Value Urns Catalog (PDF)

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Value Urn 800-875-4591 Wood| 3 VU103 VU104 Crowne Urns Heart Carved Box Crowne Urns Box Carved Heart Pattern Walnut Satin Finish Walnut Satin Finish Wood| 4 VU2700 VU2720 Square Pillar Carved Top Sliding Bottom Medium Satin Finish Medium Satin Finish Wood| 5 VU2721, VU2721KSL, VU2721KS Carved Border Plug Bottom, Large Keepsake & Keepsake Medium Satin Finish Wood| 6 VU2722 VU2725 Vertical Carved Border Carved Top Plug Bottom Medium Satin Finish Medium Satin Finish Wood| 7 VU2726P Vertical Plain Cross Medium Satin Finish *Currently Out of Stock Stone| 9 CR101, CR103 VU2086 VU2088, VU2088KS Carpel Rock Salt & Keepsake Thick Classic Stone Classic White Stone & Keepsake Rock Salt Brown Stone Finished Metal White Stone Finished Metal Metal| 11 VU130, VU130KS VU1501, VU1501KS VU1509, VU1509KS Woodsman Camo & Keepsake Embossed Flower & Keepsake Radiance Engraved & Keepsake Brass with Camouflage Design Brass with Floral Design Engraved Black and Brass Metal|12 VU1524, VU1524KS VU1554, VU1554KS VU1559, VU1559KS Avalon Blue Going Home Birds & Keepsake Arcadia Rust Bronze & Keepsake Blue with Engraved Brass Birds with Blue Engraving Rust Bronze Metal|13 VU1578, VU1578KS VU1580 VU1663, VU1663KS Arcadia Maple Leaf & Keepsake Fairborne Slate Majestic Pearl Slate Blue with Maple Leaf Design Slate with Engraved Brass Pearl White with Engraved Brass Metal|14 VU1669, VU1669KS VU1701, VU1701KS VU2030, VU2030KS Majestic Black & Keepsake Classic Flying Birds & Keepsake Milano Blue Stone & Keepsake Matte Black Stone with E ngraved Brass Rust Bronze with Flying Birds Blue with Engraved Brass *Keepsake Out of Stock Metal|15 VU2035, VU2035KS VU2042, VU2042KS VU2081, VU2081KS Milano Golden Texture & Keepsake Regency Pewter & Keepsake Classic Sun lower & Keepsake Golden Texture with Engraved Brass Engraved Brushed Pewter Brass with Sunflower Design *Keepsake Out of Stock Metal|16 VU2096, VU2096KS VU2104, VU2104KS VU2111B, VU2111BKS Thick Moon Brown Metallic Classic Mother of Pearl Bands Classic Bronze & Keepsake & Keepsake & Keepsake Bronze Brass Brown Metallic with Engraved Brass Matte Gold with Mother of Pearl Metal| 17 VU2111P, VU2111PKS VU2112, VU2112KS VU2113, VU2113KS Classic Pewter & Keepsake Cherry Red Engraved & Keepsake Autumn Leaves & Keepsake Pewter Brass Red with Engraved Brass Engraved Nickel Enamel with Dome Top Metal|18 VU2116, VU2116KS VU2146, VU2146KS VU2178, VU2178KS Grecian Cherry & Keepsake Arcadia & Keepsake American Flag & Keepsake Red with Engraved Brass Floral Painted with Brass Trim Rust Enamel with Brass Eagle Flag Design *Keepsake Out of Stock Metal|19 VU2185S, VU2185KS VU2295, VU2295KS VU2296, VU2296KS Rope Silver & Keepsake Grecian Pink Marvel & Keepsake Majestic Black & Keepsake Matte Silver Brass with Rope Design Pink with Engraved Brass Gloss Metallic Black Stone with Engraved Brass Metal|20 Keepsake Only VU2100KS VU2150KS Milano Black Keepsake Green Floral Dome Keepsake Black with Engraved Bronze Floral Painted with Brass Trim VU2161KS VU2279KS Moonar Wheat Keepsake Dove Heart Keepsake Brown with Brass Wheat Design Brass with Red Heart Design.

