This publication, accompanying the 17th Silver Triennial, presents the current world of international silversmithing and metal design. A rich repertoire of hand-crafted everyday objects illustrates current worldwide approaches that have emerged over the last two years: from coffee and tea pots, via large and small bowls, to candlesticks, vases, salt and pepper casters, cutlery or small table accessories. Every three years renowned designers and emerging young artists from the world of silversmithing participate in the competition. A top-class jury: Dr. Barbara Grotkamp-Schepers, Klingenmuseum Solingen (DE); David Huycke, metal artist and professor in Hasselt (BE); Rosemarie Jager, Galerie im Kelterhaus Hochheim (DE) selects the best of the best. The competition has been held since 1965 to promote international contemporary silversmithing. It is a joint project by the Gesellschaft fur Goldschmiedekunst e.V. [Association for Goldsmiths Art] and the Deutsches Goldschmiedehaus Hanau [German Goldsmiths House], and is one of the most significant events of its kind world-wide. Text in English & German.

This large format, lavishly illustrated book is silk-bound and slip cased. The book examines man's relations with gold through myth, art, religion, the economy and everyday life. The Gold of the World traces the course followed throughout the world and through the centuries in man's quest for gold. It begins with the first acquaintance with the precious metal and continues with the search to locate it and the techniques and methods by which it was worked. From the author's Prologue: 'This book attempts to trace the course taken by gold in the company of man. An endeavour of this kind does not try to exhaust the evidence, it simply touches on matters, describes them with a few words and leaves the reader to dream of the Conquistadors of Columbus, the gold-diggers of California, the moneychangers of Istanbul in Kapali Carsi, of Peshawar in Sarapha Bazaar, to dream of the brokers of Wall Street the day of the great crash in 1929, and the miners of the Transvaal the day they found the huge nugget of gold weighing 70 kilos.' Almost 500 colour illustrations cover the place of gold in our lives in every period of human history, from prehistory to the major ancient civilizations and from the America of Conquistadores to the Europe of the great artists.

The book displays seasonal bijoux jewellery from three important collections: Miriam Haskell, creator of couture jewellery for Joan Craword, Catherine Denueve and the Duchess of Windsor; JJ, a collection of humerous and unusual Art Deco- inspired jewellery; and Pell, the longest running jewellery factory in New York and designers of commissions for Disney and the Miss America beauty pageants.

This is the seventh edition of a book which has been for years the 'bible' of professional and amateur gemmologists, as well as retail jewellers. Originally written by Robert Webster, an expert who dedicated most of his life to the subject and who worked in the London Gem Testing Laboratory for twenty-five years, this edition has been completely revised and updated by E. Alan Jobbins, Keeper of Minerals and Gemstones at the Geological Museum in London for thirty-five years. The first part of the book is a comprehensive glossary on all aspects of gemstones and the terms associated with them. The second part includes sections on manufactured gems, the enhancement of gem materials and on the precautions necessary for avoiding damage to gemstones and jewellery during manufacturing, repairs and cleaning. There are comprehensive sets of tables of the physical constraints needed for gem testing, of the sources of gem materials and the cuts used to demonstrate their beauty. Fifteen pages of colour photographs will assist in the identification of inclusions and there are many useful conversion tables. Acknowledged as one of the most useful reference books available, this should be the vade mecum of all gemmologists.

Kim Buck is partial to using well-known jewellery motifs such as hearts, daisies, signet rings, and crosses as a point of departure, but the materials can be anything from precious metals to found objects and ready-mades. With surprising combinations, wordplay, and a touch of irony, he questions the conventions of the jewellery business as well as the way national and religious symbols are used and abused. Even Denmark's national jewellery piece, the daisy brooch, is up for scrutiny. To a conceptual artist, raising questions and prompting reflection is of utmost importance. The questions raised by Kim Buck through his jewellery and objects touch upon values, ethics, and social status and reach far beyond the jewellery field itself, disrupting our cultural habits and understanding of the self. Text in English, Danish and Chinese.

