Before I settle in to watch tonight's "Colbert Report," I wanted to share Stephen's commentary, "Skeletons in the closet," from last night's episode.
Colbert defended the Catholic Church's threat to cut charitable work in Washington D.C. if a same-sex marriage amendment passes. "They have no choice," he said. "After all, Jesus said, 'If you wish to be perfect, go and sell all your possessions and give the money to the poor. Unless a couple of dudes go and register at Pottery Barn, in which case, f*&^ the poor.'"
Just as some are arguing for civil unions instead of marriage, Colbert proposes that churches start refusing funerals for gays and lesbians, leaving them to have "civil end-of-life ceremonies."
"We shouldn't have to watch these people flaunt their alternative death-styles," he said.
15th Century Meets Pottery Barn in Creature
By James Hannaham
Tuesday, November 10th 2009 at 3:31pm
Don't worry that the set of Heidi Schreck's Creature invokes both the 15th century and a Pottery Barn franchise; it's an appropriate choice. This virtual mashup, directed by Leigh Silverman, retells the story of controversial Middle English visionary Margery Kempe (Sofia Jean Gomez) in the vocabulary of a Park Slope thirtysomething trying to balance work, faith, sex, and motherhood. The contemporary speech patterns make Kempe, driven by a vision of Christ to seek canonization despite her bourgeois background, sound as whinily impatient as Reese Witherspoon in Election. "I'm going to become a saint!" she tells Father Thomas (Jeremy Shamos). But holiness isn't American Idol, he implies—"Catherine of Siena drank the pus of lepers. Would you do that?"
Schreck's juxtaposition of the modern middle class and the Middle Ages could be funnier, but in a shaky effort to acknowledge the real Kempe's humanity, the production lurches between lampooning her shallow side and sentimentally lauding her spirituality. The Winslet-like Gomez gets no blame; she whizzes through the character's inconsistencies like an Olympic luge champ. And loose-limbed Marylouise Burke's ninth-inning appearance as fellow visionary Julian of Norwich (renamed "Juliana" here to emphasize her female-ness) provides a burst of humor and balance that proves almost revelatory.
Tuesday, November 10th 2009 at 3:31pm
Don't worry that the set of Heidi Schreck's Creature invokes both the 15th century and a Pottery Barn franchise; it's an appropriate choice. This virtual mashup, directed by Leigh Silverman, retells the story of controversial Middle English visionary Margery Kempe (Sofia Jean Gomez) in the vocabulary of a Park Slope thirtysomething trying to balance work, faith, sex, and motherhood. The contemporary speech patterns make Kempe, driven by a vision of Christ to seek canonization despite her bourgeois background, sound as whinily impatient as Reese Witherspoon in Election. "I'm going to become a saint!" she tells Father Thomas (Jeremy Shamos). But holiness isn't American Idol, he implies—"Catherine of Siena drank the pus of lepers. Would you do that?"
Schreck's juxtaposition of the modern middle class and the Middle Ages could be funnier, but in a shaky effort to acknowledge the real Kempe's humanity, the production lurches between lampooning her shallow side and sentimentally lauding her spirituality. The Winslet-like Gomez gets no blame; she whizzes through the character's inconsistencies like an Olympic luge champ. And loose-limbed Marylouise Burke's ninth-inning appearance as fellow visionary Julian of Norwich (renamed "Juliana" here to emphasize her female-ness) provides a burst of humor and balance that proves almost revelatory.
Ceramic Tile
Benefits of Our Ceramic Tile
* Look – a vast array of choices in textures and colors to expand design potential
* Durability - these are ceramic tiles made for long-term performance
* Versatility – choosing our tiles for floors, walls, other horizontal surfaces opens all kinds of design possibilities.
* Easy Maintenance - keeping our ceramic tile clean easily simply saves you time.
* Safety – our ceramic tile provides a fire-proof surface for an additional level of security for your property
Our ceramic tiles serve as a defining feature of your hallways and foyers. These ceramic tiles are coming into their own as staple elements to more frequented areas such as dining rooms and living areas.
