Relevant bibliographies by topics / Silversmithing

Academic literature on the topic 'Silversmithing'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Silversmithing"

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Ramsay, Rhona. "Who Made the Turreted Brooches of Argyll? Nacken and Elite Silver Craftwork." Scottish Historical Review 100, no. 3 (December 2021): 455–68. http://dx.doi.org/10.3366/shr.2021.0540.

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During the 1500s the distinctive turreted brooches of Lochbuie, Lorn and Ugadale were produced for the Argyll families Maclaine, MacDougall and Mackay. Unusual in style by comparison with other brooches of the time, they are stylistically similar as a group. Around 1730 an inscription was added to the Lochbuie brooch stating that it was made by a ‘Tinker’. This paper examines the style, skills, materials and techniques involved in itinerant silversmithing in order to evaluate the claim that the three brooches were made by ‘Tinkers’, otherwise known as Nacken. Drawing on elements of art historical, ethnographic and archaeological research, the paper challenges existing assumptions about itinerant silversmithing.
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Tarcan, Berilsu, and Ayça Tunç Cox. "An apprenticeship project: Silversmithing in Kapalıçarşı (the Grand Bazaar." Craft Research 10, no. 1 (March 1, 2019): 91–119. http://dx.doi.org/10.1386/crre.10.1.91_1.

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Pérez Varela, Ana. "La platería como medio de contar la historia: El contexto de Santiago de Compostela entre el siglo XIX y el XX a través de las obras de Ricardo Martínez." Imafronte, no. 27 (December 11, 2020): 1–26. http://dx.doi.org/10.6018/imafronte.409891.

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Acostumbramos a decir que las obras de arte son hijas de su tiempo. En este artículo exploramos el contexto histórico-artístico de la Compostela del tránsito del siglo XIX al XX, una época efervescente a menudo olvidada por los estudios, a través de una serie de obras de platería del célebre Ricardo Martínez. Siendo las artes suntuarias un elemento clave de las grandes lagunas historiográficas del arte compostelano, a lo largo de este texto pretendemos demostrar cómo dimensiones como la platería y otros oficios artísticos de Santiago pueden contribuir a construir su discurso historiográfico. We're used to saying that works of art are the mirror of History. In this paper, we explore the historical and artistic context in Compostela between the nineteenth and twentieth century, a vibrant epoch often forgotten in the studies, throughout a series of pieces of silversmithing by the artist Ricardo Martínez. Being the sumptuary arts a key element, quite ignored by the historiography of the art from Compostela, this text aims to demonstrate how artistic fields like silversmithing and other artistic Arts-and-Crafts from Santiago can contribute to build its historiographical state of art.
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Alonso Benito, Javier. "Algunas cruces procesionales del siglo XVII en el antiguo obispado de León." Estudios humanísticos. Geografía, historia y arte, no. 19 (February 9, 2021): 135. http://dx.doi.org/10.18002/ehgha.v0i19.6753.

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<span>The seventeenth century constitutes a period in history of the Spanish silversmithing wiht very distinctive characteristics. This is reflected in a noteworthy fashion in the working of processional crosses, such are preservad in the ancient bishopric of León, as this study attempts to relate. However, despite the stereotyping of models, there is also some evolution no forms and decoration as the century progresses. The examples to be considered illustrate this.</span>
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van Bennekom, Joosje, Ellen Van Bork, and Arie Pappot. "The Unsurpassed Silversmithing Techniques of Adam van Vianen: His Silver Ewer Unravelled." Rijksmuseum Bulletin 69, no. 3 (September 13, 2021): 216–43. http://dx.doi.org/10.52476/trb.11049.

