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Posts posted by eurorders
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does it weigh about 22 grams or more?? that is a goodly diameter, yes...supremely refined and detailed
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Whatever happened to the fine, large old pectoral orthodox crosses as in the ones shown??
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After studying and collecting European enameled orders of decoration for two decades and attending various bourses, I believe it is safe to say that there is an underappreciation of the original work that went into enamels. This relative need for more knowledge is shared equally among dealers and collectors, alike. Granted, both camps are quick to pick out whether or not there is missing enamel, cracked enamel or flaking. What I propose in this article is a distillation of the jewelry-maker’s original art and the difficulty with which it was executed, particularly in orders and medals that predate the 1940s.
Enameling, when done correctly, provides an outstanding example of human skill sets. The refined and sophisticated techniques did not arise out of thin air. Most often conducted by jewelers via authorization of either the crown or the chancellery/armorer of an order, fine enamel work was a craft driven and patronized by officers serving in the courtly realms of various kingdoms. The jewel-like brilliance of an order of decoration’s vitreous surface is durable and the colors range from the bold and vivid to the subtle and pastel.
Special ovens used thermal sensors and each box of enamel powder was printed with the temperature at which the craftsman would need to bake it to achieve the desired color. There were strict steps of whether you baked one color before the other, otherwise the maker would ruin the entire piece.
Continuing to address the subject of production from a macro standpoint, enameling involved fusing colored glass in powdered form to a surface. The glass is a flint glass containing between 25 percent and 40 percent lead oxide and the colors were obtained by adding small quantities of metallic salts. For instance, gold chloride gave a dark red, oxide of cobalt rendered a blue and iron oxide produced green. There will be more on these colorizing details later in the article. After being washed, the powdered enamel was mixed with water and applied to the surface and the piece was fired in a furnace. Many coats of enamel were required and, thus the piece had to be fired again each time.
That summary, though, begs further details. There were sophisticated and often frustrating challenges. If one part of the multi-colored piece was messed up during the intricate process, the jeweler one way or another had to start over. Let me explain these issues more fully. Technical problems inherent in the enameling process with the need for successive firings was a challenging fact, as colors change during firing at different temperatures. That made the production of a fine enameled piece something to be marveled at once it emerged successfully at the end of the process. We are talking of product that rivaled the work of the finest jewelers and if one will study the varieties of European orders of decoration, they will see a level of quality that almost presupposes the competitiveness of court jewelers to outdo each other.
As alluded earlier, enameling is an unpredictable art and a combination of intuition and science that demands perception as well as skills. We know that enamel is a vitreous glass glaze that is fused to a metal base, but continue to keep in mind that the chemical constituents are silica (sand), borates, alkalis (soda and potash), alkalines (lime, magnesia, lead) and oxides of metals for coloring. There are four basic types: opaque, opalescent, translucent and transparent. Production methods include: cloisonné, champlevé (raised field), basse-taille (shallow cut), guilloche (engine-turned), and plique a jour, also known as email de plique. There was also filigree enameling as well as en plain (on an open field).
Blue enamel is produced by cobalt. Carbonate of copper produces green, manganese produces purple, oxide of gold produces some pinks and reds. The color is affected by the constitution of the molten glass (flux) and by the type or quantity of the oxide. To make things even more difficult, most enamel colors could not be mixed to give a hybrid or intermediate shade. To be sure, most of these had to be prepared with their own specific oxide.
By changing the proportions of the ingredients, the opacity or transparency, hardness or softness of enamel was determined. It not only called for a knowledge of jewelry, but also of chemistry, for the maker was dealing with silica, arsenic oxide, potassium carbonate, borax, lead oxide, feldspar and the other elements and compounds.
That speaks much of the ingredients, moreso than the process. Here are the steps. The article had to be washed and placed into a diluted acid to etch the surface in order to give a necessary adhering bond platform. In bassetaille enamel, the metal groundplate was chased or engraved so that its modeled surfaces beneath the enamel formed a part of the design. Undulating surfaces were visible through the enamel that covers them and produces an impressive effect upon completion.
Raw enamel was pulverized with water until it reduced to a fine power. It was dried, then sifted through a fine sieve. Gum tragacanth, a white vegetable gum derived from sea plants, was applied in solution form to metal surfaces to bind the dry, sifted enamel before firing.