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Repoussé Work for Amateurs
rf Bi oN? ^ ^ iTION av op OCT i 3 f943 2 MAY 8 1933 DEC 3 1938 MAY 6 id i 28 dec j o m? Digitized by the Internet Archive in 2011 with funding from Boston Public Library http://www.archive.org/details/repoussworkforamOOhasl GROUP OF LEAVES. Repousse Work for Amateurs. : REPOUSSE WORK FOR AMATEURS: BEING THE ART OF ORNAMENTING THIN METAL WITH RAISED FIGURES. tfjLd*- 6 By L. L. HASLOPE. ILLUSTRATED. LONDON L. UPCOTT GILL, 170, STRAND, W.C, 1887. PRINTED BY A. BRADLEY, 170, STRAND, LONDON. 3W PREFACE. " JjJjtfN these days, when of making books there is no end," ^*^ and every description of work, whether professional or amateur, has a literature of its own, it is strange that scarcely anything should have been written on the fascinating arts of Chasing and Repousse Work. It is true that a few articles have appeared in various periodicals on the subject, but with scarcely an exception they treated only of Working on Wood, and the directions given were generally crude and imperfect. This is the more surprising when we consider how fashionable Repousse Work has become of late years, both here and in America; indeed, in the latter country, "Do you pound brass ? " is said to be a very common question. I have written the following pages in the hope that they might, in some measure, supply a want, and prove of service to my brother amateurs. It has been hinted to me that some of my chapters are rather "advanced;" in other words, that I have gone farther than amateurs are likely to follow me.
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THE DEGRADATION of PEWTER in ANTIQUE LACE BOBBINS Home Page
THE DEGRADATION OF PEWTER IN ANTIQUE LACE BOBBINS Home Page Parent Page THE DEGRADATION OF PEWTER IN ANTIQUE LACE BOBBINS. This article needs a couple of pics. Pewter Degradation Introduction The pewter used in bobbins is one of the prettiest decorative processes that makers used. Unfortunately during the passage of time much of the pewter by some makers has degraded and has either fallen off the bobbin or has become swollen, misshapen and even crumbly. The following is my attempt, with the help of many people on the web and especially my friend Neil Keats, to explain this phenomenon. Pewter. Pewter is an alloy (i.e. a mixture) of tin and lead. The better the quality of pewter the higher the percentage of tin is in the alloy. Tin exists in three forms, depending on the temperature. This is called polymorphism (poly-many, morphism-shapes). At temperatures between 13 and 160 degrees C, it is called White tin, and the atoms (think of them as little balls in this description) are packed closely together to form the metal. Hence, it is a dense metal, i.e. it is hard. file:///C|/Documents%20and%20Settings/My%20Docu...s/Pewter%20degredation/Pewter%20degredation.htm (1 of 4) [6/9/2003 8:15:25 PM] THE DEGRADATION OF PEWTER IN ANTIQUE LACE BOBBINS Below 13 degrees C the atoms rearrange to become more loosely packed (actually in the same configuration as diamond). This shows first as wart-like structures on the surface, and eventually leads to the tin crumbling into a powder. This is called "tin pest", and is what happened to the buttons on Napoleon's soldiers coats.
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Lost Books: Chasing and Repoussé Table of Contents
Lost Books: Chasing and Repoussé Table of Contents The Lost Books Extracts Bick, A. F., Artistic Metalwork, Bruce Publishng Company, Milwaukee, 1940, 6 pages from 236, Title of computer file: Artisticmetalwork.pdf Davidson, P. Wylie , Educational Metalcraft, 1913, 14 pages (book is 227 pages) Title of computer file: Educational Metalcraft.pdf Diderot, “Ciseleur”, Enclopaedia of Diderot, circa 1760, 4 pages of hundreds. Title of computer file: VIII Ciseleur.pdf Gee George, “The Goldsmiths Handbook”. 1918, 6 pages of 260 pages. Title of computer file: The Goldsmiths Handbook.pdf Gee, George, “The Silversmiths Handbook”, 1921, 5 pages of 222 pages. Title of computer file: Silversmiths Handbook.pdf Louis Haas, Art Metal Work and Jewelry, 1946, (1st edition 1016), 5 pages from 110+ pages Title of computer file: Art Metal Work.pdf Harrison, John, Decoration of Metals, Chapman and Hall, London, 1894, entire book Title of computer file: DecorationMetals.pdf Hart G. H. and Keeley, Golden, Metal Work for Craftsmen, Isaac Pitman and Sons, 1932, 10 pages from 156, Title of computer file: MetalworkforCraftsmen.pdf Hartley, W.,”Pewter and Repousse Work”, from the Practical Instruction Handbook Edited by A. Neal, undated, early 20’s , 64 of 168 pages Title of computer file: Practical Instruction Handbook.pdf Haslope, L. L., Repousse for Amateurs, Upcott Gill, London, 1900, entire book Title of computer file: Repousse.pdf Horth, AC, Beaten Metal Work.pdf 1946, 9 pages from 99 pages. Title of computer file: Beaten Metal Work.pdf Kronquist, Emil , Metalcraft And Jewelry .1926, 30 pages of 191 Title of computer file: Metalcraft And Jewelry.pdf Kronquist, Emil, Art Metal Work, McGraw-Hill, New York, 1942, 14 pages of 204, Title of computer file: Art Metal Work.pdf Manzoni, Peter, Metalcraft for Amateurs, Beacon Handicraft Series, Boston, 1936, 13 pages of 136, Title of computer file: Metalcraftforamateurs.pdf Maryon, Herbert.