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The magnificent gilded silver ewer Adam van Vianen made in 1614 to commemorate his brother Paulus van Vianen who had died the previous year in Prague, is the pinnacle of the kwabstijl, and of Dutch silversmithing in general. The execution of the raising and embossing is exceptional and had never seen before. Von Sandrart specifically stated in his book that Adam made the whole object out of one piece of silver. It is quite possible that Adam van Vianen applied himself to a quest that many sculptors undertook in the Renaissance: making an object under the most challenging circumstances in their area of expertise. A ewer traditionally consists of a body, foot, handle and a lid with a hinge, which are soldered or screwed together. Adam van Vianen, however, integrated all these separate parts into one dynamic, swirling form, and the absence of clearly separated parts seems to confirm that the ewer is made out of a single piece. To determine once and for all whether the ewer is made out of one piece of silver sheet, an expert team researched the ewer with the aid of X-radiography and formulated a theory as to the way the ewer’s handle was constructed. The research also covered the alloy in Adam van Vianen’s ewer and other objects by his hand in the Rijksmuseum’s collection, and outlined the background of available knowledge on silversmithing in the Netherlands in the seventeenth century, and the products available at that time. Finally, reconstructions of silver refining were carried out using two contemporary sources: Bergbuchlein und Probierbuchlein by Calbus of Freiberg (and unknown authors), Leipzig 1524, and Lazarus Ercker’s Beschreibung: Allerfürnemisten Mineralischen Ertzt, und Bergwercks arten … Prague 1574. The complete alloy research in the Rijksmuseum laboratories showed that the alloy was very different from alloys used by other Dutch silversmiths in the same period. A surprising outcome that could very well be connected to the demands Adam van Vianen made on his material.
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Sac Mi, Cho. "The Discourse Between the Art of Silver and Silversmithing Since World War Ⅱ." Journal of Aesthetics & Science of Art 41 (June 30, 2014): 267–305. http://dx.doi.org/10.17527/jasa.41.0.09.

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Emlen, Robert P. "New England Silver and Silversmithing, 1620-1815 Jeannine Falino Gerald W. R. Ward." Public Historian 25, no. 2 (April 2003): 154–56. http://dx.doi.org/10.2307/3379075.

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Gómez Darriba, Javier, and Francisco Javier Novo Sánchez. "El patrocinio artístico del regidor Álvaro Pérez Osorio en la catedral de Mondoñedo (1615-1641)." Imafronte, no. 29 (February 2, 2022): 1–15. http://dx.doi.org/10.6018/imafronte.480001.

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This paper addresses the artistic endowment of the Conception Chapel in Mondoñedo Cathedral, carried out by a married couple belonging to the local nobility. It analyses the works of architecture, painting, sculpture, blacksmithing and silversmithing made by various Flemish, German, Galician and Cantabrian artists, providing new information on figures such as Martín de Balenzate, Juan de Biorín, Juan de Castro and Crispín de Evelino, among others. El presente trabajo trata la dotación artística de la capilla de la Concepción de la catedral de Mondoñedo, llevada a cabo por un matrimonio perteneciente a la hidalguía local. En él se analizan las obras de arquitectura, pintura, escultura, rejería y platería realizadas por diversos artistas flamencos, alemanes, gallegos y cántabros, aportándose nuevos datos sobre figuras como Martín de Balenzate, Juan de Biorín, Juan de Castro o Crispín de Evelino, entre otros.
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Tsoumas, Johannis. "ENGLISH SILVER IN THE EARLY YEARS OF MASS PRODUCTION: THE ROLE OF PAUL STORR." Text and Image: Essential Problems in Art History, no. 2 (2019): 86–98. http://dx.doi.org/10.17721/2519-4801.2019.2.05.

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This article aims to provide an in-depth research into the importance of English silver, the oldest of the traditional crafts that served the social, aesthetic and functional needs of English nobility and aristocracy for centuries, in the British market, economy, design and culture, in general, in the late eighteenth and early nineteenth centuries, a period of sweeping changes in the field of metalwork. In this context, we will explore the role of one of the most important silversmiths of the era, the celebrated Paul Storr who, unlike many of his peers, constituted a worthy successor of the English silver wares tradition in the rest of the nineteenth century. Through many and severe battles with the then new order of thing established by the rules of the Industrial Revolution in the field of silversmithing the main representative of which was the intelligent businessman Matthew Boulton, we will explore the ways in which Storr managed to impose himself as a classic silversmith and pass the splendor of English silver on the future generation of designers.
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Harutyunyan, M. "THE PROBLEM OF STUDYING OF THE APPLIED ART OF ARTSAKH OF THE 19TH CENTURY ON THE PAGES OF THE EASTERN ARMENIAN ERIODICAL PRESS." East European Scientific Journal 4, no. 10(74) (November 22, 2021): 4–7. http://dx.doi.org/10.31618/essa.2782-1994.2021.4.74.150.

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Thus, our scientific research led to the conclusion that the applied art which originated in the previous centuries continued to develop along with other branches of the culture of Artsakh in the second half of the XIX century and the beginning of the XX century. In this scientific article, we have presented mainly the following branches of the applied arts of Artsakh: carpet weaving, handicrafts, embroidery, silversmithing, pottery. We have mainly presented interesting information about the branches of the applied art which were covered in the periodicals of the second half of the XIX century and the beginning of the XX century. Noting about the carpet weaving of Artsakh, we emphasized that the carpets of that region of Artsakh stood out with their color structure, richness of ornaments, technical mastery. We highlighted the role of handicrafts in the life of Armenian women, emphasizing that this form of the applied art was developed in Artsakh in the Middle Ages. In this article, we also presented a number of pottery samples found during excavations by foreign archaeologists.
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Dissertations / Theses on the topic "Silversmithing"

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Silve, Sarah. "Laser forming and creative metalwork." Thesis, Bucks New University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342089.

