MAGIC LANTERN SERIES ~ HOW TO IDENTIFY PORCELIAN AND CERAMIC WARE FROM EUROPE ~ JUNIOR LECTURE SERIES
FOR EDUCATIONAL PURPOSES
From Magic Lantern Slides used for the Junior Lecture Series
The magic lantern, also known by its Latin name laterna magica, is an early type of image projector that used pictures—paintings, prints, or photographs—on transparent plates (usually made of glass), one or more lenses, and a light source. Because a single lens inverts an image projected through it (as in the phenomenon which inverts the image of a camera obscura), slides were inserted upside down in the magic lantern, rendering the projected image correctly oriented.
(1) Pottery Map ~ Junior Lecture Series, Great Britain
(2) Pottery Map ~ Junior Lecture Series, Europe
(3) British Porcelian Marks
(4) European Porcelain Marks
A factory mark is a symbolic marking affixed by manufacturers on their productions in order to authenticate them. Numerous factory marks are known throughout the ages, and are essential in determining the provenance or dating of productions.
The terms "trademark", "brand", "certification mark" are very recent. The guild regulations were using "guild sign", "master sign", "quality mark", "sign", "mark", "signature". Modern researchers, when discussing historical marks, typically use "hallmark" and "trade mark" for guild marks, "monogram" for individual or company marks.
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| ETRUSCAN ART |
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| Token money Factory Worcester factory British ca. 1780 |
BELLEEK POTTERY LTD is a porcelain company that began trading in 1884 as the Belleek Pottery Works Company Ltd in Belleek, County Fermanagh, in what was to become Northern Ireland. The factory is produces Parian ware that is characterised by its thinness, slightly iridescent surface and body formulated with a significant proportion of frit. https://www.hmdb.org/m.asp?m=72553
Lowestoft collectors divide the factory's products into three distinct periods: Early Lowestoft c. 1756 – c. 1761, Middle-Period c. 1761 – c. 1768 and Late-Period c. 1768 to factory closure in 1802.
Designs imitated imported Chinese and Japanese porcelains and the wares being produced at Chelsea, at the other end of London. From about 1753, Meissen figures were copied, both directly and indirectly through Chelsea. Quality was notoriously uneven; the warm, creamy body of Bow porcelains is glassy and the glaze tends towards ivory. The paste included bone ash, and Bow figures were made by pressing the paste into moulds, rather than the slipcasting used at Chelsea. Bow appears to have been the largest English factory of its period. After about 1760, quality declined, as more English factories opened, and the dependence on Chelsea models increased, perhaps aided by an influx of Chelsea workers after 1763, as production there decreased.
Both Bow and Chelsea catered for the luxury end of the market. One of the earliest records is in the Pelham Papers, the private accounts of the Duchess of Newcastle, showing the Duchess 'Pd. For China made at Bowe £3.0.0.' Bow also produced a good deal of cheaper sprigged tableware in white, with the relief decoration applied in strips after the main body is formed. There are blue and white porcelain tablewares with floral underglaze decoration imitating Chinese wares. Japanese export porcelain in the Kakiemon style was popular at Bow, as at Chelsea and continental factories, especially a design featuring partridges for tableware. The style of large bold "botanical" designs for flat pieces, derived from botanical book illustrations, were borrowed from Chelsea, and for smaller European flowers Bow had a distinctive style with similarities to French Mennecy-Villeroy porcelain that is "remarkably soft and delicate", though only seen on more expensive pieces.
The first known wares are the "goat and bee" cream jugs with seated goats at the base, some examples of which are incised with "Chelsea", "1745" and a triangle. The entrepreneurial director, at least from 1750, was Nicholas Sprimont, a Huguenot silversmith in Soho, but few private documents survive to aid a picture of the factory's history. Early tablewares, being produced in profusion by 1750, depend on Meissen porcelain models and on silverware prototypes, such as salt cellars in the form of realistic shells.
The ROYAL CROWN DERBY Porcelain Company is the oldest or second oldest remaining English porcelain manufacturer, based in Derby, England (disputed by Royal Worcester, who claim 1751 as their year of establishment). The company, particularly known for its high-quality bone china, having produced tableware and ornamental items since approximately 1750. It was known as 'Derby Porcelain' until 1773, when it became 'Crown Derby', the 'Royal' being added in 1890.
