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Glas Mor Collection UNIQUE JEWELLERY HANDMADE IN CORNWALL CORNISH BRONZE PEWTER CORNISH TIN glas mor collection 2020 C U Order now Phone: +44 (0) 1736 369600 S Fax: +44 (0) 1736 351622 Email: [email protected] T Why order from us O Handmade in Cornwall, Great Britain. Lifetime guarantee on products. Bespoke service available. M Unique products using silver, bronze, pewter and Cornish tin. E R S E R V Our sales team I We have a network of Sales Agents in the UK, Europe, U.S.A., Canada and Australia and C a Distributor in the Netherlands. They all carry samples and a visit can be arranged where possible. E Carriage A carriage charge applies to small orders under our carriage paid order value. See price list for details. Delivery We aim to deliver orders within 5-7 working days. This may increase at busy times of the year. Credit Credit is only given to customers who have completed a Credit Application Form and it has been accepted. We can email one to you. Quantity discount A 3% discount is offered for quantities of 10 or more of the same item. Point of sale A5 acetate picture displays with images and text for some products are available at a nominal cost. Please call to ask. Packaging All products are packaged in presentation gift boxes or velvet pouches, together with a product leaflet. PRODUCT INDEX The venerable alloy of pewter is made of 92% tin, with copper and antimony to harden it and enhance casting. During most of the 20th century the tin used to make pewter was mined in Cornwall, where majestic granite engine houses dominated the landscape. Today, sadly, Cornish tin mining is no more and the picturesque ruins of our past add to the romance and mystery of Kernow. At St Justin the distinguished tradition of casting pewter and tin lives on. The result is jewellery and gifts of great beauty and craftmanship - objects of art to treasure forever. Cornish bronze, made using recycled copper and Cornish tin, brings to prominence a bygone age, in which this metal changed people’s lives forever. Each piece of St Justin jewellery and giftware is crafted by hand and eye in Cornwall, where the beautiful land was once home to the native Celts. Our ethos and designs are heavily influenced by our past and all things natural related to the earth and its elements. INDEX TO PAGES PEWTER, TIN, BRONZE & SILVER 53-55 Crosses 2-5 Making Pewter, Tin & Silver Jewellery CELTIC NATIONS 6 Mystical, Spiritual & Meaningful 57-58 Cornwall 7-9 Tree of Life 59 Wales & Scotland 10-12 Hearts 60 A brief history of Cornish Tin 13 Love Collection CELEBRATIONS 14-15 Energy & Spirit 61 Music & 10th Wedding Anniversary 16 Hares, Wolves & Moons 62 Quaiches & Christening 17 Hares COLLECTIONS 18 Oghams & Runes 63 Bangles 19 Energy & Spirit 64 Rings 20-21 Dragons & Beasts 65 Hairslides 22-23 Mythical 66 Buckles 24 Animals LIFESTYLE 25 Birds, Owls & Bats 67 Tableware 26 Butterflies & Dragonflies 68 Doorknobs & Lightpulls 27 Bees GLAS MOR 28-29 Cats 70-78 Sterling Silver Enamel Collection inspired 30 Seashore by the blue seas of Cornwall. 31 Shells MIRACLE 32 Ocean 80 Brooches & Kilt pins 33 Flowers 81-82 Brooches 34 Leaves 83 Brooches & Kilt pins 35 Gemstones & Copper 84 Brooches & Pendants 36 Pearls & Semi-Precious Stones 85 Brooches & Kilt Pins CELTIC 86 Kilt Pins 38-42 Knots 87-89 Brooches 43 Gemstone Knots 90 Pendants & Earrings 44 Spirals 91 Pendants, Earrings & Brooches 45 Trefoils 92 Pendants & Earrings 46 Trisceles 93 Crosses HISTORIC 94-95 Pendants, Earrings & Brooches 48-49 Viking 96-99 INDEX 50 Staff. Hoard & Chalice Well 100 Meet the Team 51 Egyptian 52 Historic Horses, Owls & Coins 3 M The Metal The venerable alloy of pewter is made of 92% A tin, with copper and antimony to harden it. Our pewter ingots weigh about 1kg each - we take these heavy, awkward blocks of alloy and K turn them into delicate, intricate pieces of jewellery. I Pewter will tarnish with age, developing a N distinctive patina that many people find attractive. However the bright polish can be revived by rubbing the item with a G polishing cloth or, if necessary, using a polishing paste such as Autosol. P Designs Each product idea starts as a sketch, from E which we make more detailed drawings. A master pattern is then created using a W combination of computer-aided design and hand craftmanship. The concept is now in physical form ready to create a mould. T Sometimes the piece is not quite right or too heavy. Then we go back to the drawing board