Queen Victoria's Personal Jewellery
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Treatise on Combined Metalworking Techniques: Forged Elements and Chased Raised Shapes Bonnie Gallagher
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 1972 Treatise on combined metalworking techniques: forged elements and chased raised shapes Bonnie Gallagher Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Gallagher, Bonnie, "Treatise on combined metalworking techniques: forged elements and chased raised shapes" (1972). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. TREATISE ON COMBINED METALWORKING TECHNIQUES i FORGED ELEMENTS AND CHASED RAISED SHAPES TREATISE ON. COMBINED METALWORKING TECHNIQUES t FORGED ELEMENTS AND CHASED RAISED SHAPES BONNIE JEANNE GALLAGHER CANDIDATE FOR THE MASTER OF FINE ARTS IN THE COLLEGE OF FINE AND APPLIED ARTS OF THE ROCHESTER INSTITUTE OF TECHNOLOGY AUGUST ( 1972 ADVISOR: HANS CHRISTENSEN t " ^ <bV DEDICATION FORM MUST GIVE FORTH THE SPIRIT FORM IS THE MANNER IN WHICH THE SPIRIT IS EXPRESSED ELIEL SAARINAN IN MEMORY OF MY FATHER, WHO LONGED FOR HIS CHILDREN TO HAVE THE OPPORTUNITY TO HAVE THE EDUCATION HE NEVER HAD THE FORTUNE TO OBTAIN. vi PREFACE Although the processes of raising, forging, and chasing of metal have been covered in most technical books, to date there is no major source which deals with the functional and aesthetic requirements -
Castingmetal
CASTING METAL Sophistication from the surprisingly simple with a room casting. Hmmmm. I I asked Beth where in the world she BROOM pored through every new and learned how to cast metal using the Bvintage metals technique book Brad Smith offers a Broom business end of a broom. “It’s an old BY HELEN I. DRIGGS on my shelf and I couldn’t find a men- Casting Primer, page 32, hobbyist trick. I learned about it from a tion of the process anywhere. This and a project for using very talented guy named Stu Chalfant the elements you cast. transformed my curiosity into an who gave a demo for my rock group TRYBROOM-CAST IT YOURSELFE urgent and obsessive quest. I am an G — the Culver City [California] Rock & A TURQUOISE PENDANT P information junkie — especially Mineral Club. This was six or seven when it comes to studio jewelry — years ago, and I instantly fell in love and I love finding out new, old fash- with the organic, yet orderly shapes.” ioned ways of doing things. But, I am also efficient. So I A few years passed before Beth tried the technique her- knew the best way to proceed was to seek out Beth self. “The first of our club members to experiment with it Rosengard, who has transformed this delightfully low-tech was Brad 34Smith, who now includes the technique in the approach to molten metal into a sophisticated level of artis- classes he teaches at the Venice Adult School.” After admir- tic expression. I had made a mental note to investigate ing some early silver castings Brad had made, she begged broom casting when I saw her winning earrings in the 2006 him for a sample and later incorporated his work into her Jewelry Arts Awards. -
MIRROR MIRROR the Mind’S Mirror FILMS Seaglass 4 Restaurant 5 Outdoor Exhibits with Zarinah Agnew 7:30 P.M
AFTER DARK AFTER DARK SCHEDULE MAP PRESENTATIONS ACTIVITIES Upper Level Bay Observatory Gallery and Terrace 6 Observing Landscapes Mirrors in Technology and Art Through the Looking Glass Mirrors in Technology and Art With Sebastian Martin With the Explainers 6 With Sebastian Martin 6:30–8:30 p.m. | Bay Observatory Gallery 6:30–9:30 p.m. | Central Gallery 6:30–8:30 p.m. THURSDAY, OCTOBER 1, 2015 A Reflection on Mirrors Light Boxes and Anamorphic Mirrors The History of Mirrors 6:00—10:00 P.M. With Ron Hipschman With Explorables With Massimo Mazzotti 7:00 and 9:00 p.m. 7:00–10:00 p.m. | Central Gallery Main Level 8:30 p.m. Phyllis C. Wattis Webcast Studio BAR North Gallery MIRROR MIRROR The Mind’s Mirror FILMS SeaGlass 4 Restaurant 5 Outdoor Exhibits With Zarinah Agnew 7:30 p.m. | Kanbar Forum On Reflection East Gallery 9:00 p.m. | Kanbar Forum 4 Living Systems The History of Mirrors East With Massimo Mazzotti Corridor Contemplando la Ciudad (2005, 4 min.) Central Gallery 8:30 p.m. | Bay Observatory Gallery by Angela Reginato 5 3 Seeing & Listening Visions of a City (1978, 8 min.) by Lawrence Jordan A Reflection on Mirrors INSTALLATIONS BAR 3 With Ron Hipschman Suspended 2 (2005, 5 min.) by Amy Hicks Wattis 7:00 and 9:00 p.m. The Infinity Boxes Webcast Phyllis C. Wattis Webcast Studio Studio By Matt Elson Pier 15 (2013, 4 min.) by Michael Rudnick 6:00–10:00 p.m. | Central Gallery The Infinity Boxes By Matt Elson Visible Spectres 6:00–10:00 p.m. -