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Arlington Court
ARLINGTON COURT THE PEWTER COLLECTION Identification and listing by the Pewter Society December 2000 ………………………………………………………………………………………………………………………………………………………… This document is scanned from the papers of the late Jan Gadd by the kind permission of Ian Gadd. Jan Gadd is credited with the photography and the descriptions. He was assisted by Dr John Richardson and Michael Boorer. …………………………………………………………………………………………………………………………………………………………… It is apparent that some information unknown to Jan has become known in the intervening years. These descriptions were the best available at the time of writing to Jan Gadd. ARLINGTON COURT IS A NATIONAL TRUST PROPERTY AT BARNSTAPLE The unmarried heiress and descendant of the original owner Rosalie Chichester died age 85 in 1949 bequeathing Arlington Court to the National Trust. She was a talented artist with a knowledge of flora and fauna, reputably strong willed, and a well-known collector of old pewter. She was also known for a strong aversion to hunting. She was invited to join the Society of Pewter Collectors in 1923. Index Chargers British 3 Foreign 6 Dishes British 9 Foreign 23 Plates British 25 Foreign 40 Bowls British 43 Foreign 47 Flagons British 50 Foreign 57 Tankardsand Mugs British 64 Foreign 68 Cups andBeakers British 69 Foreign 70 Measures British 71 Foreign 92 Salts British 95 Candlesticks British 98 Foreign 103 Inkstands British 108 Small Boxes British 110 1 Spoons British 120 Foreign 127 Miscellaneous British 134 Foreign 138 Bibliography 142 Abbreviations All unitsin millimeters and gram L length H height overall Hr Height to rim D diameter D(AxY)= diameter (2 x rim width) on plates and dishes Db base diameter Dr rim diameter w weight HMs (pseudo) hallmarks Ph photo No.
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Pewter Sold by the Gross LEAD FREE – NICKEL FREE – MADE in the USA
Pewter Sold by the Gross LEAD FREE – NICKEL FREE – MADE IN THE USA ALL ITEMS AVAILABLE PLATED ANTIQUE GOLD, ANTIQUE SILVER & ANTIQUE COPPER – When Ordering – Specify: (AG) Antique Gold (AS) Antique Silver (AC) Antique Copper BEADS 7mm 10mm 5mm 6mm 8mm 4mm 6mm PW/3043/7 PW/3046/10 PW/3050/5 PW/3050/6 PW/3050/8 PW/3051/4 PW/3052/6 4mm 6mm 7mm 5mm 4x5mm 6mm 5mm PW/3053/4 PW/3055/6 PW/3055/7 PW/3060/5 PW/3061/4x5 PW/3062/6 PW/3064/5 3mm 4mm 4mm 5mm 6mm 8mm 5mm PW/3065/3 PW/3065/4 PW/3065/4/3 PW/3066/5 PW/3068/6 PW/3068/8 PW/3070/5 5mm 8mm 8mm 6x8mm 4x5mm 4x8mm 4mm PW/3071/5 PW/3072/8 PW/3075/8 PW/3077/6x8 PW/3079/4x5 PW/3079/4x8 PW/3100/4 5mm 4.5mm 10mm 4mm 10mm 6mm 6mm 14mm PW/3100/5 PW/3103/4.5 PW/3126/10 PW/3134/4 PW/3135/10 PW/3140/6 PW/3158/6 PW/3167/14 LARGE HOLE BEADS LOVE KNOTS * Indicates Hole Size / Outside Diameter * 5.75mm / 9mm * 5.25mm / 7.5mm * 4.5mm / 7.5mm 10mm 7mm PW/3700/9 PW/3701/7.5 PW/3703/7.5 PW/3250/10 PW/3255/7 115 Pewter Lead Free – Nickel Free Sold by the Gross 115 Pewter Sold by the Gross LEAD FREE – NICKEL FREE – MADE IN THE USA ALL ITEMS AVAILABLE PLATED ANTIQUE GOLD, ANTIQUE SILVER & ANTIQUE COPPER – When Ordering – Specify: (AG) Antique Gold (AS) Antique Silver (AC) Antique Copper CONES PW/3094/21x10 PW/3095/18x14 PW/3097/12x10 PW/3099/12x9 PW/3240/20x11 PW/3241/17x12 PW/3242/18x10 PW/3244/23x14 PW/3252/9x7 PW/3253/10x8 PW/3254/11x9 PW/3260/12x10 BEAD CAPS 7mm 7mm 6mm 8mm 9mm PW/3080/7 PW/3082/7 PW/3084/6 PW/3084/8 PW/3085/9 7mm 6mm 6mm 9mm 6mm PW/3088/7 PW/3180/6 PW/3181/6 PW/3182/9 PW/3184/6 6mm 9mm 12mm
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About Silver and Pewter?