Derby Porcelain covers the earliest history of this and other porcelain producers in 18th-century Derby.
William Duesbury I and II
Three figures dated 1758 - now in Detroit Institute of Arts
In 1745 André Planché, a Huguenot immigrant from Saxony, settled in Derby, where between 1747 and 1755 he made soft-paste porcelain vases and figurines. At the beginning of 1756 he formed a business partnership with William Duesbury (1725–1786), a porcelain painter formerly at Chelsea porcelain factory and Longton Hall, and the banker John Heath.[2] This was the foundation of the Derby company, although production at the works at Cockpit Hill, just outside the town, had begun before then, as evidenced by a creamware jug dated 1750, also in the possession of the Victoria and Albert Museum. Planché disappeared from the scene almost at once, and the business was developed by Duesbury and Heath, and later Duesbury alone. A talented entrepreneur, Duesbury developed a new body which contained glass frit, soapstone and calcined bone. This enabled the factory to begin producing high-quality tableware. He quickly established Derby as a leading manufacturer of dinner services and figurines by employing the best talents available for modelling and painting. Figure painting was done by Richard Askew, particularly skilled at painting cupids, and James Banford. Zachariah Boreman and John Brewer painted landscapes, still lifes, and pastorals. Intricate floral patterns were designed and painted by William Billingsley.
BRistol porcelain covers porcelain made in Bristol, England by several companies in the 18th and 19th centuries. The plain term "Bristol porcelain" is most likely to refer to the factory moved from Plymouth in 1770, the second Bristol factory. The product of the earliest factory is usually called Lund's Bristol ware and was made from about 1750 until 1752, when the operation was merged with Worcester porcelain; this was soft-paste porcelain.
In 1770 the Plymouth porcelain factory, which made England's first hard-paste porcelain, moved to Bristol, where it operated until 1782. This called itself the Bristol China
Meissen porcelain or Meissen china was the first European hard-paste porcelain. Early experiments were done in 1708 by Ehrenfried Walther von Tschirnhaus. After his death that October, Johann Friedrich Böttger continued von Tschirnhaus's work and brought this type of porcelain to the market, financed by Augustus the Strong, King of Poland and Elector of Saxony. The production of porcelain in the royal factory at Meissen, near Dresden, started in 1710 and attracted artists and artisans to establish, arguably, the most famous porcelain manufacturer known throughout the world. Its signature logo, the crossed swords, was introduced in 1720 to protect its production; the mark of the swords is reportedly one of the oldest trademarks in existence.
Dresden porcelain (or "china") was once the usual term for these wares, until in 1975 the Oberlandesgericht (Higher Munich State Court) decided in favour of the Saxon Porcelain Manufactory Dresden, which alone was then allowed to use the name Dresden Porcelain (it ceased producing in 2020).
Meissen remained the dominant European porcelain factory, and the leader of stylistic innovation, until somewhat overtaken by the new styles introduced by the French Sèvres factory in the 1760s, but has remained a leading factory to the present day. Among the developments pioneered by Meissen are the porcelain figurines, and the introduction of European decorative styles to replace the imitation of Asian decoration of its earliest wares.
ROYAL WORCESTER is a porcelain brand based in Worcester, England. It was established in 1751 and is believed to be the oldest or second oldest remaining English porcelain brand still in existence today, although this is disputed by Royal Crown Derby, which claims 1750 as its year of establishment. Part of the Portmeirion Group since 2009, Royal Worcester remains in the luxury tableware and giftware market, although production in Worcester itself has ended.
The Worcester Royal Porcelain Co. Ltd. (known as Royal Worcester) was formed in 1862, and although the company had a royal warrant of appointment from 1788, wares produced before that time, as well as those produced at two other factories in Worcester, are known as Worcester porcelain. The enterprise has followed the pattern of other leading English porcelain brands, with increasing success during the 18th and 19th centuries, then a gradual decline during the 20th century, especially the latter half.
Prior to 1751, John Wall, a physician, and William Davis, an apothecary, attempted to develop a method of making porcelain that could then be used to boost prosperity and employment in Worcester. The success of their early experimentation is unknown (the chemical composition of the sherds from the early 1750s confirms that Wall and Davis did manufacture a novel type of porcelain distinct from the later soapstone one), but they clearly came into contact around 1750–1751 with the Bristol porcelain manufactory of Lund and Miller, who were using steatite as a raw material. This appears to be a then-unique method for producing porcelain.