Lapidary Journal Jewelry Artist March 2012
INDEX TO VOLUME 65 Lapidary Journal Jewelry Artist April 2011-March 2012 INDEX BY FEATURE/ Signature Techniques Part 1 Resin Earrings and Pendant, PROJECT/DEPARTMENT of 2, 20, 09/10-11 30, 08-11 Signature Techniques Part 2 Sagenite Intarsia Pendant, 50, With title, page number, of 2, 18, 11-11 04-11 month, and year published Special Event Sales, 22, 08-11 Silver Clay and Wire Ring, 58, When to Saw Your Rough, 74, 03-12 FEATURE ARTICLES Smokin’*, 43, 09/10-11 01/02-12 Argentium® Tips, 50, 03-12 Spinwheel, 20, 08-11 Arizona Opal, 22, 01/02-12 PROJECTS/DEMOS/FACET Stacking Ring Trio, 74, Basic Files, 36, 11-11 05/06-11 DESIGNS Brachiopod Agate, 26, 04-11 Sterling Safety Pin, 22, 12-11 Alabaster Bowls, 54, 07-11 Create Your Best Workspace, Swirl Step Cut Revisited, 72, Amethyst Crystal Cross, 34, 28, 11-11 01/02-12 Cut Together, 66, 01/02-12 12-11 Tabbed Fossil Coral Pendant, Deciphering Chinese Writing Copper and Silver Clay 50, 01/02-12 Linked Bracelet, 48, 07-11 12, 07-11 Stone, 78, 01/02-12 Torch Fired Enamel Medallion Site of Your Own, A, 12, 03-12 Easier Torchwork, 43, 11-11 Copper Wire Cuff with Silver Necklace, 33, 09/10-11 Elizabeth Taylor’s Legendary Wire “Inlay,” 28, 07-11 Trillion Diamonds Barion, 44, SMOKIN’ STONES Jewels, 58, 12-11 Coquina Pendant, 44, 05/06-11 Alabaster, 52, 07-11 Ethiopian Opal, 28, 01/02-12 01/02-12 Turquoise and Pierced Silver Ametrine, 44, 09/10-11 Find the Right Findings, 46, Corrugated Copper Pendant, Bead Bracelet – Plus!, 44, Coquina, 42, 01/02-12 09/10-11 24, 05/06-11 04-11 Fossilized Ivory, 24, 04-11 -
2000 Stainless Steels: an Introduction to Their Metallurgy and Corrosion
Dairy, Food and Environmental Sanitation, Vol. 20, No. 7, Pages 506-517 Copyright© International Association for Food Protection, 6200 Aurora Ave., Suite 200W, Des Moines, IA 50322 Stainless Steels: An Introduction to Their Metallurgy and Corrosion Resistance Roger A. Covert and Arthur H. Tuthill* and why they sometimes do not. In most cases, selection of the proper stainless steel leads to satisfactory performance. COMPOSITION, NOMEN- CLATURE AND GENERAL PROPERTIES Most metals are mixtures of a primary metallic element and one or more intentionally added other ele- This article has been peer-reviewed by two professionals. ments. These mixtures of elements are called alloys. Stainless steels are alloys, as are brasses (copper + zinc), bronzes (copper + tin), the many alu- INTRODUCTION better understanding of stainless minum alloys, and many other me- Worldwide, in industry, in busi- steels, especially to the non-metal- tallic materials. In general, solid ness and in the home, metals called lurgist. metals and alloys consist of randomly stainless steels are used daily. It is Industries are concerned with oriented grains that have a well-de- important to understand what these integrity of equipment and product fined crystalline structure, or lattice, materials are and why they behave purity. To achieve these, stainless within the grains. In stainless steels, the way they do. This is especially steels are often the economical and the crystalline structures within the true because the word “stainless” is practical materials of choice for pro- grains have been given names such as itself somewhat of a misnomer; these cess equipment. However, before ferrite, austenite, martensite, or a materials can stain and can corrode intelligent decisions can be made mixture of two or more of these. -
