This monograph on classical engraved gems, which also contains a catalogue of the collection then held by the Fitzwilliam Museum, was published in 1891. J. Henry Middleton (1846 1896) was at the time the Director of the Museum and Slade Professor of Fine Art in Cambridge. His intention was to provide an introductory volume for students of archaeology which both traced the history of the use of engraved gemstones as seals and signets from Babylonian to classical times, described the techniques used to create these miniature works of art, and gave catalogue definitions, enhanced by photographic plates, of the Fitzwilliam collection, which had for the most part been donated by Colonel W. M. Leake (1777 1860), whose antiquarian interests had been aroused when he was sent to the eastern Mediterranean to assist the Turkish army against the French in the early nineteenth century.

The name Faberge has long been a byword for luxury. Combining an entrepreneurial vision for craftsmanship with innovative material sourcing and technical ability, Carl Faberge created an astonishing array of bespoke jewelled and enamelled objects at the end of the 19th and beginning of the 20th century. This beautifully illustrated book explores the history and legacy of the House of Faberge, from its origins in Russia - and its role in the glamorous world of the Romanovs - to global recognition. Much of the story is familiar, but less well known is the important part played by the London branch. Opened in 1903, and the only one outside Russia, it became a choice destination for Edwardian high society and an international clientele. Featuring over 120 pieces, from delicate flowers to Imperial Easter eggs, and with contributions from leading experts Faberge: Romance to Revolution celebrates the enduring fascination with this master craftsman's works.

From the Preface When I first went to Africa in the 1960s, I was bowled over by African art. What really got under my skin were the bangles, principally the bronze bangles from West and Central Africa. They were tactile, weighty and full of design and form. Later, when I lived in Ghana and Togo, I built up my own collection of bangles. In recent years this collection was seen by past and present curators of the British Museum and I was encouraged to work up the expertise to comment on and possibly help classify the Museum's collection of African bangles. They recognised that they have thousands of these bangles lying mostly untouched and unloved because they could not be given a story, a context, a meaning. They were so enthusiastic and helpful that I secured introductions to many major museums around the world, to study their substantial and interesting collections. Museums in Europe and on the East and West Coasts of the United States gave me access to the rich material they had accumulated. I had the rare privilege of spending days in their storerooms in the course of which I could see and compare many thousands of bangles. The curators who accompanied me in the inspection of their bangles were aware that these beautiful artefacts had lain undisturbed because they could not be explained or set in a wider context. The bangles were attractive but seldom came with a meaningful provenance. To their great credit, these highly-qualified specialists would listen enthusiastically as my wife and I noted bangles which we had encountered elsewhere. Seeing all these bangles and thus, over time, gradually building up a picture of their types, uses and probable areas of origin, I began to realise that I was looking at a decorative culture which was self-generated, wholly unlike the decorative cultures of the rest of the world. It was unique. Astonishingly, it was to be found in almost every inhabited part of the vast semi-continental area of sub-Saharan Africa. Gold and silver were of little consequence. Copper was their "precious metal". The style - instantly recognisable - was chunky, solid, weighty. Rarity was not a concern; the Eurasians' "precious stones" were unknown. Rings had no great meaning. It was bangles that were the standard means of conveying status, attraction and readiness for marriage. Most importantly, as I read the stories of explorers and the later accounts of African life in the 19th and 20th centuries while I worked through the museums' storerooms, it became clear to me, that for centuries, the bangle had been the one and only defining material culture shared by all Africans south of the Sahara. At last, an overall picture was emerging and there was now a chance of describing it before it was too late. The bangle culture that had unified Africans, through which and in which they had lived much of their lives, was fading fast. In their heartland of West and Central Africa the tactile bronze bangles that everyone wore in the 19th century - and which I saw occasionally in northern Ghana in the 1980s - were now encountered more in museums than on the bodies of inhabitants of those regions. This book will follow the art-historical practice of using "bronze" to describe all forms of copper alloys, including brass, when the composition is not directly relevant and retain "copper" for occasions when the pure metal is being discussed. "Bangle" will be used as the generic term for all forms of jewellery applied to the human body. This bangle culture is still an unselfconscious part of daily life in a few isolated African tribes and used quite naturally to send messages. But, in a few decades, this bangle culture will survive only in less traditional forms and only in limited areas in East and Southern Africa. At its height, it was an admirable system of great importance to social intercourse, replete with significance, great beauty and craftsmanship. It deserves to be recorded and I will try to do this in this book. I will set out why this bangle culture was so different from anything else in the world; the skill with which the bangles were made; and how the bangle culture spread throughout all Africa south of the Sahara; I will have to admit that the industrial world and its products have led to the Eurasian hierarchy of gold and silver overtaking bronze in Africa and, indeed, eliminating it as a "precious metal". But I will end on a note of hope, that there are indications that the sense of solidity of form and the respect for copper that was evident in classical African bangles may still live on among African Americans.