Benefits of Porcelain tile
Our porcelain tile reflects refined beauty in flooring, as well as being durable to high foot traffic and highly resistant to moisture. Takla, Torino, and Kaska porcelain tile are rated at a minimum of PEI 3, durable enough to serve in nearly every area of any property, as tough as natural stone. Also, they are known to be:
* Hard-wearing - a harder material than most ceramics, being baked at higher temperatures in the kiln than most ceramics
* Completely water-proof - perfect for your bathroom or shower stall applications, as well as for your outdoor installations in the case of unglazed porcelain tiles
* Hygienic - bacteria does not find easy purchase on porceleain tile, another great reason to put them in bathrooms, kitchens, and laundry areas.
* Affordable - premium quality, at the lowest possible pricing.
Benefits of Merida Saltillo Tile
Our Merida Saltillo tile is a rustic variety of ceramic tile with an earthy Southwestern appearance, similar to terra cotta. Authentically made by hand, and characterized by their varied, unique charm from tile to tile, our Merida Saltillo tile extends a number of benefits which makes it a clear choice when looking to establish the right atmosphere in interiors and exteriors. They are known for:
* Rustic Effects - an unadorned beauty that captures the feel of the desert that you can bring into your space affordably
* Naturalistic colors - a unique earthy color range that helps you to easily get the rustic effects you want
* Easy to clean surfaces saves you time for other things
* Heat and Fire-resistance adds security to your property, as well as practical value
Our Merida Saltillo tile perfectly captures the spirit of its origins - the rugged beauty of the Southwestern desert climate - making it easy to create the perfect look for interior tile projects.
* Look – a vast array of choices in textures and colors to expand design potential
* Durability - these are ceramic tiles made for long-term performance
* Versatility – choosing our tiles for floors, walls, other horizontal surfaces opens all kinds of design possibilities.
* Easy Maintenance - keeping our ceramic tile clean easily simply saves you time.
* Safety – our ceramic tile provides a fire-proof surface for an additional level of security for your property
Our ceramic tiles serve as a defining feature of your hallways and foyers. These ceramic tiles are coming into their own as staple elements to more frequented areas such as dining rooms and living areas.
Benefits of Porcelain tile
Our porcelain tile reflects refined beauty in flooring, as well as being durable to high foot traffic and highly resistant to moisture. Takla, Torino, and Kaska porcelain tile are rated at a minimum of PEI 3, durable enough to serve in nearly every area of any property, as tough as natural stone. Also, they are known to be:
* Hard-wearing - a harder material than most ceramics, being baked at higher temperatures in the kiln than most ceramics
* Completely water-proof - perfect for your bathroom or shower stall applications, as well as for your outdoor installations in the case of unglazed porcelain tiles
* Hygienic - bacteria does not find easy purchase on porceleain tile, another great reason to put them in bathrooms, kitchens, and laundry areas.
* Affordable - premium quality, at the lowest possible pricing.
Benefits of Merida Saltillo Tile
Our Merida Saltillo tile is a rustic variety of ceramic tile with an earthy Southwestern appearance, similar to terra cotta. Authentically made by hand, and characterized by their varied, unique charm from tile to tile, our Merida Saltillo tile extends a number of benefits which makes it a clear choice when looking to establish the right atmosphere in interiors and exteriors. They are known for:
* Rustic Effects - an unadorned beauty that captures the feel of the desert that you can bring into your space affordably
* Naturalistic colors - a unique earthy color range that helps you to easily get the rustic effects you want
* Easy to clean surfaces saves you time for other things
* Heat and Fire-resistance adds security to your property, as well as practical value
Our Merida Saltillo tile perfectly captures the spirit of its origins - the rugged beauty of the Southwestern desert climate - making it easy to create the perfect look for interior tile projects.
China Antique
Surprise turns to disappointment for one London based family this week as a simple DIY job knocks an estimated $460,000 off the value of a family heirloom.
The item in question, a 15” table lamp, was in fact one half of a pair of 250 year old delicate porcelain Ming style vases. In perfect condition these were together thought to be worth over $500,000. However, an 8mm cable hole has dropped this single vase's value to just $40,000.
Originally purchased by the now-owner’s great grandfather for $14 at the start of the 20th century, the vase had unsuspectingly been passed down through the generations. Though the ‘practical’ modifications that transformed this valuable vase into a household lamp were only added 40 years ago.
