View allAll Photos Tagged silversmith
Item:
Title: Coolie Silversmith Shop, Port of Spain, Trinidad
Photographer:
Publisher:
Publisher#:
Year: ca 1890
Height: 4 1/2 in
Width: 6 1/2 in
Media: platinum print
Color: b/w
Country: Trinidad
Town: Port of Spain
Notes:
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Silversmith and corsetmaker Ondine Vivian Eleven, at my Edward Gorey-themed birthday picnic. She is always the best dressed.
Volunteer Park, Seattle, WA.
Stacks of steels and bronzes for hand beating and shaping sliver, more or less the same as when the workshop was set up over 100 years ago, and all still in use.
Quote taken from the website of the Hart family, current owners....
"The Guild of Handicraft was founded in 1888 by Charles Ashbee, an architect and devotee of William Morris, its aim to revive craftsmanship, which had been in decline since the industrial revolution.
In 1902, to improve the quality of life for his craftsman, Ashbee moved the Guilds – which included around fifty jewellers, enamelers, woodcarvers, cabinetmakers, silversmiths, French polishers and bookbinders – from workshops in the East End of London to Chipping Camden in the centre of the Cotswolds.
The group, some 200 in all, including wives and children, descended on the town, bringing with them fresh ideas and making the market town a centre for the study of Arts and Crafts and contemporary design in the early part of this century. Although in the long term the experiment was not successful, there were some who stayed on.
Among them was silversmith George Hart, who, in the best traditions of the Guild, passed on his skills to his son Henry.
Henry in turn taught his own son David, who today runs the business with his son William and nephew Julian; Derek Elliott, the fourth member of the studio, also served his apprenticeship with David."
I forgot to post a photo of the base of that sterling silver British Empire Exhibition trinket box. The desk ornament was made by the Goldsmiths and Silversmiths Co. Ltd. of 112 Regent Street, London W1.
Gill studied silversmithing at the Grennan Mill Craft School in Kilkenny and went on to study at the Regional Technical College, Letterkenny; the University of Ulster, Belfast and the National College of Art and Design, Dublin.
Today I experimented with a Sigma 180mm lens mounted on a Sony A7RM2 body using a Metabones adaptor.
This combination does not work in Auto-Focus mode so I had to use manual focusing and this was not easy and it certainly would have been impossible without focus peaking [a feature that I have never properly employed before]. In case you are unaware focus peaking is a tool to assist you while manual focusing. It highlights the areas that are in focus so you are able to quickly focus the camera and not miss crucial shots. However, focus peaking is not as easy as it sounds because it shows you what's sharp on the viewfinder screen, not what's sharp in the actual image. Since the screen or viewfinder has a much lower resolution than the actual camera sensor areas that are highlighted as being sharp in the viewfinder can be very much out of focus in the image you actually capture.
Max Bill (22 December 1908 – 9 December 1994) was a Swiss architect, artist, painter, typeface designer, industrial designer and graphic designer.
Bill was born in Winterthur. After an apprenticeship as a silversmith during 1924-1927, Bill took up studies at the Bauhaus in Dessau under many teachers including Wassily Kandinsky, Paul Klee and Oskar Schlemmer from 1927 to 1929, after which he moved to Zurich.
After working on graphic designs for the few modern buildings being constructed, he built his first work, his own house and studio (1932–3) in Zurich-Höngg. From 1937 onwards he was a prime mover behind the Allianz group of Swiss artists.
Bill is widely considered the single most decisive influence on Swiss graphic design beginning in the 1950s with his theoretical writing and progressive work. His connection to the days of the Modern Movement gave him special authority. As an industrial designer, his work is characterized by a clarity of design and precise proportions. Examples are the elegant clocks and watches designed for Junghans, a long-term client. Among Bill's most notable product designs is the "Ulmer Hocker" of 1954, a stool that can also be used as a shelf element or a side table. Although the stool was a creation of Bill and Ulm school designer Hans Gugelot, it is often called "Bill Hocker" because the first sketch on a cocktail napkin was Bill's work.
