"This project is the first comprehensive study of a phenomenon that not only dominated the American arts of the 1870s and 1880s, but also helped set the course of such later developments in the United States as the Arts and Crafts movement, the indigenous interpretation of Art Nouveau, and even the rise of modernism. In fact, the early history of the Metropolitan--its founding, its sponsorship of a school of industrial design, and its display of decorative works--is inextricably tied to the Aesthetic movement and its educational goals. "In Pursuit of Beauty: Americans and the Aesthetic Movement" comprised some 175 objects including furniture, metalwork, stained glass, ceramics, textiles, wallpaper, painting, and sculpture. Some of these had rarely been displayed; others, although familiar, were being shown in new and even startling contexts. The exhibition and catalogue are arranged thematically to illustrate both the major styles of a visually rich movement and the ideas that generated its diversity"--From publisher's description.

Two knowledgeable glass authors take the mystery out of spotting collectible peachblow glass. Full of information on the different manufacturers and the characteristics of their glass, this full-color guide arms collectors with the information they need. 500 color photos.

Superb, edited reproduction of rare original sales catalog from the workshop of one of America's premier glassmakers. Excellent photographs of exquisitely etched stemware, vases, pitchers, decanters, steins, etc. Price lists, biography of Locke, more. Invaluable aid for identifying, authenticating collectible Locke glass.

"Glass can be decorative or utilitarian, and its forms often reflect technological innovations and social change. Drawing on an insightful selection from the Yale University Art Gallery and other collections at Yale, American Glass illuminates the vital and often intimate roles that glass has played in the nation's art and culture. Spectacularly illustrated, the publication showcases eighteenth-century mold-blown vessels, nineteenth-century pressed glass, innovative studio work, and luminous stained-glass windows by John La Farge and Louis Comfort Tiffany, the latter reproduced as a lush gatefold. These are considered alongside beguiling objects that broaden our expectations of glass and speak to the centrality of the medium in American life, including one of the oldest complex microscopes in the United States, an early Edison light bulb, glass-plate photography, jewelry, and more. With an essay on the history of collecting American glass and discussions of each object that present new scholarship, this engaging book tells the long and rich history of glass in America--from prehistoric minerals to contemporary sculptures"--Dust jacket front flap.

Where did Depression glass originate? When did Fenton start making glass? The answers to these and many more questions are found here. This handy and easy-to-use new collector's resource of definitions and descriptions for glass terms, styles, patterns, and manufacturers will be referred to time and time again. More than 400 photographs and line drawings are included to illustrate significant shapes, patterns, and makers' marks. Everything from Depression to Pattern glass and Fenton to Tiffany is covered. Includes dozens of manufacturers' marks to aid in identification. -- Features more than 400 photographs and line drawings to illustrate significant shapes, patterns, and makers' marks -- Provides valuable historical information on popular glass manufacturers -- An invaluable resource for collectors, dealers, and appraisers

A biography of the “Owens” in “Owens Corning”—a brilliant but humble inventor with nine companies and forty-nine patents bearing his name. He stands next to Thomas Edison in the pantheon of inventors. Commercial products stamped with his name are ubiquitous in modern life. His inventions are directly responsible for safety glass in car windshields and consistently proportioned medicine jars—and helped to significantly reduce child labor in America. His designs have changed the way we illuminate a dark room and buy pasteurized milk. Michael J. Owens has left an indelible mark in human history, yet his name often has been overlooked publicly, until now. Michael Owens was a driven but unassuming man who shunned the spotlight, wanting only to create. In this first biography of a visionary, artist, and craftsman, Quentin R. Skrabec’s research has uncovered a resourceful, colorful, and dynamic industrialist and inventor. This insightful account sets the stage for Owens by going back to the beginning—the history of glass as an art form. Today, his flourishing legacy includes Owens Corning, employing nearly twenty thousand people in over thirty countries.

Japonisme, the nineteenth-century fascination for Japanese art, has generated an enormous body of scholarship since the beginning of the twenty-first century, but most of it neglects the women who acquired objects from the Far East and sold them to clients or displayed them in their homes before bequeathing them to museums. The stories of women shopkeepers, collectors, and artists rarely appear in memoirs left by those associated with the japoniste movement. This volume brings to light the culturally important, yet largely forgotten activities of women such as Clémence d'Ennery (1823–1898), who began collecting Japanese and Chinese chimeras in the 1840s, built and decorated a house for them in the 1870s, and bequeathed the “Musée d'Ennery” to the state as a free public museum in 1893. A friend of the Goncourt brothers and a fifty-year patron of Parisian dealers of Asian art, d'Ennery's struggles to gain recognition as a collector and curator serve as a lens through which to examine the collecting and display practices of other women of her day. Travelers to Japan such as the Duchesse de Persigny, Isabella Stewart Gardner, and Laure Durand- Fardel returned with souvenirs that they shared with friends and family. Salon hostesses including Juliette Adam, Louise Cahen d'Anvers, Princesse Mathilde, and Marguerite Charpentier provided venues for the discussion and examination of Japanese art objects, as did well-known art dealers Madame Desoye, Madame Malinet, Madame Hatty, and Madame Langweil. Writers, actresses, and artists-Judith Gautier, Thérèse Bentzon, Sarah Bernhardt, and Mary Cassatt, to name just a few- took inspiration from the Japanese material in circulation to create their own unique works of art. Largely absent from the history of Japonisme, these women-and many others-actively collected Japanese art, interacted with auction houses and art dealers, and formed collections now at the heart of museums such as the Louvre, the Musée Guimet, the Musée Cernuschi, the Musée Unterlinden, and the Metropolitan Museum of Art.

"Home Comforts" meets Miss Manners in this elegant, comprehensive guide to the table -- an invaluable resource for every aspect of formal and informal dining and entertainment. 130 line drawings throughout. 16 pages of color photos.