This is an account of the unique assemblage of silver and silver-mounted artefacts belonging to Corpus Christi College, Cambridge, some of them dating back to the College’s foundation 650 years ago. They include extraordinary objects such as a thirteenth-century drinking vessel made of the horn of an extinct animal, as well as the everyday tools and utensils of past centuries. Although some of them are well known to art historians, they have never been published in detail. The objects are especially significant for being documented in the College’s archives from the fourteenth century onwards. The book investigates the objects’ construction, how the College came by them, their original meaning and context, how they came to survive the depredations of the Civil War, what happened to those that do not survive, evidence of wear and repair, and what they were (and still are) used for.

Royalty, Aristocrats, American heiresses, exiled Russian Grand Dukes, Randlords, Maharajas, Socialites and Financiers with newly made fortunes flocked to Faberge in London to buy gifts for each other. The Imperial Russian Goldsmith's London branch was the only one outside of Russia and its jewelled and enamelled contents were as popular there as they were in St. Petersburg or Moscow. Using previously unreferenced sources and a newly discovered archive of papers relating to Faberge in London, Kieran McCarthy studies the branch's structure, customers and exclusive stock. The book will be of interest to enthusiasts of the decorative arts, the social history of the Edwardian Golden Age and especially of European Royalty. Faberge's works were and continue to be intimately associated with the British Royal Family. For Violet Trefusis, daughter of King Edward VII's mistress Mrs. Keppel and lover of Vita Sackville-West, a Faberge cigarette case was the emblem of Royalty, as symbolical as the 'bookies' cigar', or the 'ostler's straw'.

Tiaras have always inspired a great fascination and the most beautiful and influential women have been painted, photographed and admired whilst wearing them. Even in the 21st century they are still worn and continue to inspire special poise, elegance and sophistication. This lavishly illustrated book includes exclusive photographs, many repro duced for the first time, of a variety of Royal tiaras together with those of French and Russian Imperial provenance, including four stunning tiaras designed by Prince Albert for Queen Victoria. Geoffrey Munn has also been granted privileged access to the archives of many famous jewellers, including Boucheron, Cartier, Van Cleef and Arpels and Faberge, for his research. The regal images of some of the most prestigious jewels in the world will captivate the reader and ensure turning the page to the next enticing image becomes irresistible. Many of these mes merising tiaras also have great historical signifi cance and their provenance is fully explained here. Among the con temporary pieces referred to are tiaras belonging to Jamie Lee Curtis, Vivienne Westwood, Elton John and Madonna, that were made by Galliano, Slim Barratt and Versace. The scholarly text, which incorporates more than 400 illustrations, includes chapters on tiaras as crown jewels, Russian style tiaras, tiaras as works of art and the relationship between the tiara and the costume ball. Tiaras - A History of Splendour is a magnificent work that will enthral all those interested in fashion and style, jewellery, European history and Royalty. "... beautifully written and magnificently produced... for anyone interested in social history, it's as good a read as you are likely to have this year." Daily Telegraph "A truly majestic book" Antiques Info "... elegantly melds social history, fashion criticism and an appreciation of the jeweler's art." Town & Country

