Journal articles: 'Champlevé'

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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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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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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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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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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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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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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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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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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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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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Opriș, Ioan Carol. "Adding to John W. Hayes`s Late Roman Pottery. Late Roman Light-Colored Wares with champlevé decoration from Histria revisited." Cercetări Arheologice 29, no. 1 (2022): 287–316. http://dx.doi.org/10.46535/ca.29.1.14.

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Muzykantova, M. E., T. V. Lebedeva, and S. I. Galanin. "TWO-COMPONENT COLD CLOISONNE AND CHAMPLEVE ENAMELS: STUDY OF DEFECTS." Technologies & Quality, no. 4 (2019): 25–30. http://dx.doi.org/10.34216/2587-6147-2019-4-46-25-30.

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Types of defects of cold two-component cloisonne and champleve enamels are investigated and systematised. The reasons for the appearance of defects at different stages of enameling jewellery are determined. It is shown that enamel coating defects can occur at any stage of the enamel process. Possible ways to eliminate defects of enamel coating are proposed. Recommendations for the prevention of defects at different stages of cloisonne and champleve enameling are worked out. The most common defects include air bubbles in the enamel and the ingress of foreign contaminants. At initial stages, it is recommended that one observes the technological regulations for metal base and enamel composition preparation. The duration and ease of repair of the defect depends on the detection time of the latter. After the enamel is cured, all defects are irreplaceable.

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Bilynska, L. I., V. M. Bilyk, O. M. Buhay, O. V. Hopkalo, Ye L. Gorokhovskyi, and О. M. Derevianko. "NEW EXHIBITS OF ITEMS WITH CHAMPLEVE ENAMELS IN SUMY REGIONAL MUSEUM (PRELIMINARY REPORT)." Archaeology and Early History of Ukraine 40, no. 3 (2021): 225–42. http://dx.doi.org/10.37445/adiu.2021.03.15.

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During 2018—2020 items with Champleve enamels were presented to Sumy Regional Museum by Sumy residents, S. I. Gutsan and R. A. Bobkov. They were shown at an exhibition dedicated to the 100th anniversary of the Museum in September 2020. The collection consists of more than 70 items (tabl. 1). There are brooches (horseshoe-shaped, triangular, round), pendants (cruciform, lunnula), chains, bracelets, diadems, torques, appliquй, finger-rings, trapezoidal pendants, spurs etc. Because these finds were kept in private collections and were presented to the Museum by their owners, the items could be considered accidental finds except location of them was more or less accurate. Preliminary analysis of things from the collection allowed us to determine the following. The area of finds includes different areas of Sumy region, but those found in Sumy’s suburbs significantly dominate, and by dating they mostly belong to the second stage of development of East European Champleve enamels, according to E. Gorokhovskyi — to the middle and second half of 3rd century. Metal and enamel of things were analyzed by the researchers of The Institute of Applied Physics of NASU using an X-ray fluorescence spectrometer. Situation around archeological monuments requires a rapid reconstruction, adaptation of science to new unfavorable conditions. This publication is prompted by an attempt to obtain maximum information from sources whose reliability is questionable. Moreover, the things analyzed in this publication are of great importance for solving many important questions of archeology, in particular, for the reconstruction of the Slavonic peoples’s genesis.

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Биркина, Н. А. "ITEMS FROM THE BARBARIAN CHAMPLEVE CONTEXTS FROM V. V. KHVOIKO COLLECTION IN THE HOLDINGS OF THE STATE HISTORICAL MUSEUM." Краткие сообщения Института археологии (КСИА), no. 267 (October 4, 2022): 207–20. http://dx.doi.org/10.25681/iaras.0130-2620.267.207-220.

