The Eye of Agamotto formed the centerpiece, a handwrought work of art in brass, bronze or resin depending on the needs of the scene.
|
|
These paintings form a great big infinity room of their own, but one in which each part is also an autonomous work of art, its own piece of wobbly, handwrought infinity.
|
|
Mimlitsch-Gray plays with this history, and the exaggerated hammer marks in Magnification act as a fetishized signifier of labor and its perceived virtue. Handwrought Brass Tray from this series is held in the permanent collection of the Mint Museum of Craft & Design, Pitcher is held in the permanent collection of the Racine Art Museum, and Handwrought Copper Tray is held in the permanent collection of the Cranbrook Art Museum.
|
|
The Brandywine Summit Camp Meeting, Concord Friends Meetinghouse, Concordville Historic District, Handwrought (also known as the Thomas Marshall House), High Hill Farm, Ivy Mills Historic District, Newlin Mill Complex, Nicholas Newlin House and Thompson Cottage are listed on the National Register of Historic Places.
|
|
Spratling had received widespread notoriety as a result of his development of what many considered a model handwrought industry. In 1945, Spratling was asked by two friends, Alaska's Territorial Governor, Ernest Gruening, and the Director of the Indian Arts and Crafts Board, Rene d'Harnoncourt, to replicate his success in Alaska.William Spratling, File on Spratling (Boston and Toronto: Little, Brown and Company, 1967): 126-140; Penny C. Morrill and Carole A. Berk, Mexican Silver: 20th Century Handwrought Jewelry and Silver (Atglen, PA: Schiffer Publishing, Ltd., 4th Edition, 2007): 54-56, 60-67 Spratling recommended the establishment of workshop and exhibit centers in various regions of Alaska organized into a Federation of Alaska Native Arts.
|
|
The rear has a bedroom, study and bathroom. On the floors are wood planks of random widths and lengths fastened to the joists by handwrought nails. The walls are plaster over the early clay and straw insulation. The door and window surrounds are molded wood, varying in their level of decoration.
|
|
It boasts two huge fireplaces and four columns with ornamental capitals. The staircase and lighting fixtures exhibit fine handwrought iron work. The central staircase, with white-grey marble steps, branches at the landing with separate marbleized staircases leading to each wing of the building. The three stairways are well related visually.
|
|
Linton Wilson found the panels at the Nordic Museum. The hooded brick fireplace derives from an original in the Bollnäs Cottage in Skansen, the famous outdoor museum in Stockholm. The brilliant white walls and fireplace are constructed of 200-year-old handmade bricks. The fire tools were handwrought by Ola Nilsson, a Swedish blacksmith.
|
|
Handwrought, also known as Thomas Marshall House, is a historic home located at Concordville, Delaware County, Pennsylvania. It was built in 1805, and is a two- to three-story Eastern Pennsylvania Bank House. It is built of random fieldstone and has two entrances. Heat, electronic, and water were installed in the house after 1947.
|
|
Construction started in late 1803 and completed early in 1804. Both the exterior walls (which are around eighteen inches thick) and the interior walls (about eight inches thick) are solid brick. These bricks came from the red clay located on the Spring Place Plantation (Vann House) property. The handwrought nails and hinges used in construction came from Vann's blacksmith shop.
|
|
Its main facade is five bays wide, with a center entrance framed by Federal period pilasters and corniced entablature. Second story windows are set butted against the eave, a typical early-to-mid 18th century placement. The interior retains many 18th-century features, including wide floor boards of oak, pine, and chestnut, a large fireplace hearth in the kitchen, and several doors with original handwrought strap hinges. The house is accompanied by a modern garage and shed.
|
|
Handwrought Georgia pine pillars and hammerbeams support a ceiling. Doors are carved to look like books with pages rising from the middle when closed. alt=A large space with a wooden gallery along the upper portion, large windows above, and paintings and ornate decorations in the wooden walls. On the lower level, at the bottom of the image, there are a lot of people doing various things Other rooms include a small entryway on the first floor and two small offices.
|
|
"While crafts pursued as hobbies testify to the vitality of the crafts and to the important social role…the element of tradition is largely lacking when designs and techniques are learned mainly from books, so that we would not be justified in considering hobbies as folk crafts." In his essay on "Folk Objects", Bronner describes much of this handicraft "as a commentary on contemporary industrial society. The [objects] speak for handwrought, personal, and rural values as against the machine-wrought uniformities of factory production." In the introduction to "Folk Art and Art Worlds", the cultural values embedded in folk art are highlighted.
|
|
In 1952, Spratling reestablished a small workshop at his ranch in Taxco el Viejo and began production of silver jewelry and decorative objects that clearly were influenced by his Alaskan experience. In a 1955 article, "25 Years of Mexican Silverware," Spratling expressed his belief that the object in silver should be considered the culmination of a mystical and visionary process.William Spratling, "25 Years of Mexican Silverware," Artes de Mexico, Vol. III, No. 10 (1955): 90 For Spratling, the necessity of direct human involvement in every phase of a handwrought industry meant there were contributions to be made by every maestro and silversmith.
|
|
The partners created sterling silverware sold as far away as New York and Virginia, usually stamped with two banner marks, "CHAUDRON'S & RASCH" and "STER•AMERI•MAN•" (an abbreviation for "Sterling, American Manufacture.") After their partnership dissolved in 1812, Rasch relocated to 118 High Street, where he created his own maker's mark and sterling standard mark, "ANTY. RASCH" and "STERLING SILR." He dropped the sterling quality mark after two years but continued to mark his pieces "ANTY. RASCH" into 1817. By 1817 Rasch was partnered with George Willig Jr. (ca. 1795–c. 1860), likely a journeyman in Rasch's shop, as A. Rasch & Co.. Their business flourished as they made large, handwrought sterling silver pieces in "either French or English taste," with applied cast ornament for customers in Boston, Maryland, and Philadelphia. They also made more affordable goods such as cups, goblets, and flatware, and retailed silver from France, Sheffield plate, and Saratoga water. However, the Panic of 1819 ruined them and in July 1819 they declared insolvency.
|
|