This edition is completely revised and all values have been updated plus over 150 additional color photos have been added to the hundreds found in the first edition. It features the popular lines of Hall china and dinnerware. 1997 values.

From 1903 until today, the Hall China Company has made tea and coffee pots in many forms and decorations, which are displayed here in 845 color photos. Included are early gold and platinum decorations; the "Art Deco," "Novelty," "Victorian," and Brilliant series; early decals; Gold Label; 1960s decorations; and designs by renowned artist Eva Zeisel. The text includes vessel shapes, sizes, colors, and historical information. Values are in the captions.

An introduction to the ceramics produced by the Hall China Company of East Liverpool, Ohio. Over 600 color photographs display these pottery wares, ranging from coffee pots and mixing bowls to refrigerator wares and teapots, in both solid color glazes and decorations including Autumn Leaf, Crocus, Silhouette, and more. Current market values are included in the captions.

Shows and lists current prices for punch bowls, vases, coffee pots, teapots, pitchers, butter dishes, bowls, salt shakers, canisters, plates, and platters made by the Hall China Company

Broadside for Plain group 9.

Finalist for the 2019 Jazz Journalists Association Book of the Year About Jazz, Jazz Awards for Journalism "Is there jazz in China?" This is the question that sent author Eugene Marlow on his quest to uncover the history of jazz in China. Marlow traces China's introduction to jazz in the early 1920s, its interruption by Chinese leadership under Mao in 1949, and its rejuvenation in the early 1980s with the start of China's opening to the world under Premier Deng Xiaoping. Covering a span of almost one hundred years, Marlow focuses on a variety of subjects--the musicians who initiated jazz performances in China, the means by which jazz was incorporated into Chinese culture, and the musicians and venues that now present jazz performances. Featuring unique, face-to-face interviews with leading indigenous jazz musicians in Beijing and Shanghai, plus interviews with club owners, promoters, expatriates, and even diplomats, Marlow marks the evolution of jazz in China as it parallels China's social, economic, and political evolution through the twentieth and into the twenty-first century. Also featured is an interview with one of the extant members of the Jimmy King Big Band of the 1940s, one of the first major all-Chinese jazz big bands in Shanghai. Ultimately, Jazz in China: From Dance Hall Music to Individual Freedom of Expression is a cultural history that reveals the inexorable evolution of a democratic form of music in a Communist state.