In Western Europe the Golden Age of Islamic metalwork in Iran was (and is) generally considered to be the earlier period, and later metalwork was collected almost by accident and has been correspondingly little studied and poorly published, though in recent decades the imbalance has been somewhat modified. The Hermitage Collection, which numbers 162 pieces is the largest collection in the world of later Iranian Islamic metalwork, from the West of Iran as far as the Punjab. The great majority of these are household utensils, and their manufacture is characteristic of the middling levels of urban societies, though in Khurasan in the late-15th and early 16th centuries brasses or bronzes inlaid with gold and silver were made for its Timurid rulers. The substantial numbers of Iranian copper-alloy astronomical instruments of this period were made by different craftsmen, for a different public, and deserve separate treatment, though not magic bowls, used in folk-medicine and divination, which are noticed in this volume. In his Introduction, Anatolii Ivanov gives a valuable directoryof museums and other institutions of the former Soviet Union with significant collections, which complement the holdings of the Hermitage and together amount to a truly substantial corpus. The latter were acquired from private collections, but the core of the collection, from the museum attached to the school of industrial drawing founded by Baron Stieglitz, came to the Hermitage in the 1920s, when this was broken up. As well as minutely detailed descriptions of each piece and analyses of their decoration, Ivanov presents a detailed critical survey of the limited documentary evidence afforded by the inscriptions many pieces bear, which is of permanent value as a basis for further scholars working on later Islamic metalwork in general.

The Chippendale cabinet-making firm, founded by Thomas Chippendale senior in about 1750, became famous partly through the successful publication of The Gentleman and Cabinet-Maker's Director (1754, re-published 1755 and 1762), but also through the fine furniture supplied to a number of illustrious clients. Chippendale senior ran the workshop for just over twenty years and his eldest son, Thomas Chippendale junior, continued the business for over forty years; the first two decades in partnership with Thomas Haig. Chippendale senior's work has been well documented but Chippendale junior's work has never, until now, been thoroughly researched. The Life and Work of Thomas Chippendale Junior repairs the omission. His patrons included members of the Royal Family, aristocrats, landed gentry and antiquarians; he was adept at satisfying their demands, whether they required lavish gilt or simpler, often mahogany, pieces. Where family archives and original settings survive, as at Harewood House, Paxton House and Stourhead, they reveal the variety and quality of Chippendale's output. An analysis of client's invoices, even when the furniture can no longer be traced, for the first time provides a colourful view of what customers chose and what prices they paid.

Over many years in a workshop, the knowledge and ability to perform a wide number of relatively minor jobs becomes second nature to a skilled engineer, but the amateur, no matter how great his natural talent, rarely has the opportunity to experience the same wide range of tasks. This book, by the experienced engineer Ian Bradley, contains useful advice and instruction for beginners on workshop practices including arbors and mandrels, belt jointing and splicing, shaft collars, finishing metal surfaces, G-clamps, surface gauges, cutting holes, special nuts, hand turning tools, the wobbler, case-hardening, and machining square material. This book was suggested to the author by his many readers and correspondents as a supplementary volume to his classic textbook The Amateur's Workshop.

Akin to having a one-on-one carving course with a master carver, this resource-a collection of tips and tricks honed over many years-mentors newcomers and serious beginning woodcarvers alike. A comprehensive guide for those who want to learn carving, this manual provides a handful of lessons, including how to choose the best woods, safe tool handling tips, making cuts, and executing a variety of techniques. The careful step-by-step instructions that are explained in a warm conversational voice help novice crafters find quick success and encouragement as they work on a number of carving motifs and three projects for both relief and in-the-round styles. For serious beginners eager to know more about a timeless craft, this go-to reference provides an answer to every question. Introduction SECTION I: CARVING TOOLS AND SETTING UP *Technical Mastery Chapter 1: Tools of the Trade *Your Tools are Your Carving Chapter 2: Commissioning Your Carving Tools *Understanding Wood Chapter 3: Supporting Cast SECTION II: USING CARVING TOOLS *Getting to Grips Chapter 4: Handling Your Carving Tool *Thin Edge of the Wedge Chapter 5: The Outcome of the Tool SECTION III: EXERCISES *Good Habits Chapter 6: Simple Moldings *Surfaces, Lines & Junctions Chapter 7: Veiner and V-tool SECTION IV: RELIEF CARVING *Form Into Space Chapter 8: An Exercise in Setting-In *Over the Horizon Chapter 9: Low Relief *A Touch of Drama Chapter 10: High Relief *Feel the Form Chapter 11: Pierced Relief SECTION V: CARVING IN THE ROUND *Entering Choas Chapter 12: In the Round: Baseball Cap *Making It Up as You Go Along Chapter 13: In the Round: Wren