The discovery of silver cannot be pinpointed; humans have mined it far back into antiquity. Our fascination with this malleable metal and the beautiful works of art that can be shaped from it continues to this day. This book brings together two expansive collections of silver objects, the 'Lion' collection and the 'Hamme' collection. The 'Lion' collection provides a broad overview of beautiful silver objects made by a great variety of British contemporary silversmiths. It is divided between holloware, caddy spoons and napkin rings. Part of the collection revolves around the theme of lions, because the lion image bears a resemblance to the collector's family history. The Hamme collection is a spectacular array of 'hero' pieces and commissions that demonstrate some of the best of each silversmith's work. With more than 500 images, Contemporary British Silver Designers shares some of the finest work crafted by 21st-century silversmiths. Interviews with numerous modern silversmiths - Jane Short, Kevin Grey, Miriam Hanid, Nan Nan Liu, Phil Jordan, Ray Walton, Rod Kelly, Tamar de Vries Winter, Wayne Meeten, Yusuke Yamamoto, Zoe Watts, Fred Rich, Michael Lloyd and Wally Gilbert - offer insight into the silversmiths' process and inspirations. Brief biographies are also included on numerous other silversmiths whose work is featured in this book: Phil Barnes, James Dougall, Ryan McClean, Stuart Jenkins, Martin Baker, Martin Keane, Sarah Wilson, Don Porritt, Martyn Pugh, Maureen Edgar, Alistair McCallum, Colette Bishop, Adi Toch, Malcolm Appleby, Adrian Hope, Jen Ricketts, Cara Murphy, Graham Stewart, , Kathryn Hinton, Brett Payne, Clive Burr, Rauni Higson, Angus McFadyen, Kyosun Jung, Karina Gill, Stella Campion, Angela Cork, Abigail Brown, Jessica Jue, Ndidi Ekubia, Elizabeth Auriol Peers and Katie Watson, among others.

"When you land on this book, if you do not yet have an appreciation of butterflies or Chan's workmanship, after reading, it will leave you in awe of both."-Beth Bernstein, Forbes "When I was a young boy, butterflies were flying colours - I knew not their name. Then butterflies became the Butterfly Lovers: a tragedy, a love story, a symbol of eternal love. As I grew older, I found them to embody the words of a great philosopher: life is but a dream; only we need to decide whether we want it to be the dream of a man, or the dream of a butterfly. I could not decide, and so I became The Butterfly Man." - Wallace Chan Father of The Wallace Cut - an illusionary three-dimensional gemstone carving technique - and The Wallace Chan Porcelain - a ground-breaking material five times stronger than steel - Wallace Chan is a guiding light in the world of jewellery design. Always innovating, always testing boundaries with his materials and technique, Chan's creations are as stunning as they are intricate. Compiled by jewellery experts, this book explores the cultural and personal significance of Wallace Chan's most famous emblem: the butterfly. Winged Beauty: The Butterfly Jewellery Art of Wallace Chan features approximately 30 of his finest pieces. Enter a butterfly house of colourful gems, with brooches and necklaces so delicate they might have flown down and alighted on the page.

John Donald, a British jeweller, designer and goldsmith, is regarded as one of the most innovative of the twentieth century. In over half a century he has been recognised as a pioneering and radical designer and craftsman with his work capturing the late twentieth century ideals of glamour and modernity. Part of a select group that revolutionised jewellery design in the 1960s and '70s, John went on to establish a successful business in London and Geneva as well as an international reputation. He is respected by art critics and his work attracted the patronage of HRH The late Princess Margaret, Countess ofSnowdon and Her late Majesty Queen Elizabeth the Queen Mother.His work is seen in the collections of the V&A Museum, the Schmuckmuseum in Pforzheim, The Royal Museum in Edinburgh and The Worshipful Company of Goldsmiths. His pieces are owned by various Royal Families as well as headsof industry and those fascinated by design.

