Metalwork

This engaging book offers an introduction to and overview of armor in Europe from the Middle Ages through the 17th century, focusing in particular on the 16th century when plate armor reached its peak of stylistic beauty and functional perfection. Created by highly skilled armorers, often in cooperation with noted artists and commissioned by wealthy patrons, armor was worn for centuries on the battlefield, in festive tournaments, and for ceremonial events. Through informative discussions of representative works from the Metropolitan Museum’s world-renowned collection, this new addition to the popular How to Read series shows what to look for when examining armor, the pieces that make up a typical suit of armor, how the parts work, the various methods used to decorate armor, and how armor became an important part of so many museum collections today. The book features a wealth of new photography of historically important armor and other works of art from the Metropolitan Museum and select pieces from other institutions.
Available through Yale University Press: https://yalebooks.yale.edu/book/9781588396297/how-read-european-armor

Content:
Godefroid of Huy, The Dictionary of Art, 12, p. 836.
Gothic, V, 3: Metalwork. Low Countries, The Dictionary of Art, 13, p. 159-160.
Hugo d'Oignies, The Dictionary of Art, 14, p. 854.
Maastricht, 2 (iii) St. Servatius: Treasury, The Dictionary of Art, 19, p. 863-864.
Rainer of Huy, The Dictionary of Art, 25, p. 865-866.
Aert van Tricht, The Dictionary of Art, 31, p. 322.
Arnt van Tricht, The Dictionary of Art, 31, p. 322.
Wibald of Stavelot, The Dictionary of Art, 33, p. 153.

The metalwork holdings in the Khalili Collection are wide ranging and diverse, dating from the 7th century to the 20th century, and covering most of the Islamic world, from the Mediterranean to Brunei, and from Egypt to Central Asia. The Collection includes a significant number of important, signed or dated pieces. With over 900 entries, this four-part volume considers almost every type of vessel encountered in Islamic metalwork. The pieces are grouped according to their form and function and categories include vessels used for ablutions, food, drink, lighting and furniture. The large number of objects has also allowed for a detailed discussion of variations and developments within object types such oil lamps, mortars, jugs and ewers. The catalogue is accompanied by a number of introductory essays examining the principal periods into which the volume has been divided. Other essays consider the importance of silver within the study of Islamic metalwork in the pre-Mongol period; the range of animal forms found in metal in the medieval period; the significance of astrological imagery; and metalwork from the Mamluk and post-Mamluk revival periods. Finally, the technology of Islamic metalwork is examined in detail, with a discussion of medieval literary sources, and an examination of metals and their alloys, their sources and methods of manufacture.

Michael Spink is an Independent researcher, lecturer and writer on Islamic and Indian art, and a Fellow of the Gemmological Association of Great Britain. He is co-author of The Art of Adornment, the catalogue of Islamic jewellery in the Khalili Collection.

Professor Doris Behrens-Abouseif is the former Nasser D. Khalili Chair of Islamic Art and Archaeology, School of Oriental and African Studies, University of London. She is a specialist in the arts, architecture and history of the Mamluks, and has written extensively on these and other subjects.

Dr Melanie Gibson is a specialist in the ceramics, glass and sculpture of the Islamic world, subjects on which she has published several works. She is a contributor to other volumes of the Khalili Collection catalogue and is series editor of the Gingko Library Art Series.

ISBN 978-1-874 78088-5

CONTENTS
Part 1
Foreword
Sir Nasser D. Khalili

Metalwork of Iran, Western and Central Asia, 5th–8th century
Michael Spink

Catalogue 1–40

Early Islamic metalwork: western areas and Iran
Michael Spink

Catalogue 41–66

High-tin bronze from Sistan, Khurasan and Transoxania
Michael Spink

Catalogue 67–103

Silver in the pre-Mongol Islamic period, 650–1220
Michael Spink

Pre-Mongol Iran to 1220
Michael Spink

Early medieval metalwork from Iran
Michael Spink

Catalogue 104–274

A menagerie in metal
Melanie Gibson

Inscriptions

Index

Concordances

Part 2
Early medieval metalwork from Iran (continued)
Michael Spink

Catalogue 275–460

The Mongols (1220–1335) and the later 14th century
Michael Spink

Catalogue 461–497

Cilician Armenia
Michael Spink

Catalogue 498–499

Sicily and the Mediterranean sea
Michael Spink

Catalogue 500–503

The Jazira, Syria and Anatolia circa 1100–1260
Michael Spink

Catalogue 504–534

Astrology
Michael Spink

Catalogue 535

Inscriptions

Index

Concordances

Part 3
Iran in the 15th century: Timurid (1370–1507), Qaraqoyunlu (1351–1469) and
Aqqoyunlu (1396–1508)
Michael Spink