With his informative commentary and over one hundred meticulous illustrations, Aldren A. Watson offers an introduction to the tradition of country woodworking in Country Furniture. Sample workshop designs, practical advice on tools and equipment, and an overview of reliable woodworking methods all lend to our understanding of a fascinating, time-tested craft. From the sawmill to the workbench, Watson carefully illustrates the step-by-step process of furniture design, carefully delineating the fine details and instructing us on how best to accommodate our desired designs. In addition to his detailed practical information, Watson offers insight into the captivating history of country furniture and provides us with interesting anecdotes about the furniture makers themselves. Part how-to, part history, part reference (an excellent visual glossary is included), Country Furniture offers a unique explanation of sought-after, time-tested woodworking techniques from perfecting a dovetail joint to carving, finishing, and assembling a Windsor chair."

Following the huge demand in contemporary societies to decorate homes in a "green" style, this book offers a more environmentally conscious approach to design and production processes by presenting a wide range of eco furniture products made with natural materials as well as using recycling and more environment respecting technologies. It presents the latest eco-furniture pieces from the world's leading design teams, and aims to encourage more people, especially professional designers to consider a more environmentally conscious approach to their design ideas and processes. * A showcase of the most striking examples of product design in furniture. * A response to an increasing demand concerned with home interiors. * An excellent and inspiring resource for designers and artists. * Few competitor titles in the market: most books are focused on architecture, this one offers an in-depth study of a quite new area of eco-product designing.

The uniqueness of Silke Trekel (*1969) lies in the melding of artisan skills and awareness with a particular sensibility for the character and texture of the inherent quality of her materials. Whether industrial or organic, they play a crucial role in her designs. The many travels of the Halle-educated artist broadened her perspectives, validating them in a concept of jewellery fed by universal symbolic metaphors of form. The publication gives a first in-depth account of her development, of this dialogue between abstraction and ornamental tradition. In fact Trekel invites us to rethink, for her work unites motifs and guiding concepts, which galvanised 20th century art - between sculptural spatial configurations and signs held in suspension. Trekel takes an active part in this story. Text in English and German. Published to accompany exhibitions at Bayerischer Kunstgewerbeverein, Munich, from 5 March-17 April 2021, at Deutsches Goldschmiedehaus Hanau from 12 September-10 November 2021, and Galerie Viceversa, Lausanne from February 12-March 12, 2022.

At one time, most towns of any size had somewhere a small foundry that would undertake small casting jobs, often more out of interest and good neighbourliness than for commercial gain. Regrettably, those days are no more and the model engineer in many areas must either adapt commercially available castings or send away to a specialist foundry that will undertake small jobs, often at some expense and with some delay. The alternative is to make your own patterns and castings, which is in fact much easier than you may think. The Backyard Foundry covers basic principles, materials and techniques, pattern making, moulding boxes, cores and core-boxes, electric, gas and coke furnaces, and includes step-by-step procedures with examples of locomotive cylinders and wheels. Sources of specialised materials and even the design of an outdoor furnace suitable for small-scale commercial work are given. Each stage and subject is covered in detail so that even the inexperienced can undertake casting with confidence. Although the book is written primarily for the model engineer, anyone wishing to make mouldings or castings will profit from its pages.

This complete kit makes it easy to start exploring the exciting art form of calligraphy because it comes with everything a beginning artist needs - from a set of high-quality materials to comprehensive instructions. The lettering book covers the basics - such as pen styles, angles, and hand positions; letter heights and spacing; and practice strokes - before offering advanced techniques for rendering several calligraphic alphabets. And every lesson can be accomplished with the array of writing materials provided. "The hardcover case includes a 32-page paperback book with corresponding Spanish instruction, a cartridge calligraphy pen, 3 pen nibs, 10 ink cartridges, 3 felt-tip calligraphy markers, calligraphy paper, a guideline sheet, and paper."

Warning This product is intended for use by ages 13 and older and is not intended for use by children.

This book is designed for the exhibition of the collection of Mr. Guy Ladriere, which will be presented by the School of Jewelery Arts from 12 May to the 1 October 2022, under the commission of Mr. Philippe Malgouyres, chief curator of heritage in the art department of the Louvre. Widely illustrated and documented, this book will constitute a genuine introductory manual to the art of glyptics, thanks to its chrono-thematic approach to the history of engraved stones in the West. The author reveals a whole world in miniature, fascinating kings and emperors as much as collectors and art lovers. With materials with subtle engraved effects, cameos (relief engraving) and intaglios (intaglio engraving) have come down to us as jewels or relics, thus following all the themes of the History of Art: mythologies, symbols, portraits, allegories, etc.

