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It was also during the 1920s that Hull began expanding the variety of his company's product line to art pottery. Additionally, the company began using a broader variety of colors and glazing techniques with its products. The various Hull relatives often represented the companies of other relatives in addition to their own. A.E. Hull died in 1930.
A path through the garden leads to the front of the scene and is crossed by a fence of diapered panels set zig-zag fashion across the foreground. On its left side the garden forms an irregular and indented bank into the water, from the foreground of which a large branching willow tree with four clusters of three leafy fronds leans out.
Sy Alan Designs: Canoga Park: unknown: Lamps [40] Sylvan Ceramics: Pasadena: 1943-art ware [12] Sylvia Hood Designs: Pasadena: 1960–1965: Figurines [14] Taylor Tilery: Santa Monica: 1930–1941: Tile [21] Tony Hill-Wilmer James: Los Angeles: late 40s-early 50s: Art ware [11] Treasure Craft – Pottery Craft: Gardena and South Gate, then ...
These are used to apply designs to articles. The litho comprises three layers: the colour, or image, layer which comprises the decorative design; the cover coat, a clear protective layer, which may incorporate a low-melting glass; and the backing paper on which the design is printed by screen printing or lithography.
In the 1960s, the Spanish Garden design, which was very successful on dinner ware and tea sets, adorned articles such as a bread bin and chopping board. The costs involved in developing two unsuccessful new ranges weakened the company, and there was a takeover by J. & G. Meakin in 1968. In 1970 Meakin was itself bought out by Wedgwood. Pottery ...
The name changed to Stangl Pottery in 1955. The company ceased production and closed in 1978, but the dinnerware is still prized by collectors. Pieces can be identified by the Stangl name on the bottom. The original Flemington, New Jersey, location and showroom was bought in May 2011 to make space for a restaurant, a studio, and an art gallery.
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Instead of art-for-art's sake, her garden designs embodied meaningfulness and functionality. [ 17 ] Johanson's move from making objects to working with the natural world—first in drawings and later in actual commissions—has parallels as well as differences with the emergence of Earthworks by artists in her circle of friends, such as Robert ...
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