In 1751, Wall and Davis persuaded a group of 13 businessmen to invest in a new factory at Warmstry House, Worcester, England, on the banks of the River Severn (the site was leased on 16 May, and the partnership agreement was signed on 4 June), but whether the business plan put forward to the prospective partners was based on the future buy out of Lund's Bristol porcelain factory is uncertain. Wall and Davis secured the sum of £4500 from the partners to establish the factory, known then as "The Worcester Tonquin Manufactory"; the original partnership deeds are still housed in the Museum of Worcester Porcelain.
Richard Holdship, a Quaker and major shareholder, was prominent in the process of the subsequent ‘buy out’ of the Bristol manufactory in early 1752. Holdship personally bought from Benjamin Lund, a fellow Quaker, the soaprock licence that ensured the mining of 20 tons p.a. of soaprock from Cornwall.
The early wares were soft-paste porcelain with bodies that contained soaprock, commonly called in most ceramic circles as soapstone. The chemical analyses of these wares closely correlates to those of the Bristol manufactory. This places Worcester in a group of early English potteries including Caughley and factories in Liverpool.
LEEDS POTTERY, also known as Hartley Greens & Co., is a pottery manufacturer founded around 1756 in Hunslet, just south of Leeds, England. It is best known for its creamware, which is often called Leedsware;[1] it was the "most important rival" in this highly popular ware of Wedgwood, who had invented the improved version used from the 1760s on.[2] Many pieces include openwork, made either by piercing solid parts, or "basketwork", weaving thin strips of clay together. Several other types of ware were produced, mostly earthenware but with some stoneware.
STOKE-ON-TRENT, STAFFORDSHIRE, ENGLAND
MINTON
SPODE, COPELAND
WEDGEWOOD
SPODE is an English brand of pottery and homewares produced in Stoke-on-Trent, England. Spode was founded by Josiah Spode (1733–1797) in 1770, and was responsible for perfecting two important techniques that were crucial to the worldwide success of the English pottery industry in the 19th century: transfer printing on earthenware and bone china.
Spode perfected the technique for transfer printing in underglaze blue on fine earthenware in 1783–1784 – a development that led to the launch in 1816 of Spode's Blue Italian range, which has remained in production ever since. The company is credited with developing, around 1790, the formula for bone china. Josiah Spode's son, Josiah Spode II, successfully marketed bone china.
In 2008, the COPELAND SPODE company went through some financial troubles. It was taken over in 2009 by Portmeirion Group, a pottery and homewares company based in Stoke-on-Trent. Many items in Spode's Blue Italian and Woodland ranges are made at Portmeirion Group's factory in Stoke-on-Trent.
MINTON
Mintons was a major company in Staffordshire pottery, "Europe's leading ceramic factory during the Victorian era", an independent business from 1793 to 1968. It was a leader in ceramic design, working in a number of different ceramic bodies, decorative techniques, and "a glorious pot-pourri of styles - Rococo shapes with Oriental motifs, Classical shapes with Medieval designs and Art Nouveau borders were among the many wonderful concoctions". As well as pottery vessels and sculptures, the firm was a leading manufacturer of tiles and other architectural ceramics, producing work for both the Houses of Parliament and United States Capitol.
The family continued to control the business until the mid-20th century. Mintons had the usual Staffordshire variety of company and trading names over the years, and the products of all periods are generally referred to as either "Minton", as in "Minton china", or "Mintons", the mark used on many. Mintons Ltd was the company name from 1879 onwards.
1793 to 1850
The firm began in 1793 when Thomas Minton (1765–1836) founded his pottery factory in Stoke-upon-Trent, Staffordshire, England as "Thomas Minton and Sons", producing earthenware. He formed a partnership, Minton & Poulson, c.1796, with Joseph Poulson who made bone china from c.1798 in his new near-by china pottery. When Poulson died in 1808, Minton carried on alone, using Poulson's pottery for china until 1816. He built a new china pottery in 1824. No very early earthenware is marked, and perhaps a good deal of it was made for other potters. On the other hand, some very early factory records survive in the Minton Archive, which is much more complete than those of most Staffordshire firms, and the early porcelain is marked with pattern numbers, which can be tied to the surviving pattern-books.