As a designer and artist, Bill sought to create forms which visually represent the New Physics of the early 20th century. He sought to create objects so that the new science of form could be understood by the senses: that is as a concrete art. Thus Bill is not a rationalist -as is typically thought- but rather a phenomenologist. One who understands embodiment as the ultimate expression of a concrete art. In this way he is not some much extending as re-interpreting Bauhaus theory. Yet curiously Bill's critical interpreters have not really grasped this fundamental issue. He made spare geometric paintings and spherical sculptures, some based on the Möbius strip, in stone, wood, metal and plaster. His architectural work included an office building in Germany, a radio studio in Zurich, and a bridge in eastern Switzerland.
He continued to produce architectural designs, such as those for a museum of contemporary art (1981) in Florence and for the Bauhaus Archive (1987) in Berlin. In 1982 he also entered a competition for an addition to the Neue Nationalgalerie in Berlin, built to a design by Mies van der Rohe. Pavillon-Skulptur (1979–83), a large granite sculpture, was installed adjacent to the Bahnhofstrasse, Zürich in 1983. As is often the case with modern art in public places, the installation generated some controversy. Endlose Treppe (1991), a sculpture made of North American granite, was designed for the philosopher Ernst Bloch.
In 1944, Bill became a professor at the school of arts in Zurich. In 1953, alongside Inge Aicher-Scholl and Otl Aicher, he founded the Ulm School of Design (German: Hochschule für Gestaltung - HfG Ulm) in Ulm, Germany, a design school initially created in the tradition of the Bauhaus and which later developed a new design education approach integrating art and science. The school was notable for its inclusion of semiotics as a field of study. The school closed in 1968. Faculty and students included Tomás Maldonado, Otl Aicher, Joseph Albers, Johannes Itten, John Lottes, Walter Zeischegg, and Peter Seitz.
Bill was a professor at the Staatliche Hochschule für Bildende Künste Hamburg and chair of Environmental Design from 1967 to 1974. In 1973 he became an associate member of the Royal Flemish Academy of Science, Literature and Fine Art in Brussels. In 1976 he became a member of the Berlin Academy of Arts. In addition to his teaching, Bill wrote and lectured extensively on art, architecture and design, appearing at symposiums and design conferences around the world. In particular, he wrote books about Le Corbusier, Kandinsky, Ludwig Mies van der Rohe, and artistic theory. (Wikipedia)
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Max Bill / MOMA
www.moma.org/collection/artist.php?artist_id=559
Swiss architect, sculptor, painter, industrial designer, graphic designer and writer. He attended silversmithing classes at the Kunstgewerbeschule in Zurich from 1924 to 1927. Then, inspired by the Exposition Internationale des Arts Décoratifs et Industriels Modernes (1925), Paris, by the works of Le Corbusier and by a competition entry (1927) for the Palace of the League of Nations, Geneva, by Hannes Meyer and Hans Wittwer (1894–1952), he decided to become an architect and enrolled in the Bauhaus, Dessau, in 1927. He studied there for two years as a pupil of Josef Albers, László Moholy-Nagy, Paul Klee and Vasily Kandinsky, mainly in the field of ‘free art’. In 1929 he returned to Zurich. After working on graphic designs for the few modern buildings being constructed, he built his first work, his own house and studio (1932–3) in Zurich-Höngg; although this adheres to the principles of the new architecture, it retains echoes of the traditional, for example in the gently sloping saddle roof.
In his studio Bill first made pictures and sculptures intended as ‘laboratory pieces’, preparing the way for the design of utilitarian objects, sometimes even of buildings. In 1932 he became a member of the Abstraction–Création artists’ association in Paris, where he first exhibited his work. As a theorist and a painter he was an important exponent of art based on rational principles with reference to mathematics; building on the ideas of Theo van Doesburg, who died in 1931, Bill narrowed down the concept of Concrete Art in 1936, becoming a protagonist of the Zürcher Konkreten art group. But whereas van Doesburg spoke only of the elements of Concrete art, Bill explicitly included the relationships between them. In 1936 he designed the Swiss pavilion at the Triennale in Milan, where the principles of Concrete art were extended for the first time to architectonic design. During this period he also took part in several architectural competitions held by the city of Zurich, and he became a member of CIAM in 1938.
