Early Connecticut Silver is a catalog of the most significant pieces of silver hollowware made by Connecticut silversmiths between the years 1700 and 1840, as well as representative flatware and other pieces such as swords and Masonic jewels. In all, it constitutes an exhibit that could never be mounted in a single museum, and one that proves the authors' conviction that Connecticut silver is distinctive and worthy of comparison to the more sophisticated contemporary styles associated with the silversmiths of Boston and New York City. Wesleyan is proud to offer a new edition of this essential work, featuring an introduction by Erin Eisenbarth that brings the coverage up to date, incorporating the research done on this subject since the original publication. The book still includes an introductory essay that defines "the Connecticut school," and an annotated index of silversmiths known to have worked in Connecticut and an index of the marks used by them.

At the beginning of the twenty-first century, scholarly interest in ceramics is at an all-time high. As a vehicle for much-needed synthesis, Ceramics in America is an interdisciplinary annual journal that examines the role of historical ceramics in the American context. Intended for collectors, historical archaeologists, curators, decorative arts students, social historians and contemporary potters, every issue features a variety of ground-breaking scholarly articles, new discoveries in the field, and book and exhibition reviews for this diverse audience. The 2005 issue of Ceramics in America will feature a diverse lineup of articles and new discoveries. Of particular interest will be articles covering early American stoneware from Baltimore and Richmond, Virginia. Of interest to both ceramic collectors and social historians is an article reviewing ceramics related to the publication of Uncle Tom's Cabin.

Acknowledged as the journal of record in its field, American Furniture presents new research on furniture design, use, production, and appreciation. Begun in 1993, this award-winning annual provides a comprehensive forum on furniture history, technology, connoisseurship, and conservation by the foremost scholars in the field. It is the only interdisciplinary journal devoted exclusively to furniture made or used in the Americas from the 17th century to the present.

Acknowledged as the journal of record in its field, American Furniture presents new research on furniture design, use, production, and appreciation. Begun in 1993, this award-winning annual provides a comprehensive forum on furniture history, technology, connoisseurship, and conservation by the foremost scholars in the field. It is the only interdisciplinary journal devoted exclusively to furniture made or used in the Americas from the 17th century to the present.

This volume includes articles on mannerist furniture from a Northern Essex County, Massachusetts shop, the career and work of David Evans, early New York turned chairs, the Lisle desk-and-bookcase from Rhode Island, a Salem cabinetmakers' price book, two early eighteenth-century Schränke, as well as book reviews and bibliography.

This volume features articles on the furniture by the Potthast Brothers of Baltimore, 1892 - 1975, the early furniture of Job and Christopher Townsend, Boston Japanned furniture from1715 to1750, a study of the New Mexican Caja, seventeenth-century joined furniture from Newbury, Massachusetts, John Cadwalader's commode-seat side chairs, the Lisle family desk-and-bookcase from Rhose Island, eighteenth-century New York shranks, Edward Priestley (1778 - 1837), a Baltimore cabinetmaker, Baroque style in Philadelphia furniture, neoclassicism in Baltimore furniture, Quakers and the furniture industry in early Salem, as well as book reviews and bibliography.

The Palladian style in Rhode Island furniture, eighteenth-century Newport cabinet shops and the furniture-making trades, the influence of Windsor chairmaking in early Federal Rhode Island, Rhode Island influence in the work of two North Carolina cabinetmakers, the accounts of Job Townsend, Jr., Providence provenances and pitch-pediments, serpentine furniture of colonial Newport, plus the usual book reviews, and bibliography of recent writing.

This volume features articles on late Baroque Boston seating furniture, Germanic influence on furniture early nineteenth-century design in Philadelphia, Randolph chairs, the Christian M. Nestell drawing book, the inlaid cherry furniture of Nathan Lombard, the Waldo family joined great chair, "Tinkham" chairs, as well as book reviews and bibliography of new books in the field.

This is the first study of goldsmiths who were apprenticed and/or worked in the City of Oxford. Manuscripts in both Oxford and London reveal an enormous amount of information regarding not only their work, but also their personal lives, relationships and politics.

Chains carved from a single block of wood, cages whittled with wooden balls rattling inside -- all "made with just a pocketknife" -- are among our most enduring folk designs. Who makes them and why? what is their history? what do they mean for their makers, for their viewers, for our society? Simon J. Bronner portrays four wood carvers in southern Indiana, men who had been transplanted from the rural landscapes of their youth to industrial towns. After retiring, they took up a skill they remembered from childhood. Bronner discusses how creativity helped these men adjust to change and how viewers' responses to carving reflect their own backgrounds. By recording the narratives of these men's lives, the stories and anecdotes that laced their conversation, Bronner finds new insight into the functions and symbolism of traditional craft. Including anew illustrated afterword in which the author discusses recent developments in the carver's art, this new edition will appeal to carvers, scholars, and anyone interested in traditional woodworking.

Hubbard was a gifted writer, but during his lifetime he was better known as an artist. He painted in both oil and watercolor, but over the years he also cut and printed approximately 170 woodcuts. It was in this medium that his potential as an artist was most full realized.

Kentucky's contribution to the perennially popular American craft of quiltmaking is a rich and varied one. Mary Clarke examines here the state of the craft in Kentucky and finds it as lively today as it was 150 years ago.Like a fingerprint, every Kentucky quilt differs from all others in some respects, whether it is an original creation or a variation of one of the traditional patterns long popular in the United States. And many Kentucky quilts reveal much about the individual maker -- her disposition, taste, and lifestyle, the familiar objects that bring joy to her daily life, and her response to events beyond the confines of family and home.Taken as a whole, Kentucky quilts and quilt names reflect the history of the Commonwealth, at every turn showing the intermingling of old and new in the grassroots continuity of an ancient craft that responds to fads and fashions by absorbing and refining them.

Greek vases and Peruvian bottles, Chinese bronzes and African masks, Tel Brak idols and Egyptian tomb paintings -- artifacts ancient and modern reveal man's universal fascination with the eye and his awe before its mysterious powers. In this wide-ranging and richly illustrated essay Albert M. Potts considers the special properties the human mind has ascribed to the eye over the millenia and seeks out its peculiar significance as symbol. Amulets against the Evil Eye persist today in nearly every part of the world. Almost as pervasive is the conception of the Good Eye, itself used as a protective amulet. The Eye of Horus, for example, was one of the holiest symbols of the ancient Egyptian religion, and its descendants can still be found in the Mediterranean basin. Using artifacts and texts, the folklore of our own times, and aspects of the unconscious revealed by Jungian psychology, Potts reveals the diverse forms and meanings of this powerful symbol.