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Knott, Stephen. "Amateur craft as a differential practice." Thesis, Royal College of Art, 2011. http://researchonline.rca.ac.uk/1132/.

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This doctoral dissertation provides a theoretical examination of amateur craft as a differential practice. Concepts drawn from an inter-disciplinary source base are used to define, characterise and elucidate features of amateur craft practice that have long been presumed superfluous and opposite to valorised ‘professional’ practice. I investigate the attraction, motivation and complexities that lie behind this widespread, yet largely understudied, phenomenon of modern culture. Studies of everyday life, social history, aesthetics, material culture, art criticism and craft theory help conceptualise the position of the amateur, and case studies from the nineteenth and twentieth centuries – including the paint-by-number mania in 1950s USA, suburban chicken keeping, and amateur railway modelling – serve to substantiate the theoretical claims made. The thesis is not comprehensive in its coverage of either a specific craft medium or a particular chronology or geography. Instead the thesis is divided into three thematic chapters: amateur surface intervention, amateur space, and amateur time. These chapters reveal some of the unexpected consequences of subjecting amateur practice to serious study. The examples demonstrate how amateur craft practice is differential within capitalism,dependant on its structures while simultaneously stretching, refracting, and quietly subverting them. As a reprieve or a supplement to an individual’s primary occupation, the constrained freedom of amateur craft practice fulfils an essential role within modern life, providing a temporary moment of autonomous control over labour-power in which the world can be shaped anew.
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Smurthwaite, Kathryn C. "Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3903.

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There is currently need for reform in art programs of all kinds, in regards to use of and focus on contemporary art and current practices. Teaching about art of our time and place enables students to understand and make connections to their world, and facilitates art making that is creative and relevant. This thesis describes theory and rationale for basing curriculum on contemporary art practices and presents a jewelry workshop, for all skill levels, that teaches contemporary art themes and practices. There are two units. The first teaches metal texturing, shaping and simple soldering skills while, focusing on art that deals with spectral and compensatory remembering themes. The second unit teaches bezel setting while focusing on alternative to the establishment art themes. The lessons in the workshop were also created using contemporary art teaching techniques and new principles and elements of design.
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Alfredsson, Grahn Beata. "Poetic Justice : an outcome in which vice is punished and virtue rewarded, usually in a manner peculiarly or ironically appropriate." Thesis, Konstfack, Ädellab, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7219.

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An emergency is a speeded-up emergence, a state of change that accelerates beyond the control of the system in which it takes place and results in either death or necessary development, for an establishment of a new rhythm.     This work is an investigation on the limits and possibilities of contemporary corpus practices. My aim for it is to be reflective of my own ambivalence towards the field in which my silversmithing practice is situated, and to promote the urgency of collaborative craft, in traditional as well as contemporary contexts. This investigation has resulted in the collaborative corpus project Poetic Justice, together with Klara Brydewall Sandquist, promoting two separate feminist agendas, in order to elevate them both and underline their entanglement. One being to manifest and justify women’s anger, and the other to oppose the cult of the individual genius and suggest alternate possibilities in relation to historical corpus in the contemporary field of craft. It is also a way for us to highlight the urgency of supporting, elevating and celebrating each other’s practices and purposes, through a closely intertwined way of working that investigates where objects begin and end, in space as well as in time.
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Haydon, Kirsten, and kirsten haydon@rmit edu a. "Antarctic landscapes in the souvenir and jewellery." RMIT University. Art, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090227.115157.