An updated edition of the best-selling handbook, this all-encompassing guide for jewellery entrepreneurs of all levels covers key lessons for setting up, running and growing a jewellery business. From the college graduate looking to set up a workshop, to the established maker ready to expand their business, Setting up a Successful Jewellery Business equips creative jewellers with the essential knowledge and tools to operate a professional jewellery business. Encouraging individuals to define their business objectives and strategy for the future, the guide deals with topics including: * presenting your brand; * protecting your designs; * how much to charge for your work; * selling to shops, galleries and individuals; * creating your website and driving traffic to it; * managing your time and finances plus other essential business skills. Updated with two new chapters, an expanded section on social media and a revised appendix, this is an indispensable jeweller's companion that provides the resources to take your business forward.

Sculpture was no occupation for a lady in Victorian Britain. Yet between 1837 and 1901 the number of professional female sculptors increased sixteen-fold. The four principal women sculptors of that era are the focus of this book. Once known for successful careers marked by commissions from the royal family, public bodies and private individuals, they are forgotten now. This book brings them back to light, addressing who they were, how they negotiated middle-class expectations and what kind of impact they had on changing gender roles. Based on their unpublished letters, papers and diaries coupled with contemporary portrayals of female sculptors by novelists, critics, essayists and colleagues, this is an unprecedented picture of the women sculptors' personal experience of preparing for and conducting careers as well as the public's perception of them. The author examines each woman's ability to use her position within the historical and cultural context as a platform from which to instigate change. The analytical emphasis throughout is on the art of negotiation and the result is an interdisciplinary work that delves deeply into the experience of an undervalued cohort of artists who had a disproportionate influence on Victorian social norms.

India, Jewels that Enchanted the World presents for the first time the remarkable history and unique legacy of 500 years of Indian jewellery, from the 17th century to the present. The essays, all written by leading international scholars, explore the rich, distinctive, and unique heritage of Indian jewellery; the striking boldness of South Indian ornaments; the delicate refinement of the Mughal period; the dazzling jewels of the post-Mughal maharajas; the cross-cultural influences between Europe and India in the 19th and early 20th centuries; and the creations of leading contemporary designers whose jewels display the enduring beauty of Indian design and craftsmanship. Published to accompany a major exhibition at the State Museums of the Moscow Kremlin organised jointly with the Indo-Russian Jewellery Foundation, this lavishly illustrated catalogue brings together royal, ceremonial, and personal Indian jewels to showcase the entire range and variety of the jeweller's art in India.

Between 1125 and 1135, it is generally agreed, a sculptor of genius usually referred to as Gislebertus carved a tympanum and a series of capitals for the cathedral dedicated to Saint Lazarus at Autun. The capital depicting the suicide of Judas is unique in the Romanesque repertoire both for its beauty of technique and for its execution of subject matter. The iconography is at once baffling and rich in possibilities of interpretation, which extend far beyond a simple image of a hanged man. One of the possibilities explored is that this is an image of a man realizing in extremis that he could and should have been remembered throughout history as Saint Judas, Apostle and Martyr, rather than as the paradigmatic traitor. There are objects in the image that demand - and receive - explanations, albeit tentative: the protuberance on Judas' back; the strap from which he is hanging; the position of his hands and feet. The interpretation is set firmly in its historical period, but the image is also discussed as an object whose significance transcends the time and the place in which it was conceived and produced.

