139 Sentences With "enamelling" | Random Sentence Generator

What are the benefits of powder porcelain enameling over liquid enamelling?

With emeralds from Colombia, diamonds from India and enamelling completed in Europe.

For the bases, successive operations of cast, smoothing, firing, enamelling and decoration.

Cloisonné enamelling as an overall decoration of metal vessels was a relatively late import.

Metal cleaning agents are used in certain amounts for cleaning metal parts prior to enamelling.

The lamp is decorated with gilding and enamelling which forms a design in several registers.

Copper moulds and vessels can be transformed into attractive objects using enamelling powder and hot air.

Steelgrit is used for cleaning with excellent surface finish, for pretreatment before enamelling, painting and coating.

Our enamelling processes have been specifically developed for rotary regenerative heating elements to ensure maximum element life.

In jewellery-making and enamelling, you could inhale dusts or fumes during soldering, pickling, casting or finishing.

Another division of the company specializes in providing surface treatments by cataphoretic painting, powder painting, enamelling, and galvanizing.

Porcelain enamel has been applied to jewelry metals such as gold, silver, and copper since antiquity for the purposes of decoration. It was not until the Industrial Revolution that ferrous metals first became the subject of porcelain enamelling processes; these first attempts were met with limited success. A reliably successful technique was not developed until the middle of the 19th century, with the development of a method for enamelling cast-iron cooking pots in Germany. It was not long before this method of enamelling became outdated with the development of new ferrous substrates, and most modern research into porcelain enamelling is concerned with creating an acceptable bond between enamels and new metal substrates.

After the war an enamelling workshop was set up here. The community, as of 2013, consists of about 25 monks.

Brayley was born at Lambeth, Surrey. He was apprenticed to the enamelling trade, but developed an early interest in literature.

Women no longer tried to look boyish, but emphasized their difference from men by using cosmetics and enamelling their nails.

The 4500 visitors discovered in the Vacheron Constantin exhibition area craftsmen specialized in enamelling, engraving, dial guilloché and Haute Horlogerie.

Brother Luke hath given me some skill in damask work, and in the enamelling of shrines, tabernacles, diptychs and triptychs.

This is done by heating the substrate material with the hot air gun and then distributing the enamelling power over it.

There was an extensive use of gold and silver plates, jewels and enamelling at court, which would have been richly decorated.

Cloisonné enamelled disc brooch Enamelling is the process of using extremely high heat to fuse glass onto a prepared metal surface. The technique enables the craftsman to create brightly coloured images. Anglo-Saxon enamelled brooches can be grouped into two main enamelling techniques: champlevé and cloisonné. Champlevé means ‘raised field’ in French and cloisonné translates to 'partitioned'.

There are different techniques of enamelling and one of them is when a vitreous coating is fused on to a metallic surface.

Faberge's ingenious use of enamelling on gold and silver, his stone cutting and use of precious gems, made his imperial Easter eggs works of art.

Although surviving examples are rare, there is a distinctive group of brass objects, mainly candlesticks and andirons, which have green, blue, or white opaque enamelling.

He was originally trained as a jeweller, but the 1871 Franco-Prussian war forced him to become a librarian. This proved to be the start of his enamelling career as, after reading Claudius Popelin’s history of enamelling, Grandhomme became fascinated by the technique. After studying with Auguste Mollard, an enameller who was experienced in the chemistry of enamelling, and Jules-Clément Chaplain, he worked with Pierre Puvis de Chavannes and Jules-Élie Delaunay, and was influenced by his friend and fellow artist, Raphaël Collin. In 1874 he presented work at the Salon of French Artists (Salon des artistes français), an enamel portrait of Vittoria Colonna.

She taught a range of subjects, including design, painting, and ceramics. She established SAIC's departments of enamelling and silkscreen printing and taught those courses as well.

During the guided visits you will walk through the lofty painted rooms to the old enamelling kiln which was used to bake the pieces of glass.

What all these timepieces do have in common however is the embodiment of exceptional know-how in fields such as enamelling, precious-stone setting and mechanical watchmaking.

The glass panes on the flushfitting constructions are delivered with all-round frame enamelling, which creates a smooth and attractive appearance along the sides of the visibility windows.

Available in a choice of five colours representing each of the five elements, it is executed according to the demanding technique known as guilloché flammé grand feu enamelling.

Anti-slip enamelling is made of a mixture of quartz and sand and burnt permanently into the Kaldewei steel enamel 3.5 mm, its textured surface providing an optimal foothold.

Under the patronage of the courts of France and Burgundy in the late 14th and first half of the 15th centuries, goldsmiths devised new and more audacious methods of enamelling.

The champlevé process requires the casting of shallow sunken cells into the body of the metal, and then the cells are filled with enamel. Cloisonné means ‘partitioned’, and this process involves creating cells by soldering vertical cell walls to a disc backplate. Anglo-Saxon craftsmen used a variety of enamelling techniques, with champlevé enamelling being the most common. The three most popular enamelled brooch styles of this period were the enamelled cross, the saint motif, and the cloisonné brooch.

Rolf Schnyder has also revived the art of enamelling, by asking Le Locle resident Michel Vermot to decorate the most prestigious models of the collection using the sophisticated and complex cloisonné technique.

Furthermore, large amounts of raw plant ash were exported solely to Venice, fuelling that city's glass industries.Jacoby 1993 It was also in Venice that enamelling was resurrected following its decline in the Islamic world.

The technique is exactly the same as cloisonné enamelling except that the strips of metal forming the cells are only temporarily attached not soldered to a metal base to which the enamel will not stick.

Both McKee and McCloy also created a variety of domestic items, utilising decorated woodwork, embroidery, enamelling, and repoussé metalwork. By the 1920s, McKee had a retail space in Belfast, which appeared to continue to trade until the 1960s.

Face enamelling (applying actual paint to the face) became popular among the rich at this time in an attempt to look paler. This practice was dangerous due to the main ingredient often being arsenic.Maggie Angelogou. A history of makeup.

An apprentice to Frederic Shields, she also studied enamelling under Alexander Fisher."Mrs Ernestine Mills", sculpture.gla.ac.uk."The Peacock Sconce", V&A.; She acted as vice-president for the craft section of the Society of Women Artists for a period.

This is sometimes informally known as "sealing-wax" enamelling, and may be described as "glass inlay" or similar terms. True enamelling technique, where glass paste is put into place and fired until it liquifies, was learnt from the Romans.Youngs, 173 The earliest literary description of enamel is from the Greek sophist Philostratus III, who wrote in his Icones (Bk I, 28), describing polychrome horse-harness: "It is said that the barbarians in the Ocean pour these colours on heated bronze and that they adhere, become as hard as stone and preserve the designs that are made on them".

Pinder-Wilson 1991, 130 This technique was often combined with enamelling, the application of ground glass with a colourant, to traditional and new vessel forms, and represents the height of Islamic glassmaking.Carboni 2001, 323–325 Enamelling, a resurrection of older techniques, was first practiced in the Islamic world at Raqqa (Syria) during the late 12th century, but also spread to Cairo during Mamluk rule.Gudenrath 2006, 42 A study of various enamelled vessels, including beakers and mosque lamps, suggests that there are two subtle yet distinct firing practices, possibly representing two distinct production centres or glass-working traditions.

