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Relevant bibliographies by topics / Champlevé

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Academic literature on the topic 'Champlevé'

Author: Grafiati

Published: 4 June 2021

Last updated: 23 February 2023

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Journal articles on the topic "Champlevé"

1

Van der Linden, Veerle, Eva Meesdom, Annemie Devos та ін. "PXRF, μ-XRF, Vacuum μ-XRF, and EPMA Analysis of Email Champlevé Objects Present in Belgian Museums". Microscopy and Microanalysis 17, № 5 (2011): 674–85. http://dx.doi.org/10.1017/s1431927611011950.

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AbstractThe enamel of 20 Email Champlevé objects dating between the 12th and 19th centuries was investigated by means of microscopic and portable X-ray fluorescence analysis (μ-XRF and PXRF). Seven of these objects were microsampled and the fragments were analyzed with electron probe microanalysis (EPMA) and vacuum μ-XRF to obtain quantitative data about the composition of the glass used to produce these enameled objects. As a result of the evolution of the raw materials employed to produce the base glass, three different compositional groups could be discriminated. The first group consisted of soda-lime-silica glass with a sodium source of mineral origin (with low K content) that was opacified by addition of calcium antimonate crystals. This type of glass was only used in objects made in the 12th century. Email Champlevé objects from the beginning of the 13th century onward were enameled with soda-lime-silica glass with a sodium source of vegetal origin. This type of glass, which has a higher potassium content, was opacified with SnO2 crystals. The glass used for 19th century Email Champlevé artifacts was produced with synthetic and purified components resulting in a different chemical composition compared to the other groups. Although the four analytical techniques employed in this study have their own specific characteristics, they were all found to be suitable for classifying the objects into the different chronological categories.

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2

Saprykina, I. A. "Chemical Composition of Metal Objects with Eastern European Champlevé Enamels." Nanobiotechnology Reports 16, no. 5 (2021): 561–65. http://dx.doi.org/10.1134/s2635167621050219.

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3

Rautman, Marcus. "The Color-Inlaid “Champlevé” Reliefs of the Synagogue at Sardis*." Bulletin of the American Schools of Oriental Research 383 (May 1, 2020): 97–113. http://dx.doi.org/10.1086/707494.

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4

Muruzábal del Solar, José M. ª. "Félix Artieda, esmaltista." Príncipe de Viana LXXX, no. 274 (2020): 653–72. http://dx.doi.org/10.35462/pv.274.2.

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ABSTRACT This article familiarises us with the life and artistic work of the Pamplona-born enamellist Félix Artieda (1900-1974). Trained in the tradition of a workshop which constructed, gilded and polychromed altarpieces, he studied in Pamplona with Javier Ciga and then at San Fernando in Madrid. He learnt the art of enamelling under Dr Victoriano Juaristi and at the Massana School in Barcelona. Most of his production is from the 1930s, when he worked, above all, using the champlevé technique. The themes of most of his works are religious, imitating medieval motifs, and from Basque folklore. Together with the above, a catalogue of twenty works in enamel by the artist, most of them previously unseen, is also presented. Keywords: enamel; artist; Navarre; 20th century. RESUMEN El presente artículo nos acercará el periplo vital y la producción estética, dentro del esmalte artístico, del autor pamplonés Félix Artieda (1900-1974). Este autor, formado en la tradición de un taller de construcción, dorado y policromado de retablos, estudió en Pamplona con Javier Ciga y en San Fernando de Madrid. La técnica del esmalte la aprendió con el doctor Victoriano Juaristi y en la Escuela Massana de Barcelona. La mayor parte de su producción se da en los años treinta, trabajando básicamente el esmalte campeado o champlevé. Sus obras son de temática religiosa, imitando motivos medievales, y temas etnográficos vascos principalmente. Se aporta, junto a lo anterior, un catálogo de veinte obras ejecutas al esmalte por el autor, la mayoría de ellas inéditas. Palabras clave: esmalte; artista; Navarra; siglo xx.

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5

W., Mohamed, and Mohamed N. "A CLOSER LOOK AT TWO 19TH CENTURY CHAMPLEVÉ AND PEINTURE ENAMEL TRAYS." Egyptian Journal of Archaeological and Restoration Studies 11, no. 2 (2021): 185–92. http://dx.doi.org/10.21608/ejars.2021.210369.

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6

Voroniatov, Sergey, Olga Rumyantseva, and Irina Saprykina. "Apparel items with champlevé enamels from the State Hermitage: archaeological analysis of the collection." Rossiiskaia arkheologiia, no. 3 (2020): 16–32. http://dx.doi.org/10.31857/s086960630010939-1.

