The first comprehensive study of the most important ceramic innovation of the 19th century Colorful, wildly imaginative, and technically innovative, majolica was functional and aesthetic ceramic ware. Its subject matter reflects a range of 19th-century preoccupations, from botany and zoology to popular humor and the macabre. Majolica Mania examines the medium’s considerable impact, from wares used in domestic settings to monumental pieces at the World’s Fairs. Essays by international experts address the extensive output of the originators and manufacturers in England—including Minton, Wedgwood, and George Jones—and the migration of English craftsmen to the U.S. New research including information on important American makers in New York, Baltimore, and Philadelphia is also featured. Fully illustrated, the book is enlivened by new photography of pieces from major museums and private collections in the U.S. and Great Britain.

This is the fifth revised edition of a standard work of reference which was first published in 1969. It is a remarkable book that effortlessly and enjoyably takes the reader from the earliest pottery extant dating from the first Neolithic period, through the great classical names such as Wedgwood and Spode, Staffordshire and Ironstone to the more readily collectable pottery of the nineteenth and twentieth centuries. There are many individual studies of potteries and potters but here Griselda Lewis succeeds in putting this vast array of them into an understandable historical perspective and traces the links in the development of the rich tradition of pottery in England. This book triumphantly succeeds in the most difficult task of all, that of arousing enthusiasm. - this comment by a reviewer on a previous edition of the work neatly sums up one of the main reasons for the book's enduring success. The new edition contains almost three times as much colour as the first edition and benefits from the wealth of research that has gone on in the past twelve years. There is a large section on modern studio potters and commercial wares that will be of particular interest to the contemporary collector. AUTHOR: Griselda Lewis is author of many books on pottery including An Introduction to English Pottery, A Picture History of English Pottery, Prattware (with John Lewis) and A Handbook of Crafts. 175 colour & 173 b/w illustrations

This book broadens the discussion of pottery and china in the Victorian era by situating them in the national, imperial, design reform, and domestic debates between 1840 and 1890. Largely ignored in recent scholarship, Ceramics in the Victorian Era: Meanings and Metaphors in Painting and Literature argues that the signification of a pot, a jug, or a tableware pattern can be more fully discerned in written and painted representations. Across five case studies, the book explores a rhetoric and set of conventions that developed within the representation of ceramics, emerging in the late-18th century, and continuing in the Victorian period. Each case study begins with a textual passage exemplifying the outlined theme and closes with an object analysis to demonstrate how the fusing of text, image, and object are critical to attaining the period eye in order to better understand the metaphorical meanings of ceramics. Essential reading not only for ceramics scholars, but also those of material culture, the book mines the rich and diverse archive of Victorian painting and literature, from the avant-garde to the sentimental, from the well-known to the more obscure, to shed light on the at once complex and simple implications of ceramics' agencies at this time.

This book examines literary representations of hyperlocal spaces that subvert the idea of grounded and organic spatial identities. Figures such as the pond, the scientific particle, and Wedgwood creamware often go unnoticed, but they exemplify important shifts in culture and aesthetics in the eighteenth and nineteenth centuries. The Hyperlocal in Eighteenth- and Nineteenth-Century Literary Space argues that these objects, as well as locations such as alcoves in remote shires, city inns, and mountain retreats, were portrayed by writers in the late eighteenth and early-to-mid nineteenth centuries as gambits that challenged cultural hegemonies. It shows that the hyperlocal space or object, though particular, reaches beyond itself, affording an elasticity that can allow those things that seem beneath notice to reveal broader cultural significance.

"Full of surprises [and] evocative." The Spectator "Passionately written." Apollo "An extraordinary accomplishment." Edmund de Waal "Monumental." Times Literary Supplement "An epic reshaping of ceramic art." Crafts "An important book." The Arts Society Magazine In his major new history, Paul Greenhalgh tells the story of ceramics as a story of human civilisation, from the Ancient Greeks to the present day. As a core craft technology, pottery has underpinned domesticity, business, religion, recreation, architecture, and art for millennia. Indeed, the history of ceramics parallels the development of human society. This fascinating and very human history traces the story of ceramic art and industry from the Ancient Greeks to the Romans and the medieval world; Islamic ceramic cultures and their influence on the Italian Renaissance; Chinese and European porcelain production; modernity and Art Nouveau; the rise of the studio potter, Art Deco, International Style and Mid-Century Modern, and finally, the contemporary explosion of ceramic making and the postmodern potter. Interwoven in this journey through time and place is the story of the pots themselves, the culture of the ceramics, and their character and meaning. Ceramics have had a presence in virtually every country and historical period, and have worked as a commodity servicing every social class. They are omnipresent: a ubiquitous art. Ceramic culture is a clear, unique, definable thing, and has an internal logic that holds it together through millennia. Hence ceramics is the most peculiar and extraordinary of all the arts. At once cheap, expensive, elite, plebeian, high-tech, low-tech, exotic, eccentric, comic, tragic, spiritual, and secular, it has revealed itself to be as fluid as the mud it is made from. Ceramics are the very stuff of how civilized life was, and is, led. This then is the story of human society's most surprising core causes and effects.