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• Expansion and exchange across borders / Dany Chan
• Moving social stature and spirit / Adriana Proser
• Carrying culture across land and sea / Ashley Dimmig

"The Walters Art Museum is among America's most distinctive museums, forging connections between people and art from cultures around the world that span seven millennia. The museum holds a stunning array of objects, from richly illuminated Qur'ans and images of the Buddha to captivating narrative paintings and artfully crafted ceramics and metalworks. Highlighting the strengths, variety, and sheer wonder of the Walters Art Museum's unique Asian and Islamic collections, Across Asia and the Islamic World is the first volume in a series of titles that break away from the traditional academic approach. It is built around themes that transcend period, form, locale, and medium, and showcases the museum's initiative to develop new ways of interpreting its collections"-- Provided by publisher

• Introduction
• 1. An Introduction to Jewellery and the Queenly Use of Jewels
• 2. The Wills of the Queens of England, 1445-1548
• 3. The Jewel Inventories of Jane Seymour, Katherine Howard and Kateryn Parr
• 4. Portraiture
• 5. Goldsmiths and Commissioning Jewels
• 6. Gifts of Jewels
• 7. The Crown Jewels 8.Conclusion.
• (source: Nielsen Book Data)

A different take on a popular topic, this book uncovers the exciting history of the jewels and jewellery worn and used by the later medieval and Tudor Queens of England from Margaret of Anjou to Katherine Parr. Enabling general readers to see how jewellery was used by Queens to assert their power and influence in their husband's courts. Dr Tallis is an experienced writer of non-fiction to a public audience; this book is accessibly written for an educated popular audience and undergraduate students. Explores the lives of ten queen consorts across 100 years, providing students and general readers alike with a long duree view into Queenship, women's history and material culture.
(source: Nielsen Book Data)

Focusing on 50 works from the Rosalinde and Arthur Gilbert Collection, this book showcases the arts of stone mosaic (known as pietre dure), carving, inlay, and more. Detailed photography shows the interplay between craftsmanship and cut-and-polished stones, including amethyst, lapis lazuli, and jasper. Often remarkably complex to produce, many of these pieces were commissioned by the wealthy royal families as symbols of their power and prestige.

"The Art Playroom is a guide for setting up at-home art spaces and introducing art prompts to promote innovative thinking, skill-building, collaboration, and independence"-- Provided by publisher.

• Prólogo / Thomas B.F. Cummins, traducción de María Cecilia Álvarez-White
• Introducción
• Capítulo 1. El legado prehispánico de la resina
• Capítulo 2. El Nuevo Mundo y la inspiración oriental
• Capítulo 3. La colonia en la Villa de Pasto
• Capítulo 4. El comercio de la resina y los sitios de producción
• Capítulo 5. El encuentro de la mopa-mopa con la madera
• Capítulo 6. El encanto de lo opaco
• Capítulo 7. El esplendor del brillo
• Capítulo 8. Periodo republicano
• Reflexiones finales
• Apéndice

• Historical Manuscripts and their Influence
• Traditional Calligraphy and Lettering
• Aleph-bets and Letters
• Stretching the Boundaries
• Street and Fine Art
• Sacred Writing

"This book celebrates the beauty of the Hebrew aleph-bet by visually chronicling its earliest appearance in ancient inscriptions and its subsequent reception and representation by scribes and artists over the last three millennia"-- Provided by publisher

• Part I. Creation in Mongol-Yuan China
• Part II. Development in Ming China
• Part III. Development in Edo Japan

Meili Yang addresses long-standing questions related to the motivation and inducement of blue-and-white porcelain creation in Mongol-Yuan China, the process of establishing its relationship with Ming society, and its development in Japan as the country stabilized politically and culturally in early Edo. Discussion focuses on the advantageous environment encompassing the Chinese ceramic industry, and the role played by culture, politics and the society at large that brought about the creation of this novel porcelain. Of particular scholarly interest is the native Han attitude toward this Mongol-linked porcelain with its shiny cobalt-blue decoration. From prevailing indifference during late Yuan to valuing it as imperial ware during early Ming, a period of vigorous Sinicization in late Ming popularized the blue-and-white porcelain industry's thriving development. Ming society attitudes toward this porcelain was an intriguing process, and takes in transformations in religious belief and ritual, as well as art appreciation. Following the early Edo period, Japanese potters surpassed Chinese fine porcelain and competed in overseas markets, particularly in Europe. Behind the commercial competition, the contemporary upsurge of nationalism was arguably the most crucial dynamic. The European market became the arena of Chinese and Japanese fine porcelain advances during 17th and 18th centuries. Simultaneously, several European factories were inspired to practice fine porcelain technology; German Meissen was one of the earliest successes. A prime hitherto unanswered question is how Chinese Jingdezhen blue-and-white porcelain and Japanese Kakiemon ware influenced Meissen fine porcelain development. The blue-and-white porcelains value and significance needs to be judged not just on commercial factors, but in the broader perspective of ceramic research and development in terms of technique, and the study and training of ceramic potters