Catalogue 536–555

Mamluk metalwork
Doris Behrens-Abouseif

Catalogue 556–591

Ottoman metalwork, 1453–1924
Michael Spink

Ottoman silver
Michael Spink

Catalogue 592–636

Indian metalwork, 15th–19th century
Michael Spink

Catalogue 637–781

Inscriptions

Index

Concordances


Part 4
Safavid metalwork, 1501–1722
Michael Spink

Catalogue 782–822

Qajar Iran, 1779–1925
Michael Spink

Catalogue 823–862

From post-Mamluk to Mamluk revival: the art of metal in Egypt and Syria after the
Ottoman conquest of 1517
Doris Behrens-Abouseif

Catalogue 863–887

Metalwork on the frontiers of Islam
Michael Spink

Catalogue 888–897

Technology
Michael Spink

List of Signatures

Metallurgical analysis

Inscriptions

Bibliography

Index

Concordances

La crosse de Saint-Germain, par Nathalie Ginoux, Christophe Moulherat et Nathalie Fleury, in Les temps mérovingiens,  Dossier d'Archéologie Hors-série n° 31, octobre 2015-p. 50-57.

L’imagerie numérique 3D au service de l’orfèvrerie mérovingienne, l’exemple de la crosse de Saint Germain.

The article acquaints the readers with the manufacture of jewellery artefacts, old technologies and with the names of some processes. Technologies used in Lithuania in 2nd- 14th centuries are compared with some old metal processing technologies that came from the eastern Mediterranean sea region. To explain and visualise technological processes the author of the article, an archaeologist and jeweller, used his long time research and practical experience, which he has amassed when reconstructing non-ferrous metal processing technologies.

This article undertakes an object-focused study of a single work of art of great material and visual complexity: the Wallace Collection pax. This object stimulates an important discussion on how the making, materials and form of a work of art are fundamental to unravelling the object’s function and meaning for a contemporary audience. In placing at the core of the object a rare example of a late medieval amber Vera icon, the Wallace Collection pax also opens up a wider discussion on the nature and popularity of amber as a material of artistic expression in the later Middle Ages. In basing this article on the physical and material history of the work of art, I hope to illustrate the importance of going back to first principles when undertaking object-based research, and I intend to highlight the complex interaction between material and form in late medieval art.

A broad and extremely well illustrated survey of Ottoman silver stamps, especially useful for the eighteenth and nineteenth century to identify individual Armenian and Greek jewelers and silver smiths. The stamps themselves are in Ottoman, Greek, and Armenian.  There are also documents from the Ottoman archives reproduced of the members of the various precious metal guilds.

In the third decade of the sixteenth century, engravers began to frame booklets that offered examples of decorative images and objects with written explanations of their motivations for issuing the proposed designs. Prior to this use of text, earlier engravings by Martin Schongauer and Israhel van Meckenem employed vegetal motifs with severed stems to convey that their compositions were available for selection , drawing an analogy between the utilization of prints by fellow craftsmen and the process of plucking from nature. This vocabulary of extraction returns in the rhymed couplets and playful images of Christoph Jamnitzer's " Neuw Grotteßken Buch " of 1610.

A bibliography of the early nineteenth-century art market in Britain and France and the dealers and makers who peopled it. Based on the bibliography in my thesis, 'British Dealers and the Making of the Anglo-Gallic Interior, 1785-1853', this includes auction catalogues, a list of primary source material and secondary sources.