Browne's work consisted mainly of studio portraiture. Oil colouring and photo-enamelling by Browne was highly regarded in commentaries from the local newspaper. By 1883 Browne was advertising as 'Gisborne Photographic Studio'. In 1891 his studio in Gladstone Road, Gisborne was extended for greater capacity.

The branch to Abercwmeiddaw quarry left here, running north, crossing the Afon Deri by a bridge before ending at the foot of the Abercwmeiddaw exit incline. The tramway continued on northwest for another , passing behind the village post office to a slate enamelling works.

Vittorio Bertazzoni Snr founded Smeg in 1948. The company originally specialised in enamelling and metalwork. It soon began to produce cooking appliances. "Elisabeth", launched in 1956, was one of the first gas ranges to include automatic ignition, safety valves in the oven and a cooking programmer.

"Remembering the young men who died," Coshocton Tribune, Sept. 11,2009 33 men were killed. A memorial was placed near the site of the accident in 1990. A 105mm howitzer is at the memorial also, commemorating the manufacture of 105mm shells at Moore Enamelling across the tracks during WWII.

His most notable contribution to finance was that he helped established the foreign currency exchange of Thailand in 1955. In commerce, he helped industrialize the enamelling process for porcelain and metals commercially, started the Export program for the rice industry in Thailand, and helped to create the first seaport in Thailand.

The Mérode Cup, the surviving medieval piece in plique-à-jour, c. 1400 Plique- à-jour enamel with small rose-cut diamonds in the veins c. 1900 Bowl with plique-à-jour enamelling on a silver base. The silver has been cut into a pattern of stylized waves with floating chrysanthmum blossoms.

Mathilde Flögl was born on 9 September 1893 in Brno, Czech Republic. Between 1909–16, she studied at the Kunstgewerbeschule (School of the Applied Arts) in Vienna. During her education, Flögl focused on applied graphics and enamelling taught by Josef Hoffman and Oskar Strnad among others. Flögl died in 1958 in Salzburg, Austria.

Watson's work is intricate and ornate, drawing on motifs from nature and symmetrical mandala forms. She is known for her use of Champlevé enamelling, and has won several prestigious awards, including the 'President Award' at the 44th International Exhibition of the Japan Enamelling Artist Association held at the Ueno Royal Museum, Tokyo, in 2011; and an 'Award for Excellence' at the 24th International Cloisonné Jewellery Contest, Tokyo. Watson is also known for her work designing jewellery for film and television, including The Lion, the Witch and the Wardrobe and the Lord of the Rings trilogy. Although the titular ring for the latter films was made by Danish-born Nelson jeweller Jens Hansen, Watson created many other iconic pieces including the Evenstar pendant worn by Arwen.

Richard and Beilby, the oldest two, later went as apprentices to Birmingham, the former learning seal engraving and the latter enamelling and drawing. Soon the business of William senior failed, and in 1757 the whole family moved to Newcastle upon Tyne to start again. William senior died eight years later. Richard also died afterwards.

Schwartz 2002, pp. 679–680 Decorative glassware made of traditional lead glass contains at least 30% lead(II) oxide (PbO); lead glass used for radiation shielding may have up to 65% PbO.Carter & Norton 2013, p. 403 Lead- based glasses have also been extensively used in electronic components, enamelling, sealing and glazing materials, and solar cells.

Domestic and commercial grade cookstoves and ovens gradually became the mainstay of Scott Brothers Limited. In 1878 the first coal-burning cast-iron ranges were produced. In 1931 the Company introduced its new Atlas Electric Ranges. These gradually changed from cast-iron to pressed steel, and in 1961 a large,75 KW porcelain-enamelling furnace was installed.

Whilst their factory was located on Caversham Road by Northfield Road, they ran a shop in Reading at 24 St Mary's Butts and on Edgware Road in London. In later years they stopped making bicycles and moved on to enamelling, electroplating and other contract work, including making some parts for the prototype of the Concorde aircraft.

Two other siblings were Irene Vaughan, a botanist, and Michael Rope, an aeronautical engineer, who died in the R101 airship disaster. Only one, Denys, a doctor of medicine, continued as an Anglican, following his father. She was educated at home until she went in 1900 to the Birmingham Municipal School of Art. Studies included enamelling and lettering.

Their arguments are backed up by a factory visit by none other than the Prince of Wales (subsequently George IV) in 1806. He conferred the Royal Warrant of Appointment on Spode II. Apart from the fine quality of the wares, the enamelling and gilding by Daniel must have played a huge part in such approbation. Daniel’s factory was no mean affair.

From 1886 to 1896, Rivière created 43 shadow plays on a great variety of subjects from myth, history and the Bible. He collaborated with many different artists and writers, but made the illustrations for only 9 of the productions himself. He concentrated on improving the technical aspects of the production using enamelling and lighting to create extremely delicate effects of light and colour.

Ursula Huth grew up with three siblings in Laupheim, Germany. At the age of 16 she taught herself on the enamelling technique. First she concentrated on the design with clear enamels. From 1972 until 1979 she studied painting and glass design at State Academy of Fine Arts, Stuttgart (Germany) under H.G. von Stockhausen as well as Art History at Stuttgart University.

This "white ware" body was used for a variety of styles of decoration, all showing great advances in sophistication. Apart from lustreware, the most luxurious type was mina'i ware, which used polychrome overglaze enamelling, the first pottery to do so. This also required a light second firing; some pieces combined the two techniques. The earliest dated Persian piece with lustre is from 1179.

To increase corrosion resistance, the surface may be oiled, lacquered, or waxed. It is also used as a pre-treatment for painting or enamelling. The surface finish is usually satin, but it can be turned glossy by coating in a clear high-gloss enamel. On a microscopic scale dendrites form on the surface finish, which trap light and increase absorptivity.

Edith learned enamelling from her husband who had been taught by Alexander Fisher, a master enameller who in turn had learned his craft in France. Together, they revived the Renaissance practice of enamelling in their jewellery. The bronze organ grill in Holy Trinity church, Sloane Street, Chelsea (described by Poet Laureate, John Betjeman as the "Cathedral of the Arts & Crafts Movement") is Dawson’s work and it takes its place beside treasures by William Morris and Edward Burne-Jones. Other commissions included a trowel and mallet used by Queen Victoria in her last public appearance, laying the foundation stone of the Victoria & Albert Museum in 1899, the casket presented to U.S. President Woodrow Wilson on his visit to England en route to the Paris Peace Conference, 1919, lavish bath fittings for Viscount Hambleden in copper and silver, and the gates of Hull Guildhall.

As prosperity returned after the depression, the company increasingly focused on delivery and vending tricycles - for dairy products, ice cream and general deliveries. In the 1930s, Pashley made almost every component of their cycles in their own factory - for the frames, only the tubing and lugs were bought in. Frame building, brakes, wheels, sheet metal work, polishing and enamelling were all carried out in the works.