Add to this tediousness the fact that most often, multiple layers were needed and each must be dried thoroughly then fired before the next color was applied. Kiln furnace at temperatures would reach between 600 and 850 degrees Centigrade (or 1110 to 1562 Fahrenheit) – all the while timed to brief intervals. Intense heat was therefore required to reach a temperature that caused the compounds to fuse to the metal. When zeroing in on a part of the medal or order, rather than the whole piece, focused flames had to be directed onto the enamel to keep it flowing freely. Any soldered joints had to be protected, too, even when the work was fired again. At no time could a soldered joint be left unprotected. Steel tongs were used for placing enamel pieces in and out of the furnace. Steel trivets, fire-clay stilts and wire screens supported enamel pieces for firing.
Additionally be mindful that cooling in too quick order would have an undesired result and a brittleness that sooner or later could crack or scale off. As alluded to earlier, various colors would be fired at different temperatures, so that those colors able to withstand the greatest heat, such as blue and green, were fired first. Finally, the finish-up phase involved the filing down of the resulting enamel with carborundum until smooth, followed by a polishing with fine particulate pumice powder.
As a form of addendum, one should mention that there is another type of enamel apart from the silicate hard-type enamel that is baked and that is the fluid cold type, the latter being used most often to do repairs nowadays. The cold type used in restorations dries at room temperature for up to a day.
References
Illustrated Library of Antiques - Enamel, Washington, DC: The Smithsonian/Cooper-Hewitt Museum, 1983.
Maryon, Herbert. Metalwork & Enameling, Mineola, NY: Dover Publications, 2011.
Mason, Anita. An Illustrated Dictionary of Jeweller. New York: Harper & Row, 1974.
Winter, Edward. Enameling for Beginners, New York: Watson-Guptill Publications. 1962
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I think the gold ones are 19.5 grams
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an actual gold II class should weigh around 20 grams
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I think the range of gold weights on this order and this class might range 25 to 34 grams.
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Another court service medal bar, but not as old as the initial entry one.
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Thanks, regarding the weight, remember that the Type II badges in all classes were made smaller than the Romanian crown type Is, so please factor that in as well. It is SMALL relatively speaking to weigh an ounce.
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Thanks to both of you so very much. I mainly collect standard enameled European orders and am not well versed in these. Best to you...
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someone offered to sell these to me and I primarily know about kingdom era European orders of decoration. Do they look genuine and if I ask him to send a photo of the reverses what should I look for? Are there many fakes out there? He did have a cased Order of the Iron Crown on the up and up, so that gave me some measure of assurance.
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How do I mechanically move the thread to that part of the forum? I'm not sure how to, thanks.
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I have recently bought at the SOS show a Romanian order of the crown, type II, commander. It weighs an ounce, or about 32 grams. It is very very detailed and immaculately made. I wonder if it was made by a jeweler. If it IS gilded, it has no wear whatsoever on the gilding. On the suspension ring it carries these hallmarks: 750 DW -- OR 150 DW (the hallmark runs off of the rin top edge), and on another part, 38 (for the year 1938 most likely) and something that looks like a crown hallmark. I know people say the Kingdom of Romania orders were not of gold but could this particular specimen be??
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Sturm, some of these reference books might help. I am doing it the lazy way by copying my library list.
Title
Author
Year
Publisher
Orders and Decorations of Europe in Color
Hieronymussen
1967
MacMillan
British Orders and Decorations
Risk
1973
Hayward
Orders and Decorations
Purves
1972
Hamlyn/Sun Books
Ephemeral Decorations
Gillingham
1935
Amer Numis Soc.