After World War II Bill worked increasingly in the field of applied art. This is also reflected in his writings, especially the essay ‘Schönheit aus Funktion und als Funktion’ (1949), which introduced ideas that were further detailed in his exhibition Die gute Form (1949) at the Swiss Industries Fair, Basle, as well as in the book Form (1952): the aesthetic component of an object was defined not only as arising from a function but as being the actual function of form. The concept of ‘good form’ was substantially adopted by the Deutscher Werkbund and similar movements in different countries. Through his personal contacts with the circle around Otl Aicher (1922–91) and Inge Scholl, Bill collaborated in founding the Hochschule für Gestaltung in Ulm. He designed its buildings on a hillside in Ulm in 1950 and set up the curriculum for a school of creative design that was intended to link up with the work of the Bauhaus and pursue similar objectives. The buildings for the Hochschule (1950–55) were his most important architectural works, and his design is based on complex relationships between a number of unobtrusive, geometrically elegant structures. Seen from outside, the buildings are embedded in the sloping site; in the interior, however, individual units or ‘containers’ are grouped around two central areas. This is similar to Bill’s competition entry for the monument to the Unknown Political Prisoner (1953; unexecuted), London. Bill was principal of the Hochschule until 1955 and head of the departments of architecture and industrial design. Internal tensions forced him to resign and to leave the college in 1957.
There followed a period when Bill was able to realize most of his architectural projects, working in collaboration with others; examples include the Cinevox cinema and residential complex (1957–8) at Neuhausen, near Schaffhausen; two detached houses near Cologne, the Lichtdruck factory at Dielsdorf, near Zurich, and the Imbau administration building in Leverkusen (all in 1960–61). He designed several major exhibition displays and in 1960 he was awarded the important commission to design the pavilion for the Bilden und Gestalten sector of the Swiss National Exhibition held in Lausanne in 1964. This building, now mostly dismantled, consisted of a group of modules spread over a large area; two elements, the box with the theatre and the square with the ‘Hof der Künste’, stood out of this carpet of modules, forming a contrast of ‘solid’ and ‘void’ in a neutral grid. Bill was also commissioned to extend the radio studio in Zurich (1964–74); he worked on the design for the bridge over the Lavina-Tobel (1966–7; with Aschwanden & Speck) near Tamins, and in 1967–8 he built a second house and studio for himself at Zumikon.
In 1968 Bill was awarded the city of Zurich art prize and elected a member of the Swiss Federal Parliament. He held the chair of environmental design at the Hochschule für Bildende Künste in Hamburg from 1967 to 1974 as well as several other public appointments. He was a prolific writer on art, architecture and design, producing several books and exhibition catalogues, as well as numerous contributions to art and architecture journals around the world. He continued to produce architectural designs, such as those for a museum of contemporary art (1981; unexecuted) in Florence and for the Bauhaus archive (1987; unexecuted) in Berlin. In 1982 he also entered a competition for an addition to the Neue Nationalgalerie in Berlin, built to a design by Mies van der Rohe. In the 1980s Bill was able to realize two of his most important, constantly recurring ideas in the field of sculpture on a large scale. The Pavillon-Skulptur (1979–83) in Bahnhofstrasse, Zurich, goes back to a prototype made in 1968 and consists of 64 parallelepipedals out of polished granite, which are arranged together to create a three-dimensional meander. For Kontinuität (1983–6), on the square in front of the Deutsche Bank in Frankfurt am Main, he reverts to the theme of the Möbius-strip in the Unendliche Schleife (‘unending loop’; 1935), giving it a new interpretation: there are two strips of granite that as a result of several turns become entwined with one another. Bill’s work was exhibited regularly at museums and galleries all over Europe and in the USA; however, his influence as an architect, as opposed to an artist, was limited, perhaps due to the subtlety of the design principles behind his simple architectural forms.