By the late 1950s, Spears was suffering from an illness that may have been lead poisoning from her work with enamelling. With her life partner and fellow SAIC teacher Kathleen Blackshear, she retired to Blackshear's home town of Navasota, Texas. Spears died August 2, 1974, in Navasota. Her papers and those of Blackshear are held by the Smithsonian Institution's Archives of American Art in Washington, D.C.

Fox studied enamelling under Oswald Reeves. She created an enamelled cup entitled Going to the feast for which she won a gold medal in a 1908 British competition. The cup was later exhibited with the other prizewinners at the Victoria and Albert Museum, and at the 1924 Tailteann Games exhibition in Dublin. In 1909, Fox was awarded a national prize for Music, an enamelled copper plaque.

The enamelling (stangiadura) of the terracotta was made up of a mixture of fourteen minium pots, extracted from the Monteponi mine, and seven of silica (sa perda de fogu). The silica was located in the riverbed of the village itself. Silicon powder was obtained by pounding it in a stone mortar with an iron club. The minium and silica were mixed with bran juice previously filtered in a bag of flax.

His first trip to Italy followed in November 1921, taking him via Rome and Naples to Positano. In 1922 he worked in the enamelling workshop of his former fellow Bauhaus student Maria Cyrenius in Salzburg. While in Essen he made the acquaintance of Alexei Jawlensky. On 1 July 1924, Peiffer Watenphul travelled on a cargo ship via Cuba to Mexico, where he stayed for almost a whole year.

Mariano Andreu Mariano Andreu (1888–1976) was a Spanish painter, drawer, enamelling master, sculptor, and stage designer. He was born in Mataró in 1888 and lived his early childhood above the "Circo Barcelonés" in the Calle Montserrat. Early on he was affiliated to the "Noucentistes" movement, named by his friend Eugenio d'Ors. He studied in London under Alexander Fisher an enamaller of the Central Arts & Crafts School in London.

From 1900 to 1904 he served as the director of the Keswick School of Industrial Art, where he designed numerous Arts and Crafts works. After moving to the University of Reading and then Durham University, he taught sculpture, metalwork, modelling, casting, and anatomy until 1939. He also designed the University of Reading War Memorial, among other commissions. Maryon published two books while teaching, including Metalwork and Enamelling, and many other articles.

This was a popular showpiece that did not need customised designs. It was probably first made in Venice, but was soon mainly made in Germany and Bohemia.Osborne, 335; Gudenrath, 62–65 By the 17th century, "German enamelling became stereotyped within a limited range of subjects", most often using the humpen beaker shape. The earliest dated enamelled humpen is from 1571, in the British Museum;Gudenrath, 62 a late example, dated 1743, is illustrated above.

He arrived in Cornwall in 1888 as a painter and illustrator and in 1890 founded the Newlyn Industrial Class, instructing local people in metalwork, enamelling and embroidery. MacKenzie died in 1918 but Tom Batten and Johnny Payne Cotton restarted production at the Newlyn school in 1920. In 1908, his portrait was painted by Newlyn artist Stanhope Forbes. Entitled The Young Apprentice, Newlyn Copperworks it depicts MacKenzie giving instruction to a young Johnny Payne Cotton.

Basilica of Saint Wiro, Plechelmus and Otgerus Mosan art is a regional style of art from the valley of the Meuse in present-day Belgium, the Netherlands, and Germany. Although in a broader sense the term applies to art from this region from all periods, it generally refers to Romanesque art, with Mosan Romanesque architecture, stone carving, metalwork, enamelling and manuscript illumination reaching a high level of development during the 11th, 12th and 13th centuries.

The sisters' father could only afford one dowry, so Letitia and Eva remained unmarried, with their artistic careers helping to support the household. Both Hamilton and her sister studied at the Dublin Metropolitan School of Art under William Orpen. Hamilton studied enamelling there also, winning a silver medal in 1912 by both the School and the Board of Education National Commission. Her work showed elements of Art Nouveau, foreshadowing her later modernist leanings.

She was said to be the first woman to join the Buonarotti society, but there are other claimants including Alice Brotherton in 1883. In 1906 Vale returned to London where she studied enamelling at the Chelsea Polytechnic Institute. Vale exhibited her painting and her enamels throughout her life at venues including the Victorian Artists Society, the Women's Art Club, and the Athenaeum. She had a one-woman show in 1927 at Queens Hall.

The National Museum and National Gallery of Modern Art are some of the largest museums in the country. Other museums in Delhi include the National Museum of Natural History, National Rail Museum and National Philatelic Museum. Chandni Chowk, a 17th-century market, is one of the most popular shopping areas in Delhi for jewellery and Zari saris. Delhi's arts and crafts include, Zardozi—an embroidery done with gold thread— and Meenakari—the art of enamelling.

Active initially in Dublin, around 1747 he settled in London, managing a business at Battersea for the enamelling of china in colours by a process which he had devised. The articles produced were ornamented with subjects chiefly from Homer and Ovid. After a period of success the business folded on the bankruptcy of its chief proprietor, Stephen Theodore Janssen, Lord Mayor of London for 1754-5. Brooks stayed in London as an engraver and enameller of china.

Le Creuset was founded in Fresnoy-le-Grand, Aisne, Picardy at the crossroads of transportation routes for iron, coke, and sand. Armand Desaegher (a Belgian casting specialist) and Octave Aubecq (a Belgian enamelling specialist) opened the foundry in 1925. That same year, the first cocotte (or French oven) was produced, laying the foundation for what is now an extensive range of cookware and kitchen utensils. The Le Creuset signature colour, Flame (orange), was used for the first piece.

During World War II he re-introduced stained glass, screen printing, weaving and metal work to the college's curriculum. To facilitate this expansion he encouraged Patrick McElroy, a blacksmith and RAF veteran with CIÉ to lecture on enamelling and fine art metalwork. Around the same time he organised a travelling art exhibition to take art by rail to technical schools around the country. The aim of which was "to awaken interest in art and encourage art teaching".

His work was also included in the Japan-British Exhibition held in London in 1910. An article on Japanese enamels in The Decorator and Furnisher of February 1893 commented: > Among Japanese enamellers Namikawa, of Tokyo, is pre-eminent. Indeed, in his > own field, he has no world left to conquer. [...] [H]e has done all the > enamelling throughout the royal palaces and wins always the highest art > prizes at the fine arts exhibitions around the world.

A selection of historic enamel signs advertising a variety of products, Herefordshire, Great Britain An enamel sign is a sign made using vitreous enamel. These were commonly used for advertising and street signage in the period 1880 to 1950. Benjamin Baugh created the first purpose-built factory for making such signs in Selly Oak in 1889 -- the Patent Enamel Company. The technique of porcelain enamelling on cast iron was developed in Central Europe in the early 1800s .