Celtic Art is the only indigenous British art form of world significance and this book is a graphically eloquent plea for the establishment of this great national art to its rightful place in schools and colleges where the history of ornament is being taught. Until recently, the classical orientated art-world has regarded the abstract, iconographic and symbolic style of the Celtic artist as something of an enigma, a mysterious archaic survival largely ignored in histories of art. The modern trends away from realism and the interest of the younger generation in psychedelic and art nouveau styles provides favourable ground for the Celtic art revival which the widespread interest in this new edition seems to indicate is possible. When this book first appeared, it was hailed as a 'veritable grammar of ornament'. It is certainly an indispensable reference book and practical textbook for the art student and craftsman seeking simple constructional methods for laying out complex ornamental schemes. The entire chronology of symbols is embrace from spirals through chevrons, step patterns and keys to knotwork interlacings, which are unique to this particular Celtic school. There are also sections dealing with zoomorphics, authentic Celtic knitwear, ceramics and other areas in which the author pioneered in his day. This book deals with the Pictish School of artist-craftsman, who cut pagan symbols like the Burghead Bull, and in the early Christian era designed such superb examples of monumental sculpture as the Aberlemno Cross, the Ardagh Chalice and the counter-parts in the Books of Kells and Lindisfarne. Knotwork Interlacings, owing much of their perfection and beauty to the use of mathematical formulae, are unique to Pictish Art and are found nowhere else than the areas occupied by the Picts. The outstanding achievement of their art was the subtle manner in which they combined artistic, geometric and mathematical methods with magic, imagination and logic, the function being both to teach and adorn. Although incidental to the main educational purpose of this book, there is also an implicit challenge to the art historian and archaeologist. The author frankly admits that the evidence such researches into the art have revealed of a hitherto unsuspected culture of much sophistication in pre-Roman Britain, pose as many questions as are answered. Who were the Picts? Whence the Asiatic origins of the Celtic Art? The instinct to ornament is one of the most basic human impulses that seems to have atavistic roots in the primeval creative and imaginative characteristic that separates man from beast.

Hallmarks, guaranteeing the honesty of the metal and maker alike, have been used in Scotland since the sixteenth century. The 550th anniversary of Scottish hallmarking in 2008 is being celebrated with an exhibition in Nation Museums Scotland (25 January - 27 April 08)which gathers together for the first time all the most important examples of marked Scottish silver and gold, most from NMS' unrivalled collections. The exhibition and the accompanying book are concerned not only with silver and gold vessels, from earliest surviving marked examples right up to pieces made today, but also with the people who made them and the people for whom they were made. Objects, historic records, paintings, illustrations and contemporary accounts will be combined to present a dazzling display. The book distils the exhibition, making it a must for silver enthusiasts and collectors everywhere.

Caroline Broadhead (b. 1950) is a highly versatile artist who started in jewellery in the late 1970s. Since then she has extended her practice from "wearable objects" and textile works to dance collaborations and installations in historic buildings. Broadhead's work is concerned with the boundaries of an individual and the interface of inside and outside, public and private, including a sense of territory and personal space, presence and absence and a balance between substance and image. It has explored outer extents of the body as seen through light, shadows, reflections and movement. Published to accompany the Exhibition at CODA Museum Apeldoorn (NL), 4 February - 15 April 2018 and the Exhibition at Lethaby Gallery, Central Saint Martins, London, 11 January - 2 February 2019.

How Many Is One encapsulates one of the fundamental questions at the core of art and design. This issue is highly pertinent to jewellery design as a language that seeks form through which to articulate ideas. The oeuvre of Deganit Stern Schocken (b. 1947) has delved into the socio-political question of place, creating works in which text is incorporated as an integral part of the object; in the process the artist has adhered to the classical language of jewellery while employing state-of-the-art technologies. The book explores the architectural-planning aspect in Stern Schocken's jewellery. While each object stands in its own right (like a building), it is also part of a system (the city). The trial-and-error process of casting and the notion of 'value' also play an important role in the artist's work, which alludes to local society and Israeli reality.

