View allAll Photos Tagged Forging
Andy McCallum (32), is a blacksmith who works in the Craft Village at Markeaton park, Derby, England.
Pictured hammering out a piece of hot metal just removed from the forge
Hammerhead blacksmiths, Studio B, The Craft Village, Markeaton Park, Derby.
01332 207259 (W), 01629 822581 (H).
Forging ahead up the cobbles of the station bank in Beamish Museum (and making a fair cloud of smoke as it does so) is this 1921 Daimler CK22 flatbed truck, registered DM 3161, in the livery of Longthorne of Hebden.
The truck was at Beamish as part of the Great War Steam Fair of April 2018.
Copyright © 2018 Terry Pinnegar Photography. All Rights Reserved. THIS IMAGE IS NOT TO BE USED WITHOUT MY EXPRESS PERMISSION!
Anchors were made by a process known as forging. Iron bars, heated in a furnace, were joined together and hammered into shape by anchor smiths.
At Chatham Dockyard (above), No. 1 Smithery's first hammers were hand-powered. Steam hammers, first developed during the 1840s, were quickly introduced, enabling larger anchors and other metal items to be forged in the Smithery.
This single-pedestal "Cochrane" steam hammer, manufactured by B&S Massey of Manchester, was installed during the 1950s for light forging. Today it is displayed in the open space between the Smithery and the Covered Slips which are partially visible to the left.
The work of the anchor smiths was amongst the most demanding in the dockyard. Working in conditions of great heat and humidity, the trade was unpopular and the dockyard had to search the entire country to find men willing to work under those conditions. In recognition of their longer working day and the hard labour involved, the smiths were the highest-paid artisans in the yard. In addition, they were allowed eight pints (4.5 litres) of strong beer a day from a special beer cellar in the building!
During the 20th century, most of the dockyard's machine tools were painted in the light green colour seen above.
The press of CAMPI.
Purchased by the company Haniel & Lueg Düsseldorf this press, used for forging and levelling of large plates, was in operation until 1989 year in which it is progressively implemented the closure of the historic factory.
Installed in 1914 in "Fonderie e Acciaierie di Campi" a Gio Ansaldo & C. Company, this press by 12000 tons has been for a long time one of the most powerful in Europe.
Following the productive conversion of the CAMPI area the press has been restored and maintained in constant evidence of the role played by Genoa in the industrial history of Italy
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Acquistata dalla Ditta Haniel & Lueg di Düsseldorf la pressa, utilizzata per la fucinatura a caldo e la spianatura di grosse lamiere, è stata in funzione sino al 1989 anno in cui viene progressivamente attuata la chiusura dello storico stabilimento.
Installata nel 1914 nelle "Fonderie e Acciaierie di Campi della Gio Ansaldo & C. questa pressa da 12.000 tonnellate è stata per lungo tempo una delle più potenti d'Europa.
A seguito della conversione produttiva dell'area di Campi la pressa è stata recuperata e salvaguardata a perenne testimonianza del ruolo svolto da Genova nella storia industriale del nostro paese.
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Shortly after leaving Tanygrisiau station, the Ffestiniog Railway continues its climb, running along ledges, through narrow cuttings and skimming retaining walls. One picture I'd never had the opportunity to take before was this one ... though it might have been better with the train heading down-hill. A double Fairlie is seen competently digging into the climb along a ledge high above the village with the first coaches of a lengthy train in tow. Blaenau Ffestiniog and the slate mines the railway was built to serve, can be seen in the distance.
Highschoolers make an attempt through flooded Forest Ave in Cranford NJ. The waters rose overnight during Hurricane Irene. Cranford has never seen this much water in the center of town before.
We may be a small town with a big flood that is insignificant to so many bigger disasters around the world, yet this will be a day not forgotten.
We've been playing around with the Indian die forms and forging bangle bracelets with them for a while now. Getting a bit bored with it actually. So we decided to start playing with color too. This is the second set we made. This first set sold right of the bench before we got a chance to photograph them. That experience provided ample interest in jumping right back in and making another set.
Akseli Gallen-Kallela (1865-1931)
Central Hall
National Museum of Finland
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About the Source
The Kalevala . . . is a 19th-century work of epic poetry compiled by Elias Lönnrot from Karelian and Finnish oral folklore and mythology.
The Kalevala is the great Finnish epic, which like the Iliad and the Odyssey, grew out of a rich oral tradition with prehistoric roots.
During the first millenium of our era, speakers of Uralic languages (those outside the Indo-European group) who had settled in the Baltic region of Karelia, that straddles the border of eastern Finland and north-west Russia, developed an oral poetry that was to last into the nineteenth century.