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Статья посвящена комплексному изучению предметов круга восточноевропейских варварских эмалей, проданных В. В. Хвойко в фонды Государственного исторического музея. В публикации актуализированы имеющиеся в распоряжении исследователей сведения об этих украшениях, уточнено описание и внешний вид отдельных вещей. Также в работе рассмотрена технология металлообработки каждого предмета, на основании чего они сгруппированы по уровню работы мастера. The paper contains information on the comprehensive study of the champleve enamels from the East European barbarian contexts sold by V V Khvoiko to the State Historical Museum. The paper updates available information on these jewelry pieces, clarifies description and appearance of specific items. The paper also explores metalworking technology of each item and groups all items based on artisans’ workmanship level.

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Zabriskie, Mark. "New Antibiotic Targets. Edited by W. Scott Champley." ChemMedChem 4, no. 2 (2009): 292–93. http://dx.doi.org/10.1002/cmdc.200800419.

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Töpfer, Till. "Great auk (Pinguinus impennis) eggs in Bonn: correspondence between Emile Parzudaki and Robert Champley." Archives of Natural History 47, no. 2 (2020): 319–24. http://dx.doi.org/10.3366/anh.2020.0657.

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Although Charles and Emile Parzudaki were well-connected natural history dealers of nineteenth-century Paris, many aspects of their life and work remain unknown. The example of two letters from Emile Parzudaki to Robert Champley that accompanied three great auk ( Pinguinus impennis) eggs to the Zoologisches Forschungsmuseum Alexander Koenig in Bonn reveal new aspects of the Parzudaki enterprise, indicating at least some travelling and collecting activities of Charles Parzudaki beyond Europe.

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Treister, Mikhail. "CLOISONNE- AND CHAMPLEVE-DECORATION IN THE GOLD WORK OF THE LATE HELLENISTIC-EARLY IMPERIAL PERIODS." Acta Archaeologica 75, no. 2 (2004): 189–219. http://dx.doi.org/10.1111/j.0065-001x.2004.00017.x.

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CLOUTIER, YVES, ANDRÉ COMEAU, MICHÈLE BERNIER-CARDOU, and DENIS A. ANGERS. "EFFECT OF SOIL WATER CONTENT ON THE WINTER SURVIVAL OF WINTER WHEAT, RYE AND TRITICALE." Canadian Journal of Plant Science 70, no. 3 (1990): 667–75. http://dx.doi.org/10.4141/cjps90-082.

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A field study was conducted to determine the effect of soil moisture on the survival of three winter cereal species. Treatments were applied by watering and weighing the soil to the desired water content. Plants were overwintered in a plastic greenhouse in 1988 and in 1989, in which the air was not heated, but the soil was slightly heated on cold days to avoid very low temperatures. Soil temperature did not fall below −16 °C. Soil temperature rate of change was dependent on moisture content. Puma winter rye and Otrastajuskaja 38 winter wheat were the hardiest, followed by Wintri winter triticale and Norstar winter wheat. Harus winter wheat was less hardy, and Champlein winter wheat was totally winter killed. The highest survival rate was obtained at moderate to high soil moisture content. The soil contained 44% water at field capacity and 19% at the wilting point. The drier the soil in the range 13–23%, the greater the mortality indicating a negative effect of long-term drought on plant survival. By contrast, the wettest treatments: 58% and partial ice encasement, did not reduce survival. However, total ice encasement killed 50–75% of the plants depending on the cultivar. There was an interaction between cultivar and moisture treatment. The data suggest that a moisture level intermediate between the wilting point and field capacity should be sought in studies of cold hardiness.Key words: Moisture, winterkill, ice encasement, wheat, rye, triticale

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Şesan, Tatiana-Eugenia, and Octavian Groza. "Mycobiota of rape seeds in Romania. I. Identification of mycobiota associated with rape seeds from different areas of Romania." Acta Mycologica 48, no. 2 (2013): 263–77. http://dx.doi.org/10.5586/am.2013.029.

