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North Carolina Pottery: The Collection of The Mint Museums
North Carolina's eighteenth and nineteenth-century Moravian potters were remarkable artisans whose products included coarse earthenware, slip-trailed decorated ware, Leeds-type fine pottery, press-molded stove tiles, figural bottles, toys, and salt-glazed stoneware. Silesian-born and German-trained potter Gottfried Aust was the first to arrive in Bethabara in 1755. After that, numerous apprentices of his carried on the trade in the state and beyond. Some apprentices rose to the rank of master potter. Aust's most successful protégé, Rudolph Christ, excelled in the creation of Queensware, faience, and tortoiseshell-glazed pottery. Swiss-born Heinrich Schaffner, one of several more Moravian master potters, is famously known for his "Salem smoking pipes." Today, museums and private collectors vigorously compete for scarce examples of North Carolina-made Moravian pottery. Every piece found and preserved is like a new paragraph added to the story of the art and mystery of pottery-making in one of the South's earliest settlements.
This richly illustrated portrait of North Carolina's pottery traditions tells the story of the generations of 'tuners and burners' whose creation are much admired for their strength and beauty. The first comprehensive ceramic history for the state, this book examines the largely vanished world of folk potters and the continuing achievements of their descendants.
The first comprehensive study of the meaning of pottery as a social activity in coastal North Carolina. Pottery types, composed of specific sets of attributes, have long been defined for various periods and areas of the Atlantic coast, but their relationships and meanings have not been explicitly examined. In exploring these relationships for the North Carolina coast, this work examines the manner in which pottery traits cross-cut taxonomic types, tests the proposition that communities of practice existed at several scales, and questions the fundamental notion of ceramic types as ethnic markers. Ethnoarchaeological case studies provide a means of assessing the mechanics of how social structure and gender roles may have affected the transmission of pottery-making techniques and how socio-cultural boundaries are reflected in the distribution of ceramic traditions. Another very valuable source of information about past practices is replication experimentation, which provides a means of understanding the practical techniques that lie behind the observable traits, thereby improving our understanding of how certain techniques may have influenced the transmission of traits from one potter to another. Both methods are employed in this study to interpret the meaning of pottery as an indicator of social activity on the North Carolina coast.
A history of Pottery in North Carolina's Seagrove area where more than one hundred potters craft pottery today.
Traces the history of North Carolina pottery from the nineteenth century to the present day, demonstrating the intriguing historic and aesthetic relationships that link pots produced in North Carolina to pottery traditions in Europe and Asia, in New England, and in the neighboring state of South Carolina.
North Carolina Pottery: The Collection of The Mint Museums
"For over a century, the small town of Seagrove, North Carolina, has been a hotbed of traditional ceramics production. Now, Charlotte Brown, the director of the Gallery of Art and Design at North Carolina State University, presents the fascinating stories of many of Seagrove's best-known potters"--Publisher's description.
Pottery from the Catawba Valley, mountain pottery of Western North Carolina, the Coles, Nell Cole Graves, the Cravens, Jugtown, M.L. Owen, and even rare and unusual pieces are discussed. Signs, stamps, shapes, and symbols used are given coverage, as well as the implications of condition of the pottery. Family tree charts in this book are reprinted from The Traditional Potters of Seagrove, NC, copyright 1994, Robert C. Lock, Inc.
In Wachovia, the various trash pits or middens associated with early Moravian inhabitants, as well as the potters' waster dumps, both in Bethabara and Salem, have provided us with significant insights into an incredibly complex eighteenth-and early nineteenth-century earthenware production. Although local antiquarians and collectors have been aware for many years that pottery constituted one of the largest early industries carried on by the Moravians in North Carolina, it was for the most part only the well-kept archival records that testified to this fact. Fine examples of slip-decorated pottery, as wekk as some utilitarian forms, existed in local collections and in the Wachovia Museum in Old Salem, but it was not until the excavations at Bethabara were begun that anyone became aware of the real significance of the tradition in which local potters were working. -- pg. 4.