Carlo Guiliano was an Italian jeweller and goldsmith who was born in Naples and worked in London. In 1860, Guiliano settled in London and worked for Harry Emanuel. He collaborated with Castellani Italian Jewellers on at least one piece of jewellery. In the archaeological or Etruscan style, he was a talented jeweller. He developed his distinctive style, which was copied a lot in the 1880s and 1890s. The Italian-born Pasquale Novissimo, Guiliano’s assistant, created such delicate enamel decoration on Guillano ‘s pieces that they were difficult to copy.
Danish silversmith of Art Deco and Cubist works
Erik Magnussen was a silversmith and designer from Denmark. He lived in the United States from 1925 to 1939, first as artistic director of the Gorham Manufacturing Company in New York City and subsequently with his workshop in Chicago and Los Angeles.
Leven studied at the Kunstgewerbeschule and then at the Düsseldorf Art Academy. He worked in his father Louis Leven’s studio for a time, had numerous contacts with French artists who had a strong influence on him, and quickly became known. Engelbert Kayser hired him as the first employee in his studio. From 1895 to 1904, Leven designed numerous models for Kayserzinn; his works had a lasting influence on the Art Nouveau pewter foundry. He also worked for the Kreuter company in Hanau and other companies that manufactured metal, silver and earthenware, such as B. Koch & Bergfeld and WMF.
Samuel Yellin was born in the Russian Empire in 1884 to a Jewish family in Mohyliv-Podilskyi, Ukraine. He was apprenticed to a master ironsmith when he was eleven years old. He finished his apprenticeship at the age of sixteen in 1900. He left Ukraine shortly after and travelled across Europe. He arrived in Philadelphia, Pennsylvania, in approximately 1905, where his mother and two sisters had already settled; his brother arrived around the same time. Samuel Yellin began taking classes at the Pennsylvania Museum School of Industrial Art in early 1906. Within a few months, he was teaching there, a job he held until 1919.
Tias Eckhoff (1926 – 2016) was a well-known industrial designer in Norway. His production was constrained, but many of his products have endured as timeless design classics. In addition to the design of RBM Ana, RBM Bella, and Low-back Bella, he was also responsible for the famous Maya cutlery and Glohane tableware, to name a few of the solid works that are well-established in Norwegian design history.
In 1927, he started working for Baudet, Donon et Roussel, a carpentry and metal construction workshop. He was in charge of the new wrought iron section. Grillework, tables, chairs, consoles, screens, lighting, and firedogs were all designed and manufactured by him. Poillerat’s metalwork was rendered in characteristic winding calligraphic forms in various media ranging from jewellery to clothing.
Dresser was a one-of-a-kind designer in the nineteenth century. He is regarded as a forerunner of modern industrial design, creating simple, practical things for mass production when colleagues like William Morris and John Ruskin advocated a return to craft production based on the mediaeval guild model.
Paul Howard Manship was an American Sculptor. He was influenced by Hindu and Buddhist Indian Sculpture.
He began his artistic education at the St. Paul School of Art in Minnesota, and he attended the Pennsylvania Academy of Fine Arts before moving onto New York City’s Art Student League. Throughout his subsequent career, he created more than 700 sculptural pieces in stone and marble.
The purpose of this cutlery is to avoid staining the tablecloth, the same idea that inspired Marquina to create his famous olive oil bottle. The unique handles of the knives, forks and spoons raise the part that would touch the table. The fish knife incorporates an ingenious prong for opening shellfish.