The exhibition includes some three hundred objects,
most of them displayed to the public for the first
time, opening up the world of Ibn Battuta, following
the route of his travels (1325-1354) and presenting different
aspects of life with which he came into contact. It
provides a superb opportunity to bring together artistic
objects from very different lands, from Spain
to China, from the Volga to Central Africa, emphasising
not only their individual features but their
common links in the late medieval period.
Items from the Hermitage include ceramics, textiles,
metalwork and glass, architectural details and
coins. Many of them bear inscriptions with the names
of renowned figures, whom Ibn Battuta said he had
met on his travels.
The second participating institution, the Russian
National Library, has loaned more than thirty unique
Muslim (Arabic and Persian), Christian and Hebrew
manuscripts. Through these masterpieces, many of
them exhibited for the first time, we are able to present
the intellectual context, the reading material
and art of the age of Ibn Battuta.
The Mardjani Foundation (Moscow) is the third
participant in the exhibition, lending metal and ceramics
but also unique costumes dating from the
late thirteenth and early fourteenth centuries. Superbly
preserved, they illustrate the everyday world
of the ruling elite.

Internationale Tagung des Hornemann Instituts der HAWK Hochschule für angewandte Wissenschaft und Kunst Hildesheim/Holzminden/Göttingen unter Schirmherrschaft der Deutschen UNESCO-Kommission im Rahmen des landeskirchlichen Festprogramms "Gottes Engel weichen nie. St. Michael 2010" vom 16.-18. September 2010 in St. Michael in Hildesheim 1000 JAHRE ST. MICHAEL IN HILDESHEIM Gerhard Lutz und Angela Weyer (Hg.) IMPRESSUM Cover Der Innenraum von St. Michael nach Osten Der Tagungsband erscheint mit einem Druckkostenzuschuss der Fritz Thyssen Stiftung, der Friedrich-Weinhagen-Stiftung und des Vereins zur Bewahrung und Erhaltung des Weltkulturerbes e.V. Die Deutsche Bibliothek -CIP-Einheitsaufnahme 1000 Jahre St. Michael in Hildesheim. Kirche-Kloster-Stifter Tagung des Hornemann Instituts vom 16.-18. September 2010 1. Aufl. Hildesheim: Hornemann Institut der HAWK, 2012 (Schriften des Hornemann Instituts; Bd. 14) St. Michael und die Sakralarchitektur um 1000. Forschungsstand und Perspektiven 41 Sible de Blaauw Hildesheim und Rom -Architektur und Liturgie. Die römischen Eindrücke Bischof Bernwards 66 Enno Bünz "lapis angularis" -Die Grundsteinlegung 1010 als Schlüssel für den mittelalterlichen Kirchenbau von St. Michael in Hildesheim 77 Michael Brandt St. Michael -Der Gründungsbau und seine Bilder 88 Inhalt 5 BISCHOF BERNWARD UND SEINE STIFTUNGEN Hedwig Röckelein Bernward von Hildesheim als Reliquiensammler 107 Bernhard Gallistl Die Kreuzreliquie Ottos III. und die Patrozinien an St. Michael und der Umbau von St. Michael seit der Mitte des 12. Jahrhunderts 212 Harald Wolter-von dem Knesebeck Der Lettner und die Chorschranken sowie das Deckenbild von St. Michael in Hildesheim -Kunst im Kontext 226 KIRCHE UND KLOSTER IM SPÄTMITTELALTER Patricia Engel Die Tilgungen im Ratmann-Sakramentar -Hinweise auf die Traditionspflege im Kloster St. Michael um 1400

At first glance the typical medieval Islamic map of ‘the West’—Surat al-Maghrib— strikes us as nothing more than a quaint abstraction of circles, triangles, and oblong shapes ornately adorned with vivid pigments. Closer study presents a more complex image, however, of passion and conflict; of attraction and revulsion; of love and hate. Indeed the Maghrib map is by far the most dissonant image in the extant collection of medieval Arabic and Persian maps and, as such, one of the most engaging. Whereas all the other images have a veneer of harmony and balance, this one is—by deliberate design—passionately conflicted. It is the discord of desire inlaid within the Muslim pictographs of the Maghrib that is the focus of this chapter, the over-arching question being how did medieval Islamic cartographers settle on such a strange looking image as a representation of the Western Mediterranean— in particular, North Africa, Islamic Spain, and Sicily? Answering this question requires immersing ourselves in the map-image itself, and takes us through a series of subliminal messages ranging from intra-Islamic imperial ambitions to erotic and nostalgic Andalusian poetry.

