Journal articles: '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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Braznell, W. Scott. "The Early Career of Ronald Hayes Pearson and the Post: World War II Revival of American Silversmithing and Jewelrymaking." Winterthur Portfolio 34, no. 4 (December 1999): 185–213. http://dx.doi.org/10.1086/496789.

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Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).

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Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).

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Katzew, Ilona, and Rachel Kaplan. "“Like the Flame of Fire”." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 4–29. http://dx.doi.org/10.1525/lavc.2021.3.1.4.

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The so-called Hearst Chalice at the Los Angeles County Museum of Art (LACMA) is widely regarded as one the most significant works of Mexican silversmithing from the sixteenth century. Its style, technique, and above all its unique combination of materials—including precious metals, feathers, wood carvings, and rock crystal—have led scholars to describe it as the perfect fusion of European and Ancient American (or pre-Columbian) traditions. Surprisingly, despite the consensus about the chalice’s importance, the cultural and artistic conditions that led to the creation of this singular object have not been thoroughly analyzed. By closely examining the different material components of the imposing artifact—which though carefully assembled also stand as independent units—we can better understand its uniqueness and symbolic potential. This essay espouses a synoptic approach by considering a range of agencies, perspectives, and sources—documentary and material—to restore the “Hearst” Chalice to its rightful context, without aspiring to a totalizing view of the past or a definitive decoding of its system of meaning. Categorizing its form and function as purely Indigenous and European poses a distinct set of challenges and limits its hermeneutic possibilities. The work—like many others created during the volatile period following the fall of Tenochtitlan—encodes a new visual language that reveals the highly subtle process of negotiation of these two cultures in a particular space and time. Moving away from the reductive concept of syncretism, the essay offers a fresh look at this impressive contact period work and its shifting values over time.

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Campbell, Charles T., and Ruth A. Rabinovitch. "Benton Seymour Rabinovitch. 19 February 1919 — 2 August 2014." Biographical Memoirs of Fellows of the Royal Society 62 (January 2016): 505–24. http://dx.doi.org/10.1098/rsbm.2015.0021.

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Benton Seymour Rabinovitch was one of the pioneers of chemical dynamics. His brilliant experiments performed during his four decades as a Professor of Chemistry at the University of Washington in Seattle provided most of our early quantitative measurements of the efficiency with which energy is transferred between molecules in gas-phase molecule–molecule collisions and in collisions of molecules with solid surfaces. More importantly, his work provided quantitative estimates of the rates with which vibrational energy deposited locally within a molecule is redistributed among the many vibrational modes within that molecule, proving that the equilibration of this vibrational energy among these modes almost always occurs in approximately one picosecond. He further showed that this validates (in most cases) the assumptions of Rice–Ramsperger–Kassel–Marcus (RRKM) theory. He also developed several widely used mathematical shortcuts for using RRKM theory to make important predictions about physical chemistry. These shortcuts greatly increased both the applications and impact of RRKM theory, so that it has become one of the most important theories of physical chemistry. It continues to guide much of our fundamental understanding of chemical dynamics and reaction kinetics even today. In addition to being a great scientist, Seymour Rabinovitch was a devoted husband and father. He raised four accomplished children, and later in life became an expert in the art of silversmithing, a writer of children's books, and a philanthropist. His offspring are following beautifully in his footsteps in their kindness to fellow human beings, their excellence in scholarship, science and art, and in their energetic dedication to improving the world through teaching, research, service and philanthropy. The same can be said for his academic offspring as well.

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Pedramfar, Arezoo, Keivan Beheshti Maal, and Sayed Hossein Mirdamadian. "Phage therapy of corrosion-producing bacterium Stenotrophomonas maltophilia using isolated lytic bacteriophages." Anti-Corrosion Methods and Materials 64, no. 6 (November 6, 2017): 607–12. http://dx.doi.org/10.1108/acmm-02-2017-1755.