Exceptional Works of Art 2017 PUSHKIN ANTIQUES – MAYFAIR –
Exceptional works of art 2017 PUSHKIN ANTIQUES – MAYFAIR – At Pushkin Antiques we specialise in unique statement Each item is professionally selected and inspected pieces of antique silver as well as branded luxury items, to ensure we can give our customers a guarantee of stylish interior articles and objects d’art. authenticity and the required peace of mind when buying from us. Since the inception of our company, we’ve been at the forefront of online sales for high end, quality antiques. Our retail gallery is located on the lower floor of the world Our presence on most major platforms has allowed us famous Grays Antiques Centre in the heart of Mayfair. to consistently connect exquisite pieces with the most discerning collectors and interior decorators from all over the world with particular focus on the demands of the markets from the Far East, the Americas, Europe & Russia. www.pushkinantiques.com [email protected] We aim to provide the highest quality in every department: rare hand crafted articles, accurate item descriptions (+44) 02085 544 300 to include the history and provenance of each item, an (+44) 07595 595 079 extensive photography report, as well as a smooth buying process thus facilitating an efficient and pleasant online Shop 111, Lower Ground Floor, Grays Antiques Market. experience. 58 Davies St, London. W1K 5AB, UK. ALEX PUSHKIN OLGA PUSHKINA DUMITRU TIRA Founder & Director Managing Director Photographer Contents 6 ENGLISH SILVER 42 CHINESE SILVER 56 JAPANESE SILVER 66 INDIAN SILVER 78 BURMESE SILVER 86 CONTINENTAL SILVER 100 FRENCH SILVER 108 GERMAN SILVER 118 RUSSIAN SILVER 132 OBJECTS OF VERTU English Silver The style and technique in manufacturing silver during Hester Bateman (1708-1794) was one of the greatest this era (over 100 years) changed radically, reflecting silversmiths operating in this style, she is the most the variations in taste, society, costumes, economic and renowned and appreciated female silversmith of all time. -
Victoria: the Irg L Who Would Become Queen Lindsay R
Volume 18 Article 7 May 2019 Victoria: The irG l Who Would Become Queen Lindsay R. Richwine Gettysburg College Class of 2021 Follow this and additional works at: https://cupola.gettysburg.edu/ghj Part of the History Commons Share feedback about the accessibility of this item. Richwine, Lindsay R. (2019) "Victoria: The irlG Who Would Become Queen," The Gettysburg Historical Journal: Vol. 18 , Article 7. Available at: https://cupola.gettysburg.edu/ghj/vol18/iss1/7 This open access article is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Victoria: The irG l Who Would Become Queen Abstract This research reviews the early life of Queen Victoria and through analysis of her sequestered childhood and lack of parental figures explains her reliance later in life on mentors and advisors. Additionally, the research reviews previous biographical portrayals of the Queen and refutes the claim that she was merely a receptacle for the ideas of the men around her while still acknowledging and explaining her dependence on these advisors. Keywords Queen Victoria, England, British History, Monarchy, Early Life, Women's History This article is available in The Gettysburg Historical Journal: https://cupola.gettysburg.edu/ghj/vol18/iss1/7 Victoria: The Girl Who Would Become Queen By Lindsay Richwine “I am very young and perhaps in many, though not in all things, inexperienced, but I am sure that very few have more real good-will and more real desire to do what is fit and right than I have.”1 –Queen Victoria, 1837 Queen Victoria was arguably the most influential person of the 19th century. -
British Invasion Wydanie Specjalne English Matters Maj 2011 Wydanie