the alloy is stated in terms of fineness, or The first recorded reference to value placed parts of silver per 1,000 of the alloy. Sterling on silver is dated about 3600 B.C. At that silver is 92.5% silver: Sterling contains 925 time, Egyptian King Menes set the value of parts silver and 75 parts of another metal, silver at two-fifths that of gold. Do You Know This ... usually copper. Therefore, Sterling is said to About Silver and have a fineness of 925. Silver is now regarded as money by two- thirds of the world's population. The distribu• Pewter? English silver of sterling standard is hall• tion of silver reserves, measured in per• marked with the lion passant. Passant is centages of the world total: USSR (18%), by Chuck Thompson defined as a heraldic animal walking with Canada (15%), Mexico (14%), U.S. (12%). • One gram of silver can be drawn into a the farther forepaw raised (see illustration). wire more than a mile long. Originally, silver was hallmarked at Gold• From the record books: The highest price smith's Hall, London, England, where gold ever paid for silver is $1,163,750 for the pair • Until the 15th century it was church cus• and silver articles were assayed and of Duke of Kingston Tureens made in 1735 tom to bury a pewter chalice with the stamped. by Meissonnier and sold by Christie's, priest. Geneva, on November 8, 1977 (Guinness Book of World Records). The recorded history of silver and pewter offers much little-known and interesting in• formation.
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Pewter and White Metal Alloys
PEWTER & WHITE METAL CASTING ALLOYS... FOR PEWTERWARE, FIGURINES, MODELS & GAMING ACCESSORIES NATHAN TROTTER WHITE METALS CHEMICAL COMPOSITION OF ALLOYS TRADITIONAL CUSTOM CASTING MODEL CASTING ZINC BASED PB-FREE PEWTER PEWTER ALLOY WHITE METAL PEWTER METAL ELEMENT 91.75Sn/8Sb/.25Cu 97Sn/2.5Bi/.5Cu 95Sn/3Sb/2Zn (CUSTOM ALLOY) (BRITANNIA) (LEAD-FREE) (LEAD-FREE) (LEAD-FREE) Tin Balance Balance Balance <0.001 Copper 0.25 0.50 <0.05 3.00 Silver <0.001 <0.001 <0.001 <0.001 Nickel <0.001 <0.001 <0.001 <0.001 Lead <0.01 <0.01 <0.01 <0.001 Antimony 8.00 <0.20 3.00 Custom Bismuth <0.003 2.50 <0.01 <0.001 Iron <0.002 <0.002 <0.005 <0.05 GENERAL DESCRIPTION Zinc <0.001 <0.001 2.00 93.00 min Nathan Trotter & Co., Inc. manufactures & produces White Aluminum <0.001 <0.001 <0.002 3.00 Metal Casting Alloys for use in figurines, models & gaming in addition to Fine Pewter & Jewelry Alloys. NT White Metals Arsenic <0.001 <0.001 <0.05 <0.001 come in the traditional tin/antimony/zinc (lead-free) alloys as custom alloys designed specifically for the product or casting Cadmium <0.001 <0.001 <0.005 <0.001 that is being crafted. Only high purity virgin metals are used in Magnesium <0.001 <0.001 <0.005 0.60 NT Pewter including virgin Grade A (Low-Lead) Tin with 99.9% minimum purity, Antimony with 99.9%, and Zinc with 99.99% purity. NT White Metal Alloys are manufactured to exceed the PHYSICAL PROPERTIES OF PEWTER ALLOYS purity requirements outlined in ASTM B560-00 standard as well as other relevant international standards.