A carefully-integrated group of studies begins with the so-called "Chertsey" ceramic tiles, depicting combat between King Richard the Lionheart and Saladin. Found at Chertsey Abbey not far outside London and admired since the nineteenth century, we present here a new reconstruction of both the tiles and their previously-undeciphered Latin texts. The reconstruction demonstrates not only that the theme of the entire mosaic is the Crusades, but also that the overall appearance of the tiles, when laid as a floor, draws from the composition and iconography of imported Islamic and Byzantine silks. Essays illuminate specific material contexts that similarly witness western Europe's, and particularly England's, engagement with the material culture of the eastern Mediterranean, including ceramics, textiles, relics and reliquaries, metalwork, coins, sculpture, and ivories

Brittle Beauty presents a superlative private collection of European porcelain - radical, rare and in many cases unique pieces assembled over thirty years. Lavishly illustrated and insightfully researched, the book showcases eighty vessels and sculptures, and includes accounts of their patrons and former owners, many as eccentric as the works themselves. One striking attribute of porcelain is its reflective glaze. Mirror-like in a wider sense, Brittle Beauty: Reflections on 18th Century European Porcelain examines the context in which this porcelain was created - including cultural, political, topographical and ceremonial aspects. It also looks at related materials such as silver, textiles and glass. The 18th century was the golden age of porcelain in Europe, which had previously been dependent on precious imports from the Far East. The discovery of the formula for hard-paste porcelain in Dresden in 1709 inspired the establishment of manufactories throughout the Continent. However, its popularity was not purely commercial: porcelain - with its meld of art and science, beauty and intellect, East and West - became a symbol of Enlightenment culture for every princely court. Oriental motifs and European forms were synthesised with deceptive subtlety; later, creations of pure fantasy emerged, often based on travellers' accounts of exotic lands. Familiar Occidental themes such as nature, hunting or archaeology were paralleled by ironic narratives of love and vanity. Porcelain, with its fragile allure, is uniquely expressive of the human comedy, yet its destiny has often been brutal and tragic. This book features essays from several eminent scholars. It also showcases a wealth of stunning imagery from Sylvain Deleu, who expertly photographed the pieces, many for the first time. Publisher's wesbite.

• Ceramic art: an introduction / Sequoia Miller
• The art of being human / Margaret S. Graves
• Crazing, shivering, golden cracks and rivets: preserving the value of flaws / Victoria Parry
• Pots with structure and purpose: a chance encounter, a potter by chance / Magdalene Odundo
• Case studies in ceramic art. Animating the world: the ceramics of ancient Peru / Ulla Holmquist
• Cycladic bird jug / Carl Knappett
• A porcelain set of four continents fit for the king / Yao-Fen You
• Remaking porcelain: a conservator's perspective / Soon Kai Poh.

"Surviving ceramic vessels buried in tombs, caves, and the earth around the world testify to the earliest human creative activity. By studying ceramics historians uncover the complex ways that societies organized and sustained themselves, as well as how they interacted with other cultures. Today the ceramic arts remain a vibrant artistic medium, as contemporary artists engage with this material history to sustain their own heritage practices, while also shaping new histories from clay. From pre-Columbian Andean tombs to contemporary African sculpture, Ceramic Art considers ceramics as an artistic medium that uniquely records and expresses our individual and collective worlds across cultures. With an introduction and conclusion written by Sequoia Miller, the chief curator at the Gardiner Museum of Ceramic Art in Toronto and a practicing ceramic artist, this volume features three main essays. The first, by art historian Margaret Graves, provides an overview of different ceramic histories and the ways regional and global circulation have impacted them; the second, by conservator Victoria Parry, focuses on the challenges of preserving these artworks and artifacts; and the third, by studio potter Magdalene Odundo, examines the art form from the point of view of the contemporary practitioner. These essays are followed by three case studies, organized chronologically from ancient to contemporary, and spanning centuries and continents in range, that put objects in conversation with one another in innovative, cross-disciplinary ways. Ceramic Art is the inaugural title in our new series ART/WORK. Responding to the latest trends in the field, the ART/WORK series provides innovative narratives that change how art history as a discipline is imagined"-- Provided by publisher.