The German gem-engraver, medallist, and amateur scholar Lorenz Natter (1705-1763), was so impressed by the size and quality of the collections of ancient and later engraved gems which he found in Britain that he proposed the publication of an extraordinarily ambitious catalogue - Museum Britannicum - which would present engravings and descriptions of the most important pieces. He made considerable progress to this end, producing several hundred drawings, but in time he decided to abandon the near completed project in the light of the apparent lack of interest shown in Britain. Only one of the intended plates in its final form ever appeared, in a catalogue which he published separately for Lord Bessborough's collection. On Natter's death the single copy of his magnum opus vanished mysteriously, presumed lost forever. All hope of recovering Natter's unpublished papers seemed vain, and their very existence had come to be doubted. Yet they were to be found more than two hundred years after his death, in Spring 1975, when the classical scholar and renowned expert in gems, Oleg Neverov, chanced upon them at the bottom of a pile of papers in the archives of the State Hermitage Museum in St Petersburg. Neverov and his colleague Julia Kagan carried out the initial research on the Hermitage manuscripts and produced the first published account of this archival treasure. The present volume builds upon their earlier work to produce the first comprehensive publication of Museum Britannicum, offering full discussion in English and presenting Natter's drawings and comments alongside modern information on the gems that can be identified and located through fresh research. This book is the result of a ten-year collaboration between scholars on the Beazley Archive gems research programme at Oxford's Classical Art Research Centre and the State Hermitage Museum. It fulfills Natter's vision for the Museum Britannicum - albeit two and a half centuries late - to the benefit of art historians, cultural historians, curators, and gem-lovers of today.

J.D. Beazley's The Lewes House Collection of Ancient Gems (1920) was the first publication of engraved gems in what might be called the modern manner; indeed in many respects it remains a model few have even approached since and it is of an academic quality which is hard to match today. It is re-published here, with Beazley's descriptions and commentary, with updated references, and with enlarged photographs of impressions to demonstrate their quality. The two main categories of gems are (very broadly) cameos and intaglios of Greek, Cretan, Phoenician, Roman and Etruscan provenance. The additional material includes Mary B. Comstock's compilation of lists of additional references, and Cornelius C. Vermeule has added an appreciation of the collector.

Beads are an enduring artefact commonly found on excavated sites within many different cultures. This study focuses on beads from India, including amulets, pendants, eye-beads and etched beads. The examples cited cover the period from the Palaeolithic through to the medieval period, with discussion focusing on the different types and styles of beads as well as who produced them, the people who wore them and their function or meaning.

A specialised study, based on the author's thesis, of Bronze Age jewellery found in burial contexts on mainland Greece and Crete. Konstantinidi looks at the technology and craftmanship involved in the production of jewellery before presenting a typology and catalogue of examples: head, hair and neck ornaments; arm/hand ornaments. Evidence from wall paintings and the Linear B tablets are used as a point of comparison.

This study is concerned with the examination of Hellenistic finger-rings, defined as such by their pictorial engravings. The principal aim of this art-historical and historical study is to provide a chronological framework for the designs, made difficult by the fact that these desirable items are often held in private collections. Motifs include Greek gods and goddesses, Hellenistic-Egyptian symbols as well as family emblems. The pictorial representations are compared with general trends in Hellenistic art and the production of finger-rings is examined in relation to Hellenistic material culture in general. This rigorous and scientific examination, focusing on the late 4th to mid 2nd century BC, concludes with a catalogue of 174 motifs.

This book presents a classification and catalogue of Roman brooches from sites on the Stanegate, housed in a number of locations in northern England including Newcastle, Corbridge, South Shields, and Vindolanda. The catalogue is preceded by a brief discussion of the origin and development of brooches, and a classification of types.

From the simple shell beads worn by Palaeolithic hunters to the splendour of Renaissance gold work and the sumptuousness of Art Nouveau enamels, here is a fascinating and informative guide to the development of Western jewelry - concluding with the radical and experimental developments in the last three decades. Offering a concise survey of the entire field, this book analyses jewelry's changing fashions, explores its social context, and examines how it has been worn by both men and women. It shows how jewellers have responded to new sources of gems, whether emeralds from the New World or diamonds from South Africa, and to the discovery of metals such as platinum and aluminium. Masterworks by unknown craftsmen and pieces designed by individual artists as diverse as Holbein, Pugin and Calder are illustrated alongside the glittering products of the major jewelry houses.

The work of over seventy Native artists who create miniature silver seed pots is presented in this publication featuring over 240 examples from the Norman L Sandfield Collection at the Heard Museum. As an art form, these miniatures draw on the ancient tradition of ceramic containers that protected the seeds of agricultural plants on which peoples lives depended. Following in the more recent tradition of miniaturisation, these silver vessels represent the work of some of the finest silversmiths working today, including White Buffalo (Mike Perez), Ric Charlie, Bernard Dawahoya, Anthony Lovato, and Darrell Jumbo. Over seventy silver pots are the creation of award-winning Navajo silversmith Norbert Peshlakai. Curator Tricia Loscher interviewed the artists, discussing their approaches to this new art form and the inspiration for their designs. In a foreword by noted Southwestern scholar Martha Struever, she describes her involvement with the art form and her introduction of collector Norman L. Sandfield to the beauty in silver miniatures.

