Earrings Silver and Enamel
delivery to non EU countries in 2-3 weeks
Article Number 23415
Convex or Concave – a Question of Perspective.
This step is followed by blanching when the finished object is heated and pickled. This is how the copper compounds are removed from the topmost layer of silver, leaving behind a thin white layer of fine silver which contrasts very well with the vibrant pigments of the enamel. Elgin Fischer avails herself with the opportunity to use the special qualities of silver here: The base material, sterling silver, gives the earrings stability; the fine silver layer provides the perfect base surface for the pigment.
In the next phase, Elgin Fischer grinds the enamel which she purchases in raw glass cubes and rinses this with distilled water. After adding a bonding agent, the jewellery designer uses a fine brush to apply the enamel as evenly as possible to the metal base. The object is then air dried and heated over a torch until the enamel starts to melt and become smooth. Because the melting point of silver and enamel is similar for some pigments, the jewellery designer has to proceed cautiously during the firing process.
Individual colour combinations.
For the final firing stage, the glaze fire, all the pores close and the enamel starts to "glow". During this process, tiny bubbles are trapped, and these produce small, individual dotted patterns – depending on how finely ground or how thinly applied the enamel is. Finally, Elgin Fischer polishes the edge of the shells and matt-finishes the remaining surface so that the base material forms a contrast to the fire-glazed enamel. The earrings are then assembled.
We also offer a matching necklace (Article numbers 23412 and 23413).
Timeless. Enamel Jewellery from Elgin Fischer.
So it was no coincidence that in the course of her career as a freelance artist with a particular interest in jewellery design she eventually focused entirely on enamelling, honing her skills on an on-going basis. "Enamelling calls for a great deal of experience and involves trial and error. You also have to practice constantly; otherwise, you lose your intuitive capacity. The technique requires a special kind of patience, partly because of precision is obligatory for the work – but also because the colours sometimes take on a life of their own," says Elgin Fischer about the difficulties of working with enamel. Over the years, she has developed a feel for the different pigments which have to be chosen carefully in terms of durability, melting behaviour and material-induced tension.
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