This thesis is the first to examine the lives and careers of professional women who were working within the thriving Arts and Crafts Movement in Birmingham in the late nineteenth and early twentieth centuries. It utilises previously unresearched primary and secondary sources in art galleries, the Birmingham School of Art and local studies collections to present a series of case studies of professional women working in the fields of jewellery and metalware, stained glass, painting, book illustration, textiles and illumination. This thesis demonstrates that women made an important, although currently unacknowledged, professional contribution to the Arts and Crafts Movement in the region. It argues that the Executed Design training that the women received at the Birmingham Municipal School of Art (BMSA) was crucial to their success in obtaining highly-skilled paid employment or setting up and running their own business enterprises. The thesis makes an important new contribution to the historiography of The Arts and Crafts Movement; women's work in Britain in the late nineteenth and early twentieth centuries; the history of education and the industrial and artistic history of Birmingham.

Includes nineteenth-century axioms and rules of color, and illustrated stenciling procedure. / Digitized by Kansas Correctional Industries

Founded in 1851, the Stourbridge School of Art offered instruction in drawing, art and design to students engaged in industries, especially glass. Using social history methodology and primary sources such as Government reports, local newspapers and school records, this thesis explores the school’s development from 1850 to 1905 and explicates its relationships with the local glass industry. Within the context of political, economic, social and cultural forces, the school contributed to the town’s civic culture and was supported by gentry, clergy and industrialists. The governing Council held public meetings and art exhibitions and dealt with management issues. Working class men attended evening classes. Women from wealthy families attended morning classes. This thesis argues that a fundamental disconnect existed between the school’s purpose (art instruction to train designers) and its instruction (basic drawing and fine art). The school enrolled men employed in glass decorating but few from glass manufacturing. Classes reflected the South Kensington curriculum, and the art masters were unaware of the design needs of industry. Glass manufacturing firms provided modest financial support but did not encourage employees to attend, creating frustration for the Council. In contrast, similar schools in Brierley Hill and Wordsley were well-supported by the glass industry.

No description available.

Thesis (M.F.A.)--Rochester Institute of Technology, 1965. / Includes bibliographical references (leaves 22-23).

Thesis (Ph. D.)--Columbia University. / Academic record. From the American anthropologist (n.s.), vol. 3, April-June, 1901. Cover title.

Thesis (Ph. D.)--University of Washington, 2002. / Vita. Includes bibliographical references (p. 200-209).

No description available.

No description available.

This thesis investigates the manufacture and use of ceramics over four centuries in Lincolnshire, and considers the evidence for date and function of the pottery itself and for the social standing and economy of the potters, late survivors of the medieval peasant craftsman tradition. Documentary and physical evidence are both searched to produce the most comprehensive possible list of sites and potters names, and to highlight the areas of doubt where neither type of source can give sufficient proof. The methods of pottery production are also examined and two specific types of vessels are discussed in detail as examples of the search for -=origins. From this point the search widens to consider the importation principally by sea of pottery from other parts of the country and from Europe, and the prices of such wares are compared with prices of local products. This leads to certain conclusions about the economic pressures on local potters and their adjustments to deal with new problems and changing expectations. Contemporary sources, depositional evidence and context are next used to study the names and function of pottery, and finally the principles of dating are discussed, and a series of pottery groups are analysed to test the reliability and transferability of dating. Throughout pottery making is compared with comparable trades and Lincolnshire's position with that of the wider ceramic world.