The book focused on individual techniques such as soldering, enamelling, and stone-setting, rather than the methods of creating works such as cups and brooches. It was well received, as a vade mecum for both students and practitioners of metalworking. The Burlington Magazine for Connoisseurs wrote that Maryon "succeeds in every page in not only maintaining his own enthusiasm, but what is better in communicating it", and The Athenæum declared that his "critical notes on design are excellent". One such note, republished in The Jewelers' Circular in 1922, was a critique of the celebrated sixteenth-century goldsmith Benvenuto Cellini; Maryon termed him "one of the very greatest craftsmen of the sixteenth century, but... a very poor artist", a "dispassionate appraisal" that led a one-time secretary of the Metropolitan Museum of Art to label Maryon not only "the dean of ancient metalwork", but also "a discerning critic". Metalwork and Enamelling went through four further editions, in 1923, 1954, 1959, and posthumously in 1971, along with a 1998 Italian translation, and as of 2020 is still in print by Dover Publications.

This refers to lead glass as "Jewish glass", perhaps indicating its transmission to Europe. A manuscript preserved in the Biblioteca Marciana, Venice, describes the use of lead oxide in enamels and includes recipes for calcining lead to form the oxide. Lead glass was ideally suited for enamelling vessels and windows owing to its lower working temperature than the forest glass of the body. Antonio Neri devoted book four of his L’Arte Vetraria ("The Art of Glass-making", 1612) to lead glass.

The iron pommel of the sword was decorated with fine red glass beads, and the two handle sections, pommel and handle guard were attached with rivets. The handle guard was made of horn, and the handle itself is an iron tube decorated with glass enamelling. Also found 11 meters away was a chariot burial containing a mail shirt, a rare find in Iron Age Britain. The mail shirt was of butted construction, with two mail shoulder flaps attached to a bronze central clasp.

In 1893 Watt went on a study tour of Athens and other Greek cities, being published as Examples of Greek and Pompeian Decorative Work in 1897. During his travels he started dealing in works of art, taking interest in ancient precious metalwork, which had started in his early experience in his grandfather's workshop. In 1896 he resigned his associateship in order to concentrate on work in precious metals. He developed particular skills in the ancient techniques of gold granulation and translucent foiled enamelling.

The mint makes collector coins and related products for collectors and enthusiasts in Canada and all over the world. Several of these coins have earned international industry awards and in 2010, the mint sold out the entire mintage of a record 25 collector coins. Made of base and precious metals, several of the mint's numismatic coins are enhanced by special technologies including holograms, enamelling, lasering and embedded crystals. The mint also produces medals, medallions and tokens as part of this business line.

According to Berthoud, records show that Henry Daniel was in partnership with a John Brown in Hanley in 1802. This came to an end in June 1806 and John Brown continued the business at Hanley, which had included the manufacture of earthenware, enamelling and gilding. From 1805 until 1822 Daniel ran his own business on the Spode II premises and was Spode’s enameller. Whiter’s job description of an enameller is of an “art director, a decorating manager, a colour manufacturer and a works chemist”.

The Cross of Mathilde, a crux gemmata made for Mathilde, Abbess of Essen (973–1011), who is shown kneeling before the Virgin and Child in the enamel plaque. The figure of Christ is slightly later. Probably made in Cologne or Essen, the cross demonstrates several medieval techniques: cast figurative sculpture, filigree, enamelling, gem polishing and setting, and the reuse of Classical cameos and engraved gems. In the history of Europe, the Middle Ages or Medieval Period lasted from the 5th to the late 15th century.

Fortunes improved modestly during the 1920, reaching a peak employment of 14 men in 1927. Slab from the quarry was roughly shaped and planed in the Cymerau Mill, before being shipped out by the Ratgoed Tramway to Aberllefenni, then the Corris Railway to Machynlleth, before being transferred to the main line and shipped to Groeslon for finishing and enamelling. Cymerau continued its limited production during the 1930s. By the outbreak of the Second World War the quarry was down to just 6 men employed.

In 2001 Henderson was commissioned by the Arts Council of Northern Ireland to create a set of enamel Manuscripts for the William Jefferson Clinton Centre in Enniskillen, inaugurated by President Bill Clinton in 2002, in commemoration of the Remembrance Day bombings of 1987. Henderson was interested in enamelling because of the possibilities that it offered to him as a colourist and in the behaviour of gestural mark-making. The process was made possible when he was introduced to Andrew Morley, the authority on enamel sign making.

One such ornate object was the Coffret d'Ophélie (Ophelia Box), a box in the form of a medieval reliquary, that referred to the Ophelia of Shakespeare much celebrated by the Pre-Raphelites. The box included bronze, cabochon, champlevé enamelling, cloisonné, ivory, gold and other expensive materials and techniques.La colonie d'Haute-Claire: artisanat et nostalgie L’Histoire par l’image, 2014. Retrieved 22 June 2014. A number of similar boxes exist from the atelier, including an alternative Ophelia box (1903)Armand Point Coffret d'Ophélie vers 1903 Musée d'Orsay, 2014.

Among the crafts are the spinning, weaving and dyeing of wool, woodwork, leatherwork, enamelling, lacemaking, embroidery, toymaking and patchwork. The various fashions in craft have changed dramatically over the years and these changes are reflected in the number of exhibits and in the classes. From 1960 until about 1990 one of the most popular crafts was cake decorating, with numerous expert decorators vying for fineness in their "extension work" and creating designs of extraordinary delicacy and intricacy. In the 21st century these technical skills have almost disappeared.

Steel began to replace iron for railroad rails as soon as the Bessemer process for its manufacture was adopted (1865 on). Iron remained dominant for structural applications until the 1880s, because of problems with brittle steel, caused by introduced nitrogen, high carbon, excess phosphorus, or excessive temperature during or too-rapid rolling. By 1890 steel had largely replaced iron for structural applications. Sheet iron (Armco 99.97% pure iron) had good properties for use in appliances, being well-suited for enamelling and welding, and being rust-resistant.

The University of Reading War Memorial, designed by Maryon and dedicated in 1924 From 1907 until 1927, Maryon taught sculpture, including metalwork, modelling, and casting, at the University of Reading. He was also the warden of Wantage Hall from 1920 to 1922. Maryon's first book, Metalwork and Enamelling: A Practical Treatise on Gold and Silversmiths' Work and their Allied Crafts, was published in 1912. Maryon described it as eschewing "the artistic or historical point of view", in favor of an "essentially practical and technical standpoint".

The Royal Gold Cup, 23.6 cm high, 17.8 cm across at its widest point; weight 1.935 kg. British Museum Basse-taille (bahss-tah-ee) is an enamelling technique in which the artist creates a low-relief pattern in metal, usually silver or gold, by engraving or chasing. The entire pattern is created in such a way that its highest point is lower than the surrounding metal. A translucent enamel is then applied to the metal, allowing light to reflect from the relief and creating an artistic effect.

Jacob Vollrath began building farm implements, steam engines, cast iron ranges and cooking utensils in Sheboygan, Wisconsin. He manufactured porcelain enameled pots, pans, plates, cups and other kitchenware by coating cast iron with ceramic glaze. In 1874 it was reported that J.J. Vollrath & Sons was constructing a factory for the production of porcelain hollow ware and cast iron fences. In 1874 he formed the Sheboygan Cast Steel Co. and constructed a plant in Sheboygan to do general foundry work while his son Andrew was in Germany learning porcelain enamelling.