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Experience of Antarctica is unique and overwhelming and the phenomenon of the landscape and knowledge of its history continues to inspire artists and writers. Since Antarctica's discovery and exploration both before and during the Heroic Age; explorers, expeditioners, artists and writers have attempted to record and visualise Antarctica. In1982 international Antarctic programmes started to assist artists to travel to Antarctica with the intention of providing perceptive interpretations no longer attached to science or exploration. This practice-led research is the first project where a jeweller has explored and interpreted a personal experience of Antarctica to produce souvenir and jewellery objects. These objects reveal new interpretations of Antarctica that engage with the viewer through the recognisable personal jewellery and souvenir object. This research has produced new contemporary souvenir and jewellery objects by interpreting both personal photographs and re-examining the historic stories, photographs and representations of Antarctica. The bibliographic investigations of historical jewellery and souvenirs provided specific examples of historical personal mementos that are now displayed in museums. This research analyses the meaning of historical examples of souvenirs and jewellery and examines the way in which photography has been manipulated and used on hard media. Through this analysis and examination of historical examples the research focuses on studio-based experimentation with enamelling and contemporary technologies to establish the links enamelling has had with micromosaics and miniature painting. This practice-led research investigates new and innovative ways to interpret these historical techniques and draw on the notion of the souvenir. Thinking through the processes used in this research and retelling the personal experience of Antarctica, contemporary technologies are used to reimagine historical examples of tourist jewellery and personal souvenirs presenting a further understanding of Antarctica's significance both culturally and environmentally. The research not only provides an addition to the diverse range of interpretations of Antarctica it also explores the area of enamelling in contemporary jewellery and object making by contributing to the current revival of the tradition both locally and internationally. This research offers new experiences and knowledge through the investigation, experimentation, manufacture and installation of enamelled objects.
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Fabian, Andreas. "Spoons & spoonness : a philosophical inquiry through creative practice." Thesis, Bucks New University, 2011. http://bucks.collections.crest.ac.uk/10110/.

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A social etiquette has emerged around the consumption of food in the West which requires the use of cutlery – knife, fork and spoon. It is the spoon that is the subject of this thesis, a utensil so familiar as to have become almost invisible. The significance of the spoon should not be underestimated and it is employed in this study as a device to offer insight into material practices, examine theoretical issues in relation to design and explore the culture of representation that has developed around objects in the contemporary field of visual and material culture. In this sense this thesis can be seen as located in the blurred boundaries of art, craft and design and as constituting a text which contextualises and supports a collection of artefacts developed in the course of a 'practice led' Art and Design PhD. The spoon exists not only as an object whose usefulness transcends time but also in terms of a metaphorical singularity; as an idea with an infinite number of possible interpretations and material manifestations. This thesis originates in the idea of a reflective cross-disciplinary enquiry intended to explore fundamental questions around what the author defines as “spoonness”, articulating that which might otherwise be articulated through (and subsumed in) the making of the object itself. Significantly, by tracing the journey of the authors film „Emilie Eating Soup‟ together with the various objects, exhibitions and catalogues developed in the course of this research, this thesis also contributes to current critical discourse from the perspective of the practitioner - a voice that in the past has often been absent from academic discourse. It opens up the creative processes to scrutiny and further comment, and serves as a model of analysis to others in the field of material culture to aid reflection upon their own practice and generate new modes of innovation. A critical reflection upon the works subsequent reception at a series of prestigious international exhibitions and events is made throughout this thesis. These materials, together with this text, combine to represent the broad arc of this author‟s creative practice and collectively define the innovative nature of this PhD.
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Lockwood, Peter. "Postgraduate report: Gold and Silversmithing Workshop." Thesis, 1989. http://hdl.handle.net/1885/155268.

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Timar-Young, Szuszy. "Report from Gold and Silversmithing Workshop." Thesis, 1992. http://hdl.handle.net/1885/155524.

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Barisic-Bentley, Marica. "Report from Gold and Silversmithing Workshop." Thesis, 1994. http://hdl.handle.net/1885/155587.

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Auburn, Pamela. "Postgraduate report: Gold and Silversmithing Workshop." Thesis, 1989. http://hdl.handle.net/1885/155589.

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Books on the topic "Silversmithing"

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J, Falino Jeannine, Ward Gerald W. R, Museum of Fine Arts, Boston., and Colonial Society of Massachusetts, eds. New England silver & silversmithing: 1620-1815. Boston: Colonial Society of Massachusetts, 2001.

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Erickson, Dorothy. Gold & silversmithing in Western Australia: A history. Crawley, W.A: UWA Pub., 2010.

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Silversmithing: A manual of design and techniques. Marlborough: Crowood, 2000.

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Shepherd, Winsome. Gold & silversmithing in nineteenth & twentieth century New Zealand. [Wellington N.Z.]: Museum of New Zealand, 1995.

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Hopi silver: The history and hallmarks of hopi silversmithing. Albuquerque: University of New Mexico Press, 2003.

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Dazzle and City Art Centre (Edinburgh, Scotland), eds. Dazzle invites: Contemporary designer jewellery, silversmithing, goldsmithing and small sculptures. Edinburgh: Dazzle, 1986.

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Watt, Rosemary. Serving for delight: A century of silversmithing & jewellery at Glasgow School of Art. Glasgow: Dept. of Silversmithing & Jewellery, Glasgow School of Art, 1994.