Debrett’s Guide to Heraldry and Regalia
Williamson
1992
Headline
Orders and Medals of Bulgaria
Patrov
2000
Voenno Izdatelstvo
Book of Orders of Knighthood and Decorations of Honour of All Nations
Burke
1858
N&M Press
The History of the Order of Bath and Its Insignia
Risk
1972
Spink
British Orders, Decorations and Medals
Hall
1973
Balfour
Court Jewelers of the World
Jacob
1978
Postgraduate International
Catalogue of Military and Naval Campaign Medals and Gallantry Awards
1980
Sothebys
Orders, Decorations, and Insignia, Military and Civil
Wyllie
1921
Forgotten Books
European Orders and Decorations to 1945
Duckers
2007
Shire
British Orders and Decorations
Duckers
2004
Shire
Bulgaria Imperial Orders and Medals 1887-1945
Furlan
1996
Militaria House
Parade Medals of the Third Reich
Yanacek
2008
Schiffer
Book of Orders and Decorations
Mericka
1975
Hamlyn
Orders and Decorations
Mericka
1967
Hamlyn
Orders and Decorations of All Nations Ancient and Modern Civil and Military
Werlich
Second Edition, 1973 & 1990
Quaker Press
Spinks Catalogue of British and Associated Orders, Decorations and Medals
Joslin
1983
Webb & Bower
Imperial Austrian Medals and Decorations
Von Falkenstein
1972
-o- private
Militaria: A Study of German Helmets & Uniforms 1729-1918
Kube
1990
Schiffer
Orders and Decorations of All Nations
Werlich
1965
Quaker Press
Military Medals & Decorations of the United States and Europe
Ball & Peters
1994
Schiffer
Medal Yearbook 2004
Mackay & Mussell
2004
Token Publishing
Vernon’s Guide to Orders, Medals & Decoration with Valuations
Vernon
2000
Self/private
The Medal Collectors’ Companion Collecting and Identifying Orders, Medals and Decorations
Vernon
1995
Self/private
Royal Insignia: British and Foreign Orders of Chivalry from the Royal Collection
Patterson
1997, 1998
The Royal Collection
Medals Ribbons of Imperial Austria and Germany
Neville
1974
Balfour Publications
Militaria – Die Militar Dienstzeichen 1849-1989
Steiner
1993
self
Deutsche Orden & Ehrenzeichen 1800 – 1945
Nimmergut
2017
Battenberg
Bewertung Katalog Deutschland 1871-1945 Orden Und Ehrenzeichen
Niemann
2009
Self/private
History of the Early Orders of Knighthood & Chivalry
Neville
1978
Albemarle
4 volume Borna Barac series called Reference Catalogue Orders, Medals and Decorations of the World instituted until 1945.
Borna Barac
2009 through 2013
OBOL
Ribbons and Medals
Dorling
1974
Philip
British and Foreign Orders, War Medals and Decorations
Payne
1911, reprinted 1981
Hayward
The Queen’s Orders of Chivalry
De la Beree
1964
Spring Books
The Order of the British Empire
Galloway
1996
Stephen Austin and Sons/Spink/Central Chancery of Orders of Knighhood
Orders of Knighthood, Awards and the Holy See
Cardinale and van Duren
1985
Van Duren
The Medals Decorations & Orders of the Great War 1914-1918
Purves
1975
Hayward
Royal Orders – The Honours and the Honoured
Vickers
1994
Boxtree
British Orders & Awards
Gordon
1968
Kaye & Ward
The European Orders of Chivalry
Boalt, et al
1971
Southern Illinois University Press
Collecting Medals and Decorations
Purves
1968-1978
Hayward
A Glossary of Terms Used in Phaleristics – The Science, Study and Collecting of the Insignia of Orders, Decorations, and Medals
Laslo
1995
Dorado Publishing
Russian Orders, Decorations and Medals
Werlich
1981
Quaker Press
Knights of Orange: Orders of the Netherlands
Ruokonen
2015
Same
The German Cavalry from 1871 to 1914 – Uniforms and Equipment
Herr and Nguyen
2006
Verlag Militaria
Swords of Germany 1900/1945
Angolia
1988
Bender Publishing
Spiked Helmets of Imperial Germany Vol. I Infantry Regiments, Pioneer Battalions, General Officers
Trawnik
2005
Schiffer
Imperial German Edged Weaponry Vol. I Army and Cavalry
Johnson, Diehl, & Wittmann
2008
Schiffer
Grosser Deutscher Ordenscatalog bis 1918
Graf Klenau
1974
Battenberg
Sovereign Knights – Foreign Orders of Russian Emporers
2010
Moscow
Die Bayerischen Orden und Ehrenzeichen
Schreiber
1964
Bayerisch Armeemuseums
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I did find out that they are a) American b) colonel level and c) pore Civil War and d) at LEAST as early as the Mexican War.
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I did find out that they are a) American b) colonel level and c) pore Civil War and d) at LEAST as early as the Mexican War.
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Imperial Russian Orders for sale!
in Russia: Imperial
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If it is real brassy gold shiny and reflective like chrome gold, beware. True gold has a majestic but deeper and fuller lustre. Real ones show an age old look AND SO DOES THE RIBBON.