Despite the huge loss this DIY attempt has made to the vase’s worth, a potential $40,000 sale would nonetheless come as a welcome surprise to the owner who never believed the vase was of anything more than ornamental value. It wasn’t until a friend recognised the distinctive style that they decided to get it valuated.
It was then the ‘niantiao’ or ‘reign marks’ inscribed in the bottom of the vase that helped Chinese antique experts to confirm that it was indeed of considerable worth.
Although decorated in traditional ‘Ming style’ it’s actually a later piece, crafted during the reign of Emporer Qianlong who held the Chinese thrown between 1735 and 1796. However, despite its ‘copycat’ design, the vase still holds great historic and artistic worth as the Qian dynasty, of which Qianlong was a member, were the last of China’s ruling imperial dynasties.
While auctioneers have cautiously valued the piece at $40,000 they are quietly optimistic that it will sell for much more when bidding opens for the piece later this month. Similar antiques have recently been reaching nearer to $100,000 at auction as the expanding wealth of the Chinese economy fosters an increased interest in antiquities.
The item in question, a 15” table lamp, was in fact one half of a pair of 250 year old delicate porcelain Ming style vases. In perfect condition these were together thought to be worth over $500,000. However, an 8mm cable hole has dropped this single vase's value to just $40,000.
Originally purchased by the now-owner’s great grandfather for $14 at the start of the 20th century, the vase had unsuspectingly been passed down through the generations. Though the ‘practical’ modifications that transformed this valuable vase into a household lamp were only added 40 years ago.
Despite the huge loss this DIY attempt has made to the vase’s worth, a potential $40,000 sale would nonetheless come as a welcome surprise to the owner who never believed the vase was of anything more than ornamental value. It wasn’t until a friend recognised the distinctive style that they decided to get it valuated.
It was then the ‘niantiao’ or ‘reign marks’ inscribed in the bottom of the vase that helped Chinese antique experts to confirm that it was indeed of considerable worth.
Although decorated in traditional ‘Ming style’ it’s actually a later piece, crafted during the reign of Emporer Qianlong who held the Chinese thrown between 1735 and 1796. However, despite its ‘copycat’ design, the vase still holds great historic and artistic worth as the Qian dynasty, of which Qianlong was a member, were the last of China’s ruling imperial dynasties.
While auctioneers have cautiously valued the piece at $40,000 they are quietly optimistic that it will sell for much more when bidding opens for the piece later this month. Similar antiques have recently been reaching nearer to $100,000 at auction as the expanding wealth of the Chinese economy fosters an increased interest in antiquities.
Pottery Barn
When Stone Age people first used their hands to mold clay into containers large enough to pour water, they had taken a big step toward forming communities. Whether you’re talking about pottery from Asia Minor dating back to the 6th century, or stoneware from Colonial Massachusetts, these practical vessels played their part in growing cultures.
Most of the pottery available in Colonial America was imported from Liverpool, Bristol and Sunderland. Much of this stoneware was made specifically for the American market.
Grace Parker, of Charlestown, Mass., was an enterprising character in our country’s stoneware history. In 1742, she found herself a widow at 45 with 11 children and decided to take up where her husband left off. He had recently received a loan to create the first stoneware pottery in Massachusetts Bay Colony.
Parker started the business with an experienced potter, built a kiln, and began making wares. Unfortunately her first kiln collapsed.
She tried again and this time the pottery buckled. In a third attempt Parker used different wood for fuel, but this too failed. Almost near bankruptcy, she made one more try. Again failure. She decided to retire. History would later reveal just how right she was about the importance of locally produced stoneware
Hand-fashioned jugs, jars and churns were subsequently made in abundance until about 1890 in the United States. Machine-made containers dominated the marketplace thereafter. The earliest containers were often egg-shaped and later types came straight-sided.
Origin and age are important considerations in valuing stoneware, but shape, decoration and glaze take precedence. Simple abstract designs applied in cobalt oxide are the decorations seen on most jugs, but higher in value are those picturing flags, eagles, birds, people or anything unusual.