It is regarded as the national epic of Karelia and Finland and is one of the most significant works of Finnish literature. The Kalevala was instrumental in the development of the Finnish national identity, the intensification of Finland's language strife and the growing sense of nationality that ultimately led to Finland's independence from Russia in 1917.
en.wikipedia.org/wiki/Kalevala
smile.amazon.com/Kalevala-Oxford-Worlds-Classics-ebook/dp...
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About the Work
"Forging of the Sampo is Gallen-Kallela’s . . . depiction of this central event in the Kalevala, described in Song 10. Väinämöinen returns home, and urges Ilmarinen to go to court the Maiden of Pohjola, who can be won by forging a Sampo – a mysterious talisman whose nature remains undefined. When Ilmarinen refuses, Väinämöinen uses magic to transport him to Pohjola in a whirlwind. Once there, Ilmarinen forges the Sampo, but the Maiden of Pohjola declines his offer of marriage, leaving him to return home disconsolate."
eclecticlight.co/2016/05/15/the-story-in-paintings-kaleva...
About the Artist
Akseli Gallen-Kallela (26 April 1865 – 7 March 1931) was a Finnish painter who is best known for his illustrations of the Kalevala, the Finnish national epic.
His work is considered very important for the Finnish national identity. He changed his name from Gallen to Gallen-Kallela in 1907.
Gallen-Kallela was born Axel Waldemar Gallén in Pori, Finland in a Swedish-speaking family. His father Peter Gallén worked as police chief and lawyer.
At the age of 11 he was sent to Helsinki to study at a grammar school, because his father opposed his ambition to become a painter. After his father's death in 1879, Gallen-Kallela attended drawing classes at the Finnish Art Society (1881-4) and studied privately under Adolf von Becker.
In 1884 he moved to Paris, to study at the Académie Julian. In Paris he became friends with the Finnish painter Albert Edelfelt, the Norwegian painter Carl Dörnberger, and the Swedish writer August Strindberg.
On [his] . . . honeymoon to East Karelia, Gallen-Kallela started collecting material for his depictions of the Kalevala. This period is characterized by romantic paintings of the Kalevala, like the Aino Myth, and by several landscape paintings.
In December 1894, Gallen-Kallela moved to Berlin to oversee the joint exhibition of his works with the works of Norwegian painter Edvard Munch. Here he became acquainted with the Symbolists.
In March 1895, he received a telegram that his daughter Impi Marjatta had died from diphtheria. This would prove to be a turning point in his work. While his works had previously been romantic, after his daughter's death Gallen-Kallela painted more aggressive works like the Defense of the Sampo, Joukahainen's Revenge, Kullervo Cursing and Lemminkäinen's Mother.
On his return from Germany, Gallen studied print-making and visited London to deepen his knowledge, and in 1898 studied fresco-painting in Italy.
For the Paris World Fair in 1900, Gallen-Kallela painted frescoes for the Finnish Pavilion. In these frescoes, his political ideas became most apparent. One of the vipers in the fresco Ilmarinen Plowing the Field of Vipers is wearing the Romanov crown, and the process of removing the vipers from the field was a clear reference to his wish for an independent Finland.
The Paris Exposition secured Gallen-Kallela's stature as the leading Finnish artist.
In 1901 he was commissioned to paint the fresco, Kullervo Goes to War, for the concert hall of the Helsinki Student's Union.
Between 1901 and 1903 he painted the frescoes for the Jusélius Mausoleum in Pori, memorializing the 11-year-old daughter of the industrialist F.A. Jusélius. (The frescoes were soon damaged by dampness, and were completely destroyed by fire in December 1931. Jusélius assigned the artist's son Jorma to repaint them from the original sketches. The reconstruction was completed just before Jorma's death in 1939.)
Gallen-Kallela officially finnicized his name to the more Finnish-sounding Akseli Gallen-Kallela in 1907.
Kallela Museum
In 1909, Gallen-Kallela moved to Nairobi in Kenya with his family, and there he painted over 150 expressionist oil paintings and bought many east African artefacts.
But he returned to Finland after a couple of years, because he realized Finland was his main inspiration. Between 1911 and 1913 he designed and built a studio and house at Tarvaspää, about 10 km northwest of the centre of Helsinki.
In 1918, Gallen-Kallela and his son Jorma took part in the fighting at the front of the Finnish Civil War.
When the regent, General Mannerheim, later heard about this, he invited Gallen-Kallela to design the flags, official decorations and uniforms for the newly independent Finland. In 1919 he was appointed aide-de-camp to Mannerheim.
From December 1923 to May 1926, Gallen-Kallela lived in the United States, where an exhibition of his work toured several cities, and where he visited the Taos art-colony in New Mexico to study indigenous American art.