Music and minstrels were very popular at Edward's court, but hunting appears to have been a much less important activity, and there was little emphasis on chivalric events. Edward was interested in buildings and paintings, but less so in literary works, which were not extensively sponsored at court. There was an extensive use of gold and silver plates, jewels and enamelling at court, which would have been richly decorated. Edward kept a camel as a pet and, as a young man, took a lion with him on campaign to Scotland.

Mina'i ware bowl with couple in a garden, around 1200. These Persian wares are very slightly earlier than the first Chinese use of overglaze enamels. Diameter 18.8 cm. Nabeshima ware plate with floral design, Arita, Japan, late 17th century, Edo period Overglaze decoration, overglaze enamelling or on- glaze decoration is a method of decorating pottery, most often porcelain, where the coloured decoration is applied on top of the already fired and glazed surface, and then fixed in a second firing at a relatively low temperature, often in a muffle kiln.

The technique has been used since ancient times, though it is no longer among the most commonly used enamelling techniques. Champlevé is suited to the covering of relatively large areas, and to figurative images, although it was first prominently used in Celtic art for geometric designs. In Romanesque art its potential was fully used, decorating caskets, plaques and vessels, in Limoges enamel and that from other centres. Champlevé is distinguished from the technique of cloisonné enamel in which the troughs are created by soldering flat metal strips to the surface of the object.

The technique, while also being used on firearms, has a long history in Japan, where it was used to decorate katana fittings, particularly tsuba. Known as zougan (象嵌) in Japanese, it has developed its own subset of terms to describe the particular patterns, although "shippou-zougan" is an enamelling technique which most Westerners would consider closer to champlevé. Damascened-inlay jewelry, especially of Japanese origin, is sometimes referred to as shakudo from the use of that alloy as the dark background. The technique of niello is also famously attested in prehistoric Greece.

Charlotte Gere and Geoffry Munn (1989), Artists' Jewellery: Pre- Raphaelite to Arts and Crafts, The Antique Collectors Club In the early 1890s Nelson Dawson attended a series of lectures on enamelling given by Alexander Fisher. It is unclear whether he then taught Edith the skill or whether they attended the lectures together.Toni Lesser Wolf, "Women Jewelers of the British Arts and Crafts Movement", The Journal of Decorative and Propaganda Arts, Vol 14 (Autumn 1989), p.33 The two subsequently collaborated on jewellery, with Edith Dawson creating the enamels and Nelson Dawson the metalwork.

A collection of 150 Chinese cloisonné pieces is at the G.W. Vincent Smith Art Museum in Springfield, Massachusetts. The Khalili Collection of Japanese Meiji Art includes 107 cloisonné enamel art works, including many works by Namikawa Yasuyuki, Namikawa Sosuke, and Ando Jubei. Researchers have used the collection to establish a chronology of the development of Japanese enamelling. Collections of Japanese cloisonné enamels are also held at the Victoria and Albert Museum in London, the Metropolitan Museum of Art in New York, and the Los Angeles County Museum of Art.

Carolingian jewelry is similar to Byzantine in that the modern world has lost almost all of it, except that which was created for religious purposes. The Carolingians were similar to the barbarians in their love of colour, but the techniques they used – especially enamelling – are much more reminiscent of the Byzantines. The most outstanding piece of jewelry that still remains from this period is the crown of Charlemagne, with precious stones, filigree, enamel and gold. The Ottonian style is, again, very similar to the Byzantines and the Carolingians.

An example in the collection is an incense burner by Namikawa Yasuyuki, created for presentation to the Emperor, that combines enamel with gold and shakudō to depict a landscape scene. Researchers have used the collection to establish a chronology of the development of Japanese enamelling. Among the cloisonné enamel works is a trio of vases that have become known as the Khalili Imperial Garniture. Exhibited at the World's Columbian Exposition in Chicago, United States, in 1893, they were described as "the largest examples of cloisonné enamel ever made".

The quarry was then owned by David Lloyd Jones, who specialised in supplying slab for enamelling, both to a merchant in London and to a joint venture with the Towyn Enamelled Slate Quarry Company. Jones sold Llwyngwern in 1891. In 1893, a new company Maglona Quarries Ltd. took over Llwyngwern, (Maglona was commonly believed to be the name of a Roman fort on Sarn Helen at what is now Machynlleth) In March 1895, quarryman Robert Ellis Jones was killed at the quarry when the rock face he was working on collapsed.

Compagnia di Venezia e Murano began as Salviati &C.; in London in 1866 under the direction of Vicenza attorney Antonio Salviati and with the backing of two British men: archaeologist Austen Henry Layard and antiquarian Sir William Drake. The company was dedicated to using ancient techniques and utilized master glassblowers in its efforts to do so. It called in specialists from other fields like goldsmithing and engraving to ensure authenticity and employed artist Giuseppe Devers to teach the techniques of enamelling and heat-applied glass gilding to company artisans.

The cup is 46mm high, with a rim diameter of 89-93mm (once circular, now a little squashed). The base, now missing, is 58mm in diameter. The Champlevé enamelling is in three zones: a lower zone consisting of a grid of rectangles; a central zone consisting of fourteen alternating rectangles (these being subdivided into four smaller rectangles with crenellations along the top), alternating with a leaf-shaped design; a third, narrow, grooved channel at the top containing the lettering given below. It is believed that the cup once formed part of a set of ornamental souvenir bowls.

The way led the company management and numerous employees to the Hanseatic city of Lübeck, where rooms were rented from the stamping and enamelling works. In the summer of 1945 the company was given permission to resume production in Lübeck. After initial provisional arrangements with company premises at five different locations, the company acquired the site at Brolingstrasse 51 in 1955 and built its own administration building on the factory premises. Dieter Mankenberg, one grandson of Gustav Mankenberg who was to take over the business later, was killed during WW II in Hungary in January 1945.

Bruce-Mitford, 29-30 Altogether, production of the different types of hanging bowls covers the period 400–1100.Bruce-Mitford, 34, 43-44 While the leading expert, Rupert Bruce-Mitford, sees the bowls as the products of "Celtic" workshops, perhaps often in Ireland, in the same period the use of large areas of champlevé in the most ornate Celtic brooches reduces, though gem-like enamel highlights, some in millefiori, are still found. In Anglo-Saxon art, as in that of most of Europe and the Byzantine world, this was the period when cloisonné technique dominated enamelling.

By Namikawa Sōsuke, Meiji era, c. 1900 Plique-à-jour (French for "letting in daylight") is a vitreous enamelling technique where the enamel is applied in cells, similar to cloisonné, but with no backing in the final product, so light can shine through the transparent or translucent enamel. It is in effect a miniature version of stained-glass and is considered very challenging technically: high time consumption (up to 4 months per item), with a high failure rate. The technique is similar to that of cloisonné, but using a temporary backing that after firing is dissolved by acid or rubbed away.

