In February at the kind invitation of the Soviet Artists’ Union, Phil Barnes, Maureen Carswell and Alex Raphael attended the 1st International Symposium in Moscow. The schedule covered discussions, trips to artists’ workshops and the opening of the 2nd Enamelling exhibition including invited artists from abroad at the Museum of Decorative and Applied Art in Moscow.
In April, the Society hosted its first international conference at Wadham College, Oxford, which was attended by 57 delegates, members of the Society and enamellers from Austria, France, USA, Spain, Norway, Denmark, The Netherlands and our special guests from the USSR, including the President of the Artists’ Union.
During the conference, the Society organised 3 workshops, ‘Metal Techniques for Enamellers’ with Hali Baykov and Sarah Letts, ‘Imagery to Panel’ with Amal Ghosh and Edward Heath and ‘Plique-a-jour’ by Alexandra Raphael.
Concurrent with the conference, the Society had organised a Private View of the members’ exhibition of jewellery and small work at the Oxford Gallery and an exhibition of members’ panels at Christ Church Gallery. 
After the conference, members of the Society organised a week’s cultural programme for the USSR visitors. Tamara Sergiyenko and Ilona Treiman stayed with Gudde Skyrme, Arvidas Gurevicius, Valeri Kochkin and Valeri Timofeev stayed with Joan MacKarell and Mesdames Romanova and Sokolova from the Soviet Artists’ Union and their translator stayed with Alex Raphael. PRIVATE VIEW WEEKEND VISIT TO DARTMOUTH
‘Dartmouth, to me, is a joy no matter which month of the year I visit the place. Even on that cold grey November day I got a thrill as I slowly descended the steep hill at the side of the Royal Naval College. Gradually more and more of the wooded slopes of the far bank of the River Dart came into view, then myriads of yachts bobbing at anchor.
After abandoning the car, I took a few healthy lungfulls of fresh salty air then headed for Facets. At five past noon the exhibition preview was already in full swing. I paused to gaze through the window at the colourful display inside. I was greeted by our host Norman Dilley with the question "red or white, Sue?" referring to the never-ending supply of wine. Jackie Dilley's jewellery workbench had been transformed for the day into the well stocked bar.
I confess that I'd probably been in the gallery for about an hour before I began seriously looking at its treasures. There were so many friendly faces to greet first; local jeweller friends, fellow enamellers from the Guild of Craft Enamellers, invited guests and of course members of the BSOE - Alex Raphael, Phil Barnes, Gudde Skyrme, Tamar Winter, Anny Hooton, Joan Mackarell, Elizabeth Turrell, Hali Baykov, Gillie Hoyte, and We all congregated around the island showcase housing Alex's wonderful goblets, like moths circling a light bulb. It was good to discuss the finer points of enamelling with like-minded people. Norman regaled us with tales of the trials and tribulations of displaying enamelling. He hit on the idea of arranging the jewellery in colour groups, which was visually very pleasing, but it meant that no name labels were possible. The wine still flowed.
The other delights of Dartmouth were visited once we'd had a good look at the exhibition. People drifted away for an hour or two to grab a bite to eat and wander around the quaint old town, looking at the harbour side or browsing in the other craft galleries. Annie hoped to visit her son at the Naval College but she discovered he was several feet under the Dart taking part in a diving exercise - she'd forgotten her snorkel!
At 5:30 we headed for the Royal Castle Hotel on the quayside - an old coaching Inn reputed to have been there in Drake's day. After freshening up, 17 of us met in the private library to drink champagne in front of a roaring log fire. We were toasting the health and happiness of Alex and John who had announced earlier in the day their intension to marry in early December. (Congratulations to you both)
When the bottles were empty, we trooped into the smart dining room to eat dinner. Phil ordered the wine. (Well all the talking gives one a thirst!) The meal was an enjoyable social occasion - it's a pity about the gritty spinach.
When the Bristol folk headed home, we residents decided it was time for a nightcap in the elegant lounge. Sadly our peace was shattered by the Greek-like antics of the waiters tossing plates around in then adjoining kitchen - what a racket.
Next morning, after stuffing ourselves with breakfast, we said our farewells to Dartmouth and drove the 25 miles to my home and workshop
near Ashburton on the fringe of Dartmoor. I've a large workshop with all mod cons and enough tools to teach jewellery making and enamelling to 9 - 10 students. After a quick look around and a cup of coffee, we headed across the moor to Riverside Mill, Bovey Tracey, home of the Devon Guild of Craftsmen. (Gillie Hoyte and I are both members). There’s the gallery selling member's work - naturally the best in the southwest, a cafe and large exhibition rooms. Having browsed amongst the plethora of pots, woodwork, textiles and metalwork, we all had a play with the exhibited "Automata" of Tim and Vicki Woods. We spent a happy half hour pulling at cords or turning handles to make the wooden characters come to life in our hands. Then we mulled over the old artefacts in the "Indian" exhibition. There were intricately carved window shutters, brass bound spice boxes, pots and textiles. All too soon it was time to have a belated lunch in the cafe then head home. It was an enjoyable weekend spent in very good company.