The Early Bronze Age cemetery in the Mound of the Hostages is exceptional in the context of Early Bronze Age burial in Ireland. The cemetery was placed in an already ancient passage tomb monument, at a time when most Early Bronze Age graves were placed in either flat cemeteries or newly-built barrow monuments. Of the well investigated cemeteries of the period it is one of a small number where burials in simple pits outnumber those in stone-built cists. The cemetery is one of the largest known from the period and was used for relatively frequent burial. The cemetery also has the largest collection of grave goods recorded from any site in Ireland and is notable for the range of artefacts, including the largest collection of Food Vessel tradition pottery and daggers. Finally, the artefact associations and extensive radiocarbon dating of the site allows us for the first time to analyse the sequence of burial in an Irish Bronze Age cemetery.

The ship is the dominant element in the visual culture of the South Scandinavian Bronze Age, appearing in several different media, including rock carvings, decorated metalwork and above-ground monuments. Discussion has divided between those scholars who interpret this imagery in terms of long-distance exchange networks and those who emphasize its more local significance, including its deployment in mortuary ritual. A strikingly similar system is identified in Southeast Asia and part of Melanesia and can be interpreted through archaeological and ethnographic sources, but in this case there is no need to distinguish between 'practical' and 'symbolic' interpretations of the depictions of ships. This paper summarizes the evidence from this region and suggests that it can offer a fruitful source of comparison for archaeologists working in northern Europe.

Josep Gudiol i Cunill fou un dels principals impulsors de la revalorització del patrimoni metàl·lic català. Igual que la resta d'intel·lectuals de la seva època, estava convençut que el patrimoni ferri era un dels pilars que fonamenten el passat històric català i que expliquen la particular idiosincràsia del nostre poble. Conscient del paper preeminent que tingué la farga pirinenca en el desenvolupament de la Catalunya preindustrial i de l'organització i diversificació de la indústria derivada, Gudiol va saber valorar la forja i la metal·listeria amb la mateixa intensitat que les altres Arts Industrials i les Belles Arts. En són testimonis eloqüents l'activitat museística al front del MEV i la seva brillant trajectòria científica: el nombre d'articles que publicà sobre forja i metal·listeria -que recollim en apèndix-és realment colpidor. No obstant això, el seu mestratge no ha tingut encara el ressò que es mereix, segurament per la poca projecció que la seva obra ha tingut fora de l'àmbit català. Resulta absolutament necessari impulsar accions destinades a posar en valor l'obra de Gudiol i a generalitzar l'ús de les seves aportacions metodològiques.

Resum L'altar major de l'església de Santa Maria la Real de Nájera va ser decorat a mitjan segle xi amb un luxós frontal d'orfebreria, de trets molt similars a un altre frontal elaborat pocs anys abans per a la catedral de Girona. Aquest article analitza la proximitat entre els dos mobles i la vincula amb el parentiu de les seves respectives promotores, dames

The only signed work by Nicolas of Verdun, the metalwork which adorned the former ambo in the Stift of Klosterneuburg, was integrated into a foldable altarpiece around 1330. Besides being reframed and fitted to a new wooden support it formed a new medium that combined the metalwork with monumental and modern paintings on the rear side of the triptych. It was not only handled differently and defined spatially in completely different terms, but the precious enamel- and metalwork could be hidden from sight by closing the wings. The added plates of metalwork at the center of the middle panel break up the hieratical  and eucharistic program of the original work to turn it into a program focussed on devotional affects inside and outside the actual work . Specifially, the negative exemplum of the Betrayal of Christ  and the positive exemplum of the Lamentation on either side of the central Cruxifixion demand a response from the beholder in terms of compassion and imitatio. The metalwork and the paintings form a sophisticated iconic reference system in which the provost Stephan of Sierndorf, who ordered the reframing, inserted himself in image and word. His painted figure, kneeling before the crucified Christ, reveals itself not only as the image of the donor, but as the ideal beholder of the work or a further exemplum of perfect piety.

This paper describes the a new methodology for the identification of puzzle pictures, demonstrated with a newly discovered Viking baroque shaped brooch from Vestervang, Denmark. The discussion begins with the mechanisms of image perception and ends in an interpretative perspective on the possible link between the pictorial language of the silver caster and the figurative language of contemporary skalds.