In 1925 he began the illustrations for his "Great Kalevala". This was still unfinished when he died of pneumonia in Stockholm on 7 March 1931, while returning from a lecture in Copenhagen, Denmark.
His studio and house at Tarvaspää was opened as the Gallen-Kallela Museum in 1961; it houses some of his works and research facilities on Gallen-Kallela himself.
Time had stood still on the Wolsztyn-Leszno line, but modernisation was gradually catching up. As 'Ol49' class 2-6-2 No.69 made a spirited start from Nowa WieÅ› Mochy station heading the 09:46 Leszno-Wolsztyn service on Monday 13th January 2014, electrical engineers were busy wiring in the new station lamps which were replacing the old concrete structures. Very soon the character of the line around the station areas on the line would be totally transformed, just as has taken place on the Wolsztyn-Poznan line at most stations. New regulation height station platforms would probably follow before too long.
© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission
Forging a leaf for Flora Medica, six stories of ironwork we made for the Association of American Medical Colleges headquarters in Washington DC.
A remarkable document this - a spirally bound 140 pages of nuts, bolts, fixings, fasteners and special forgings that were in production at the Atlas Works of Guest, Keen & Nettlefolds (Midlands) Ltd. at Darlaston in Staffordshire. The well produced catalogue has been thoughtfully published using index tabs and colours to cover the seven sections, covering black - japanned bolts and screws, high tensile, 'Bright" bolts and screws, brass as well as Specilaities and appendices.
GKN was a sprawling conglomerate based on the 1902 merger of Nettlefolds of Birmingham with Guest, Keen & Co who were themselves the product of Guest's (associated with the Welsh Dowlais Iron Co) and Keen's Patent Nut & Bolt Co. again of Birmingham. Over the decades they acquired many other similar concerns becoming a 'verically integrated' concern in that they produced iron and steel as well as formed metal into a wide variety of products. They had a loose 'structure' at the time of this catalogue although there was to be a brief interlude when the 'producing companies' were nationalised in 1951 before being reacquired between 1954 and 1955. The concern later morphed into GKN.
This page shows the names and addresses of the various regional offices of GKM and its representatives. Whoever produced this gave the typefaces and typography some thought.
... my interpretation of a skandinavian classic ... blade forged from steel made before 1900 ( Tannenstahl / Mühlenstahl ) . Handle Micarta.
Last Wednesday's 6M22 Hunterston - Sellafield flask is seen in the hands of Nos.20304 & 20309 in the rain at Moss Bay.
Buildings of the former steelworks are now occupied by smaller concerns on the Reedlands Road industrial estate.
Today I passed 2014's mileage of 7310, and turn my attention to 2013's 7690. An 8000 mile year is looking increasingly achievable.
These are wooden panels from a church at Hillestad, Norway. Romaneque style.
Photoed from my personal copy of Teutonic Myth & Legend by Donald Mackenzie circa 1913.
Very nicely restored LMS 4F 0-6-0 44422 heads a freight train from Wansford towards Peterborough on the Nene Valley Railway. This maid-of-all work design originated with the Midland Railway and was built in large numbers until 1941. Similar locos would have worked on the NVR route during British Railways days.
August 2012
Rollei 35 camera
Fujichrome 100 film.
From the beginning of time, the pen and the brush were used as avenues for creative expressions. The brush, a universal symbol for Art, the Artist and their creative expressions. For me personally, writings, books, stories, have always inspired my imagination. The pen therefore, represents something scared in my dreams.
This piece began as a tribute to Creative Expression. But as the piece began to take shape, as the wires began to twirl and dance from my hands into its fanciful forms, as the ringing of my hammer began to sound like a rhythmic musical beat, I realized that this was more than just a tribute to creative expression, this WAS creative expression!
At the last phase of this piece, I wanted to choose a word to express it. There was no doubt in my mind that the word would be 'Poetry'. I had written Poetry today. But not in ink, I had written poetry in metal. At this moment, I realized the pen nib had so much symbolic relevance here. But what astonished me was the brush. The brush I had chosen was not merely any paint brush, it was a Chinese Calligraphy brush. This brush was used not only for painting pictures, it was also used to write poetry and prose. This was something that never crossed my mind when I chose to use this particular type of brush in this assemblage.
Isn't it amazing how the subconscious mind pieces things together?
This mixed media piece is an assemblage of copper, brass, steel, paper, resin, natural stones, fabric, fire, patina, paint, (one of my daughter's :) calligraphy brush, an old pen nib and a creative process that was spontaneous, organic, uninhibited and nothing short of dream-like.
*the choker wears 17 inches round the neckline (this was not made with any chain extensions, if you need a chain extension attached, please convo or leave me a note)
*Pendant is 7 inches from bail to end of pen nib