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Metallic lustre of another sort produced English lustreware, which imparts to a piece of pottery the appearance of an object of silver, gold or copper. Silver lustre employed the new metal platinum, whose chemical properties were analyzed towards the end of the 18th century, John Hancock of Hanley, Staffordshire invented the application of a ...
Annemarie Davidson (née Behrendt) (1920-September 24, 2012) was a German-born American copper enamel artist. Davidson was known for her Southern Californian modernist freeform abstract copper enamels and was influenced by noted enamelists Curtis Tann, Doris Hall, and Mary Sharp.
Gothic châsse; 1185–1200; champlevé enamel over copper gilded; height: 17.7 cm (7.0 in), width: 17.4 cm (6.9 in), depth: 10.1 cm (4.0 in). Vitreous enamel, also called porcelain enamel, is a material made by fusing powdered glass to a substrate by firing, usually between 750 and 850 °C (1,380 and 1,560 °F).
In the mid-1970s she also began teaching copper enameling at the Dayton Senior Citizens’ Center. From roughly 1982 until the early 2000s Kreye was a regular instructor at the Riverbend Art Center in Dayton, a period when her work was featured in American Craft Magazine. While at Riverbend, she taught numerous local artists the techniques of ...
Shotai shippo ("Japanese plique-à-jour"): A layer of flux (clear enamel) is fired over a copper form. Wires are fired onto the flux (similar to cloisonné) and the resulting areas are enameled in the colors of choice. When all the enameling is finished, the copper base is etched away leaving a translucent shell of plique-à-jour. 4.
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.
Limoges enamel was usually applied on a copper base, but also sometimes on silver or gold. [5] Preservation is often excellent due to the toughness of the material employed, [5] and the cheaper Limoges works on copper have survived at a far greater rate than courtly work on precious metals, which were nearly all recycled for their materials at some point.
Romanesque champlevé enamel was applied to a cheap copper or copper alloy form, which was a great advantage, but for some pieces the prestige of precious metal was desired, and a small number of nielloed silver pieces from c. 1175–1200 adopt the ornamental vocabulary developed in Limoges enamel. [25]
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