Through its remarkable finds the necropolis at Dendra, covering the periods LH IIB–IIIB, offers an eloquent picture of the luxury possessed by the aristocracy up to the final phase of the early Mycenaean period. It is a time when art and crafts shift away from the hitherto Minoan influences to create forms and symbols that are purely Mycenaean, in search of a new identity. Metalwork of an advanced workmanship, testifying to the presence of highly skilled craftsmen, furnished the distinguished deceased in the necropolis.
Craftsmen in the service of the elite seem to have circulated between various areas of the Aegean and Cyprus, forming through their creations common codes between its members. Being one of the few unplundered tholoi of the period, the Dendra tomb gathers most of those features that became fashionable in art and crafts among the early Mycenaean elite. A re-evaluation of the grave goods can therefore provide the impetus for a discussion on the production, manufacture and trade of luxurious items, especially metalwork, at the threshold of the Mycenaean Palatial period.

We analized in this work a group of Islamic ceramics, the matted painted scratched ware, which have their origin in the Almohad period and reach great development under Merinid. Our study will focus on Ceuta but it will be referred to the whole area of the Strait of Gibraltar. After the characterization of these ceramics, we define two production phases (Almohad and Merinid) identifying its main typological and decorative features. It also provides a distribution map in the Straits of Gibraltar, highlighting similarities and differences of the ceramics of this class compared to other areas that are represented and their possible relationship to the Merinid material culture.
Se analiza en este trabajo un grupo de cerámicas islámicas, las esgrafiadas y pintadas con óxido de manganeso, que tienen su origen en el periodo almohade y alcanzan gran desarrollo bajo los mariníes. Nuestro estudio se centrará en Ceuta pero en él se hará referencia al conjunto del ámbito del Estrecho de Gibraltar. Tras la caracterización de estas cerámicas, se definen dos fases (almohade y mariní) en la producción identificando sus principales características tipológicas y decorativas. Se establece además un mapa de distribución en el área del Estrecho de Gibraltar, destacando las similitudes y diferencias de las cerámicas de esta clase respecto a otras áreas en las que están representadas y su posible vinculación con la cultura material mariní.

The presence or absence of use-wear marks on copper (Cu)-alloy weaponry has been used since the late 1990s to investigate the balance between functional (combat) and symbolic (value, status, religious) use of these objects, and thus explore their social and economic context. In this paper, we suggest that this work has not taken sufficient account of the material properties of Cu-alloys. We discuss mechanisms of plastic deformation, incremental repairs and corrosion in detail to show how these can obscure use-wear traces. In a survey of Cu-alloy weaponry from the Nordic Bronze Age (1800/1700e550 BCE) from Denmark, Sweden and Germany, we show that corrosion of Cu-alloy objects is strongly linked to depositional context, being greater in burials (both inhumations and cremations) than hoards or as single objects. A relative paucity of use-wear marks on burial weapons should therefore not be used to argue that these were purely symbolic objects, e.g. in contrast to the better preserved hoard material. We propose that use-wear traces on Cu-alloy weaponry, particularly on blade edges, is significantly more elusive than previously realised, and that undamaged objects have been over-identified.

Наличие художественных связей русского ювелирного искусства XVI в. с западноевропейским прикладным искусством, отражение ренессансного декора в произведениях русских ювелиров -факт давно установленный. одним из первых исследователей, отметивших влияние орнамента эпохи Возрождения на характер декора русского художественного металла, был Ю. А. олсуфьев [9, с. 9-16], этот вопрос затрагивался в работах М. М. Постниковой-Лосевой [10, с. 14], а также М. В. Мартыновой [6, с. 36-37; 7] и И. А. Стерлиговой [12; 29; 13, с. 282-297]. Некоторые аспекты проблематики были рассмотрены нами в работе «Итальянизированный орнамент на драгоценных предметах храмового убранства во второй половине XVI в.» [3]. В предлагаемой статье мы хотим расширить данную тему.

Bronze Age through to the early Iron Age. Data arising from a combination of chemical, metallographic and lead isotope analyses are considered in terms of artefact typology, manufacturing techniques and archaeological context, and their social and economic implications for ancient metallurgy discussed.