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.

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.

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.

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.

Romance, love and courtship are as universal as the precious jewels they inspire, objects which express deep affection for a loved one and eternal commitment. Wedding traditions have evolved over thousands of years and are based on blessing the couple with good luck and good wishes for unity, happiness and prosperity. The ring is the most personal of all jewels, its endless circular form symbolising the everlasting union of two people. The tradition of giving a betrothal or wedding ring as a promise of marriage goes back to ancient Rome and the ring was believed to have a direct link to the heart when worn on the ring finger of the left hand. It was not until the 15th century that diamond rings were primarily associated with marriage, but from the earliest times rubies or garnets were emblems of passionate love, diamonds or rock crystals symbolised virtue and constancy, sapphires denoted eternal love and emeralds desire and hope. Decorative motifs such as clasped hands, lovers' knots, crowned hearts, Cupid's arrows, flowers with hidden messages, snakes and butterflies were imaginatively used by jewellers to create magnificent jewels as symbols of romantic love.

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.

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.

..". finely crafted scholarship. Elegant and graceful, yet packed with knowledge and information, it embodies the aesthetic qualities which it describes and explores." American Ethnologist

"The text is detailed and informative, and enjoyable reading... " Choice

"The Mande Blacksmith is an important book... sensitive, sympathetic, multifaceted, and thorough... " African Arts

"McNaughton's Mande Blacksmiths is undeniably the most profound study of African artists yet published." Ethnoarts

..". penetrating... McNaughton boldly grapples with the thorniest issues related to his subject and articulates them with clarity and precision." International Journal of African Historical Studies

..". a work in the best tradition of ethnographic research.... critical reappraisal, innovative inquiry, and fresh observation... make this book an invaluable fund of new material on Mande societies... " American Anthropologist

"McNaughton... provides an important interpretation of these artists' conceptual place as members of a complex culture." Religious Studies Review

Examining the artistic, technological, social, and spiritual dimensions of Mande blacksmiths, who are the sculptors of their society, McNaughton defines these artists conceptual place as extraordinary members of a complex culture."

An indispensable guide to identifying mistakes and accidents, and foolproof ways to fix them. This comprehensive resource is a must-have for all jewellers. It covers hundreds of mistakes, accidents, roadblocks and disasters that jewellers, especially beginner and intermediate, may encounter. Laid out in an instinctive problem-to-solution order and exhaustively illustrated, it is designed for quick reference and ease of use. Troubleshooting for Jewellers opens with 150 diagnostic charts that act as a first point of reference to identify the most common problems. The principal task is to recognize where the jeweller is going wrong, so the book provides several options for possible causes alongside suggested remedies. These are organized by metalwork technique. Other helpful features include: Colour-coded tabs for easy navigation; Descriptions of how a problem looks and feels; Potential causes are listed for each problem; Beautiful finished pieces are shown to demonstrate what can be achieved; Key stages of the technique are demonstrated; Images of the faults to aid easy diagnosis; Photographs demonstrate the best ways to remedy the issue at hand. The book's five technique chapters contain two types of content, each with detailed text and dozens of photographs. Best Practices introduces topics that help to lay the foundations for problem-free skills and to prevent future problems; and Fix-Its describe faults and mistakes, their causes, and provide specific instructions to make repairs. Troubleshooting for Jewellers closes with indispensable measurements and conversion tables, health and safety procedures, and a glossary. This is a practical reference that all jewellery makers will use at one time or another. It is an essential purchase, especially for trade and art schools and libraries.

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.

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.

With over six thousand objects coming largely from Europe and Asia, the Villa San Luca in Ospedaletti (province of Imperia) is a splendid villa-museum set up by antique dealers and collectors Luigi Anton and Nera Laura, donated to the FAI - Fondo Ambiente Italiano, in 2001. It is one of Italy's most important private collections dedicated to the decorative arts. This catalogue presents a selection of the most representative pieces of the vast and diverse collection of silver produced in various European nations from the 17th to the first third of the 19th century: from the old Germanic States to those of the Italian peninsula, from France to England. The objects described in these pages testify to the great skill of master silversmiths in forging the precious metal while following the artistic trends of the moment, as well as proposing a 'nearly complete' compendium of the main types of tableware and household utensils in use on the tables of the upper classes over three centuries of European history. Text in English and Italian.

In Israel East meets West. Their jewellery traditions blend, resulting in creative innovations. In the 1930s, European immigrants introduced the spirit of the Bauhaus, while oriental craftsmanship was invigorated in the 1950s and 1960s by immigration from Islamic countries. State jewellery companies preserved traditional crafts, while at the same time developing a new and elegant style, designed to express the national identity of the still young state of Israel. There are important links between native jewellery makers and European and American jewellery artists, who were guest lecturers at the Bezalel Academy of Art and Design in the 1970s and had a lasting influence on Israeli artists. The transition to art jewellery was finally completed in the 1980s, paving the way for artists who are now internationally renowned. A further chapter is dedicated to contemporary works by some outstanding young artists. Although their works are part of the global jewellery scene, they are also dedicated to their homeland, for example through unequivocal references to local political tensions. Artists (a selection): Bianca Eshel Gershuni, Esther Knobel, Deganit Stern Schocken, Vered Kaminski, Attai Chen.

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.

Hans Mangoldt's thesis focuses on the British Museum's collection of silver treasure from Bursa, in Turkey, most of which date from the early Roman imperial period. Following a catalogue of the silver plate, ladels and spoons and tools, the study examines the different types of vessels present in the collection, their origin and manufacture, their function and date. German text.