© 1992 Sue Robson
Maureen Carswell was invited to attend the International Enamel Symposium at Kecskemét, Hungary ‘Dartmouth, to me, is a joy no matter which month of the year I visit the place. Even on that cold grey November day I got a thrill as I slowly descended the steep hill at the side of the Royal Naval College. Gradually more and more of the wooded slopes of the far bank of the River Dart came into view, then myriads of yachts bobbing at anchor.
After abandoning the car, I took a few healthy lungfulls of fresh salty air then headed for Facets. At five past noon the exhibition preview was already in full swing. I paused to gaze through the window at the colourful display inside. I was greeted by our host Norman Dilley with the question "red or white, Sue?" referring to the never-ending supply of wine. Jackie Dilley's jewellery workbench had been transformed for the day into the well stocked bar.
I confess that I'd probably been in the gallery for about an hour before I began seriously looking at its treasures. There were so many friendly faces to greet first; local jeweller friends, fellow enamellers from the Guild of Craft Enamellers, invited guests and of course members of the BSOE - Alex Raphael, Phil Barnes, Gudde Skyrme, Tamar Winter, Anny Hooton, Joan Mackarell, Elizabeth Turrell, Hali Baykov, Gillie Hoyte, and We all congregated around the island showcase housing Alex's wonderful goblets, like moths circling a light bulb. It was good to discuss the finer points of enamelling with like-minded people. Norman regaled us with tales of the trials and tribulations of displaying enamelling. He hit on the idea of arranging the jewellery in colour groups, which was visually very pleasing, but it meant that no name labels were possible. The wine still flowed.
The other delights of Dartmouth were visited once we'd had a good look at the exhibition. People drifted away for an hour or two to grab a bite to eat and wander around the quaint old town, looking at the harbour side or browsing in the other craft galleries. Annie hoped to visit her son at the Naval College but she discovered he was several feet under the Dart taking part in a diving exercise - she'd forgotten her snorkel!
At 5:30 we headed for the Royal Castle Hotel on the quayside - an old coaching Inn reputed to have been there in Drake's day. After freshening up, 17 of us met in the private library to drink champagne in front of a roaring log fire. We were toasting the health and happiness of Alex and John who had announced earlier in the day their intension to marry in early December. (Congratulations to you both)
When the bottles were empty, we trooped into the smart dining room to eat dinner. Phil ordered the wine. (Well all the talking gives one a thirst!) The meal was an enjoyable social occasion - it's a pity about the gritty spinach.
When the Bristol folk headed home, we residents decided it was time for a nightcap in the elegant lounge. Sadly our peace was shattered by the Greek-like antics of the waiters tossing plates around in then adjoining kitchen - what a racket.
Next morning, after stuffing ourselves with breakfast, we said our farewells to Dartmouth and drove the 25 miles to my home and workshop
near Ashburton on the fringe of Dartmoor. I've a large workshop with all mod cons and enough tools to teach jewellery making and enamelling to 9 - 10 students. After a quick look around and a cup of coffee, we headed across the moor to Riverside Mill, Bovey Tracey, home of the Devon Guild of Craftsmen. (Gillie Hoyte and I are both members). There’s the gallery selling member's work - naturally the best in the southwest, a cafe and large exhibition rooms. Having browsed amongst the plethora of pots, woodwork, textiles and metalwork, we all had a play with the exhibited "Automata" of Tim and Vicki Woods. We spent a happy half hour pulling at cords or turning handles to make the wooden characters come to life in our hands. Then we mulled over the old artefacts in the "Indian" exhibition. There were intricately carved window shutters, brass bound spice boxes, pots and textiles. All too soon it was time to have a belated lunch in the cafe then head home. It was an enjoyable weekend spent in very good company.
© 1992 Sue Robson
THE INTERNATIONAL ENAMELWORKSHOP, KECSKEMÉT, HUNGARY
The International Enamel Workshop at Kecskemét, Hungary, grew from the idea of the artist Mihály Kátai. It was inspired by a symposium, which he had attended in Tbilisi, Georgia, in 1973. There was a tradition of industrial enamelling in the area with the Enamel & Tube factory. This was a very large concern, employing a thousand people. The first summer workshop was in 1975.