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7

Cherry, John. "The enamelled baldric of Thomas Randolph, 1st Earl of Moray (c 1280–1332)." Proceedings of the Society of Antiquaries of Scotland 150 (November 30, 2021): 49–62. http://dx.doi.org/10.9750/psas.150.1302.

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The baldric of Thomas Randolph, 1st Earl of Moray (died 1332), a companion in arms of King Robert I, was made in the first half of the 14th century and taken to England before 1604, since which time it has been attached to the Savernake horn, now in the British Museum. It is elaborately decorated with champlevé and translucent enamel, and bears the arms of argent three cushions gules within a royal tressure, which were adopted by Thomas Randolph after he was created Earl of Moray in 1312. The baldric shows Scottish heraldry and ownership, and so appears to be an example of Scottish enamelling. This article examines both the enamel decoration and the life of Thomas Randolph and suggests that there is a greater probability that it was made in France, possibly Paris or Avignon, rather than Scotland.

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8

Sanders, G. D. R. "Excavations at Sparta: the Roman stoa, 1988–91 Preliminary report, Part 1: (c) Medieval pottery." Annual of the British School at Athens 88 (November 1993): 251–86. http://dx.doi.org/10.1017/s0068245400015975.

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Contexts recently excavated by the BSA in the Roman stoa at Sparta contain pottery dating from the 12th to early 14th centuries. The bulk of the material dates to the first half of the 13th cent., and demonstrates that certain styles of pottery decoration, once considered to be mainly 12th-cent. in date, continue in currency much longer. These contexts show that Champlevé (Morgan's ‘Incised ware’) decorated with animal motives in the tondo are companion pieces of Glaze Painted (Morgan's ‘Green and Brown Painted group V’) and late Slip Painted wares. The descriptively (but confusingly) named ‘Protogeometric’ style of plainware decoration is also one that remains in currency. Cooking-vessels are almost exclusively handmade, in a very coarse fabric evocative of so-called ‘Slavic’ pottery of the 7th cent., with which it may well be confused. Table amphoras (stamnia) and small pithoi are often decorated with a distinctive incised decoration, making handles and body sherds of this usually nondescript and conservative shape particularly identifiable and diagnostic.

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9

Rumyantseva, Olga S., Irina Saprykina, Sergey V. Voroniatov, Alexander A. Trifonov, and Dmitry A. Khanin. "Chemical and technological analysis of objects with champlevé enamels from the collection of the State Hermitage Museum." Rossiiskaia arkheologiia, no. 1 (2021): 86–101. http://dx.doi.org/10.31857/s086960630013707-6.

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10

Röhrs, S., L. Lambacher та R. Tagle. "Studying the process of enamel powder preparation for émail champlevé by colour measurements and μ‐X‐ray mappings". Archaeometry 61, № 2 (2018): 374–91. http://dx.doi.org/10.1111/arcm.12425.

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Books on the topic "Champlevé"

1

The Champlevé Gallery. Ope Books, 2011.

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2

Recursos de información para el estudio de los esmaltes champlevé en España. Editora Regional de Extremadura, 2005.

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3

Strosahl, J. Patrick. A manual of cloisonné & champlevé enameling. J.P. Strosahl, 1996.

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4

Catherine, Arminjon, and Inventaire général des monuments et des richesses artistiques de la France. Région du Limousin., eds. Émaux limousins du moyen âge: Corrèze, Creuse, Haute-Vienne. Culture et Patrimoine en Limousin, 1995.

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5

Corpus della scultura ad incrostazione di mastice nella penisola italiana, XI-XIII sec. Il poligrafo, 2006.

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6

Nancy, Netzner, and Newman Richard 1951-, eds. Catalogue of medieval objects. Museum of Fine Arts, 1991.

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1903-, Swarzenski Hanns, and Netzer Nancy, eds. Catalogue of medieval objects. Museum of Fine Arts, 1986.

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Catherine, Arminjon, and Inventaire général des monuments et des richesses artistiques de la France. Région du Limousin., eds. Emaux limousins du Moyen Age: Corrèze, Creuse, Haute-Vienne. Culture & patrimoine en Limousin, 1995.

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9

Strosahl, Judith Lull, and Coral Barnhart Shaffer. A Manual of Cloisonne and Champleve Enameling. Encore Editions, 1985.