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The spectrum of fungal diversity associated with rape seeds belonging to 33 cultivars (Alaska, Astrada, Astrid, Atlantic, Betty, Champlein, Chayenne, Dexter, Digger, Elvis, Eurowest, Finesse, Herkules, Hydromel, Hydromel-MA, Ladoga, anitoba, Masa Rom, Milena, Mohican, Montego, Nectar, Ontario, Orkan, Perla (4 lots), Remy, Robust, Rodeo, Saphir, Tiger, Tiger CBC Lot ROM06-121-110, Triangle, Valesca, Vectra) and 2 hybrids (H-90-20-83, H-90-21-83) has been established by samples’ macroscopical and microscopical analizying, during 2006-2008, for the first time in Romania. The Ulster method on malt-agar and PDA culture media has been used, evaluating the percentage of fungal taxons present on/in rape seeds. The most important pathogenic fungi identified were: Sclerotinia sclerotiorum (Lib.) de Bary, Botrytis cinerea Pers., Rhizoctonia solani Kühn, Alternaria brassicae (Berk.) Sacc., A. brassicicola (Schwein.) Wiltshire and Fusarium spp. Also, a large quantities of some saprophytic fungi, as Alternaria, Cladosporium, Aspergillus, Penicillium, Rhizopus have been recorded. These ones have been affected the health condition of rape seeds, suppressing their germination and other vital phenomena. Among potential antagonistic fungi the following genera have been isolated: Chaetomium (0-4%), Trichoderma (0-10%), Aspergillus (0-14%), Penicillium (0-100%). Some correlations and comparisons have been established between fungal diversity, their provenience, cultivars, culture media (Malt-Agar/MA, Potato-Dextrose-Agar/PDA) used. It has been evaluated the behaviour of rape cultivars and hybrids towards the main rape seed pathogens.

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Teslenko, I. B. "BYZANTINE GLAZED CERAMICS OF THE 13th CENTURY IN THE CRIMEA (short review)." Archaeology and Early History of Ukraine 35, no. 2 (2020): 395–404. http://dx.doi.org/10.37445/adiu.2020.02.31.

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Despite political and military upheaval in Byzantium in the 13th century, the most important of which were the conquest of Constantinople and the central territories of the empire by the Latins in 1204, and then the restoration of the state and the return of the capital by Michael VIII Palaeologus in 1261, the manufacture of marketable glazed tableware on its historical territory had not stopped. Moreover, delivery of this ceramic into the territory of the Crimea also continued. This was largely due to the new owners of the maritime market — Italian merchants, first Venetians, and then Genoese, who were active participants of the political and military conflicts in the Eastern Mediterranean and Byzantium. At the same time, the composition of the imported ceramic was not stable. Finds from well-dated archaeological deposits known from the excavations of archaeological sites in the Crimea, as well as the surrounding area, provide the information as for the volume of the Byzantine import and changes in the imported pottery assemblage during the 13th century. First of all, these are the cultural remains with the layers of fire and destruction on the territory of the medieval towns in southern and south-western Crimea with the coins of 1250—1260s; shipwreck near the Novy Svet village south-west to Sudak, which wrecked not earlier than 1260—1270s; two pits in the harbor part of Soldaia / Sudak with coins of the 1266 and 1270s, which, according to stratigraphy, were filled after the mentioned catastrophe; sites in south-eastern Crimea with coins of the last quarter of the 13th — early 14th century, so on. Correlation of data from these contexts leads to the following conclusions. 1. Quantity of Byzantine ceramics imported into Crimea during the 13th century was quite significant. It accounts for up to 70 % and more of the ceramics assemblages. 2. The range of glazed ware remained approximately the same from the beginning until the middle — third quarter of the 13th century. The MBP (mainly «Incised Sgraffito Ware», less often «Champlevй» and others); GWW with monochrome green glaze as well as green and brown painted variants; «Zeuxippus Ware» (class IА&II) prevailed. 3. Since the last third of the 13th century less elegant and cheaper vessels («Sgraffito with Concentric Circles», jugs with stripes of white engobe) from different workshops, which in large quantities arise on the Byzantine and surrounding lands, start to come to the Crimea and Northern Black Sea Region. Their activities were stimulated by the intensification of maritime trade and the growing demand for cheap glazed pottery. 4. Cessation of some groups of import, especially MBP from Chalcis, may be due to the ousting of the Venetians from the Crimean market and their temporary difficulties with novation in the Black Sea after 1261. At the same time, the sales crisis could lead to the decline of some large pottery centers and to the emergence of new focused on more promising trading intermediaries, which the Genoese became.