The summer workshops of four and later six weeks, welcomed artists from many disciplines from Hungary and the Eastern Block, many being introduced to enamelling for the first time. Later, enamellers from China, Japan and Sweden were invited to attend. Initially, the workshop was only open in the summer. Later they came to be open for work all year round.
I was very fortunate in being invited to work there for the month of May in 1991. This came about as I had written an article on my methods of working, for Glass on Metal, December 1990 issue, Lilla Bencze had written an article in the same issue about the Kecskemét workshop.
It was quite an adventure, I was the first British enameller to be invited and there would be no one at the workshop that could speak more than a few words of English. Needless to say, my Hungarian was even more limited! I was met at Budapest airport by László Gyergyádesz. He is a playwright, and at the time was part time artistic secretary of the workshop. He has now taken over from Endre Turi as the Director. He was accompanied by Judit Szito, a tutor from the local Teacher Training College; she was going to act as interpreter. She and another teacher, Gabi, would come to the workshop for a short time each day, in case we had any problems understanding each other!
The permanent workshop produces a wide range of enamels for sale, from small commercial runs of boxes, individual shop signs and lettering, coats of arms, large sculptures for public places, industrial components and fine commissioned pieces such as Altar Crosses. The techniques used are as varied as the objects, including plique-à-jour, cloisonné and silk screening. In most cases the work is carried out from beginning to end at the workshop, including the manufacture of the enamel.
Each invited artist who works there leaves one or two examples of their work. This forms the basis of a fine collection of international enamels. Part of the collection was on display in a large gallery on the first floor. This is where I had my workspace, alongside goldsmith/enameller, Ferenc Nagy. Ferenc had his own workshop in the next building with a smaller kiln and his metal working equipment. The kilns, which I used, were the large ones (there were three) in the workshop below. As I was suffering from tennis elbow at the time, putting my smallish pieces into the kiln with a huge firing fork was a bit of problem, but there was usually someone on hand to open the door for me.
While I was there, I was able to give Làszló the addresses of all the European enamelling organisations. He contacted them all, sending copies of the beautifully produced catalogues, which contained details of everyone who attended the summer workshops, and articles on enamelling topics. As a result, many more enamellers from the west attended subsequent workshops. I think that Ruth Rushby went in 1992; also Andreu Vilasis and Nuria Lopez Ribalta from Barcelona went in the same year. I was able to go again in 1993 for two weeks of the summer symposium.
The workshop sends out information each year on the summer symposium, also a spring and autumn workshop which takes place in the Artists’ House. It has expanded since I was there. I did manage a flying visit in 2002, just for the day. It happened to be the last day of the summer workshop and they were setting up the exhibition. The workshop has expanded greatly. There are now three large workshops with kilns, large and small, one workshop being for preparing metal. It is possible to fire panels of up to 60 x 80cm. One can buy enamels manufactured on site. The enamels are usually sold as frit but it is also possible to order ground enamel. They also manufacture liquid enamels and are known for their metallic liquids. Steel and copper sheet is available and there are technicians on hand to cut metal to size.
The daily rates for attending the workshop are very reasonable, as is the accommodation. This can be in a dormitory in the local horticultural college or in a hotel. The workshop is close to the town centre where there is a wonderful daily market, also since my first visit, a good supermarket has opened nearby, so many artists ‘self cater’. It is also possible to eat at a nearby restaurant, which has a ‘Workshop’ menu.
During my first visit, I was taken to Budapest for the day. There happened to be an exhibition in the Museum of Applied Arts, “European Enamelling from the Middle Ages to the Art Nouveau. The pieces were all from the reserve collection of the museum. As usual there were many pieces from Limoges, both 13th century champleve and 16th century painted enamels, but also there were many examples of enamelling done in Hungary and Transylvania from the 16th to the 20th century. These are not well represented in the museum collections that I have seen in Britain and France. They use the technique of cloisonné, using twisted wire, similar to some Russian work. I particularly liked the large Art Nouveau vases made in Budapest by Jakob Rapaport. There were also works from Austria, particularly Vienna, from Prague, Spain, Germany and Italy. I was amused to see two 18th century bonbonieres in the shape of a bird and a dog, made in Bilston, and a silver candlestick with guilloche enamel also made in the Midlands, in Birmingham, in the early 20th century in the exhibition.
I believe the International Enamel Workshop at Kecskemét to be unique, combining, as it does, the commercial production of a wide range of enamel objects to the highest artistic and technical standards, the manufacture of its own enamel, the encouragement of enamel artists in traditional and innovative techniques, the establishment of a collection of international contemporary enamels, the organisation of enamel symposia, the production of catalogues and the arranging of exhibitions. This is a formidable list of accomplishments, and I consider myself privileged and fortunate to have been invited to share in the experience.’
© 2009 Maureen Carswell.
