A Study Into Romano-British Enamelling – with a Particular Focus on Brooches
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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. -
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. -
Rene Lalique Shaun Leane
In your written exam you will have to compare and contrast the work of two designers. Remember the following sentence it will help you remember the similarities and differences in the designer’s work that you should discuss. “St Paul’s Pupils’ Can Make Tasty Sausage Sandwiches On Toast!!!” Rene Lalique THE Shaun Leane b.1860 – 1945 DESIGNERS Began working in 1980’s to France present day – London, UK Lalique was an important figure in ‘This is my signature; something the “Art nouveau” movement. that’s refined, delicate, but This movement was inspired by powerful.’ natural, organic forms, like Organic forms are one of Leane’s flowers and plants; favourite inspirations. He Lalique’s work consisted of soft, describes nature as beautiful and flowing curved lines. fragile yet there are hidden He also liked to use female figures elements of strength and and faces in his work; danger. He like to create balance Feminine, detailed, realistic. in his pieces Many of Lalique’s design were Soft flowing lines paired with symmetrical. sharp points S for SHAPE Dragonfly woman corsage ornament, 1898. Gold, enamel, moonstones, and diamonds Tahitian pearl and pheasant claw earrings by for McQueen, 2001 Detailed, feminine, Art Nouveau P Statement jewellery, wearable art, Statement jewellery. for Detailed. Avant Garde (meaning PRODUCT experimental & innovative) Very detailed, fairly large, heavy Larger fashion pieces which were pieces so not very easy to wear. P commissioned by McQueen were for made from lightweight materials PRACTICALITY which made them easy to wear down the runway. Not for everyday wear, were designed to complement and add extra drama to fashion pieces. -
Soroptimist Brooch 100 Years Order Form
THE 100 YEARS BROOCH A unique piece of jewellery CELEBRATING OUR CENTENARY - A UNIQUE PIECE OF SOROPTIMIST JEWELLERY An opportunity to invest in a unique piece of jewellery to commemorate our Soroptimist centenary. Many Soroptimists have purchased and enjoyed specially designed pieces in the past and this will be a stunning piece to add to your collection. Formed in the Centennial colour of purple, the stone is set in a silver finish metal, with rows of crystals on either side. Our Soroptimist logo sits proudly in the middle of the piece, inscribed with our commemorative dates ‘1921-2021’ and ‘100 years’ The brooch is 37mm in diameter with a thickness of 2mm. It is an extremely versatile piece that may be worn as a brooch or pendant, bringing happy memories of Soroptimist friends and events all over the world. To place your order for this unique brooch, please complete the form below and send to: SIGBI Federation Office, 2nd Floor Beckwith House, Wellington Road North, Stockport, SK4 1AF Dispatch will begin end September 2020 Title . Surname . Initials . Club . Address . Post/Zip Code . Contact details: Tel: . E-mail: . Please tick appropriate boxes below. The cost of the Soroptimist 100 Brooch is £25.00 per item plus P&P. Please note: P&P is calculated on Postage & Packaging Costs the number of brooches ordered. Please complete the order form below along with your payment: UK Second Class - 1-10 Brooches - £4.00 UK Second Class Signed For - Quantity . Sub Total . plus P&P (see the P&P table for costs) Grand Total . -
METAL ENAMELING Leader Guide Pub
Arts & Communication METAL ENAMELING Leader Guide Pub. No. CIR009 WISCONSIN 4-H PUBLICATION HEAD HEART HANDS HEALTH Contents Before Each Meeting: Checklist ..............................1 Adhesive Agents or Binders ....................................6 Facilities Tools, Materials and Equipment Safety Precautions..................................................6 Resource Materials Kiln Firing and Table-Top Units Expenses Metal Cutting and Cleaning Planning Application of Enamel Colors Youth Leaders Other Cautions Project Meeting: Checklist ......................................3 Metal Art and Jewery Terms ...................................7 Purposes of 4-H Arts and Crafts ...........................................8 Components of Good Metal Enameling Futher Leader Training