Bruce and Vicki Waasdorp of Clarence, N.Y., concluded their 4th Decorated Stoneware auction on Oct. 2, 1994. Competitive bids were handled from more than 20 different states and bidding was active on 300 lots. The highlight of the sale was a four-gallon churn with an incredible dotted bird on a large flower. Made by Stetzenmeyer & Co. of Rochester, N.Y., and dating from around 1855, the churn brought $9,350.
Two nice examples from the Norton Bennington Stoneware Factory did well, with a winning bid of $6,050 for a double peacock design, and $1,760 for a two-gallon jug with a bird on a stump.
Q. Years ago I received an oil painting from my aunt. It is signed A. Snyder and measures 16 by 31 inches high. Any information you can give me on this piece would be appreciated. Howard Herrington, Pittsburgh.
A. Having a complete signature on a painting is a critical factor in valuing it. Unfortunately, your signature is incomplete so it opens up the possibilities even more as to who might have painted the oil.
When I check through Who Was Who in American Art, I come up with an Annie F. Snyder who painted in Rochester, New York. However, this information by itself doesn’t mean much. In your case, I would recommend that you have someone look at the painting firsthand.
Even without a complete signature, an appraiser can look at your painting and give you an estimate of value based on quality and condition. These two factors are important indicators in judging a work of art. Also, how the work of art is framed is important. Some 19th century ornate gilt frames are worth more than the paintings in them.
A few things you may want to do on your own include, taking the painting outside in the daylight to look closer for a complete signature. A signature may show-up on the back or along the stretcher. Check everywhere. The more information you have, the easier it will be to estimate value.
Most of the pottery available in Colonial America was imported from Liverpool, Bristol and Sunderland. Much of this stoneware was made specifically for the American market.
Grace Parker, of Charlestown, Mass., was an enterprising character in our country’s stoneware history. In 1742, she found herself a widow at 45 with 11 children and decided to take up where her husband left off. He had recently received a loan to create the first stoneware pottery in Massachusetts Bay Colony.
Parker started the business with an experienced potter, built a kiln, and began making wares. Unfortunately her first kiln collapsed.
She tried again and this time the pottery buckled. In a third attempt Parker used different wood for fuel, but this too failed. Almost near bankruptcy, she made one more try. Again failure. She decided to retire. History would later reveal just how right she was about the importance of locally produced stoneware
Hand-fashioned jugs, jars and churns were subsequently made in abundance until about 1890 in the United States. Machine-made containers dominated the marketplace thereafter. The earliest containers were often egg-shaped and later types came straight-sided.
Origin and age are important considerations in valuing stoneware, but shape, decoration and glaze take precedence. Simple abstract designs applied in cobalt oxide are the decorations seen on most jugs, but higher in value are those picturing flags, eagles, birds, people or anything unusual.
Bruce and Vicki Waasdorp of Clarence, N.Y., concluded their 4th Decorated Stoneware auction on Oct. 2, 1994. Competitive bids were handled from more than 20 different states and bidding was active on 300 lots. The highlight of the sale was a four-gallon churn with an incredible dotted bird on a large flower. Made by Stetzenmeyer & Co. of Rochester, N.Y., and dating from around 1855, the churn brought $9,350.
Two nice examples from the Norton Bennington Stoneware Factory did well, with a winning bid of $6,050 for a double peacock design, and $1,760 for a two-gallon jug with a bird on a stump.
Q. Years ago I received an oil painting from my aunt. It is signed A. Snyder and measures 16 by 31 inches high. Any information you can give me on this piece would be appreciated. Howard Herrington, Pittsburgh.
A. Having a complete signature on a painting is a critical factor in valuing it. Unfortunately, your signature is incomplete so it opens up the possibilities even more as to who might have painted the oil.
When I check through Who Was Who in American Art, I come up with an Annie F. Snyder who painted in Rochester, New York. However, this information by itself doesn’t mean much. In your case, I would recommend that you have someone look at the painting firsthand.
Even without a complete signature, an appraiser can look at your painting and give you an estimate of value based on quality and condition. These two factors are important indicators in judging a work of art. Also, how the work of art is framed is important. Some 19th century ornate gilt frames are worth more than the paintings in them.
A few things you may want to do on your own include, taking the painting outside in the daylight to look closer for a complete signature. A signature may show-up on the back or along the stretcher. Check everywhere. The more information you have, the easier it will be to estimate value.
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