After the closure of the works in 1842, some of the craftsmen remained on site to continue manufacturing on their own. The most successful of these was the Baguley family, the most senior of whom Isaac Baguley had been a painter of porcelain who rose to be the manager of the painting and gilding department at the factory. Baguley decorated porcelain that was bought in as unglazed biscuitware from other potteries. The classic brown Rockingham glaze was used, the rights to which Baguley had acquired after the closure of the pottery, with much use of gilding and occasional enamelling.

The first cremation burial in Bronze vessels has been found at Kourion-Kaloriziki, tomb 40, dated to the first half of the 11th century (LCIIIB). The shaft grave contained two bronze rod tripod stands, the remains of a shield and a golden sceptre as well. Formerly seen as the Royal grave of first Argive founders of Kourion, it is now interpreted as the tomb of a native Cypriote or a Phoenician prince. The cloisonné enamelling of the sceptre head with the two falcons surmounting it has no parallels in the Aegean, but shows a strong Egyptian influence.

Gudenrath 2006, 47 Due to its high demand, enamelled glass was exported throughout the Islamic world, Europe, and China during this period.Pinder-Wilson 1991, 135 Enamelling eventually ended in Syria and Egypt following disruption by various Mongol invasions from the 13th through to the 15th centuries AD.Israeli 2003, 376 A feature of glass from the Middle Islamic Period is the increased interaction between the Middle East and Europe. The Crusades allowed for the European discovery of Islamic gilded and enamelled vessels. The 'Goblet of the Eight Princes' brought to France from the Levant is one of the earliest examples of this technique.

In 1881 Armstrong was appointed director for art at the South Kensington Museum in succession to Edward Poynter, and had an immediate impact on its teaching, with his concept that craft and design required separate instruction. He supported the efforts of Walter Copland Perry to supply art students with models of antique sculpture, and implemented plans for a museum of casts. He supported an initiative on enamelling, under Pierre Adrien Dalpeyrat in 1886, and with Sir John Donnelly the School of Art Wood-carving. But one of his significant innovations was to invite Walter Crane to lecture in the National Art Training Schools.

Benjamin Thompson noted at the start of the 19th century that kitchen utensils were commonly made of copper, with various efforts made to prevent the copper from reacting with food (particularly its acidic contents) at the temperatures used for cooking, including tinning, enamelling, and varnishing. He observed that iron had been used as a substitute, and that some utensils were made of earthenware. By the turn of the 20th century, Maria Parloa noted that kitchen utensils were made of (tinned or enamelled) iron and steel, copper, nickel, silver, tin, clay, earthenware, and aluminium. The latter, aluminium, became a popular material for kitchen utensils in the 20th century.

Then he became one of the first students at the Pforzheim Arts and Crafts School (Pforzheimer Kunstgewerbeschule) founded in 1877 by Grand Duke Friedrich I. After having completed his military service from 1879 until 1882, he could finally set off for a three-year stay in Vienna, which he had planned for a long time. There he gained valuable experience in enamelling and guilloché- engraving, sophisticated techniques which are still being used at the manufacture Victor Mayer today. After returning to Pforzheim, he continued his studies at the Grand Duke’s Art and Crafts School and received significant commendations in drawing, modelling and design. In 1890 he married Lina née Niemand.

With the change in architectural style during the Renaissance period in Europe, the use of large stained glass windows became much less prevalent, although stained glass had a major revival with Gothic Revival architecture in the 19th century. During the 13th century, the island of Murano, Venice, became a centre for glass making, building on medieval techniques to produce colourful ornamental pieces in large quantities. Murano glass makers developed the exceptionally clear colourless glass cristallo, so called for its resemblance to natural crystal, and extensively used for windows, mirrors, ships' lanterns, and lenses. In the 13th, 14th, and 15th centuries, enamelling and gilding on glass vessels was perfected in Egypt and Syria.

Following the Enclosure Acts of the late 18th century, allowing building in Pensnett Chase, the present town centre took shape further up the hill than its original site. Netherton expanded rapidly in the industrial age and the thick seams of coal underlying the region were extensively mined. Blast furnaces were constructed in Netherton for iron making and the area became home to many industries including chain and anchor making, nail making, brick making, enamelling, and the construction of boilers. In 1874, Dr. Ballard, sent by the Local Government Board to inspect the sanitary conditions of the Borough of Dudley, described Netherton as: 'a village of such size it almost deserves to be termed a town'.

The application of industrial porcelain enamel can be a complicated process involving many different and very technical steps. All enamelling processes involve the mixture and preparation of frit, the unfired enamel mixture; the preparation of the substrate; the application and firing; and then finishing processes. Most modern applications also involve two layers of enamel: a ground-coat to bond to the substrate and a cover-coat to provide the desired external properties. Because frits frequently must be mixed at higher temperatures than the firing requires, most modern industrial enamellers do not mix their own frits completely; frit is most often purchased from dedicated frit producers in standard compositions and then any special ingredients added before application and firing.

Returning to Barcelona Andreu made one of the world's largest enamels, the triptych "L'Orb" using contemporary enamelling techniques of the day. He left Spain for Paris, with his wife Philomene ("Filo") Stes, he became involved in stage design; he carried out works such as Voleur d'Images, Sonatina for the Opéra-Comique in 1929, La guerre de Troie n'aura pas lieu for Louis Jouvet's Théâtre de l'Athénée (1935). For the Ballet Russe de Monte Carlo he designed costumes and sets for Capriccio Espagnol, which premiered in Monte Carlo in 1939. He designed costumes for the 20th Century Fox film That Lady (1955, starring Olivia de Havilland and Paul Scofield) and the short ballet film Spanish Fiesta (1942).

Portrait of Mme Deshoulières, attributed to Élisabeth Chéron She was trained by her artist father, while still a child, in the arts of enamelling and miniature painting.Clement Part 2 Her father was a rigid Calvinist, and endeavored to influence his daughter to adopt his religious belief, but her mother was a fervent Roman Catholic, and she persuaded Elizabeth to pass a year in a convent, during which time she ardently embraced the Catholic faith. At 22 in 1670 she was admitted to the Académie Royale de Peinture et de Sculpture as a portrait painter under the sponsorship of the influential artist Charles Le Brun.Elizabeth Cheron Brief Biography at the Brooklyn Museum 'Dinner Party' database of notable women.

Besides school, Ludwig was an apprentice at the business of Winhart & Co., where he learned chasing under Johann Vierthaler. At the same time, he attended evening and Sunday classes in modelling and wood carving, which brought Gies into early contact with Richard Riemerschmid and Bruno Paul. After Ludwig Gies finished at the Municipal Trade School halfway through his training at Winhart's, he attended, up until July 1907, the Royal School of Applied Arts (Königliche Kunstgewerbeschule) in Munich, where he learned chasing, enamelling, carving and ornamental modelling and figurative modelling with Fritz von Miller, Anton Pruska, Maximilian Dasio and Heinrich Waderé. The influence of Waderé, who introduced Gies to medal making, was particularly significant.