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10

Swarzenski, Hanns, and Nancy Netzer. Enamels and Glass (Catalogue of Medieval Objects). Museum of Fine Arts (Boston), 1986.

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Book chapters on the topic "Champlevé"

1

"champlevé." In The Fairchild Books Dictionary of Interior Design. Fairchild Books, 2021. http://dx.doi.org/10.5040/9781501365171.831.

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2

"Champlevé." In Encyclopedic Dictionary of Archaeology. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-58292-0_30368.

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3

Foster, Jennifer. "HIDDEN FACES AND ANIMAL IMAGES ON LATE IRON AGE AND EARLY ROMAN HORSE HARNESS DECORATED USING THE CHAMPLEVÉ TECHNIQUE." In Celtic Art in Europe. Oxbow Books, 2014. http://dx.doi.org/10.2307/j.ctvh1dqs8.9.

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4

BIRON, Isabelle, and Marco VERITÀ. "Le plomb dans les émaux du Moyen Âge et de la Renaissance." In Le plomb dans les matériaux vitreux du patrimoine. ISTE Group, 2022. http://dx.doi.org/10.51926/iste.9076.ch9.

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L’usage de plomb dans les émaux est présenté à travers deux productions ; les émaux champlevés sur cuivre du Moyen Âge et celle des cuivres émaillés « dits vénitiens » de la Renaissance. Après une brève description de leur histoire, forme, style et technique de fabrication, les recettes verrières des émaux blancs et turquoise sont données ainsi que l’origine du plomb.

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Conference papers on the topic "Champlevé"

1

Родинкова, В. Е. "Lamellar "diadems" from the range of East European champlevé enamels." In РАННЕСЛАВЯНСКИЙ МИР. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2018.978-5-93061-129-8.66-81.

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2

Радюш, О. А. "Artifacts of men’s culture of prestige among the antiquities of the East European champlevé enamels range." In РАННЕСЛАВЯНСКИЙ МИР. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2018.978-5-93061-129-8.138-145.

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3

Румянцева, О. С. "Possible origin, organization of production and potential causes of decline of the East European champlevé enameling style (upon the results of technological analysis)." In РАННЕСЛАВЯНСКИЙ МИР. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2018.978-5-93061-129-8.221-226.

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4

Румянцева, О. С., А. А. Трифонов, and Д. А. Ханин. "Phenomenon of the East European champlevé enamels: chemical composition of glass, problems of origin and decline of the style (from the technological point of view)." In РАННЕСЛАВЯНСКИЙ МИР. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2018.978-5-93061-129-8.199-220.

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5

Данилов, О. В., and Д. В. Абрамов. "ARCHAEOLOGICAL RESEARCH ON BOGATYRYOVA MOUNTAIN IN MUROM IN 2017." In Археология Владимиро-Суздальской земли. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-304-6.107-117.

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Археологические раскопки 2017 г. выявили культурный слой, относящийся практически ко всем этапам развития Мурома. Особенно ярко представлены горизонты XII-XIII вв. и XVI-XVII вв. Характерный ряд столбовых ям указывает на существование в древнерусский период оборонительного сооружения, ограждавшего наземные постройки. Археологический материал этого периода типичен для древнерусских городов. Выделяются две парные бронзовые миндалевидные пришивные накладки, на щитках которых в технике выемчатой эмали изображен процветший крест. Интересны также железное писало и фрагмент стеклянного бокала с росписью золотом и красной краской. Значительная часть материала, собранного в ходе раскопок, принадлежит периоду XVI-XVII вв. и происходит в основном из большой подпольной ямы наземной жилой постройки. Здесь следует отметить фрагменты впервые встреченной в Муроме турецкой керамики с полихромной подглазурной росписью, изготовленной в г. Изник. The archaeological excavations discovered a cultural layer which relates to almost all stages of the development of the Murom. The horizons of the 12th-13th and the 16th-17th centuries are especially emphatically represented. A characteristic row of postholes indicates the existence of a defensive fence in ancient Russian period. Land-type buildings were located inside it. The finds of this period are typical for ancient Russian cities. We can distinguish two bronze almond-shaped sewing badges with the image of a vine cross. The image was made in the technique of champlevé enamel. An also interesting finds are an iron stylus and a fragment of a glass goblet with gold and red ornament. A significant part of the collected material belongs to the period of the 16th-17th centuries and was found mainly in a large cellar pit of a residential building. Fragments of Turkish pottery with polychrome underglaze painting are most interesting. Such ceramics was found in Murom for the first time.

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