The definitive guide to stonesetting by renowned designer and teacher, Melissa Hunt. From ready-made snap settings to handmade mounts for unique pieces, Stonesetting for Jewellery Makers is an all-encompassing examination of the many and varied techniques, treatments and innovations used in jewellery design. Whether learning how to make settings from scratch or choosing and working with ready-made mountings, this book arms the reader with techniques that can be applied to a range of pieces. Throughout the book, beautifully illustrated step-by-step tutorials are accompanied by practical tips and advice, while inspirational galleries present stunning examples of the ways in which contemporary jewellers experiment with settings, materials and stones.

Georgian Dublin is synonymous with a period of unprecedented expansion in the market for luxury goods. At a time when new commodities, novel technologies and fashionable imports seduced elite society, silver enjoyed an established association with gentility and prestige. Earlier studies have focused predominantly on the issue of style. This book considers the demand for silver goods in Georgian Ireland from the perspectives of makers, retailers and consumers. It discusses the practical and symbolic uses of silverware, interpreted through contemporary guild accounts, inventories, trade ephemera and culinary manuscripts. For the first time the activities of Dublin's goldsmiths and their customers are considered in the context of the British Isles, acknowledging Dublin's 'second city' status in relation to London. How did the availability of new products like English porcelain and Sheffield Plate affect the demand for silver in Dublin, and how did silver imports from London affect the Dublin trade? To what extent do the practices of Dublin goldsmiths mirror their North American counterparts seeking to infer associations with the fashionable metropolis of London? Drawing on an extensive range of documentary and object evidence this wide-ranging analysis considers the context in which silver goods were made, used, valued and displayed in Georgian Ireland.

The Royal Armouries' stunning collection of arms and armour provides a unique historical perspective on visual and material culture from across the world. Both intricate and elaborate, these items are a magnificent testament to fashion, craftsmanship and engineering throughout the ages. This book is filled with gorgeous photography offering a glimpse into a world of firearms, armours, swords and helmets. It includes an insightful essay by Karen Watts, former Senior Curator at the Royal Armouries and Knight of the French Ordre des Arts et des Lettres.

Whether it's diamond-encrusted grills, oversized "truck" style chains, bust-down Rolex and Patek Philippe watches or a Tiffany necklace, jewelry is a cornerstone of hip-hop culture. Glittering, blinged-out jewels are the shining statement of a collective identity: unapologetic, charismatic, and street savvy. Spanning the history of hip-hop jewelry, from the 1980s to today, Ice Cold: A Hip-Hop Jewelry History is a stunning compilation of storytelling and visuals. Hundreds of extraordinary images of every major hip-hop artist on record celebrate how "Ice" has become a proclamation of identity and self-expression. Starting with Run-DMC's gold Adidas pendants and Eric B. & Rakim's ostentatious dookie rope chains and Mercedes medallions, the jewelry then transforms from street style into a booming design culture. The hip-hop tradition of "show up and show out" reaches new heights with artists like Pharrell Williams, Jay-Z, Gucci Mane, and Cardi B, whose over-the-top pieces integrate unique pop culture references, unconventional materials, and enduring collaborations with artists like Takashi Murakami. Author Vikki Tobak reveals - in great detail - the work of pioneering jewelers such as Tito Caicedo of Manny's, Eddie Plein, and Jacob the Jeweler as well as newer artisans such as Avianne & Co., Ben Baller/IF & Co., Greg Yuna, Johnny Dang, Eliantte, and many more. Ice Cold is a treasure trove of dazzling, inspirational style, featuring the work of leading photographers, including Wolfgang Tillmans, Janette Beckman, Jamel Shabazz, Timothy White, Gillian Laub, David LaChapelle, Danny Clinch, Chris Buck, Mike Miller, Phil Knott, Raven B. Varona, Al Pereira, Albert Watson and many more. A foreword by hip-hop superstar Slick Rick and essays by A$AP Ferg, LL COOL J, Kevin "Coach K' Lee and Pierre "P" Thomas of Quality Control Music take us on personal journeys into their jewelry universe. Ice Cold goes beyond the ostentatious bling to reveal a transformative story that is loud and proud.