E and start again. R J Moulds Two soft rubber discs are sandwiched E together with the master patterns in between. W The discs are then vulcanised (cured) at high temperature and pressure. They are then able to withstand temperatures of around 300 degrees Celsius. E When cool the master patterns are removed and sprues (channels) are cut by hand into the L mould to create a system of feeds for molten metal to flow into into the cavities that are left. L It is important to vent the mould to assist in the release of entrapped air. This helps E minimise porosity in the finished item. R Y 2 B Casting The mould is spun in a centrifuge (between pressure plates) and molten pewter, at a E temperature of around 280°C, is poured down a funnel into a central hole in the mould. A The sprue system channels the metal outwards into the cavities where it cools for a few U minutes to solidify. Whilst still hot the castings are broken off the T sprues ready for the next process. I F U L Fettling Fettling is the term giving to filing, sanding and cleaning up the castings. There is always a casting line around each item where the two mould halves meet. This is removed with files, linishing belts and high M speed pencil burrs. Items with many pierced areas are particularly E difficult as the gaps are often small and inaccessible without very fine tools. We take T pride in this part of the process as casting lines can become unsightly. A L Cutting & Polishing The castings are now put through a cutting process that uses a mild abrasive. This removes W any surface imperfections. A mechanical process using ball bearings then smoothes the pewter and gives a good lustre finish. O As pewter is quite soft, a highly polished finish is achieved by using a coarse polishing paste followed by a fine paste on the polishing R mop. Gloves need to be worn, as the heat this process generates is quite intense! K The items then have a brief clean in an ultrasonic bath to remove polishing residue. I They are now ready for assembling, maybe painting or enamelling and packing. N G 3 M ronze has the look of gold and is renowned for its strength and longevity. A It makes fantastic jewellery but is much Bharder to produce than silver. We make our own bronze with recycled copper K and Cornish tin. After polishing we apply a thin wax coating for protection. I Our Sterling Silver is guaranteed 92.5% silver. N Bronze melts at a higher temperature than G silver - at over 1,000°C so cannot be made in rubber moulds as we do for pewter. Instead we use a method called The Lost Wax process. This process is also used for silver and gold. B The Mould and Waxes R A master pattern is made and a small rubber mould is formed around it. After vulcanising O this mould with pressure and temperature it is cut in half to create two interlocking planes. The mould is then injected with wax to create N an exact impression of the original master. The Tre e Z Each wax is attached to a central wax core with a hot tool tip. Depending on the size of E the item there can be as many as 100 items set on a single tree. The wax tree is now ready for investing. Placement of waxes is a skill of its own that takes much practise. A Investment N The wax tree is placed inside a steel cylinder that is perforated with small holes. The holes D are taped over and investment slurry (similar to plaster of Paris) is poured in. After about 10 minutes the investment has set and the tape is removed. S Burnout The flasks are heated overnight in an oven at I a temperature of 1,200°C to melt out the wax L and fuse all the investment particles together. This creates a solid mould for the metal to be V poured in to. E R Casting R Whilst still hot the flasks are placed in a vacuum casting machine. The precise amount E of copper and tin are added to the crucible and melted by induction . This takes 3 minutes. V The molten bronze or silver is then allowed I to flow into the investment mould whilst a V vacuum is maintained to draw the metal into the cavities. I Porosity is minimal, as the process is under N vacuum, and an inert gas is used to protect the metal from oxidation whilst casting. G Quenching After about 5 minutes cooling the hot flask A is quenched in cold water, which breaks off about 90% of the investment. The remainder N is powerwashed off to leave a tree of bronze or silver items. The appearance of the tree at this stage is that A of a dirty metal that has tarnished for years.
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