Early Mintons products were mostly standard domestic tableware in blue transfer-printed or painted earthenware, including the ever-popular Willow pattern. Minton had trained as an engraver for transfer printing with Thomas Turner. From c. 1798 production included bone china from his partner Joseph Poulson's near-by china pottery. China production ceased c. 1816 following Joseph Poulson's death in 1808, recommencing in a new pottery in 1824.
WEDGEWOOD
WEDGEWOOD is an English fine china, porcelain and luxury accessories manufacturer that was founded on 1 May 1759 by the potter and entrepreneur Josiah Wedgwood and was first incorporated in 1895 as Josiah Wedgwood and Sons Ltd. It was rapidly successful and was soon one of the largest manufacturers of Staffordshire pottery, "a firm that has done more to spread the knowledge and enhance the reputation of British ceramic art than any other manufacturer", exporting across Europe as far as Russia, and to the Americas. It was especially successful at producing fine earthenware and stoneware that were accepted as equivalent in quality to porcelain (which Wedgwood only made later) but were considerably cheaper.
The Sächsische Porzellan-Manufaktur DRESDEN GmbH (Saxon Porcelain Manufactory in Dresden Ltd), generally known in English as Dresden Porcelain (though that may also mean the much older and better-known Meissen porcelain), was a German company for the production of decorative and luxury porcelain. Founded in 1872, it was located in Potschappel, a suburb of the town of Freital in the Sächsische Schweiz-Osterzgebirge district about 8 km (5 mi) southwest of Dresden, the capital of Saxony.
Wedgwood is especially associated with the "dry-bodied" (unglazed) stoneware Jasperware in contrasting colours, and in particular that in "Wedgwood blue" and white, always much the most popular colours, though there are several others. Jasperware has been made continuously by the firm since 1775, and also much imitated. In the 18th century, however, it was table china in the refined earthenware creamware that represented most of the sales and profits.
In the later 19th century, it returned to being a leader in design and technical innovation, as well as continuing to make many of the older styles. Despite increasing local competition in its export markets, the business continued to flourish in the 19th and early 20th centuries, remaining in the hands of the Wedgwood family, but after World War II it began to contract, along with the rest of the English pottery industry.
The company has had a chequered history of ownership including its period as a nationalised VEB (People's Owned Enterprise) in former East Germany. Russian businessman Armenak S. Agababyan owned 50% from 2005 to 2008 when he became sole owner, and the company had been exporting 80% of its products. The main markets were the Russian, Asian and Arab regions. In January 2020, Agababyan announced that production would cease indefinitely, with two employees being retained to continue sales of stock from the showroom in the Carl-Thieme-Straße and the shop in Dresden until the end of 2020 when the company might be finally dissolved.
The Manufacture nationale de Sèvres is one of the principal European porcelain factories. It is located in Sèvres, Hauts-de-Seine, France. It is the continuation of Vincennes porcelain, founded in 1740, which moved to Sèvres in 1756. It has been owned by the French crown or government since 1759.
Its production is still largely based on the creation of contemporary objects today. It became part of the Cité de la céramique in 2010 with the Musée national de céramique, and since 2012 with the Musée national Adrien Dubouché in Limoges.
In 1740, the Manufacture de Vincennes was founded, thanks to the support of Louis XV's polish born wife, Queen Marie Leszczyńska who was noted as an avid porcelain collector in her early years as Queen. According to the memoirs of the Duke de Luynes it was Queen Marie who originally promoted porcelain in Versailles by having regular commissions such as the first colored porcelain flowers presented to her by the company in her royal apartments in April 1748 in order to compete with the Chantilly porcelain and Meissen Porcelain in Germany. Louis XV's mistress Madame de Pompadour then followed and became a patron in 1751. By 1756, the manufactury was moved to a building in Sèvres, built at the initiative of Madame de Pompadour, near her château de Bellevue.
One hundred thirty metres long and four storeys high, the building was erected between 1753 and 1756 by the architect Laurent Lindet on the site of a farm called "de la Guyarde." There was a central pavilion surmounted by a pediment with a clock from the old royal glass-makers on the fourth level, with two long wings terminating in corner pavilions at each end. In front of the pavilion was a "public" courtyard, enclosed by a wrought-iron fence. This front area was decorated twice a month in order to hold parties for visitors.