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Purpose Corrosion-producing microorganisms have different physiology and include sulfate-reducing bacteria, iron oxidizers and magnesium oxidizers. Biocorrosion has been seen in various industries, especially the petrochemicals and oil industries. One proposal to solve this problem is the use of bacteriophages to treat the bacteria-caused corrosion. The aims of this study were isolation and identification of corrosion-producing bacteria from petroleum pipeline corrosion as well as finding their specific bacteriophages for phage therapy purposes. Design/methodology/approach The sample pipes with the corrosion were obtained from the Gandomkar petroleum pipeline station, Chaharmahal and Bakhtiari, Iran. For screening the corrosion-producing bacteria, the rusted pipe samples were cultured in a selective culture medium, manganese agar. The purified individual colonies were subjected to molecular examinations. For isolating bacteriophages from silversmithing workshops wastewater in Isfahan, whole plate titration methods and transmission electron microscopy were used to isolate and detect phages. Findings The cultivation of corrosion-based material on manganese agar after 18 hours incubation at 30°C resulted in the isolation of cream-colored colonies. The microscopic examinations showed Gram-negative coccobacilli. Based on molecular examinations, the isolated bacteria were identified as Stenotrophomonas maltophilia strain PBM-IAUF-2 with Genebank accession number of KU145278.1. The found bacteriophage was related to the Siphoviridae family of phages. Originality/value This paper is the first report of isolation and identification of corrosion-producing bacteria and its specific lytic phages from Gandomkar petroleum pipeline station, Chaharmahal and Bakhtiari, Iran. The biological procedures for preventing the microbial corrosion could be an asset and considered as a potential in the petroleum and industrial microbiology. Phage therapy is considered as one of the economical methods for reducing the biocorrosion.

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Koumara-Tsitsou, S., and N. Karachalis. "Traditional products and crafts as main elements in the effort to establish a city brand linked to sustainable tourism: promoting silversmithing in Ioannina and silk production in Soufli, Greece." Place Branding and Public Diplomacy 17, no. 3 (February 22, 2021): 257–67. http://dx.doi.org/10.1057/s41254-021-00200-y.

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Reedy, Chandra L. "Technological Tradition and Change in Tibetan Silversmithing Techniques in Songpan, Sichuan Province, China." MRS Proceedings 1319 (2011). http://dx.doi.org/10.1557/opl.2011.742.

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ABSTRACTSilver jewelry and repoussé work have been a significant part of the material culture of Tibet for centuries. While objects such as offering bowls, skullcups, butter lamps, ewers, portable shrines and incense burners serve religious purposes, many other type of objects are important in the secular life of Tibetans. This secular silver material culture includes items such as necklaces, bracelets, rings, hair ornaments, amulet cases, vessels, belts or waistbands and hooks for milk pails or butter churners.The discussion presented here focuses on secular silver objects made in the workshop of a traditional Tibetan silversmith in the town of Songpan in northwestern Sichuan Province, China (traditionally comprising part of eastern Tibet). With interruptions in traditional practices during the Cultural Revolution, the question has been raised about whether or not such practices have continued [1]. This research is part of an effort to document traditional Tibetan craft practices and identify threats to their preservation. Workshop processes start with the craftsman acquiring the silver, making or buying tools, arranging the work area, and the customer commissioning a piece. Technical processes include working the silver ingot to form an object, annealing and quenching, making silver wire, filigree, granulation, soldering, inlay work, pickling and finishing.Some changes have been introduced in how the workshop operates during the lifetime of the current craftsman, leading to differences between his procedures and that of his father, under whom he apprenticed. Some of these changes are due to technological advances (new equipment becoming available) and some are due to larger societal changes (for example, new government regulations regarding purchasing of raw silver). These changes are often in technological style affecting the fabrication stages, but not necessarily visible in completed objects, which retain their traditional forms, visual style and functions.

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Journal articles on the topic 'Silversmithing'

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