Sir Mortimer Wheeler describes the architecture and town planning, the sculpture and painting, the silverware, glass, pottery and the other rich artistic achievements of the era.

In his artistic jewellery work, Jiro Kamata (b. 1978) deals with optical phenomena in connection with the perception of values. In doing so he also thematises traditional production methods. He processes found and sometimes used materials into rings, brooches and pendants. Kamata's works are generated in respect of an 'experienced memory'; only through experience and interaction with them do they attain their value. Kamata keeps the entire process in view at the same time: from manufacture to performance as worn on the wearers' bodies. Lenses, mirrors, even adhesive tapes offer insights, outlooks and perspectives, link wearers with their environments and query the assumed positions at the same time: How do we see the world and how does the world see us? Text in English, Chinese and Japanese.

In "The Art of the Japanese Sword," master swordsmith Yoshindo Yoshihara offers a comprehensive view on the making, finishing and appreciation of Japanese blades.
The Japanese sword, a unique work of art in steel, can be appreciated from a number of viewpoints. Its functionality as a weapon, the sophisticated metallurgy and scientific thinking utilized by the swordsmith, the shape of the blade itself, and the different crystalline forms in the steel all contribute to the beauty of these remarkable weapons. "The Art of the Japanese Sword" conveys to the reader a basic background regarding the Japanese sword, as well as an explanation of how to view and appreciate a blade. It also illustrates the details of how a sword is made and finished today.
Modern craftsmen use completely traditional methods from the past to prepare their steel, forge the sword and create the unique hardened edge. By gaining a good understanding of how a sword is actually made, the reader will be able to appreciate the Japanese sword more fully.

Since the beginning of his creative work in 1980, Georg Dobler, the jewellery artist and lecturer at the University of Applied Arts and Science in Hildesheim, has engaged in working with geometrical forms. Also in the mid 1980s, when he first drew on naturalistic elements, provoking an outcry in the jewellery world, his work was still bound by geometrical dimensions. It was exactly because naturalism was viewed as outmoded, however, that Dobler was viewed as a pioneer by the next generation of auteur jewellery designers. The artist complements his casts from nature (exotic plants and beetles) - Dobler sees himself as a collector of structures and forms - with large, facetted stones as an artistic addition. Yellow to orange-glowing lemon citrine and tender lilac amethysts combine with the metal surfaces to create a shimmering play of colours. Pure silver is seldom found in Dobler's work; his trademark is rather black chromium or oxidized silver surfaces that shine in iridescent black. Georg Dobler is not only a pioneer, he also finds inspiration among the great artists of early modern art. Thus in the mid 1990s he drew on the abstract paintings of a Piet Mondrian, Wassily Kandinsky or Kazimir Malevich, who ignited his fantasy and inspired his compositions. Exhibition in the Museum fur Kunst und Gewerbe, Hamburg, November/December 2010 and further venues in Pforzheim, Hanau, Bielefeld and Berlin in 2011.

As one of the key players of modern jewellery in the '20s, Paul Brandt worked with the most famous jewellers of his time, like Fouquet or Sandoz. He followed eclectic studies in Paris (jewellery, painting, sculpture, medals and stones engraving, chiselling, etc) and finally decided to specialise in jewellery design. With his first creations he joined the art nouveau movement before focusing on an art deco style. He took part in the International Exhibition of Decorative Art of 1925 both as an artist and a jury member. Paul Brandt considered his jewellery as works of art in their own right and displayed them during exhibitions where the scenography kept getting more innovative. From the '30s, he extended his activity to interior design. This monograph displays the talent of this major artist who left his mark in France and abroad. Recounting his whole career, it highlights the extent of Paul Brandt's skills, not only in jewellery but also in medal making, decoration and interior design. Text in French.

An accessible and easy-to-use guide to the principles and elements of jewelry design, this resource helps jewelry makers of all skill levels take their designs from good to great. Instructor and expert Loretta Lam offers guidance on working with a wide array of materials, along with exercises to help you explore new design concepts before applying them to your work directly. Dozens of stunning examples from designers around the world help inspire anyone looking for a new source of creativity. Learn how to discover your personal inspiration and process, master the use of the design elements and principles, establish a design hierarchy and find your voice, draw on the inestimable value of critique, and more. You will keep this book close at hand and pick it up time and again for inspiration and as an essential reference.