Hans Frei - From Grove Art Online
© 2009 Oxford University Press
Aberdeen Works, Trafalgar Street, Sheffield, England. Aberdeen Works is the home of Francis Howard, silversmiths. The company was formed on January 25, 1870, after Francis Howard left his partnership in William Batt and Sons. Within a couple of years, due to huge demand for his items, he had outgrown the original factory and decided to build larger premises in the heart of Sheffield. In 1883 the firm moved into Aberdeen Works, and has remained there ever since. The company is still family owned, with Andrew Howard now looking after Britain’s oldest silversmiths.
Rear view of premises.
Built in 1887 as a church, later used as a cinema and (during WW2) as a temporary mortuary, then Coronet Silversmiths, the Windser Furnishing Company, Blockbuster Entertainment and, latterly, the Not Just Antiques Emporium. In 2014 Goadsby's estate agents described the premises as comprising "a net sales area of 1,703 sq ft with 1,689 sq ft of additional space at first floor and was let on a new lease. The quoting rental was £27,000 per annum, exclusive."
Superb work by my first-year HND Jewellery and Silversmithing on their first silversmithing project, to make a salt and pepper set.
Work by Daniel Bollard.
Taken with Panasonic 20mm f1.7 lens on Panasonic GX7.
Gill studied silversmithing at the Grennan Mill Craft School in Kilkenny and went on to study at the Regional Technical College, Letterkenny; the University of Ulster, Belfast and the National College of Art and Design, Dublin.
Today I experimented with a Sigma 180mm lens mounted on a Sony A7RM2 body using a Metabones adaptor.
This combination does not work in Auto-Focus mode so I had to use manual focusing and this was not easy and it certainly would have been impossible without focus peaking [a feature that I have never properly employed before]. In case you are unaware focus peaking is a tool to assist you while manual focusing. It highlights the areas that are in focus so you are able to quickly focus the camera and not miss crucial shots. However, focus peaking is not as easy as it sounds because it shows you what's sharp on the viewfinder screen, not what's sharp in the actual image. Since the screen or viewfinder has a much lower resolution than the actual camera sensor areas that are highlighted as being sharp in the viewfinder can be very much out of focus in the image you actually capture.
Small exhibition of containers made by the BA Jewellery and Silversmithing students in the School of Jewellery.
Taken with Panasonic 20mm f1.7 lens on Panasonic GX7.
IMG_PS_20161205_1744EC
Unique Chiang Mai temple, Wat Suphan, also known as the Silver Temple, with remarkable achitecture set is a beautiful garden and a silver wihan constructed and degorated internally and outside in beaten silver, crafted by the resident silversmith monks.
These drawings were made at Maniphone Silversmiths in Luang Prabang, one of the few workshops in Laos that continues to produce silverware in the traditional way.
Thongsavath's son, forming a plate out of a block of silver.
see more at www.drawntoasia.com
Harrow on the Glenelg River.
Harrow School was set up by royal charter in 1572. It is popular with the aristocracy including Prime Minister
Churchill, barons, earls, lords, royal courtiers and members of the Queen’s household and non-British royals. Seven British PMs, and numerous bishops, military generals and cricketers have attended Harrow School.
Explorer Major Thomas Mitchell and his party crossed the Glenelg River at the site of this town on 31st July 1836. The town has two memorials to him – a small pathetic one in the town and an impressive stone one about 3 kms outside of the town. The town emerged at a good crossing point on the Glenelg River and the district was originally known as Upper Glenelg. The pastoral lease estates were generally taken up in the early to mid-1840s and a bush inn
was established here in the 1840s.The oldest pastoral lease property was Koot Norien taken out in 1840. Mail could
be sent to residents there by 1849 but the town itself was not surveyed until 1852 one year after Apsley near Naracoorte had been surveyed. So Harrow is the second old town in the Western Districts of Victoria. The town was named after Harrow in England and a police outpost was established here in 1853. The town grew very slowly but the prosperous large pastoral estates were well established including heritage listed structures on properties:- such as the Clunie woolshed, Pine Hills homestead 1858, Kout Norien homestead 1855 and Kout Norien woolshed 1848. Mullagh Station was established in 1844 by Patrick Riley and Thomas Barrett and as was usual for the times Aboriginal workers on the station adopted the name Mullagh including one who served in the famous all Aboriginal cricket team that went to England to play the English in 1868 – Johnny Mullagh. There is a memorial to him in the town and the town museum focusses on him and that amazing first overseas Australian sporting event some 14 years before the first white Ashes matches in England. It is the Harrow Discovery Centre and the Johnny Mullagh Interpretive Centre.