Sources of Supplies How to Start Working Prepare a Project Plan Bibiography ............................................................8 Evaluation of Projects Kiln Prearation and Maintenance ...........................6 WISCONSIN 4-H Pub. No. CIR009, Pg. Welcome! Be sure all youth are familiar with 4H158, Metal Enameling As a leader in the 4-H Metal Enameling Project, you only Member Guide. The guide suggests some tools (soldering need an interest in young people and metal enameling to be irons and propane torches), materials and methods which are successful. more appropriate for older youth and more suitable for larger facilities (school art room or spacious county center), rather To get started, contact your county University of Wisconsin- than your kitchen or basement. Rearrange these recommen- Extension office for the 4-H leadership booklets 4H350, dations to best suit the ages and abilities of your group’s Getting Started in 4-H Leadership, and 4H500, I’m a 4-H membership and your own comfort level as helper. Project Leader. Now What Do I Do? (also available on the Wisconsin 4-H Web Site at http://www.uwex.edu/ces/4h/ As in any art project, a generous supply of tools and pubs/index.html). -
Gilt Fibula with Christogram from Imperial Palace in Sirmium
UDC 904:739.1/.2"652"(497.113) DOI: 10.2298/STA0757101P 101 IVANA POPOVI], Institute of Archaeology, Belgrade GILT FIBULA WITH CHRISTOGRAM FROM IMPERIAL PALACE IN SIRMIUM Abstract. ‡ The foot of gilt bronze fibula was discovered in 2005 during archaeological investigations of locality 85 in Sirmium, that is assumed to have been the remains of the imperial palace. Ornament on the foot enclosed within rectangular field is executed in the niello technique. End of the foot is bent at the right angle and the Christogram is engraved on it with Greek letters alpha and omega engraved above its side arm. The preserved part of fibula makes possible reconstruction of its appearance and attribution to the group of massive bronze crossbow fibulae, which were produced in the second half of the 4th century and characterized by decoration consisting of gilding, niello, Christogram motif and/or the busts of young men in medallions. Key words. ‡ Crossbow fibula, Christogram, Late Antiquity, Sirmium n the course of archaeological investigations at bent upper arm makes letter rho. Letters alpha and locality 85 in Sirmium, that could be assumed omega are engraved above the side arm of the cross with considerable certainty to be the segment of as direct allusion to Christ as the beginning and the I 1 imperial residential complex, the foot of gilt bronze end’, in accordance with His words in the Book of fibula (C-169/2005), 31 x 22 mm in size (Fig. 1), was Revelation (1:8; 21:6; 22:13). discovered in the fall of 2005. The fibula fragment The distinct ornament on the foot makes possible has been found in sector C, room 12, in the layer of relatively precise reconstruction of fibula, despite the building rubble originating from the same site and fact that its other parts are not preserved (Fig. -
Marchi, Janel – FILIGREE Buttons-February 2009 WRBA.Pdf
Page 36 WRBA Territorial News, Volume 7, Issue 1 WRBA Territorial News, Volume 7, Issue 1 Page 1 THE BUTTON CALENDAR PRESIDENT’S MESSAGE Oregon Spring Workshop. March 14. Tualatin Elks Lodge. Best wishes to each of you for a safe, peaceful, productive 2009 filled with Button Bazaar (presented by laughter, love, and buttons that warm your Sacramento Button Club) February heart. Make memories you can treasure in 28, Saturday. 10AM—5PM. Carmi- the years to come! The WRBA button world chael Park Community Club House, lost dear members this year and we shall 5750 Grant Avenue, Carmichael CA. Donation $2. Contact Faye treasure the memories we made with them. Wolfe (916) 489-1785 Speaking of treasure, this issue [email protected] contains our 2008 financial reports. The careful management and hard work of Colorado Button Show. April 17-19. 9am-4pm. WRBA leaders contributes to our stability. Oregon State Button Show, April 29 -May 2. “Buttons . The Stories They To best manage WRBA finances, our Tell” Keizer Renaissance Inn, Keizer OR. Exit 260B on I-5 Highway. (800) Treasurer shall open two bank CDs with funds not needed until our 2010 299-7221 www.labelcollector.com WRBA convention. California State Button Society. May 22-24. “Celebrating the Art of But- The WRBA Board recently completed action on 3 items. tons” Holiday Inn Sacramento North, East I-80. (916) 338-5800. (1) The 10-tray limit on competitive trays has been removed. Idaho State Button Show. June 4-6. “Rainbow of Shells” Best Western (2) We adopted a policy that membership information will not be shared, Hotel, Caldwell ID. -