• Ceramic Art: An Introduction / Sequoia Miller
• The Art of Being Human / Margaret S. Graves
• Crazing, Shivering, Golden Cracks and Rivets: Preserving the Value of Flaws / Vicki Parry
• Pots with Structure and Purpose: A Chance Encounter, a Potter by Chance / Magdalene Odundo
• Case Studies in Ceramic Art. Animating the World: The Ceramics of Ancient Peru / Ulla Holmquist
• Cycladic Bird Jug / Carl Knappett
• A Porcelain Set of Four Continents Fit for the King / Yao-Fen You
• Remaking Porcelain: A Conservator's Perspective / Soon Kai Poh

• Copenhagen's Design Community
• A City Transformed
• Studying Furniture
• Exhibiting Danish Design
• Made in Denmark
• Designing for Americans
• Fabricating for Americans
• Pricing for Americans
• At Home with Danish Design
• Sellers
• Tastemakers
• Consumers
• Mail Order Danish Modern
• Made in America
• Danish Copies
• Keeping Up with the Copies

• Copenhagen's Design Community
• A City Transformed
• Studying Furniture
• Exhibiting Danish Design
• Made in Denmark
• Designing for Americans
• Fabricating for Americans
• Pricing for Americans
• At Home with Danish Design
• Sellers
• Tastemakers
• Consumers
• Mail Order Danish Modern
• Made in America
• Danish Copies
• Keeping Up with the Copies

"In this lively book, Maggie Taft tells the story of how Danish modern furniture emerged in the wake of WWII and became all the rage in the US. By the 1950s Danish Modern furniture was everywhere-in living rooms and on the political stage. A Danish Modern chair was chosen for the first televised presidential debate, in 1960, between JFK and Richard Nixon. When the broadcast began, there were Nixon and Kennedy, sleekly seated in Hans Wegner's "Round Chair." Thanks to that broadcast, an international star, nicknamed simply "the Chair," was born. The story of Danish Modern that Taft tells is anchored in the biographies of two notable chairs: "the Chair" and another one known rather grandly as "The Chieftain" (based on Viking folklore) designed by Finn Juhl. Like Nixon and Kennedy, like Buckley and Vidal, like Elvis and the Beatles, these chairs and their designers and manufacturers duked it out for the hearts and minds and rumps of Americans sitting in front of their TV sets, drinking cocktails, getting frisky on the Danish sofas in their living rooms (and, yes, Mad Men fans, in their offices). These chairs serve as the opportunity for Taft to tell the broader tale of our love affair with Danish Modern-and with our continuing admiration for the innovative style of the early postwar period"-- Provided by publisher

A medium that has often been characterized as more craft than art, clay is now an exciting platform for formal and conceptual innovation. Traditionally diverged from engagement with popular culture, clay is now adding a new dimension to Pop Art. Paralleling current concerns in painting, many of the thirty-eight artists featured in Clay Pop are also exploring issues of gender, race, and identity, using clay in novel ways to engage with social issues. Artists are employing the medium to create a personal narrative, pushing clay beyond the confines of craft and design. Much of the new work is exuberant and figurative, expanding on how the medium of clay has been traditionally used. Glazes are especially colorful, reflecting a range of influences that encompass vernacular commercial imagery and artistic sources from African American assemblage to Walt Disney. Funk art from 1970s Northern California is a source, as is the work of Pop artists like Claes Oldenburg. Some of the artists also draw on artistic influences from the Middle East, Africa, and Asia. Sections on each of the forty featured artists include a profile on their ceramic practice, images of their work, and a biography. The introduction describes the artists’ interconnected community while two longer essays place the work, mostly created in the past five years, in the context of the histories of Pop Art and ceramics