small-scale-silversmithing

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Silversmithing is an exciting and developing craft, which combines traditional techniques with contemporary design and technology. This practical book introduces the craft with a guide to the workshop and its tools, then emphasizes the importance of drawing and design before explaining key techniques and showing how they can be used in clearly illustrated projects. By keeping the individual pieces small, it explains a range of skills that can be developed and combined to make more adventurous items. It discusses transforming silver sheets or rods into three-dimensional shapes using sinking, raising, and forging techniques. It teaches how to silver solder and attach handles to the rounded body of a bowl and create well-fitting seams. Nine projects illustrate the techniques in use and include making spoons, round boxes, hinged lids, drinker beakers, and candlesticks.

Probably no Native American handicrafts are more widely admired than Navajo weaving and Navajo and Pueblo silver work. This book, which is now in its third large printing, contains the most important and complete account of Indian jewelry fashioned by the Navajo, the Zuni, the Hopi, and other Pueblo peoples. "With the care of a meticulous and thorough scholar, the author has told the story of his several years' investigation of jewelry making among the Southwestern Indians," says The Dallas Times Herald. "So richly decorative are the plates he uses ... that the conscientious narrative is surrounded by an atmosphere of genuinely exciting visual experience." John Adair is a trained ethnologist who has lived and worked among these Indians. To prepare his book, Mr. Adair made an exhaustive examination of the principal museum collections of Navajo and Pueblo silver work, both early and modem, in Santa Fe, Colorado Springs, Chicago, New York, and Philadelphia. He visited trading posts in the Indian country and examined and photographed silver on the pawn racks and in important private collections. He lived for a time among the Navajo, watched them make their jewelry, and actually learned to work silver himself in the hogan of one of the leading artisans, Tom Burnsides. Many of the photographs he made at the time are used as illustrations in this book. He spent months among the Indians in New Mexico and Arizona and became personally acquainted with many of their silversmiths. Later, as field worker for the Indian Arts and Crafts Board, he studied the economics of Navajo and Pueblo silversmithing; and still later he became manager of the Navajo Arts and Crafts Guild, a tribal enterprise. The Navajo and Pueblo Silversmiths provides a full history of the craft and the actual names and localities of the pioneer craftsmen who introduced the art of the silversmith to their people. Despite its present high stage of development, with its many subtle and often exquisite designs, the art of working silver is not an ancient one among the Navajo and Pueblo Indians. There are men still living today who remember the very first silversmiths. Mr. Adair gives full details, as he observed them, of the methods and techniques of manufacture over a primitive forge with homemade tools. He tells both of the fine pieces made for trade among the Indians themselves and of the newer, cheaper types of jewelry produced for sale to tourists. He discusses standards and qualities of Indian silver and describes the work of the Indian schools in helping preserve traditional design in the fine silver of today. His excellent photographs of some of the most notable pieces, old and new, provide examples for evaluation. This volume, therefore, will serve the layman, the ethnologist, and the dealer alike as a guide to proper values in Indian silver jewelry, and will provide the basis for authoritative knowledge and appreciation of a highly skilled creative art.

4e de couv.: Using information from many in-depth fieldwork studies of hunter-gatherer, horticultural, and pastoral peoples from around the world, this book provides a comprehensive account of the major questions regarding art in its cultural context. Anderson presents art not as exotic-looking museum pieces, but as aesthetically powerful artifacts that play vital roles in the social, intellectual, and affective lives of the people who make and use them. Second edition features: Discusses the distinguishing features of small-scale societies - and the problems of calling them "primitive." Integrates recent research findings from gender study, developmental psychology, and aesthetics. Increases attention to the visual styles of the major art producing regions of the non-Western world. Includes a "portfolio" in each chapter that focuses on the art of a particular people or area. Throughout, the book features case studies, numerous illustrations, and chapter-by-chapter guides to additional reading.

In the context of Makassar, on the eastern Indonesian island of Sulawesi, the book explores the socioeconomic and cultural relationships that make life for small entrepreneurs in Makassar so distinctive. Using a new framework for the study of small enterprises - the 'small enterprise integrative framework' - this book gives us a greater understanding of the organization and operations of small enterprises in developing countries, at both the micro and macro levels. The application of this new framework for research reveals the diversity of labour flexibility, networking and cluster styles amongst the enterprises studies, and the constraints they face for growth. Whilst the recent Southeast Asian economic crisis has been heralded by certain commentators as a new era for small enterprises in the region, the book concludes that local realities for the small enterprises in Makassar mean that, whilst for some it has been a time of shifting fortunes, others have continued trading on the margins.

Presents the first in-depth study of two celebrated silversmiths and their magnificant work.

Following a brief introduction to the Arts and Crafts Movement, this text chronicles the arrival of a succession of artists, architects, craftsmen and designers in the Cotswolds during the second half of the 19th century. Having come under the influence of William Morris, they sought to realize in the Cotswolds the ideals of the Arts and Crafts Movement, with its emphasis on the importance of creative manual work and the breakdown of the barrier between designer and maker, looking for inspiration to the English countryside.

History can offer many examples of personal initiative and genius being stifled by poverty and lack of opportunity, by prejudice and jealousy, or by misunderstanding and ignorance. This, of course, was not the case with Paul Storr, but one wonders how his technique would have developed had his working life not coincided with one of the great periods of English history, and, above all, had there been no Philip Rundell to undate him with orders for the Royal Family, for the celebration of a fresh victory, or to fulfil [sic] a contract for one of the great houses of a wealthy and aristocratic England. -- Pg. 19.

Makers: A History of American Studio Craft

Using an important collection, the author charts the use of geometric shapes in English silver, as well as Asian influences, during two centuries, 1630-1830.

A history and a genealogy of the descendants of Francis Richardson born 25 Nov 1681 in New York. He married Elizabeth Growden on the 18 Apr 1705. They had six children. He died in 1729. He was a silversmith in Philadelphia. Three generations of Richardson were silversmiths in Philadelphia in the 18th century.

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