Magazyn dla uczących się języka angielskiego www.colorfulmedia.pl ENGLISHMATTERS wydanie specjalne: 2/2011 9,50 zł Wielka Brytania dwumiesięcznik (w tym 5% VAT) do odsłuchania artykuły w formacie MP3 em.colorfulmedia.pl n Symbols Concerned with the UK n The Monarchy & Royal Family Members n Icons of British Television British Invasion Wydanie specjalne English Matters Maj 2011 Wydanie – Export Hits from the UK ISSN 1896-4184 INDEKS 268399 NAKŁAD: 15000 inside English Matters UK 4| The United Kingdom of Great Britain and Northern Ireland – General Info 6| UK Symbols MP3 12| Religion in Great Britain 16| The British Honours System 18| The British Monarchy 23| Reuters – the Global Agency MP3 26| (Tele)visionary! The Best of British Broadcasting 32| British Invasion MP3 36| British Entrepreneur with Social Conscience – Dame Anita Roddick MP3 39| “Elementary, my Dear Watson” FOT. SERGEY SUKHORUKOV SERGEY FOT. general info THE UNITED KINGDOM OF GREAT BRITAIN AND NORTHERN IRELAND AREA: 244,820 km2 Cross of Saint Andrew (patron saint of the shield there is a guardant lion in POPULATION: 62,041,708 Scotland). a crown and to the left – a Scottish POLITICAL SYSTEM: Parliamentary unicorn. The coat features the motto Monarchy NATIONAL ANTHEM: ‘God Save the of English monarchs, ‘Dieu et mon PARLIAMENT: House of Lords Queen’ (alternatively ‘God Save the droit’ (God and my right). (upper house) + House of Commons King’, depending on the monarch). (lower house) OFFICIAL LANGUAGE: English MONARCH: Elizabeth II COAT OF ARMS: The Royal Coat of RECOGNISED -
Visualising Victoria: Gender, Genre and History in the Young Victoria (2009)
Visualising Victoria: Gender, Genre and History in The Young Victoria (2009) Julia Kinzler (Friedrich-Alexander-University Erlangen-Nuremberg, Germany) Abstract This article explores the ambivalent re-imagination of Queen Victoria in Jean-Marc Vallée’s The Young Victoria (2009). Due to the almost obsessive current interest in Victorian sexuality and gender roles that still seem to frame contemporary debates, this article interrogates the ambiguous depiction of gender relations in this most recent portrayal of Victoria, especially as constructed through the visual imagery of actual artworks incorporated into the film. In its self-conscious (mis)representation of Victorian (royal) history, this essay argues, The Young Victoria addresses the problems and implications of discussing the film as a royal biopic within the generic conventions of heritage cinema. Keywords: biopic, film, gender, genre, iconography, neo-Victorianism, Queen Victoria, royalty, Jean-Marc Vallée. ***** In her influential monograph Victoriana, Cora Kaplan describes the huge popularity of neo-Victorian texts and the “fascination with things Victorian” as a “British postwar vogue which shows no signs of exhaustion” (Kaplan 2007: 2). Yet, from this “rich afterlife of Victorianism” cinematic representations of the eponymous monarch are strangely absent (Johnston and Waters 2008: 8). The recovery of Queen Victoria on film in John Madden’s visualisation of the delicate John-Brown-episode in the Queen’s later life in Mrs Brown (1997) coincided with the academic revival of interest in the monarch reflected by Margaret Homans and Adrienne Munich in Remaking Queen Victoria (1997). Academia and the film industry brought the Queen back to “the centre of Victorian cultures around the globe”, where Homans and Munich believe “she always was” (Homans and Munich 1997: 1). -
JEWELS of the EDWARDIANS by Elise B
JEWELS OF THE EDWARDIANS By Elise B. Misiorowski and Nancy K. Hays Although the reign of King Edward VII of ver the last decade, interest in antique and period jew- Great Britain was relatively short (1902- elry has grown dramatically. Not only have auction 1910), the age that bears his name produced 0 houses seen a tremendous surge in both volume of goods distinctive jewelry and ushered in several sold and prices paid, but antique dealers and jewelry retail- new designs and manufacturing techniques. ers alikereportthat sales inthis area of the industry are During this period, women from the upper- excellent and should continue to be strong (Harlaess et al., most echelons of society wore a profusion of 1992). As a result, it has become even more important for extravagant jewelry as a way of demon- strating their wealth and rank. The