New Necklaces is the third book curated by jeweler and author Nicolas Estrada. A very special selection of impressive pieces by more than 180 artists from all over the world, this book showcases the current trends in contemporary jewelry and how boundaries in concept, materials and techniques are being pushed by jewelry designers today. From those that look back to classic forms and materials to the most daring, experimental and surprising ideas, each of the 500 necklaces included in this book has something that makes it unique and relates strongly to today's social, cultural and artistic reality. With prefaces by German jeweler Julia Wild and Leo Caballero, owner of the Barcelona gallery Klimt 02, specialized in contemporary jewelers.

Probably no Native American handicrafts are more widely admired than Navajo weaving and Navajo and Pueblo silver work. This book, which is now in its third large printing, contains the most important and complete account of Indian jewelry fashioned by the Navajo, the Zuni, the Hopi, and other Pueblo peoples. ""With the care of a meticulous and thorough scholar, the author has told the story of his several years' investigation of jewelry making among the Southwestern Indians,"" says The Dallas Times Herald. ""So richly decorative are the plates he uses ... that the conscientious narrative is surrounded by an atmosphere of genuinely exciting visual experience."" John Adair is a trained ethnologist who has lived and worked among these Indians.To prepare his book, Mr. Adair made an exhaustive examination of the principal museum collections of Navajo and Pueblo silver work, both early and modem, in Santa Fe, Colorado Springs, Chicago, New York, and Philadelphia. He visited trading posts in the Indian country and examined and photographed silver on the pawn racks and in important private collections. He lived for a time among the Navajo, watched them make their jewelry, and actually learned to work silver himself in the hogan of one of the leading artisans, Tom Burnsides. Many of the photographs he made at the time are used as illustrations in this book. He spent months among the Indians in New Mexico and Arizona and became personally acquainted with many of their silversmiths. Later, as field worker for the Indian Arts and Crafts Board, he studied the economics of Navajo and Pueblo silversmithing; and still later he became manager of the Navajo Arts and Crafts Guild, a tribal enterprise. The Navajo and Pueblo Silversmiths provides a full history of the craft and the actual names and localities of the pioneer craftsmen who introduced the art of the silversmith to their people. Despite its present high stage of development, with its many subtle and often exquisite designs, the art of working silver is not an ancient one among the Navajo and Pueblo Indians. There are men still living today who remember the very first silversmiths. Mr. Adair gives full details, as he observed them, of the methods and techniques of manufacture over a primitive forge with homemade tools. He tells both of the fine pieces made for trade among the Indians themselves and of the newer, cheaper types of jewelry produced for sale to tourists. He discusses standards and qualities of Indian silver and describes the work of the Indian schools in helping preserve traditional design in the fine silver of today. His excellent photographs of some of the most notable pieces, old and new, provide examples for evaluation. This volume, therefore, will serve the layman, the ethnologist, and the dealer alike as a guide to proper values in Indian silver jewelry, and will provide the basis for authoritative knowledge and appreciation of a highly skilled creative art.

Eleanor Moty (b. 1945) from the US is a seminal figure in the field of contemporary international studio jewellery. In a career that has spanned more than 50 years, she has been both a dedicated practitioner and a devoted teacher who has inspired succeeding generations of artists, collectors, and fellow professionals. She began to attract national attention in the late 1960s and early 1970s for her experiments with photoetching and electroforming metal. Later, mid-career, Moty made what seems like an abrupt shift in style and focus, with more abstract works whose designs were inspired by the natural inclusions within the non-precious gems used in their fabrication. While her works have been published in prominent books, catalogues, and journals internationally, this monograph is the first comprehensive in-depth examination of her career from its inception in 1967 through the present day.

Evert Nijland (b. 1971) is one of the leading jewellery artists of his generation. Trained in the Conceptual Art and Minimalism of the 1990s at the Gerrit Rietveld Academie in Amsterdam, he developed a flamboyant and exuberant style, which drew on (art-) historical resources yet is thoroughly anchored in the present. A typical characteristic of Nijland is working with a variety of artisans. It enables him to integrate such diverse materials as porcelain, wood, textile or steel into his works. His use of glass in jewellery, in particular, is unparalleled. This publication presents an exciting review in opulent photographs of Evert Nijland's jewellery-making over twenty years. Montages of images are a particular highlight, in which jewellery from works of Western art is superimposed, serving Nijland as both a reference and a source of inspiration. Text in English and Dutch.