Eventually this would mainly use the Cizhou invention of overglaze enamelling. Another Cizhou development (if one ignores the precedent of Ancient Greek vase painting) that would become part of general Chinese, and world, ceramics was decorating tall vessels in wide bands of the main decoration, surrounded by smaller bands of repetitive motifs, or in dishes similar circular borders.Grove; Rawson, 225 It has been suggested that the movement of potters from Cizhou kilns to the south, especially at the start of the Yuan dynasty, was part of this influence. This may have been either or both by the movement of artisans directly to Jingdezhen, or to kilns making Jizhou ware, which in turn influenced Jingdezhen.

In 1916,Cliff made the unusual decision to move to the factory of A.J. Wilkinson at Newport, Burslem, to improve her career opportunities. Most young women in the Staffordshire Potteries were on 'apprentice wages', and having mastered a particular task, stayed with that to maximise their income. Cliff was ambitious and acquired skills in modelling figurines and vases, gilding, keeping pattern books and hand painting ware: outlining, enamelling (filling in colours within the outline) and banding (the radial bands on plates or vessels). In the early 1920s the decorating manager Jack Walker brought Cliff to the attention of one of factory owners, Arthur Colley Austin Shorter, who managed the company with his brother Guy.

See Day, Enamelling, 7-10 The Byzantines perfected a unique form of cloisonné icons. Byzantine enamel spread to surrounding cultures and a particular type, often known as garnet cloisonné is widely found in the Migration Period art of the "barbarian" peoples of Europe, who used gemstones, especially red garnets, as well as glass and enamel, with small thick-walled cloisons. Red garnets and gold made an attractive contrast of colours, and for Christians the garnet was a symbol of Christ. This type is now thought to have originated in the Late Antique Eastern Roman Empire and to have initially reached the Migration peoples as diplomatic gifts of objects probably made in Constantinople, then copied by their own goldsmiths.

Acid etching (by Jacques Grüber) was often combined with carving, enamelling, and engraving on a single piece of glass to produce creative glass masterpieces. The most complicated creations also featured applied glass elements, such as handles and ornamental motifs in naturalistic forms. The Daum brothers soon became a major force in the Art Nouveau movement, seriously rivalling Gallé, so much so that when Émile Gallé died in 1904 they became the leaders in the field of decorative glass. In 1906 Daum revived pâte de verre (glass paste), an ancient Egyptian method of glass casting, developing the method so that by the 1930s Daum's window panels used pâte de verre for richness instead of leaded or painted glass.

In 1919 Osborn and Co Ltd acquired the former United AirCraft Ltd factory in Lees Lane, Gosport. In 1920 they advertised a diverse range of service from their 2 acre factory, including plating, enamelling, turning, milling, grinding, gear cutting, hardening, press work, sand blasting, smith's work and they claimed 20 years experience in automobile manufacture and also that they are the maker of the "Blackburne" motorcycle. In the advert they referred to themselves as Osborn & Co Ltd, Consulting Engineers (United Aircraft Co Ltd.) Lees Lane, Gosport.Advertisment, Portsmouth Evening News, 14 October 1920, p3 In 1921 they advertised themselves as Electrical Engineering contractors, covering electric light, dynamos, motors, cinema plant, country house lighting installation and maintenance.

According to a pedigree compiled by John Ernest Maryon, the Maryons traced back to the de Marinis family, a branch of which left Normandy for England around the 12th century. After receiving his general education at The Lower School of John Lyon, Herbert Maryon studied from 1896 to 1900 at the Polytechnic (probably Regent Street), The Slade, Saint Martin's School of Art, and, under the tutelage of Alexander Fisher and William Lethaby, the Central School of Arts and Crafts. Under Fisher in particular, Maryon learned enamelling. Maryon further received a one-year silversmithing apprenticeship in 1898, at C. R. Ashbee's Essex House Guild of Handicrafts, and worked for a period of time in Henry Wilson's workshop.

Eastlake received her education at the Art Association of Montreal School from 1884 to 1887 (Robert Harris; Montreal), the Art Students League of New York (William Merritt Chase) , and between 1891 and 1892 at the Académie Colarossi (Gustave Courtois and E.L. Dupain; Paris). She first exhibited at the Paris Salon in 1899 and exhibited at and was elected an associate of RCA in 1893. After marrying Charles Herbert Eastlake, an English painter, and director of the Chelsea Polytechnic, she moved to England and devoted time to learn enamelling and metal work for the production of jewellery as an applied art. Eastlake exhibited her work at the Palace of Fine Arts at the 1893 World's Columbian Exposition in Chicago, Illinois.

A fascination with the natural beauties of wood led Theo to explore the techniques of ornamental turning, the art of deep-cut engraving and sculpting woods, ivories and metals using precision lathes. He restored a Holtzappfel lathe originating from 1861, and in the 1950s began to design and make elegant objets d'art from rare wood and ivory, for pleasure and then as commissions. Theo soon began to receive commissions from notable collectors of Carl Fabergé, and from museums such as the Virginia Museum of Fine Arts, United States. In 1984, Theo was persuaded to produce a Collection to be sold on the international market incorporating precious metals, crystal, enamelling, stone-carving, precious gems and porcelain.

The reverse face bears an engraving of the Nativity, with the Lamb of God, bordered by the faces of fifteen saints, some bearing attributes that allow them to be identified as St Peter, St George, St Barbara, and St Margaret of Antioch, Catherine of Alexandria, Dorothea of Caesarea, and St Anne. Suggestions for the others include St Augustine of Hippo, St Nicholas of Myra, St Jerome, Anthony of Padua, St Agnes, St Cecilia, St Clare of Assisi, and St Helena or Bridget of Sweden. The pendant may originally have been further decorated with enamelling on each face and pearls around the edge. The back panel slides to reveal a hollow interior, which originally contained three and a half tiny discs of silk embroidered with gold thread.

Because these materials are malleable, they supported and held the gold in place while it was patterned and pushed into grooves in the base material to form the relief that created the jewelry. Two techniques that jewellers used to incorporate gems, glass and other metals into jewelry were inlay and enamelling. The main difference between these methods is that inlay can refer to any material inserted into a design, whereas enamel refers specifically to pieces of a coloured glass mixture put in place while melted. The decorative pieces would be inserted into a gold setting that had been shaped out of gold strips or molten glass could be poured into contours and recesses in the gold – known respectively as cloisonné and champlevé.

Many different techniques were used to create working surfaces and add decoration to those surfaces to produce the jewellery, including soldering, plating and gilding, repoussé, chasing, inlay, enamelling, filigree and granulation, stamping, striking and casting. Major stylistic phases include barbarian, Byzantine, Carolingian and Ottonian, Viking, and the Late Middle Ages, when Western European styles became relatively similar. Most styles and techniques used in jewellery for personal adornment, the main subject of this article, were also used in pieces of decorated metalwork, which was the most prestigious form of art through most of this period; these were often much larger. Most surviving examples are religious objects such as reliquaries, church plate such as chalices and other pieces, crosses like the Cross of Lothair and treasure bindings for books.