almost- jewelers and independent appraisers to understand-and exclusive use of platinum, the greater use of know how to differentiate between-the many styles of pearls, and the sleady supply of South period jewelry on the market. African diamonds created a combination Although a number of excellent books have been writ- that will forever characterize Edwardian ten recently on various aspects of period jewelry, there are jewels. The Edwardian age, truly the last so many that the search for information is daunting. The era of the ruling classes, ended dramatically purpose of this article is to provide an overview of one type with the onset of World War I. of period jewelry, that of the Edwardian era, an age of pros- perity for the power elite at the turn of the 19th century. -
1 the Public Life of a Twentieth Century Princess Princess Mary Princess Royal and Countess of Harewood Wendy Marion Tebble
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SAS-SPACE 1 The Public Life of a Twentieth Century Princess Princess Mary Princess Royal and Countess of Harewood Wendy Marion Tebble, Institute of Historical Research Thesis submitted for Degree of Master of Philosophy, 2018 2 Table of Contents Abstract 3 Acknowledgements 5 Abbreviations 7 Acronyms 8 Chapters 9 Conclusion 136 Bibliography 155 3 Abstract The histiography on Princess Mary is conspicuous by its absence. No official account of her long public life, from 1914 to 1965, has been written and published since 1922, when the princess was aged twenty-five, and about to be married. The only daughter of King George V, she was one of the chief protagonists in his plans to include his children in his efforts to engage the monarchy, and the royal family, more deeply and closely with the people of the United Kingdom. This was a time when women were striving to enter public life more fully, a role hitherto denied to them. The king’s decision was largely prompted by the sacrifices of so many during the First World War; the fall of Czar Nicholas of Russia; the growth of socialism; and the dangers these events may present to the longevity of the monarchy in a disaffected kingdom. Princess Mary’s public life helps to answer the question of what role royal women, then and in the future, are able to play in support of the monarchy. It was a time when for the most part careers of any kind were not open to women, royal or otherwise, and the majority had yet to gain the right to vote. -
Tobias Okamoto Alm
THE TOOL BELT A Masculine Jewellery Practice Tobias Okamoto Alm Konstfack University College of Arts, Crafts and Design Jewellery + Corpus Master, Essay Spring 2014 Tutor: Christina Zetterlund ABSTRACT This essay is built upon the argument that the tool belt is a piece of jewellery and it investigates where and how the tool belt affects social dynamics in society. It explores the intersections between equipment, accessory, and adornment; where practical and social functionality coexist in a symbiosis. The text adopts a critical gender perspective on jewellery and masculinity; it examines the strategies employed in masculine environments in order to be able to wear jewellery without the risk of feminization. It describes a process of myth creation, surrounding an idealised masculinity built upon rationality and resourcefulness, glorifying the professional construction worker. Acknowledging the tool belt as a piece of jewellery diversifies and enriches the jewellery field. It also expands the perspective on jewellery and masculinity, while opening up for further investigation of the relationship between adornment and gender dynamics. 1 TABLE OF CONTENTS ABSTRACT ............................................................................................................................................................................................................ 1 JEWELLERY IN SOCIETY .................................................................................................................................................................................