Exhibition Invitation 2015 – Ravenstein Museum, Netherlands
The Museum voor Vlakglas- en Emaillekunst is celebrating its 10th anniversary and Jan Klink is planning a year ofcelebrations by organising 6 special exhibitions, two months each, of enamelled art works from various countries. The exhibition will be dedicated to the Dutch painter Hieronymus Bosch and the exhibitions may be seen as forerunners or introductions to the Year of Hieronymus Bosch which will be celebrated in the Netherlands in 2016.
Jan Klink has invited British enamellers to show their art work from 1st July to 31st August 2015; there will be an exhibition of Dutch enamels inspired by Hieronymus Bosch in the main room. Please note it is requested that all work submitted for consideration should have relation to or be inspired by, the work of Hieronymus Bosch.
More information can be found on http://en.wikipedia.org/wiki/Hieronymus_Bosch
The Museum would like you to submit images of the following types of work; wall panels, jewellery and 3D pieces (not be taller than 15cm high). Wall panels should have strong fixings of the screw hook and picture wire type. These should be set at least 3cm down from the top of the backing board so they are not seen whilst displayed.
Members may submit as many images as they wish.
Images must arrive at the museum no later than 1st June 2015, but if possible send your images in well before this date and include description of piece(s) and measurements.
The jury will make the selection and advise members before 8th June 2015.
Work will be for sale unless you state otherwise. It would be helpful to Mr Klink if you could state the price for pieces in Euros. The museum will then add commission of 25% (plus 21% VAT on commission) to calculate the sale price. The museum will contact you about this should your work be chosen.
All work should be received by the museum no later than 21st June 2015. This will allow members 2 weeks to arrange delivery of their work to the museum.
The opening of the exhibition will be Wednesday 1st July 2015.
The closing date of the exhibition is Monday 31st August 2015.
Ideally images should be sent by email, but DVD or CD is also acceptable if necessary. Include a covering letter with your name and contact details if sending a DVD or CD. Please mark your name clearly on the DVD or CD.
Images should be JPG and at least 1Mb in size. Please ensure all of the images have a title and your name on them.
Postal address :
museum voor vlakglas- en emaillekunst
5371 AD Ravenstein
Anyone submitting work must make arrangements to insure it whilst it is in transit to and from the museum. The museum’s insurance will cover all work whilst on display. The Guild cannot be held responsible for any loss or damage to work submitted by members.
Lesley Miller has kindly offered to collect and transport all of the work at the end of the exhibition. Details for return of work to members will follow in a later edition of the Journal. It is likely that there will be a charge for each person submitting work, to cover transportation costs back to the UK.
We appreciate that this invitation might seem a little daunting to members who may not have exhibited before but the Executive Committee are keen to encourage all members to consider submitting work for this exhibition. If you require any more information contact either:
Back by popular demand: Beginner's Guide to Enamelling (Search Press Classics).
Dorothy Cockrell encourages readers to enjoy the delights of this exciting and gratifying craft. Offering easy step-by-step photographs and instructions, she guides the reader through all the different techniques, illustrating how beautiful and unusual effects can be achieved once the basic principles have been learnt.
She discusses how to prepare the metal, choosing and mixing colours and firing methods. More advanced techniques are also included: stencilling, drawing on enamel, sgrafitto, using rubber stamps, working with gold and silver leaf, and more.
You can make jewellery, decorate boxes, create pictures, embellish bowls and produce many unique designs. The vibrant colours and wonderful textures will make you want to experiment and develop your own projects.
Packed with stimulating and innovative ideas, this book will appeal to beginners who want to start a fascinating new craft, and it will also inspire anyone interested in the art of enamelling.
New ISBN 9781782210863
Publication scheduled for 20th September 2014
PLEASE NOTE: The private view is now on Thursday 2nd October and NOT Friday as stated in the journal.
(view of opening night at our last Pannett exhibition 2012)
This is one of the display cases, showing how it will be hung in the gallery. The case is A2 paper size ie approx 60x40cm and approx 4.5cm deep.
A look again at The Stefan Knapp article first posted here in January 2012:
Enamelled steel panel by Stefan Knapp at Williamson Art Gallery, Birkenhead.
At New Year, Tilly and I were looking at late 20th century abstract paintings at the Williamson Art Gallery in Birkenhead. One large piece in particular caught our eye and took us by surprise as it wasn’t actually a painting at all but an enamelled steel panel about 1.3 metres square. Intrigued, we asked the curator if he could tell us more about it. The artist was Stefan Knapp 1921-1996 and this piece, produced in the 1960's is one of his Ariel Landscapes. The inspiration for these came from his time taking reconnaissance photos whilst an RAF fighter pilot during WWII.
Many congratulations to all our award winners who are as follows:
CGE: Frank Street, Mark Morris, Caroline Tetley, Lynette Williams.
ACGE: Michelle Griffiths, Ann Jones.
