Metalwork Collection

Metalwork Collection

Sheffield's metalwork collection comprises more than 13,000 objects and has been awarded Designated Collection status by DCMS, signifying a 'pre-eminent collection of national and international importance held in England's non-national museums'. The collection includes what is probably the most extensive grouping of Sheffield-made cutlery, flatware (forks and spoons) and holloware (e.g. bowls, teapots, containers) in existence and was amassed as a reference collection; showcasing examples of excellent design and high quality craftsmanship from around the world to inspire the city's manufacturers, designers and makers.

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Metalwork Products

The company handcrafts metalwork products and other items in Sheridan, Wyoming. All custom pieces are made at the fabrication shop where they are precision cut into parts and fitted together, instead of being cast. Each part of every product is made to 1/1000 of an inch accuracy. Their products include spurs, custom spurs, heel bands, spurs, shanks, and rowels. They also handcraft bits made for shank bits, snaffle bits, baseline bits, bit shanks, and mouthpieces for Western and English markets. The company also sells other items such as jewelry and belt buckles, including a variety of silver and turquoise jewelry; money clips, leather belts, and photo albums. Tom Balding Bits & Spurs products are known for their design and craftsmanship and have been featured in galleries and in museums. The company has also been featured on Discovery Channel's How It's Made.

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Metalwork and sculpture

Decorative ironwork and metal sculpture were important elements of Art Nouveau, used in the decoration of facades, in small statues and in the handles and other ornament on furniture. One of the most versatile artists was the painter and bronze sculptor Georges de Feure. Born in Belgium, he moved to Paris, and became a lead designer for Art Nouveau gallery owner Siegfried Bing. Besides metal work, He designed furniture, wrote for newspapers, and created stage sets and posters for the Le Chat Noir cabaret. His work was featured at the Exposition Universelle de Paris, and in 1901 he was named a Chevalier de la Légion d'honneur for his contribution to the decorative arts. Examples of his work can be found at the Musée des Arts Décoratifs in Paris. Ironwork gate of the Petit Palais, Paris by Charles Girault (1900) Balcony decoration of Castel Béranger by Hector Guimard (1903) Enameled copper floor vase by Georges de Feure and Jakab Rappaport (1902) (Budapest Museum of Applied Arts) Woman playing a violin, bronze by Georges de Feure (1868-1943).(Musée des Arts Décoratifs) Mantel clock by Louis Chalon and E. Colin, gilded and silvered bronze (c. 1900), (Hessisches Landesmuseum Darmstadt - Darmstadt, Germany) Table Lamp by François-Raoul Larche in gilt bronze, with the dancer Loïe Fuller as model (1901)

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Insular metalwork

Christianity discouraged the burial of grave goods so that, at least from the Anglo-Saxons, we have a larger number of pre-Christian survivals than those from later periods. The majority of examples that survive from the Christian period have been found in archaeological contexts that suggest they were rapidly hidden, lost or abandoned. There are a few exceptions, notably portable shrines ("cumdachs") for books or relics, several of which have been continuously owned, mostly by churches on the Continent-though the Monymusk Reliquary has always been in Scotland. In general it is clear that most survivals are only by chance, and that we have only fragments of some types of object-in particular the largest and least portable. The highest quality survivals are either secular jewellery, the largest and most elaborate pieces probably for male wearers, or tableware or altarware in what were apparently very similar styles-some pieces cannot be confidently assigned between altar and royal dining-table. It seems possible, even likely, that the finest church pieces were made by secular workshops, often attached to a royal household, though other pieces were made by monastic workshops. The evidence suggests that Irish metalworkers produced most of the best pieces, however the finds from the royal burial at Sutton Hoo, from the far east of England and at the beginning of the period, are as fine in design and workmanship as any Irish pieces. There are a number of large brooches, including several of comparable quality to the Tara brooch. Almost all of these are in the National Museum of Ireland, the British Museum, the National Museum of Scotland, or local museums in the islands. Each of their designs is wholly individual in detail, and the workmanship is varied in technique and superb in quality. Many elements of the designs can be directly related to elements used in manuscripts. Almost all of the many techniques known in metalwork can be found in Insular work. Surviving stones used in decoration are semi-precious ones, with amber and rock crystal among the commonest, and some garnets. Coloured glass, enamel and millefiori glass, probably imported, are also used. The Ardagh Chalice and the Derrynaflan Hoard of chalice, paten with stand, strainer, and basin (only discovered in 1980) are the most outstanding pieces of church metalware to survive (only three other chalices, and no other paten, survive). These pieces are thought to come from the 8th or 9th century, but most dating of metalwork is uncertain, and comes largely from comparison with manuscripts. Only fragments remain from what were probably large pieces of church furniture, probably with metalwork on wooden frameworks, such as shrines, crosses and other items. The Cross of Cong is a 12th-century Irish processional cross and reliquary that shows insular decoration, possibly added in a deliberately revivalist spirit. The gilt-bronze "Athlone Crucifixion Plaque" (National Museum of Ireland, perhaps 8th century) is much the best known of a group of nine recorded Irish metal plaques with Crucifixions, and is comparable in style to figures on many high crosses; it may well have come from a book cover. The fittings of a major abbey church in the insular period remain hard to imagine; one thing that does seem clear is that the most fully decorated manuscripts were treated as decorative objects for display rather than as books for study. The most fully decorated of all, the Book of Kells, has several mistakes left uncorrected, the text headings necessary to make the Canon tables usable have not been added, and when it was stolen in 1006 for its cover in precious metals, it was taken from the sacristy, not the library. The book was recovered, but not the cover, as also happened with the Book of Lindisfarne. None of the major insular manuscripts have preserved their elaborate jewelled metal covers, but we know from documentary evidence that these were as spectacular as the few remaining continental examples. The re-used metal back cover of the Lindau Gospels (now in the Morgan Library, New York) was made in southern Germany in the late 8th or early 9th? century, under heavy insular influence, and is perhaps the best indication as to the appearance of the original covers of the great insular manuscripts, although one gold and garnet piece from the Anglo-Saxon Staffordshire Hoard, found in 2009, may be the corner of a book-cover. The Lindau design is dominated by a cross, but the whole surface of the cover is decorated, with interlace panels between the arms of the cross. The cloisonn enamel shows Italian influence, and is not found in work from the Insular homelands, but the overall effect is very like a carpet page.