Kumihimo is a popular jewellery-making technique with origins in Japanese tradition. This colourful and informative beginner's guide to the craft explains how to use a circular kumihimo disc and a variety of braids and beads to create 12 stunning pieces of jewellery, plus colour and style variations, for any occasion. Kumihimo is a transportable craft so once you have mastered the basics of placing your braids over the disc in different formations to make a variety of patterns and motifs, you can create kumihimo jewellery wherever you go.

Learn the secrets of making beautiful beaded lace! In Modern Beaded Lace, beadweaver extraordinaire Cynthia Newcomer translates her love for lace into exquisite beaded creations. Using basic beadweaving stitches, she transforms delicate seed beads and sparkling crystals into flowers, leaves, and scrolls, which become stunning necklaces, pendants, bracelets, earrings, and rings. Cynthia shares everything you need to know to create gorgeous beaded lace, including: An overview of the elements of traditional lace and how to translate them into beaded designs Instructions for the basic beadweaving stitches used in weaving beaded lace, including herringbone, peyote, right angle weave, and square stitch Step-by-step, fully illustrated instructions for creating 18 jewelry projects Tips and inspiration for designing your own beaded lace baubles It's easier than you imagine to make showstopping beaded lace jewelry!

In "The Art of the Japanese Sword," master swordsmith Yoshindo Yoshihara offers a comprehensive view on the making, finishing and appreciation of Japanese blades.
The Japanese sword, a unique work of art in steel, can be appreciated from a number of viewpoints. Its functionality as a weapon, the sophisticated metallurgy and scientific thinking utilized by the swordsmith, the shape of the blade itself, and the different crystalline forms in the steel all contribute to the beauty of these remarkable weapons. "The Art of the Japanese Sword" conveys to the reader a basic background regarding the Japanese sword, as well as an explanation of how to view and appreciate a blade. It also illustrates the details of how a sword is made and finished today.
Modern craftsmen use completely traditional methods from the past to prepare their steel, forge the sword and create the unique hardened edge. By gaining a good understanding of how a sword is actually made, the reader will be able to appreciate the Japanese sword more fully.

Pairing experienced master artists with eager learners, folklife apprenticeships in Virginia help ensure that a particular art form is passed on in ways that are conscious of history and faithful to tradition. With "In Good Keeping: Virginia's Folklife Apprenticeships," author Jon Lohman and photographer Morgan Miller chronicle the first five years of the program, capturing the masters and apprentices at work. The participating master artists comprise some of Virginia's most celebrated practitioners of folk traditions both old and new to Virginia -- from canning to snake cane carving, from bluegrass fiddling to broom making, from flatfooting to kathak dancing. The apprentices learn their chosen craft not in classrooms or lecture halls, but in their traditional contexts -- such as local dance halls, churches, woodshops, stables, and garages. Helping to ensure that Virginia's treasured folkways remain in good keeping for years to come, the Folklife Apprenticeship Program offers new life and vibrancy by engaging new learners and reinvigorating the lifelong masters.

Richly illustrated with photographs and featuring the voices of participants in apprenticeships from a diverse range of traditions across the commonwealth, the book provides a window into not only the traditional artistic processes and tricks of the trade, but also the practitioners' reflections on the significance of their craft, their motivations for maintaining and teaching it, and the very concept of the tradition itself.

Paul Newman wore his Daytona Rolex every single day for 35 years until his death in 2008. The iconic timepiece, probably the single most sought-after watch in the world, is now in the possession of his daughter Clea, who wears it every day in his memory. Franklin Roosevelt wore an elegant gold Tiffany watch, gifted to him by a friend on his birthday, to the famous Yalta Conference where he shook the hands of Joseph Stalin and Winston Churchill. JFK's Omega worn to his presidential inauguration, Ralph Lauren's watch purchased from Andy Warhol's personal collection, Sir Edmund Hillary's Rolex worn during the first-ever summit of Mt. Everest...these and many more compose the stories of the world's most coveted watches captured in A Man and His Watch. Matthew Hranek, a watch collector and NYC men's style fixture, has travelled the world conducting firsthand interviews and diving into exclusive collections to gather the never-before- told stories of 76 watches, complete with stunning original photography of every single piece.

An encyclopedia of beaded bracelet patterns for your small loom. Weaving beaded bracelets on a small bead loom is easy, and with the 500 patterns in this book you can make all kinds of creative designs! From bold graphic prints to animals and flowers to retro or southwestern designs, there are plenty of patterns to suit your style. Each pattern shows how many and what color beads are needed and the placement of every bead so it's easy to complete any bracelet you choose. Make them to keep and to give away. Switch up the bead colors--so many options will keep you coming back for more!