This book reveals a great untold story of enterprise and innovation based on the relationship between the Victoria and Albert Museum, and Elkington & Co., the renowned industrial art and design manufacturer of the 19th-century. The Birmingham-based company pioneered and patented the industrial art of electro-metallurgy to create original artworks, perfect replicas, and mass-reproduced luxury consumer goods that used electricity to 'grow' metal into shape at a molecular level. This technological revolution created a profound legacy, which continues to influence the way modern material culture looks and operates today. Elkington's syntheses of science and art into industrial manufacturing processes revolutionized the design and production, replication and reproduction of precious metalwork, metal sculpture, and ornamental art metalwork. Elkington & Co. gained huge public acclaim at the Great Exhibition of 1851. They subsequently produced artworks and luxury goods, including world-renowned sports trophies like the Wimbledon Singles Trophies, as well as luxury dining services for great steamships and railways, including tableware that sank with the Titanic. Elkington played a crucial role in shaping and building the V&A's permanent collection from its foundation in 1852 (following the Great Exhibition) until the First World War. The V&A's collections in turn had a profound influence on Elkington's output. The great success of their relationship cemented both the museum's status as a leading cultural institution, and the E&Co 'makers-mark' as one of the world's first truly multinational designer brands. Elkington's electrical alchemy helped spark the electrical revolution that founded the modern world.

Georgian Dublin is synonymous with a period of unprecedented expansion in the market for luxury goods. At a time when new commodities, novel technologies and fashionable imports seduced elite society, silver enjoyed an established association with gentility and prestige. Earlier studies have focused predominantly on the issue of style. This book considers the demand for silver goods in Georgian Ireland from the perspectives of makers, retailers and consumers. It discusses the practical and symbolic uses of silverware, interpreted through contemporary guild accounts, inventories, trade ephemera and culinary manuscripts. For the first time the activities of Dublin's goldsmiths and their customers are considered in the context of the British Isles, acknowledging Dublin's 'second city' status in relation to London. How did the availability of new products like English porcelain and Sheffield Plate affect the demand for silver in Dublin, and how did silver imports from London affect the Dublin trade? To what extent do the practices of Dublin goldsmiths mirror their North American counterparts seeking to infer associations with the fashionable metropolis of London? Drawing on an extensive range of documentary and object evidence this wide-ranging analysis considers the context in which silver goods were made, used, valued and displayed in Georgian Ireland.

The Fitzwilliam Museum, University of Cambridge, holds stunning examples of jewellery and metalwork from the late nineteenth and early twentieth centuries. This exceptional period of design covers the neo-Gothic and historicist designs of the mid- to late nineteenth century, the groundbreaking work of British Arts & Crafts designers, sinuous curves influenced by the European Art Nouveau movement and the structural modernity of the 1930s. The collection contains jewellery by some of the finest historicist designers, including the Castellani and Giuliano families and John Brogden, as well as a spectacular decanter by William Burges. There are important pieces of jewellery and silver by the most famous of Arts & Crafts designers, including C.R. Ashbee, Henry Wilson, Gilbert Marks and John Paul Cooper. Unique pieces designed by the artist Charles Ricketts hold a special place in the history of queer art in Britain, having been designed for his friends Katherine Bradley and Edith Cooper, a couple known collectively as Michael Field. Modernist silver is represented by leaders of the field Omar Ramsden and H.G. Murphy. This beautifully illustrated volume reproduces 70 of the Museum's most important pieces from this period, many previously unpublished, with comparative illustrations of some of the original designs. Importantly, the book is arranged chronologically by designer and includes biographies, a description of their work and how it changed over time, as well as commentary about the specific works in the Museum's collection. The resulting book therefore brings together for the first time the Fitzwilliam's exceptionally fine holdings of jewellery and metalwork from this highly popular and fruitful period of design.