Heat Exchange
HEAT EXCHANGE Curated by: Elizabeth Turrell & Beate Gegenwart Dedicated to: Pamela Rawnsley (1952 - 2014) When first approached by artists and curators Beate Gegenwart and Elizabeth Turrell to launch Heat Exchange 2 at The Makers Guild in Wales Gallery, Craft in the Bay, I was immediately captivated by the concept of artists brought together from various regions of the world to not only exhibit together but to share their normally private creative process via an artist blog. As an avid follower of heat-exchange.crimsoncactus.net over the past two years, my eyes have been opened to the rich depth of skill and knowledge these artists possess and their generous sharing of discovery, experiments, struggles and breakthroughs with this fascinating medium. This exhibition presents the beautiful and thought-provoking outcomes of this creative journey. Charlotte Kingston, Exhibitions Officer, The Makers Guild in Wales In this exhibition Elizabeth and Beate have attracted leading lights working in enamel from around the world. This will ensure that many more people will be as thrilled as I have been by the riot of colour, texture and design, which can be achieved by skilled and creative makers responding to the application of enamel. Heat Exchange 2 is eagerly awaited and will, I am certain, generate more conversation, celebration and appreciation of the work of contemporary makers in this field. Jean Wood, an enthusiast 2 MAKERS, MYTHS AND GODS In Greek myth, Hephaestus was the god of craftsmen: a maker of living things. Giving a maker place in the company of gods seems a hopeful symbol of a society that valued what the maker brings. -
Niello Is a Black Mixture of Copper, Silver, and Lead Sulphides, Used As an Inlay on Engraved Or Etched Metal. It Can Be Used for Filling in Designs Cut from Metal
Cutlery , Italy XVI th Century Coral , brass, silver , Iron , Gold 2010. 29. 1,2 G350 ( I call this the Treasury room) Key Points : Use of silverware relatively recent development in our western Society - People ate with bare hands - until the XVIth C – for instance Caterina de Medici went to France to marry Henry second son of King Francis I – in her dowry she brought her own fork and spoon enclosed in a box called a cadena - This was something new for the French but in Italy the fork arrived around XI th C – before that people were reliant on simple spoons and knifes that were both weapons and utensils. Guests would each bring their own utensils. Ancient Greeks used the fork but then the use fell out of custom. Byzantine Empire use developed during the first millennium but common use not until XVIIIth C in western world, North America XIXth….early use mainly as cooking utensil (Rome) Fun fact : Lorenzo de Medici’s estate included 18 forks… all for his private use. People would bring their own silverware if they had any to a banquet Use of fork in 1600’s regarded as unmanly Italian affectation and frowned upon by Roman Catholic Church – “ god in his wisdom has provided man with natural forks …his hands..” but mentioned in Bible… Before use of cutlery it was common to wipe own’s hands on any available material – hence no upholstery on chairs until development of silverware… This set of cutlery would have belonged to a high ranking individual such as nobleman, ambassador or Ruler. -
Silver Jewellery