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Pewter Casting: Let's Talk Matter
Pewter Casting: Let’s Talk Matter Title Subject: Grade 8 Science Lesson: Pewter Casting: Let’s Talk Matter Standard Addressed: Understand the properties of matter and changes that occur when matter interacts in an open and closed container. (NC.8.P.1) Objectives: • Classify matter as elements or compounds. • Identify melting points of three different elements. • Identify symbol, atomic number, and atomic mass of sample elements. • Explain how law of conservation of mass is upheld. Materials Needed: • Device for showing Pewter Casting: Let’s Talk Matter video. (https://youtu.be/RxspjVxstsQ) • Periodic Table (on-line or hard copy). • “Pewter and Its Elements” activity. Outline: • Prior to this lesson, students should know the difference between elements and compounds. Students should also know how to find the symbol, atomic mass, and atomic number on a periodic table. • Show the video. • Discuss the activity prompts, particularly on Question 3. • Students finish the activity independently or with a partner. Take It Further: Brother Blake used the term “eutectic.” Explain what this means. Determine what is pewter’s melting point. Compare it with the melting points of the elements involved in making pewter. Cross-Curriculum Connection: Pewter is made up of mostly tin but can contain many other elements. Research what other elements have been used in the past to make pewter. Explain what you learn about one of these elements that is harmful to human health. Pewter Casting: Let’s Talk Matter GradeTit 8 Science Name: ______________________________ Date: _______________ In the video, you saw the three elements that are combined to make the compound pewter.
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The Origins of Trade Silver Among the Lenape: Pewter Objects From
West Chester University Digital Commons @ West Chester University Anthropology & Sociology College of Arts & Sciences 1990 The Origins of Trade Silver Among the Lenape: Pewter Objects from Southeastern Pennsylvania as Possible Precursors Marshall Joseph Becker West Chester University of Pennsylvania, [email protected] Follow this and additional works at: http://digitalcommons.wcupa.edu/anthrosoc_facpub Part of the Archaeological Anthropology Commons Recommended Citation Becker, M. J. (1990). The Origins of Trade Silver Among the Lenape: Pewter Objects from Southeastern Pennsylvania as Possible Precursors. Northeast Historical Archaeology, 19(1), 78-98. Retrieved from http://digitalcommons.wcupa.edu/anthrosoc_facpub/5 This Article is brought to you for free and open access by the College of Arts & Sciences at Digital Commons @ West Chester University. It has been accepted for inclusion in Anthropology & Sociology by an authorized administrator of Digital Commons @ West Chester University. For more information, please contact [email protected]. 78 Origins of Trade Silver/Becker THE ORIGINS OF TRADE SILVER AMONG THE LEN APE: PEWTER OBJECTS FROM SOUTHEASTERN PENNSYLVANIA AS POSSIBLE PRECURSORS . Marshall Joseph Becker A reawakening of interest in material culture has stimulated the examination of some small pewter castings in use among northeastern Native American peoples during the 17th and early 18th centuries. Reports by 17th century explorers and colonists, ·who found Eastern Woodland natives to be disinterested in gold and silver artifacts, are now better understood. The period from 1720 to 1750 was critical to the Lenape and other peoples .who had just become major players in the fur trade to the Allegheny and Ohio River areas. During this period various silver-colored white metal castings may have been the precursors of sterling-quality silver trade items.