First published in 1971, this book was the first major survey ever made in this field. It includes all the main museum collections in the world, and enables comparative study of almost all the known jewellery from predynastic times to the end of the XXVIth Dynasty (525 B.C.) to be made.

The jewellery of the ancient Egyptian civilization was of a delicacy and magnificence seldom rivalled; much has been learned by comparing the jewels themselves, and the techniques and materials of those who made them. But this book draws also on other branches of Egyptian art, since paintings and sculpture sometimes provide evidence showing how the jewellery was made and worn. Each section opens with a brief history of the period reviewed, and an account of the manner in which the individual jewels were discovered both of which help those readers unfamiliar with Egyptological matters. The key pieces are described in detail, and the text is generously illustrated with line drawings and plates. An indispensable reference book for all those with an interest in the art of ancient Egypt."

The Tower of London has over two million visitors a year, with the Crown Jewels as its centrepiece. This paperback edition of the official illustrated history of the Crown Jewels, the most famous jewelry collection in the world, incorporates spectacular new photographs with stunning details. Accessible and up-to-date text, based on original research, includes the story of two of the largest and most famous diamonds in the world - the Kohi-nur and the Cullinan. This is the perfect souvenir for visitors to the Tower of London, as well as an ideal introduction for anyone interested in English history and monarchy.

"...it's the colorful photographs (over 500!) of one-of-a-kind Hopi and Moroccan-inspired mosaic pieces featured in her memoir, out in October, that truly command attention, from ammonite fossils and ivory animal renderings to stunning lapis, coral, and turquoise designs." - Natural Diamonds North African-born Eveli Sabatie had a long-time fascination with Native American culture and history. As a young woman, she left her home in Paris in 1968 to move to San Francisco, hoping to learn more. A chance encounter with a Hopi traditionalist led to an invitation to Arizona, where she apprenticed with a master Native American jewellery-maker. For her, this was the beginning of a new world. Art can never be fully divided from the artist's voice, nor the natural world. When Eveli encountered red jasper while roaming the Arizona mountains, she knew she had to incorporate her local geology into her work. Yet raw materials are just one of many ways in which the world around Eveli shapes her art. This book is a direct and personal exploration of Eveli's work, following her arc of growth, challenges and internal workings. Eveli's jewellery is entirely created by her, from gathering material to fabricating the body of the piece, doing the lapidary work and finally adding stone settings and finishings. She works in a rustic, ancient environment, often choosing to use rudimentary and home-made tools over commercial techniques. This book explores her creative process through five sections: THE JOURNEY, a biographical overview of her time at the Hopi reservation in Northern Arizona, where she apprenticed under Charles Loloma; CLOUDS AND RAIN, exploring the influence of the Hopi and the desert on her work; BEING HOME, which talks in greater detail about Eveli's relationship with the environment; BEING HUMAN, a philosophical study of humanity through jewellery; and BRANCHING OUT, which features Eveli's other artworks, which are sought after by collectors from around the world. This is a profound reflection on the earth, through the medium of jewellery.

This detailed guide is written for intermediate and experienced Rhino 3D CAD users who wish to improve their understanding of NURBS and subdivision modelling methods in Rhino 3D. It explains how 3D modelling applies to jewellery and manufacturing through a combination of step-by-step tutorials, analysis of the software techniques and demonstrations of real world case studies. Packed with essential techniques and strategies, it can be used as a self-learning tool or a classroom text to take your use of Rhino's 3D NURBS and subdivision modelling tools to a higher level. This new book gives a comprehensive and fluid strategic approach to modelling solids, surfaces and subdivision objects in Rhino. The application of jewellery manufacturing tolerances across a range of different jewellery types is covered. The essential tools and holistic strategy of Rhino's SubD organic modelling suite, and how it fits within the greater scheme of Rhino modelling is discussed. Finally, there is an overview of useful practices for creating good CAD renders using Rhino Cycles.