© Republic of Turkey – Ministry of Economy, 2012 0 SILVER JEWELLERY The first major silver mines and examples of jewellery were recorded around 4000 BC, located in Anatolia. They were mostly the main source of silver for many of the growing cultures in that area of the world and others that would trade for silver. Silver has been used for thousands of years as ornaments and utensils, for trade, and as the basis for many monetary systems. However, the basic most notable use of silver is its beauty and appeal as an item of jewellery. Silver has always been known to enhance the beauty of precious stones hen set into a ring or a necklace. Since the discovery of silver, Anatolia has been a major center for silver jewellery production. Think about a land which has developed its own techniques and figures in the art of jewellery production for thousands of years. All of the civilizations which have inhabited Anatolia have produced numerous objects for both religious and artistic purposes. People worked with metals, sometimes including precious and semiprecious stones. The Hittites, Urartians, Phrygians, Ionians, Lydians, Romans, Byzantines, Seljuks and Ottomans all established their rule in Anatolia and created their own jewellery styles. The most significant style among the different types of jewellery was brought to Anatolia by the Seljuks. Their great influence on the Turkish jewellery tradition is demonstrated by Turkoman jewellery which originated in Central Asia, and is still produced and worn by Turkoman tribes. Colored gemstones and pieces of glass with symbolic meanings, as well as silver and gold, are used in this jewellery which is still produced and worn in Turkey. -
The Mycenae-Vapheio Lion Group
The Mycenae-VapheioLion Group. IOHN G. YOUNGER A bstract Fewer rings and sealstonessurr.ive than sherds. Efiorts * to .identify artistic workshops of the Late so lesshas been attempredin the u.av of artribu- Age Frg"T have generally .o.r."nt."tid on products tion. Certain scholars,horvever, have erpressed in individual media. Certain media, however, share more cor.rfidence;and Boardman and the presenr techniques;for example,chasing in metal and carv- writer have assembledgroups of stvlisticallr. ing in stone both use engraving techniques. Thus re_ lated seals it is theoreticallypossible io ,ttrilbut. woris in vari- and rings as the prod.,ci, of r-arior-r: ous media. to a single workshop. The present paper glyptic workshopsand masters.2 discusses thirty-two Mycenaean-objectsranging'from So far, scholars have attempted to identifv a bronze and niello daggers to lentoid sealsiones.On master or shop only from work in one medium. stylistic grounds, these pieces may be divided into There is, however, no reasonto assumethat an early and a late phaie of a single artistic work- arusrs -of in the Bronze shop. On the bases the proven'ience and dated Age confined themselvesto a sinsle contexts of the attributed works this rvorkshop be- medium alone. Insread,it is likely that the pie- gan production ar Mycenae in LH I for the nobles historic artist was a versatile artisan, working in buried in Shaft Grave III; the workshop,s styie a range of materialsand techniques. seemsto have run its course in LH II, as seen'in If there is any possibilityof identifying such the attributed works from the Vapheio and Rutsi an artist of tholoi. -
The Garnet Carbuncle in Early Medieval Europe
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-15-2020 Sacred Blood and Burning Coal: The Garnet Carbuncle in Early Medieval Europe Sinead L. Murphy CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/591 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Sacred Blood and Burning Coal: The Garnet Carbuncle in Early Medieval Europe by Sinead Murphy Submitted in partial fulfillment of the requirements for the degree of Master of Arts Art History, Hunter College The City University of New York Spring 2020 May 15th, 2020 Cynthia Hahn Date Thesis Sponsor May 15th, 2020 Maria Loh Date Second Reader i Table of Contents List of Illustrations ii Introduction: Garnets in the Merovingian Period…………………………………………………1 Chapter 1: Garnet in Classical and Early Medieval Texts……………………………………….11 I. Carbuncle and Anthrax in Classical and Early Medieval Lapidaries II. Carbuncle in Scripture and Christian Lapidaries III. Pagan Influence on the Christian Symbolism of Garnets Chapter 2: Garnets in Everyday Life…………………………………………………………….34 I. Garnet Jewelry in Frankish Costume II. Garnet Ecclesiastical Objects Chapter 3: The Role of Garnets in Christian Funerary Ritual…………………………………...49 I. Prayers for the Dead II. Grave Goods and Dressed Burials III. Metaphorical Representations of Carbuncle Conclusion……………………………………………………………………………………….59 Bibliography……………………………………………………………………………………..60 Illustrations………………………………………………………………………………………64 i List of Illustrations Fig. 1: Pair of quatrefoil mounts, Early Byzantine, 2nd half of 5th century.