Maureen Carswell Award (top mark for Craftsman): Caroline Tetley
Hans Theilade (for new enamellers): Lynette Williams. (Highly commended: Ann Jones)
Fred Barnes Memorial Trophy (Champleve or Basse Taille): Charlotte Smith. (Highly commended: Frank Street)
Kenneth Benton Award (for innovation & originality): Gill Harkness
Peter Wolfe Cloisonné Cup: Melvyn Jennings. (Highly commended: Caroline Tetley)
The Painting Award (using vitreous onglaze pigments): Carmen Lombardi. (Highly commended: Susan Davies)
The Rachel Gogerly Memorial Award (for best finish): Carmen Lombardi
The Chairmans’ Rose Bowl: Tilly Wilkinson
Enameller Elect (the May Yarker Award by Members’ vote): Gill Harkness
Themed Subject (Communication): Jane Sheppard
Judith Harris Young Enamellers Awards
Under 18 - Michael Cartwright
Under 16 - Emily Williams. (Highly commended: Xanthe Spence)
Under 11 - Charlotte Ball
Enamel Colour Tests
Written by Mark Morris
These are the set of enamel colours that I got from Milton Bridge's British Enamels set. It was quite a lot of work but worth doing. I've got an order for some cloisonné work and need some compatible non-painting colours. The top three rows are the transparent enamels and the bottom two rows the opaque.
The transparent enamels have been sieved to remove the finer particles and then washed to make them as clear as possible. The strips are done on silver since this reflects the light back through the enamel from behind. I've put a square (or whatever shape I happen to have cut out!) of gold foil at the bottom of the strip to see the difference when the enamel is on gold. Some of the reds come out a bit yellow when on top of silver but are nice and warm on the gold.
The opaque strips have copper as the metal base.
I should do two more rows for the opalescent colours, which will be from the fine particle transparent enamel. When the enamel grains are very small (less than 75 microns) then the vitrified enamel traps tiny air bubbles. The result is a semi-transparent, milky colour, quite useful in some applications!
I suspect like many others, I always enjoy trying out new colours. I have recently been trying out some new additions to the list of colours produced by Milton Bridge including a number of yellows, transparent reds and a beautiful transparent purple.
The first I tried was T253 Forsythia. I found this worked best on fine silver with the temperature kept below 750C. It has great clarity and is a really pretty transparent yellow, slightly greener and deeper in tone than LJE214 Ochre. Used direct on sterling silver in a single layer T253 has a slightly greyer hue and two layers produce a greenish brown. It is a golden colour when fired directly onto copper, slightly greener in tone on copper over 263C10 Flux. The copper sample I fired at 795C. I hadn't used that particular flux before and am still uncertain about it as I didn't really have consistent results. I need another set of tests to learn how to achieve consistent clarity with it.
T255 Amber is also beautiful on fine silver, producing a slightly warmer tone. Again it works well directly on fine silver and over LJE200 Flux and is a great addition to the list. I fired this one at 800C without any adverse effect. I also used it on copper over LJE200 Flux and MB202 White. I had a bit of breakthrough of the white, which is probably a bit soft for a base for this kind of test.
016377 Dark Amber produces a brown when direct on sterling silver, a golden brown direct on fine silver but loses transparency. Over LJE200 Flux it has a deeper and more golden tone than T255. I still need have more tests to do over fluxes and on copper.
DB6475 Purple is a glorious rich purple. My first test was over LJE200 Flux and direct on fine silver and both are beautiful. I don't have anything like this shade of purple. It worked well over LJE200 Flux and MB202 white on copper, this slightly softer white breaking through slightly. I also tested it on copper over SJE1012 Flux and MB020064 Opal White and had issues with cracking so feel I need to do some more tests for compatibility with other colours.
261A27 Ruby was an exciting set of tests. Initially I tried it direct on sterling silver, firing at 780C and got a very dark, almost chestnut brown. My second sample I only fired to 770C and had a slightly brighter result. With one layer on sterling over 263C10 Flux and reducing the temperature to 760C I started to achieve a more reddish colour. Two layers direct on fine silver and fired at below 750C produced a much better red and has good transparency. It is a very nice red on copper over 263C10 Flux, this time fired at 780C.
T254 Raspberry is very slightly darker than 261A27 Ruby but also works well when used directly on fine silver and on art clay silver, achieving good transparency. Once again I had better results by keeping the temperature below 750C. The deeper shade is more apparent on copper over 263C10 Flux, again fired at 780C.
I also tried three opaque yellows but have so far only done one test of each on copper. These samples were sifted on and fired at 800C.
DB6647 is a warm yellow, perhaps with a faintly green undertone and I found it fired the most smoothly of the three, possibly being slightly softer firing than the others.
263H55 is a bright primary yellow, possibly slightly harder firing as my first sample isn't quite smooth.
DB6359 is slightly paler yellow and fired well at 800C.
It is quite difficult to describe the differences between these three and I am not sure my photographs will show the slight variations in hue. I have really enjoyed the process of trying these out and although my trials have not been extensive I can see that these colours will all be useful additions to the range. Look out for them, they should be available from Vitrum Signum in the near future.