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The Art of Metal
2017 THE ARTOFMETAL FINISH AVAILABILITY BY PROFILE PROFILE 5 PROFILE 21 PROFILE 37 PROFILE 97 PROFILE 126 Ref # Color Name 50 Matte Black 179 Carbon Black 14 German Silver 154 Brushed Metallic Grey 248 China Blue 21 Matte Black 414 Brushed German Silver 02 Frosted Silver 249 Olive 50 Black 421 Brushed Satin Black 19* Frosted Walnut 250 Merlot PROFILE 45 150 Flor. Silver 475 Brushed Satin Chocolate 256 Peat E641 Grey Zinc 151 Flor. Gold E300 Raw Steel PROFILE 11 400 Chrome 154 Flor. Grey E301 Brass Patina 155 Flor. Amber E302 Tortoise 01 Silver PROFILE 58 156 Flor. Black 02 Frosted Silver PROFILE 22 165 Flor. Brass 03 Gold 01 Silver 01 Silver 167 Flor. Walnut PROFILE 127 04 Frosted Gold 02 Frosted Silver 02 Frosted Silver 168 Flor. Cobalt 243 Chocolate 08 Frosted Bronze 03 Gold 03 Gold 400 Br. Aluminum Satin 247 Gunmetal 10 Graphite 04 Frosted Gold 14 German Silver 550 Tuscan Linen Silver 251 Barely Gold 11 Pewter 12 Frosted Pewter 20 Anodic Black 555 Tuscan Linen Amber 256 Peat 12 Frosted Pewter 14 German Silver 21 Matte Black 556 Tuscan Linen Black E300 Raw Steel 13 Contrast Grey 19 Frosted Walnut 700 Beaded Flor. Black E301 Brass Patina 14 German Silver 20 Anodic Black 702 Beaded Flor. Silver E302 Tortoise 20 Anodic Black PROFILE 24 21 Matte Black 21 Matte Black 23 Antique Gold 414 Br. Satin German Silver PROFILE 99 PROFILE 129 50 Black 421 Br. Satin Black PROFILE 65 21 Matte Black 150 Flor. Silver 423 Br. Satin Antique Gold 01 Silver 244 Chocolate 150 Flor.
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The Development of a Series of Cast Metal Sculpture Using the Lost Wax Process
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1967 The Development of a Series of Cast Metal Sculpture Using the Lost Wax Process Ernest C. Reynolds Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Sculpture Commons Recommended Citation Reynolds, Ernest C., "The Development of a Series of Cast Metal Sculpture Using the Lost Wax Process" (1967). All Master's Theses. 746. https://digitalcommons.cwu.edu/etd/746 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. :~ ..... ~ ,.. : THE DEVELOP:MENT OF":~''SERIES OF CAST METAL SCULPTURE USING THE LOST WAX PROCESS A Thesis Presented to The Graduate Faculty Central Washington State College In Partial Ful.fillment of the Requirements for the Degree Master of Arts by Ernest C. Reynolds June 1967 i'~ ~ ·. •. > • .,_, ;,. ~· r·, i ~' ! . f e°l 'ti'~ .£. tll.g a1 APPROVED FOR THE GRADUATE FACULTY ________________________________ Christos J. K. Papadopoulos, COMMITTEE CHAIRMAN _________________________________ Louis A. Kollmeyer _________________________________ Donald P. Tompkins ACKNOWLEDGMENTS I would like to express my appreciation ror the help and encouragement given by Christos J. Papadopoulos, Dr. Louis A. Kollmeyer, and Donald P. Tompkins in the prep aration or this thesis. TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION • • • • • • • • • • • • • • • • • • • 1 The Problem. • • • • • • • • • • • • • • • • • • 2 Statement of the problem • • • • • • • • • • • 2 Scope and limitation of the problem. • • • • • 2 Importance of the Study.
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PPCO Twist System
Luscious Materiality Jo Lauria “develop organically, in a natural state, or more than four decades, California artist on intimate scale, the most dramatic engagement with Randy Stromsoe has created seductive, exquisitely materials and greatest freedom with form; Stromsoe Fhandformed jewelry that demonstrates his is at his most nuanced and boldly imaginative when modernist aesthetic of elemental forms, fluid geometries designing ornament for the body. and formal elegance. Stromsoe’s designs arise from Stromsoe’s path along the metalsmithing journey can his vast knowledge of jewelry traditions and from be characterized as a series of serendipitous occurrences. learning what his hands and tools can do in unison. He was first introduced to jewelry instruction in a crafts After working forty years at the bench, Stromsoe has workshop class at Los Angeles Valley College taught by attained the level of master craftsman in hollowware, Zella Margraff. Stromsoe enrolled believing it was flatware and jewelry. He can work with precision in a class where he could learn furniture-making and silver, gold, copper, and pewter, and has mastered woodcarving. Initially “devastated” when he realized he other techniques used in jewelry fabrication, including had been misplaced in a jewelry/metals class, Stromsoe the lapidary processes of stonecutting and setting, and soon discovered that Margraff was a “fascinating teacher woodturning and carving. Having worked in forms as who had a rich life as an artist designing and creating art large as presentation trophies and liturgical chalices, jewelry.” Margraff was a European-trained jeweler Stromsoe knows how to make metal follow his exacting whose work was internationally recognized.
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