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Chamay, Jacques. L' aurige et les chasseurs: Chef-d'œuvres d'orfèvrerie antique = The charioteer and the hunters : a masterpiece of ancient silversmithing. Neuchâtel: Chaman Edition, 2007.

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Middlesex Polytechnic. School of Product Design., ed. Germanium: Its value and potential use within the jewellery, silversmithing and allied industries : report for the Specialty Metals DepartmentMetaleurop S.A.. [London]: Middlesex Polytechnic, 1991.

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France. Statuts et privileges du corps des marchands orfevres-joyailliers de la ville Paris =: An 18th-century compendium of the laws governing silversmithing in Paris. Los Angeles: J. Paul Getty Museum, 2003.

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Book chapters on the topic "Silversmithing"

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"Small Firm, Major Change: Zilverstad Silversmithing." In Europe's Next Step, 115–36. Routledge, 2013. http://dx.doi.org/10.4324/9780203044049-12.

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"DINÉ TRADING AND SILVERSMITHING AT BORREGO PASS TRADING POST." In A Diné History of Navajoland, 209–27. University of Arizona Press, 2019. http://dx.doi.org/10.2307/j.ctvqsdsp4.13.

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"Delbert." In Oral History Reimagined, 93–150. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3420-5.ch003.

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Delbert has battled the plague of alcoholism for most of his adult life. The death of his younger brother and faithful drinking partner to cirrhosis of the liver would have seemed to serve as a wake-up call. Not only did it not curtail his behavior, he showed up drunk at the funeral. Alcoholism has cost Delbert his family as well as an untold number of jobs. When the author first met him over 30 years ago, he had already abandoned his wife and three children and moved in with his mother. Although he has cohabitated intermittently with several girlfriends since, his primary place of residence remains his mother's house. Not surprisingly, Delbert has also struggled with chronic unemployment. The few odd jobs that he manages to find never last very long because he either quits or gets fired. Although he occasionally earns money through silversmithing, Delbert subsists day-to-day mainly through freeloading off of his mom and girlfriend(s). His desultory lifestyle is both exacerbated and fueled by a lack of hope. This chapter introduces Delbert.
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Conference papers on the topic "Silversmithing"

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Apostolakis, Efthimios, and Dimosthenis Chatzipanteliadis. "Evaluation of three structured light 3d scanners for the purpose of augmenting artisanal design and production of silversmithing artefacts in Ioannina." In 2022 7th South-East Europe Design Automation, Computer Engineering, Computer Networks and Social Media Conference (SEEDA-CECNSM). IEEE, 2022. http://dx.doi.org/10.1109/seeda-cecnsm57760.2022.9932935.

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Guerrero, Lorena. "A design look at heritage silverware. Case study." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.65.

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This participation presents the study of a pair of silverware lecterns from Nueva Granada, whose elaboration dates from the second half of the seventeenth century. Throughout the investigation, we made reflections about how the analysis of these artifacts, from the point of view of industrial design, allows us to see aspects that other disciplines study superficially, such as the close relationship between form, function and the production of an object. The objective of the research has been to understand the historical context of a society through the use of its objects, its symbolism and the dynamics of its manufacture. This research was developed in alliance with the Museo Colonial of Bogotá, which allowed direct access to the lecterns, a moment that constitutes a point of exploration; Unlike what can be the investigation of material culture from history or the history of art in its most traditional practices, the starting point is the artifact itself, which provides first-hand information both for its iconography and for its technical traces. Thanks to the iconographic analysis, it is possible to establish the "stories" contained in the pieces, and even their owners and context of use, despite the lack of regulatory colonial markings; Thanks to the observation of technical traces, it is possible to establish its production process and contrast it with current goldsmithing techniques. This contrast was made by the hand of an expert silversmith, which opened another look at the intangible heritage of the current trade of silversmithing in Colombia. Thanks to this study, it was possible to conclude that the role of silversmiths in New Granada was of vital importance for the purposes of the Spanish Crown to expand the Catholic religion throughout the Empire, thanks to its power in representation and capacity to capture the attention of the parishioners, due to the high level of decorative detail influenced by the Baroque movement. One of the most important aspects of the research was the development of different products that allowed the communication of the findings to different types of public: thus, the project had articles and participation in academic events, but also with the production of informative texts, museum material and a digital course in MOOC format, with audiovisual content. Therefore, this research is not only about the case study, but about how design can contribute from its own languages and resources to the recognition of the tangible and intangible heritage of a country.
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