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Metalsmith Collection

A skilled metalsmith, adorned in a Franco-American Dunand helmet with visor from the trenches of World War 1, proudly stands in front of his workshop

Background imageMetalsmith Collection: Plate 377. Blacksmith, Two Models, Hammering on Anvil, 1872-85 (collotype on paper)

Plate 377. Blacksmith, Two Models, Hammering on Anvil, 1872-85 (collotype on paper)
3950079 Plate 377. Blacksmith, Two Models, Hammering on Anvil, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 24.5x27 cm; Addison Gallery of American Art, Phillips Academy, Andover

Background imageMetalsmith Collection: The Forge, 1861 (drypoint)

The Forge, 1861 (drypoint)
6200321 The Forge, 1861 (drypoint) by Whistler, James Abbott McNeill (1834-1903); 19.1x31.1 cm; The McManus, Dundee, UK; (add.info.: Orchar Collection); Dundee Art Galleries and Museums; American

Background imageMetalsmith Collection: The Little Forge, 1875 (drypoint)

The Little Forge, 1875 (drypoint)
6200323 The Little Forge, 1875 (drypoint) by Whistler, James Abbott McNeill (1834-1903); 22.9x15.2 cm; The McManus, Dundee

Background imageMetalsmith Collection: R Moseley, carver and gilder to the king, trade card (engraving)

R Moseley, carver and gilder to the king, trade card (engraving)
731539 R Moseley, carver and gilder to the king, trade card (engraving) by English School, (19th century); Private Collection; (add.info.: R Moseley, carver and gilder to the king, trade card)

Background imageMetalsmith Collection: Samuel Keeley, Goldsmith, Jeweller, Silversmith & Cutler, trade card (engraving)

Samuel Keeley, Goldsmith, Jeweller, Silversmith & Cutler, trade card (engraving)
731533 Samuel Keeley, Goldsmith, Jeweller, Silversmith & Cutler, trade card (engraving) by English School, (19th century); Private Collection; (add.info.: Samuel Keeley, Goldsmith, Jeweller)

Background imageMetalsmith Collection: Village blacksmith 1870

Village blacksmith 1870
Village smithy stands in front of the open forge. Date: 1870

Background imageMetalsmith Collection: Plate 378. Blacksmith, Hammering on Anvil, Two Hands, 1872-85 (collotype on paper)

Plate 378. Blacksmith, Hammering on Anvil, Two Hands, 1872-85 (collotype on paper)
3950348 Plate 378. Blacksmith, Hammering on Anvil, Two Hands, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 28.6x38.9 cm; Addison Gallery of American Art, Phillips Academy

Background imageMetalsmith Collection: Plate 374. Blacksmiths, Two Models, Hammering on Anvil, 1872-85 (collotype on paper)

Plate 374. Blacksmiths, Two Models, Hammering on Anvil, 1872-85 (collotype on paper)
3950346 Plate 374. Blacksmiths, Two Models, Hammering on Anvil, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 22.5x31.9 cm; Addison Gallery of American Art, Phillips Academy

Background imageMetalsmith Collection: Mr A Smith, the smith of the forge, Sutton Valence, Kent. 5th November 1935

Mr A Smith, the smith of the forge, Sutton Valence, Kent. 5th November 1935

Background imageMetalsmith Collection: Teesside 2000 Tourist Attractions Feature, 22nd July 1993

Teesside 2000 Tourist Attractions Feature, 22nd July 1993. Blacksmith Peat Oberon, busy at work in his shop in the Preston Park Museum

Background imageMetalsmith Collection: Horseshoe Smithy at Penshurst, Kent. 2nd May 1952

Horseshoe Smithy at Penshurst, Kent. 2nd May 1952

Background imageMetalsmith Collection: Franco-American Dunand helmet with visor, WW1

Franco-American Dunand helmet with visor, WW1
A Franco-American Dunand helmet with protective visor, designed by the Swiss metalsmith Jean Dunand in 1917, for use towards the end of the First World War

