative and informative text, written by the leading experts on the subject, the result is an important work of reference which will demand a place on the bookshelves of not only those with an interest in Worcester, but also all lovers of fine porcelain.
 

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Around 1920 ceramicists in Flanders were beginning to experiment with modern forms and new glazes. Unlike the neighbouring countries, Belgium did not look back on a tradition of art ceramics. Pioneering Belgian ceramicists included the artist Joost Maréchal and Jan Cockx. Rogier Vandeweghe, a pupil of Maréchal´s, co-founded a workshop with his brother Laurent in 1947. Later the brothers went their separate ways; their workshops, Perignem and Amphora, are among the most important in Flanders. This book documents ceramics in Belgium, a previously neglected field. It is exciting to discover the high quality and superlative craftsmanship Belgian art ceramics had attained by the 1950s and 1960s.

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