The ground floor of the building contained clay reserves, books and storerooms of raw materials. The first floor contained the workshops of the moulders, plasterers, sculptors, engravers and the ovens. On the second floor were the sculptors, turners, repairers and packers. Finally, the painters, gilders and makers of animals and figures worked in the loft.
Jean-Claude Chambellan Duplessis served as artistic director of the Vincennes porcelain manufactory and its successor at Sèvres from 1748 to his death in 1774. The manufactory was bought by the King in 1759, although Madame de Pompadour was allowed effective free rein to oversee it. A period of superb quality in both design and production followed, creating much of the enduring reputation of French porcelain. The light-hearted Rococo was given a more serious air, often by restricting it to the painting, rather than the porcelain shape.[1]
LEEDS
Burmantofts Pottery The Leeds Fireclay Co. Ltd. was the common trading name of a manufacturer of ceramic pipes and construction materials, named after the Burmantofts district of Leeds, England.The business began in 1859 when fire clay was discovered in a coal mine owned by William Wilcock and John Lassey. In 1863 Lassey's share was bought by John Holroyd and the company then named Wilcock & Co.
In 1879, after a period of expansion, the firm made decorative bricks and tiles in orange or buff-coloured architectural terracotta, glazed bricks, and glazed terracotta. Architect Alfred Waterhouse used their materials in his Yorkshire College (1883) in Leeds, and his National Liberal Club (1884) in London.] From 1880 they also made art pottery such as vases and decorative domestic items. In 1888 the company was renamed The Burmantofts Company but in 1889 it merged with other Yorkshire companies to found The Leeds Fireclay Co. Ltd., the largest in the country. The firm closed in 1957, at which time it comprised ninety kilns on 16 acres (65,000 m2) of land. This was produced between 1880 and 1904 at the instigation of James Holroyd, the works manager, as an addition to industrial glazed ceramic products. Companies such as Mintons, Royal Doulton and William De Morgan had established a market for middle-class home decorative objects. The company was fortunate in having both coal and four sorts of high-purity clay on the same site. The plasticity gave good reproduction of shape and the low iron content meant there was not discoloration by oxidation when fired at high temperature, giving glazes of high clarity and brilliance.[1]
Early examples were individual works of art, notably in barbotine style where a plain base had a design worked in relief with slip and painted, but the company soon developed production lines for decoration of individual shapes, either in a single glaze or painted with flowers and so on (signed by the decorator), for sale at a lower price to a larger market, but still of high quality. Over 2000 different shapes are recorded, including pots, vases, bottles and table items. The base usually had 'Burmantofts Faience' or later 'BF' on the base, along with the shape number. Influences included Art Nouveau, Persian, Chinese and Japanese. French artist Pierre Mallet (who also designed for Minton's) contributed a number of designs. Decorative tiles were also produced. In 1885 products were on sale in London (at Harrods and Liberty's), Paris and Montreal. However, by 1904 the products were no longer profitable because of a large number of competing products from Britain and nearby Europe of lower price, and production ceased. James Holroyd realised that a more decorative version of the company's salt-glazed bricks could be useful as an architectural facing material which could be washed from the grime of industrial cities and be more permanent than paint. This combination of artistic and business sense led to considerable success and material which is still in good condition more than a century later.[1] He created a team of experts for the practical side and employed sculptor Edward Caldwell Spruce and architect Maurice Bingham Adams in designs.[1] Simple coloured tiles or bricks were complemented by relief patterns, and a variety of glazes. However, the fashion for highly modelled surfaces passed and from 1904 the company concentrated on plain tiles used as facing, notably an artificial marble called Marmo, as used on Atlas House, King Street, Leeds and Michelin House, London,[2][1] and Lefco which had a granite appearance and was also used for garden ornaments.[4] These were in production until the company closed in 1957.
Compare to William deMorgan Anglo Persian art.