Carboni 2001, 374 No significant decorative treatments or technical characteristics of glass were introduced or revived during this period in Persia. Bottle and jug forms with simple applied or ribbed decoration, made from coloured transparent glass, were common, and are linked to the Shirazi wine industry.Carboni 2001, 374–375 Mughal glassmaking in India, on the other hand, saw a return to the enamelling and gilding traditions from the Middle Islamic Period, as well as the glass–carving techniques used in Persia during the earliest centuries of the Islamic world.Pinder-Wilson 1991, 138 Glass workshops and factories were initially found near the Mughal capital of Agra, Patna (eastern India), and in Gujarat province (western India), and by the 18th century had spread to other regions in western India.

Panoramic view of Howell Works, 1853, showing coal depot and furnace at top, store and other buildings center, and residential buildings at bottom. By 1836, Howell Works had expanded to its peak operation and size. By this time, the Works employed 400 to 600 workers, including not only those who lived in the Works community but many people from the surrounding region. The Works had expanded to over sixty buildings, including a large three-storey charcoal depot storing charcoal, bog iron and flux; the company store and the church; a carriage house and stables; a bakery, gristmill and slaughterhouse; a blacksmith, carpentry shop and wheelwright; an enamelling furnace; numerous row houses for married employees; and finally Allaire's mansion, which included a dormitory wing for the Works bachelors, managed by a housekeeper.

Mosan 12th century armlet, somewhat damaged, so showing the cast recesses for the enamel Champlevé is an enamelling technique in the decorative arts, or an object made by that process, in which troughs or cells are carved, etched, die struck, or cast into the surface of a metal object, and filled with vitreous enamel. The piece is then fired until the enamel fuses, and when cooled the surface of the object is polished. The uncarved portions of the original surface remain visible as a frame for the enamel designs; typically they are gilded in medieval work.Osbourne, 332 The name comes from the French for "raised field", "field" meaning background, though the technique in practice lowers the area to be enamelled rather than raising the rest of the surface.

AJS Model D engine After the war ended in November 1918 and the Ministry restrictions were lifted, AJS restarted motorcycle production at a new factory at Graisley Hill in Wolverhampton and the Model D was resurrected with the capacity increased to 748cc and a new design of saddle and fuel tank. The idea of detachable cylinder heads was reintroduced with a cross strap and tie bolts to help ensure that they remained oil tight. At the Graisley Hill works AJS had their own foundry, enamelling facility, frame works and press as well as the motorcycle production line. Except for a few electrical and rubber components, the whole of the Model D was made in-house and the company also supplied engines to Brough Superior, OK Supreme and the Morgan Motor Company.

Eight full-time workers helped execute the designs when Maryon joined in 1900, rising to 15 by 1903. Maryon also had the help of his sisters: Edith Maryon designed at least one work for the school, a 1901 relief plaque of Hardwicke Rawnsley, while Mildred Maryon, who the 1901 census listed as living with her sister, worked for a time as an enameller at the school. Both Herbert and Mildred Maryon worked on an oxidised silver and enamel casket that was presented to Princess Louise upon her 1902 visit to the Keswick School; Herbert Maryon was responsible for the design and his sister for the enamelling, with the resulting work being termed "of a character highly creditable to the School" in The Magazine of Art. Strife with colleagues eventually led to Maryon's departure.

In addition to Metalwork and Enamelling and Modern Sculpture, Maryon authored chapters in volumes one and two of Charles Singer's "A History of Technology" series, and wrote thirty or forty archaeological and technical papers. Several of Maryon's earlier papers, in 1946 and 1947, described his restorations of the shield and helmet from the Sutton Hoo burial. In 1948 another paper introduced the term pattern welding to describe a method of strengthening and decorating iron and steel by welding into them twisted strips of metal; the method was employed on the Sutton Hoo sword among others, giving them a distinctive pattern. During 1953 and 1954, his talk and paper on the Colossus of Rhodes received international attention for suggesting the statue was hollow, and stood aside rather than astride the harbour.

She studied in London for several years and took courses in enamelling, jewellery designing, life work, and etching at the St John's Wood Art School and the Sir John Cass Technical School. On her return to Adelaide she set up a studio of her own in Flinders Street, but gave it up when she gained an appointment as assistant teacher at the School of Arts and Crafts on North Terrace. She died suddenly of a heart attack in Blackwood where she had been teaching for four years and was popular with both fellow-teachers and students. Her death came as a shock to members of the staff, who had been with her on the Saturday morning, when she was in excellent spirits, having just been congratulated on her work at an exhibition of the Women Painter-Etchers Society in Sydney.

An enamelled bonbonnière from Bilston, now in the collection of the Metropolitan Museum of Art, New York From the middle of the 18th century, Bilston became well known for the craft of enamelling. Items produced included decorative containers such as patch-boxes, scent boxes and bonbonnieres. With the opening of the Birmingham Canal to the west of the town in 1770, industrial activity in the local area increased, with the first blast furnaces near the canal at Spring Vale being erected by 1780. Few towns were more dramatically transformed during the Industrial Revolution as Bilston was. In 1800, it was still a largely rural area dependent on farming. By 1900, it was a busy town with numerous factories and coalmines, as well as a large number of houses that had been built to house the workers and their families.

Dagley was born on 3 December 1761 and baptised on 29 January 1762 at St Margaret's, Westminster, the son of Samuel Dagley, member of the Curriers' Company who died the following year, and his wife, Ann. He was educated at Christ's Hospital, from 1770 until 1777, when he was apprenticed to a jeweller and watchmaker, whose daughter, Elizabeth Cousen, he married on 2 November 1785 at St James's, Westminster. According to his obituary the couple had ten children, although only one, their daughter Elizabeth Frances Dagley (1788–1853), who became an author of children's books, survived into adulthood. He exhibited irregularly at the Royal Academy between 1785 and 1833, showing a total of 60 works, mostly genre pictures He was active in diverse artistic fields: he did some work enamelling watches and jewellery in collaboration with his friend Henry Bone, made several medals, painted watercolours, and spent some time as a drawing-master at a girls' school in Doncaster.

The Middle Islamic Period is characterized by the perfection of various polychrome decorative traditions, the most important of which are marvering, enamelling, and gilding, while relief-carving and lustreware painting seemingly fell out of fashion.Pinder-Wilson 1991, 126–130 Marvering involves applying a continuous trail of opaque glass (in various colours such as white, red, yellow, or pale blue) around the body of a glass object. This trail may then be manipulated by pulling it, creating a characteristic 'wavy' pattern. The object was then rolled on a marver (a stone or iron slab) to work the trail into the glass vessel itself.Carboni 2001, 291 This technique, used on a variety of glass objects from bowls and bottles to chess pieces, was introduced around the late 12th century AD, but is in fact a revival of a much older glass-working tradition that has its origins in the Late Bronze Age in Egypt>Tatton-Brown and Andrews 1991, 26 Jar with the name of a sultan of Yemen, probably Syria or Egypt, 1290s Gilding during this period involved applying small amounts of gold in suspension onto a glass body, followed by a low firing to fuse the two materials, and was adopted from Byzantine traditions.