Much of the history of Harrow can be seen in its buildings. On the way into the town is Gardner Park with remains of a thick stone stable wall built in the 1850s for Cobb and Co coaches. Above it is the charming wooden Kalang Cottage built much later in 1876 and only relocated to Gardner Park in recent years. Next to the wall is a rare surviving example of a 14 log high lockup or jail erected in the town around 1859. The first police presence in Harrow began in 1853. The lockup used locally available materials. Next to the park is the former Presbyterian Church built in red bricks in 1869. It is now the Uniting Church. It replaced an earlier 1860 built church on this spot then. Further along is the quite modern Anglican Church built up the hill and away from possible flooding. It was built in 1933 and is just 87 years old. At the foot of the church a disused street has been used to display the local sense of humour with Harrow Bone Yard. It is not a real cemetery despite the headstones! In amongst the historic cottages in the main street is the Hermitage Hotel on the right and the former Commercial Banking Company of Sydney on the left. It was built around 1880. The old pub on the right was built either in 1848 or 1854. It was renovated in the 1890s! Opposite it is the modern Discovery and Interpretive Centre. Right next door to that is the former Road Construction Authority Offices built in fine local stone in 1868. It later became the Kowree Shire Council Offices building (1872 to 1887) and is now the home of the local historical society. Further along the street on the left is the old wooden Post Office built in 1885. Next to it on the left is the old wooden Courthouse built in 1877. It is now the RSL Club rooms. Thus you can see that despite being surveyed in 1852 most development of Harrow occurred after 1868.
Further along the main street beyond some quaint and charming cottages is Kolmar House built as a general store in 1881 for Rosenthal brothers. From this point onwards the cottages thin out but then some magnificent post and rail fencing along the edge of the town oval begins. At the end of the oval is the modern memorial to Johnny Mullagh in the Johnny Mullagh Memorial Park. Across the river from here is the Catholic Church built around 1900. Town dwellers obviously crossed the Glenelg River to reach it. Despite the wealthy pastoral and grazing properties around the town it has always been a small service centre. It once had a flourmill and a saddler etc but it has seldom had more than 300 people living in it. One of the well-known estates near Harrow is Nareen the former home of Australian Prime Minister Malcomb Fraser (1975-1983). But Fraser was not accepted as part of the squattocracy or the Western Districts. He was a fly in. His father had only bought Nareen in 1946 and built it up whist his son went into federal politics in Canberra in 1955.
...shaping a bracelet, before working on detailed ornamentation: the art of the silversmith in a small village in rural Rajasthan, India
© Handheld Films 2019
Henrik Moeller's silversmith shop in Trondheim.
Henrik Möllers silversmedsaffär i Trondheim.
Location: Trondheim, Sør-Trøndelag fylke (county), Norway, Norge
Photograph by: Berit Wallenberg
Date: 10.06.1930
Format: Film negative
Persistent URL: kmb.raa.se/cocoon/bild/show-image.html?id=16001000146624
Buda villa, built c1862, was bought by Hungarian-born silversmith Ernest Leviny, whose family occupied it for 118 years (1863–1981).
It was added to in 1890 and renamed Buda.
Ernest Leviny arrived in Australia in 1853 during the goldrush era, choosing to stay in the township of Castlemaine. With his wife Bertha, and their talented children, Ernest developed Buda from the rather modest Indian bungalow purchased in 1863, to a handsome home set in enchanting gardens.
Buda displays the furnishings, artworks and domestic effects of its former owners.
Buda is registered by Heritage Council Victoria.