William Frend De Morgan (16 November 1839 – 15 January 1917) was an English potter, tile designer and novelist.[1] A lifelong friend of William Morris, he designed tiles, stained glass and furniture for Morris & Co. from 1863 to 1872. His tiles often recall medieval or Islamic design patterns. He applied innovative glazes and firing techniques. Galleons and fish were common motifs, as were "fantastical" birds and animals. Many of De Morgan's tiles were designed to create intricate patterns when several were laid together. Born in Gower Street, London,[2] the son of the distinguished mathematician Augustus De Morgan and his highly educated wife Sophia Elizabeth Frend, De Morgan was supported in his desire to become an artist. At the age of twenty, he entered the Royal Academy schools, but he was swiftly disillusioned with the establishment. Then he met Morris and through him the Pre-Raphaelite circle. Soon De Morgan began experimenting with stained glass, ventured into pottery in 1863, and by 1872 had shifted his interest wholly to ceramics, initially working in Fitzroy Square. In 1872, De Morgan set up a pottery in Chelsea, where he stayed until 1881[4]—his most fruitful decade as an art potter. The arts and crafts ideology he was exposed to through his friendship with Morris and his insistent curiosity led De Morgan to begin to explore every technical aspect of his craft. His early efforts at making his own tiles during his Chelsea Period were of variable technical quality—often amateurish with firing defects and irregularities.[citation needed] In his early years, De Morgan made extensive use of blank commercial tiles. Hard and durable biscuit tiles of red clay were obtained from the Patent Architectural Pottery Co. in Poole. Dust pressed tiles of white earthenware were bought from Wedgwood, Mintons and other manufacturers but De Morgan believed these would not stand frost. He continued to use blank commercial dust-pressed tiles which were decorated in red lustre into his Fulham Period (1888–1907).[citation needed] However, he developed a high-quality biscuit tile of his own, which he admired for its irregularities and better resistance to moisture. His inventive streak led him to spend hours designing a duplex bicycle gear and lured him into complex studies of the chemistry of glazes, methods of firing, and pattern transfer.
De Morgan's decoration of pottery included chargers, rice dishes and vases. Some of these were made in his works, but many were bought as biscuit ware from Wedgwood and others and decorated by De Morgan's workers. Some were signed by his decorators including Charles Passenger, Fred Passenger, Joe Juster and Miss Babb. De Morgan was particularly drawn to Eastern tiles. Around 1873–1874, he made a striking breakthrough by rediscovering the technique of lustreware (marked by a reflective, metallic surface) found in Hispano-Moresque pottery and Italian maiolica. Nor was his interest in the East limited to glazing techniques, but it permeated his notions of design and colour as well. As early as 1875, he began to work in earnest with a "Persian" palette: dark blue, turquoise, manganese purple, green, Indian red, and lemon yellow. Study of the motifs of what he referred to as "Persian" ware (and what we know today as 15th and 16th-century İznik ware), profoundly influenced his unmistakable style, in which fantastic creatures entwined with rhythmic geometric motifs float under luminous glazes. The pottery works was beset by financial problems, despite repeated cash injections from his wife, the pre-Raphaelite painter Evelyn De Morgan (née Pickering), and a partnership with the architect Halsey Ricardo. This partnership was associated with a move for the factory from Merton Abbey to Fulham in 1888. During the Fulham period De Morgan mastered many of the technical aspects of his work that had previously been elusive, including complex lustres and deep, intense underglaze painting that did not run during firing. However, this did not guarantee financial success, and in 1907 De Morgan left the pottery, which continued under the Passenger brothers, the leading painters at the works. "All my life I have been trying to make beautiful things", he said at the time, "and now that I can make them nobody wants them." De Morgan turned his hand to writing novels, and became better known than he ever had been for his pottery. His first novel, Joseph Vance, was published in 1906,[6] and was an instant sensation in the United States as well as the United Kingdom.[7] This was followed by An Affair of Dishonour, Alice-for-Short, and the two-volume It Never Can Happen Again (1909).[8] The genre has been described as "Victorian and suburban". De Morgan died of trench fever in London in 1917, and was buried in Brookwood Cemetery. Recollections praise him for his personal warmth and the indomitable energy with which he pursued his kaleidoscopic career as designer, potter, inventor and novelist.
Clarence House
Bone china
References
- Battie, David, ed., Sotheby's Concise Encyclopedia of Porcelain, 1990, Conran Octopus. ISBN 1850292515
- Crane, Anne, "Lowestoft Porcelain", Antiques Trade Gazette, accessed October 2018
- Godden, Geoffrey, English China, 1985, Barrie & Jenkins, ISBN 0091583004
- Honey, W.B., Old English Porcelain, 1977 (3rd edn.), Faber and Faber, ISBN 0571049028
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