Background imageMetalsmith Collection: Halnaker Blacksmith at work - 16 May 1945

Halnaker Blacksmith at work - 16 May 1945
Blacksmith at work on his anvil inside his workshop surrounded by the tools of his trade and lots of horseshoes hanging from the ceiling beams

Background imageMetalsmith Collection: Francisco Isaura (1824-1885). Engraving. Colored

Francisco Isaura (1824-1885). Engraving. Colored
Francisco Isaura (1824-1885). Spanish bronzesmith and silversmith. Engraving by Capuz. The Spanish and American Illustration, 1885. Colored

Background imageMetalsmith Collection: The Allegory of the Active and Triumphant Church, detail of a section to the lower

The Allegory of the Active and Triumphant Church, detail of a section to the lower
XIR439290 The Allegory of the Active and Triumphant Church, detail of a section to the lower right showing Tubal-cain, c.1366-68 (fresco) by Andrea di Bonaiuto (Andrea da Firenze) (fl.1343-77)

Background imageMetalsmith Collection: AZTEC GOLDSMITHS. Aztec craftsmen at different stages of gold-working

AZTEC GOLDSMITHS. Aztec craftsmen at different stages of gold-working. Drawings from the Codex Florentino, compiled by Bernardino de Sahagun, c1540

Background imageMetalsmith Collection: AZTEC GOLDSMITH. An Aztec craftsman hammering a gold object. Drawing from the Codex Florentino

AZTEC GOLDSMITH. An Aztec craftsman hammering a gold object. Drawing from the Codex Florentino, compiled by Bernardino de Sahagun, c1540

Background imageMetalsmith Collection: NEW YORK: METALSMITHS. Two metalsmiths working in the Roycroft Shop, East Aurora, New York

NEW YORK: METALSMITHS. Two metalsmiths working in the Roycroft Shop, East Aurora, New York. Photographed by Frances Benjamin Johnston, c1900

Background imageMetalsmith Collection: Man working on copper plate outside a copper souk, Baghdad, Iraq, Middle East

Man working on copper plate outside a copper souk, Baghdad, Iraq, Middle East

Background imageMetalsmith Collection: Metalsmith making temple ornaments, Lhasa, Tibet, China, Asia

Metalsmith making temple ornaments, Lhasa, Tibet, China, Asia


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A skilled metalsmith, adorned in a Franco-American Dunand helmet with visor from the trenches of World War 1, proudly stands in front of his workshop. The air is filled with the rhythmic symphony of hammers striking anvils, reminiscent of blacksmiths throughout history. In Plate 377, two models diligently hammer on an anvil in a collotype print from the late 19th century, showcasing their craftsmanship and dedication to their trade. The artistry and allure of the forge are beautifully captured in drypoint etchings such as "The Forge" from 1861 and "The Little Forge" from 1875. These prints transport us back to a time when metalworking was not only a profession but also an art form. Trade cards like R Moseley's engraving for his gilding business or Samuel Keeley's depiction as a goldsmith, jeweler, silversmith & cutler highlight the importance and variety within this ancient craft. Their intricate designs serve as invitations into their world of creativity and precision. In Village Blacksmith from 1870, we witness the backbone of every community - hardworking individuals who shape raw materials into functional objects that enrich our lives. This image reminds us that behind every masterpiece lies countless hours spent perfecting one's skill. Collotype prints like Plate 378 and Plate 374 further emphasize the physicality required by blacksmiths; muscular arms swinging hammers onto glowing hot metal create sparks that dance through time. Francisco Isaura's colored engraving adds vibrancy to this narrative-rich collection. It serves as a testament to how metalsmiths have been celebrated throughout history for their ability to transform dull elements into captivating works of art. Lastly, Mr A Smith's trade card commemorates his role as Sutton Valence's esteemed smith during November 1935 – reminding us that even in modern times there are those who carry on the legacy of this ancient craft.