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Hoping to honor his father and the family business with innovative glass designs, Louis Comfort Tiffany launches the iconic Tiffany lamp as designed by women's division head Clara Driscoll, who struggles with the mass production of her creations and grieves the losses of two husbands. By the author of The Girl in Hyacinth Blue.
Picture, if you can, a world without glass. There would be no microscopes or telescopes, no sciences of microbiology or astronomy. People with poor vision would grope in the shadows, and planes, cars, and even electricity probably wouldn't exist. Artists would draw without the benefit of three-dimensional perspective, and ships would still be steered by what stars navigators could see through the naked eye. In Glass: A World History, Alan Macfarlane and Gerry Martin tell the fascinating story of how glass has revolutionized the way we see ourselves and the world around us. Starting ten thousand years ago with its invention in the Near East, Macfarlane and Martin trace the history of glass and its uses from the ancient civilizations of India, China, and Rome through western Europe during the Renaissance, Enlightenment, and Industrial Revolution, and finally up to the present day. The authors argue that glass played a key role not just in transforming humanity's relationship with the natural world, but also in the divergent courses of Eastern and Western civilizations. While all the societies that used glass first focused on its beauty in jewelry and other ornaments, and some later made it into bottles and other containers, only western Europeans further developed the use of glass for precise optics, mirrors, and windows. These technological innovations in glass, in turn, provided the foundations for European domination of the world in the several centuries following the Scientific Revolution. Clear, compelling, and quite provocative, Glass is an amazing biography of an equally amazing subject, a subject that has been central to every aspect of human history, from art and science to technology and medicine.
This book offers the reader a comprehensive and visually fascinating excursion into the history of Venetian glass from 1900 until today : the most significant period of Muranese glass.
Glass production is thought to date to ~2500 BC and had found numerous uses by the height of the Roman Empire. Yet the modern view of glass-based chemical apparatus (beakers, flasks, stills, etc.) was quite limited due to a lack of glass durability under rapid temperature changes and chemical attack. This “brief” gives an overview of the history and chemistry of glass technology from its origins in antiquity to its dramatic expansion in the 13th century, concluding with its impact on society in general, particularly its effect on chemical practices.
The glassware made by Bryce, Higbee & Company of Pittsburgh is known for its beauty and quality, yet is misunderstood by even the most knowledgeable collectors. Using original sources, this definitive resource shatters many myths and corrects misconceptions that have persisted for over half a century. The history of the company and the marketing of glassware in the late nineteenth and early twentieth centuries is discussed as well as the difference between the products of Bryce, Higbee & Company and J.B. Higbee Glass Company. Also featured is information on the intended use of the multitude of items made during the Early American Pattern Glass (EAPG) era and lists of items in tableware patterns and novelties made by Bryce, Higbee & Company. Liberally illustrated with more than 500 original catalog images and photos of glassware, this is sure to be a valuable resource for all lovers of glass.
9781462909650
Self-taught photographer Hugh Mangum was born in 1877 in Durham, North Carolina, as its burgeoning tobacco economy put the frontier-like boomtown on the map. As an itinerant portraitist working primarily in North Carolina and Virginia during the rise of Jim Crow, Mangum welcomed into his temporary studios a clientele that was both racially and economically diverse. After his death in 1922, his glass plate negatives remained stored in his darkroom, a tobacco barn, for fifty years. Slated for demolition in the 1970s, the barn was saved at the last moment--and with it, this surprising and unparalleled document of life at the turn of the twentieth century, a turbulent time in the history of the American South. Hugh Mangum's multiple-image, glass plate negatives reveal the open-door policy of his studio to show us lives marked both by notable affluence and hard work, all imbued with a strong sense of individuality, self-creation, and often joy. Seen and experienced in the present, the portraits hint at unexpected relationships and histories and also confirm how historical photographs have the power to subvert familiar narratives. Mangum's photographs are not only images; they are objects that have survived a history of their own and exist within the larger political and cultural history of the American South, demonstrating the unpredictable alchemy that often characterizes the best art--its ability over time to evolve with and absorb life and meaning beyond the intentions or expectations of the artist.