Thesis (Ph. D.)--Universität Basel, 1974. / Vita. Includes bibliographical references (p. v-xiv).

Published also as the author's inaugural dissertation, Bonn, 1917.

Published also as the author's inaugural dissertation, Bonn, 1917.

Thesis--Münster. / Vita. At head of title: Kunstgeschichte. "Katalog in Westfalen erhaltener oder aus Westfalen stammender gotischer Goldschmiedearbeiten nach heutigen Aufbewahrungsorten (mit Nachträgen)": p. 419-495. Includes bibliographical references (p. 496-515).

Thesis--Bonn, 1931.

Dès le IIIe millénaire av. J.-C., l'ornementation d'objets en or se développe parallèlement au contrôle de la production dite de prestige et à travers des échanges et des contacts au sein de la Méditerranée orientale.L'emploi de procédés complexes, tels que la soudure et la décoration à chaud, facilite la fabrication et le rendu plastique d'oeuvres composites. Ma thèse vise à la reconstitution des techniques de décoration fine de filigrane et de granulation, utilisées par les artisans à l'âge du Bronze, au Levant nord et en Crête particulièrement. Cette étude s'est essentiellement fondée sur l'observation macro- et microscopique des objets et sur l'expérimentation pour définir des critères d'identification des procédés techniques et caractériser le savoir-faire des artisans. Ainsi, les chaînes opératoires ont pu être reconstituées, les gestes spécifiés et des « mains » reconnues.La démarche a également conduit à appréhender le travail à l'atelier, l'aménagement de son espace et l'outillage nécessaire au spécialiste du filigrane et de la granulation pour produire des pièces uniques ou en série, former ses apprentis à des compétences techniques spécifiques et transmettre son savoir-faire sur de longues distances. Les orfèvres-bijoutiers ont eu un rôle majeur dans la diffusion des savoirs en Méditerranée orientale, ce qui a entraîné la création d'objets hybrides aux influences artistiques levantines, crétoises, égyptiennes, mycéennes... Mais l'étude technique a aussi montré que l'apparition des techniques de filigrane et de granulation au Levant nord et en Crête pouvait résulter d'une création locale, indépendante ou stimulée. / Goldwork decoration has been developed since the 3rt millenium BC, sumultaneously with the control over the production of prestigious items, and through exchange networks and contacts within the Eastern Mediterranean.The use of complex processes such as the soldering and decoration using heat facilitate the production and enable the plasticity of composite items. My dissertation aims to reconstruct the techniques of fine decoration as filigree and granulation that were employed throughout the Bronze Age by craftsmen namely in Northern Levant and Crete. This study has been essentially based on macro- and microscopic examination of artifacts and experimental golden works I made in order to define the identification evidences of the technical processes, and the characterization of the craftsmen's know-how. In addition, the chaînes opératoires might be also reconstruct in order to specify the movement of the body and recognize « the hands ».On the other hand, the technical approach has lead me to explore the workshop's organization : how was it fitted out the work space and what were the tools of the filigree and granulation the experts has used to produce unique or similar items, to train apprenties to specific qualities, and expand their know-how through different places of the Eastern Mediterranean ? Gold worker-jeweller had a major rôle in the spreading of knowledge in that connected region, which has provoked the creation of hybrid objects with artistic influences such as Levantine, Minoan, Egyptian, and Mycenaean... The analyse has also insight into the importance of discussing the possibility of local creation, independently or by external stimulation, about the apparition of filigree and granulation techniques in Northern Levant and Crete.

Thesis (doctoral)--Rheinische Friedrich-Wilhelms-Universität zu Bonn, 1982. / Vita. Includes bibliographical references (p. 174-191).

Habilitation - Ludwig-Maximilians-Universität, München.

This dissertation assesses the significance of luxury dining ware within Roman society by analyzing the economic and socio-cultural value of these objects. Specifically, I focus on silver and gold tableware from the Roman Republic through the third century CE. Precious metal vessels are particularly well-suited to a study of socio-economical value because they are somewhere between an art object and a commodity. Because these objects are made from silver and gold, they have material value, but they are also valuable for their functionality within the dining context, particularly for hosting guests at the convivium. Their utility is, therefore, expressly social in nature. In the Roman world, silver and gold vessels were also highly decorative and as such served as display pieces and objects of attention. Their ability to communicate was not limited only to their material or their functionality; they were neither mere utilitarian commodities, nor simple stores of wealth. Scholars often note that precious metal vessels were status symbols and stores of wealth, but they rarely analyze the way that these objects functioned within those roles. I seek to address this issue by considering the different forms of attention and the processes of valuation which were applied to luxury products in the Roman period. I will ask how social and cultural contexts affected the value of precious metal tableware and how the monetary value of these items determined the social contexts in which they were used. Additionally, this dissertation includes a study of the epigraphic habits on surviving silver and gold tableware in order to better understand how these vessels were used and exchanged. The inscriptions give a sense of the kinds of attention that was given to these objects and the way in which owners or makers might use them to communicate. I will approach these questions through an analysis of four primary types of value: economic, cultural, social, and aesthetic value. Value can be an economic measure achieved by quantifying the significance of an object and expressing this as price. But value can also be applied through cognitive processes via the attention paid to objects and the attitudes of people towards them. By looking at the significance of tableware as a luxury product, utility object, and display piece, I take account of the different ways in which these vessels could be used to communicate within social contexts. I will show that the value of precious metal tableware, in both an economic and cultural sense, provided its owners with opportunities to convey particular messages aimed at navigating the fraught networks of status that existed in Roman society. Gold and silver dining ware could be a store of wealth, but not one which produced financial returns like other assets. Rather, the benefits of storing wealth as luxury dining products were social in nature. The use of precious metal dining ware at communal dinners, or for display, could project an image of wealth, taste, and, most of all, generosity. The return on assets of silver and gold dining ware was social rather than financial capital. Luxury commodities like silver and gold plate were enmeshed in the social interactions and behaviors of elite Romans and so become agents in defining the social personas of their owners.

This paper describes my work with a historical craft and my attempt to find new ways to look at it, work with it and present it. I use the embroidery technique Hardangersaum which is all white, and where selected threads of the woven fabric grid are removed while others are wrapped and embellished. The artistic research leans heavily on the traditional craft but tries to isolate it from its historical baggage. I turn my focus to the grid of the fabric and I present some viewpoints from Rosalind Krauss and Hannah B. Higgins. I describe questions of scale and presentation that have emerged and show how digital animation has played a major role in the development and the communication of the embroidery work.