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Röhrs, Stefan, Gaia Fenoglio, Ina Reiche, and Lothar Lambacher. "Studying glass on metal: Raman analysis of medieval champlevé enamelled objects." Journal of Raman Spectroscopy, July 14, 2020. http://dx.doi.org/10.1002/jrs.5934.

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Биркина, Н. А. "SOME ASPECTS OF TECHNOLOGY USED TO MAKE ITEMS FROM THE BRYANSKAND MOSHCHINY HOARDS." Краткие сообщения Института археологии (КСИА), no. 260 (September 5, 2020). http://dx.doi.org/10.25681/iaras.0130-2620.260.247-262.

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Работа посвящена исследованию технологических аспектов работы мастеров-ювелиров на примере двух кладов круга восточноевропейских варварских выемчатых эмалей, хранящихся в собрании Государственного исторического музея. Все предметы были разделены на основные группы по способу постлитейной обработки. Были зафиксированы следы, связанные с технической доработкой изделий и их декорированием. Финальным этапом стало сравнение полученных данных с результатами экспериментов по реконструкции ряда процессов, в том числе способов нанесения орнамента. Проведенный анализ позволяет говорить о том, что, несмотря на высокий уровень изделий, многие операции могли производиться кустарным способом. The paper deals with the study of technological aspects of the work performed by smiths based on a case study of two hoards attributed to the circle of East European barbarian champlevé enamels kept in the collection of the State Historical Museum. All items were divided into main groups based on the method of post-casting treatment. Traces associated with post-casting treatment and decoration were identified. As the final step, the data obtained were compared with the data from the experiments conducted to reconstruct a number of processes, including methods of ornamentation. This analysis suggests that, despite high quality of the items, many operations could be performed domestically.

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Биркина, Н. А. "ORNAMENTS ON THE ITEMS WITH BARBARIAN CHAMPLEVÉ ENAMELS FROM THE COLLECTION OF THE STATE HISTORICAL MUSEUM: EXPERIENCE OF TRACE-WEAR ANALYSIS." Краткие сообщения Института археологии (КСИА), no. 259 (June 1, 2020). http://dx.doi.org/10.25681/iaras.0130-2620.259.247-266.

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Данная статья призвана обратить внимание исследователей на возможность выявления групп предметов, сделанных в одной ювелирной мастерской, на основании трасологического анализа. Некоторые типы инструментов (чеканы, пуансоны и т. п.) в ходе использования оставляют идентичные следы от вещи к вещи. Сравнительный анализ такого декора позволяет выделять вещи с идентичными отпечатками и, следовательно, сделанные в одной ювелирной мастерской, возможно, одним мастером. На основании этого способа были сгруппированы предметы, орнаментированные одним инструментом, входящие в состав Брянского, Мощинского и Троицкого кладов. В результате работы было выявлено, что в каждом из обследованных кладов присутствуют вещи (браслеты, венчики, фибулы, привески), орнаментированные в одной ювелирной мастерской. Вещей со следами идентичных чеканов или пуансонов, входящих в состав разных кладов, не зафиксировано. This paper is intended to call attention of the scholars to a possibility of identifying groups of items made in one jewelry workshop based on trace-wear analysis. When used in the production process, some types of tools (chisels, puncheons, etc.) leave identical traces. Comparative analysis of such ornament offers an opportunity to single out artifacts with identical imprints, which means that these artifacts were made in one shop, possibly, by one artisan. This method was used to group items from the Bryansk hoard, the Moshchiny hoard and the Troitsa hoard decorated with one tool. The analysis of the traces revealed that each of the examined hoards included items (bracelets, lamellar diadems, brooches and pendants) ornamented in one jewelry shop. Items with identical traces left by chisels or puncheons that would come from different treasures were not recorded.

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Journal articles on the topic 'Champlevé'

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