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.

This inspirational book features over 35 master jewelry designers, organized alphabetically. Hailing from Australia, Brazil, France, Greece, Hong Kong, India, Italy, Japan, Lebanon, Russia, Turkey, the UK and USA, they represent a wide variety of approaches, from Aida Bergsen's flora and fauna-inspired designs, including emerald- studded frogs and diamond- encrusted salamanders; through Anabela Chan's exquisitely detailed laser-cut brooches of white gold and platinum with iridescent diamonds and natural grey pearls; to Elie Top's yellow gold spheres that are a feat of mathematical precision and ingenuity. Red-carpet customers and fans include Beyonce, Gwyneth Paltrow, Salma Hayek, Madonna and Michelle Obama. Each designer is introduced with a biography that highlights their working practices and key sources of inspiration. Illustrations include sketches as well as images of glorious finished designs, all of which are unique and many of which are bespoke. Complete with an introduction, a useful glossary and notes of designers' websites (some work by appointment only), this is the perfect, curated resource for both aficionados and professionals who wish to view the craftsmanship of some of the most visionary practitioners working in the field of fine jewelry today

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'.

Discover the common treatments and imitations plus gemstone properties, sources and typical cuts of stones, including a guide on appraisal techniques.

Jewellers and designer goldsmiths, lapidaries and gem cutters, stone setters, gemologists, geologists, collectors and people who buy and sell jewellery at antique fairs and on the internet, this book is for anyone who has ever had a gemstone and wanted identification and information. Featuring a mix of gemstones and gem-set jewellery, it puts gems in context and contains historical context for those buying and selling antique and vintage gem-set jewellery, including details of the stones typically found in Georgian, Victorian, early 20th century settings.

Packed with fascinating gemological details and up-to-minute data on more than 70 of the most exquisite gemstones, and written by leading expert, Judith Crowe, learn the common pitfalls in identifying stones and clarify areas of confusion and misidentification.

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.

Silver is an exciting and versatile material for jewellery makers, both beginners and the more advanced, and nothing beats the satisfaction of creating and making your own designs. This book shows you how. Full of inspiring ideas and finished pieces, it explains over forty processes including the more advanced techniques such as fold forming and keum-boo and encourages the reader to experiment with their own designs. Further topics include step-by-step explanations with bench tips from the author's own experience; advice on the jewellery process, including how to gather inspiration for designs and considerations for making wearable jewellery. Finally, there is a chapter dedicated to the surface finishing and polishing of silver to give your designs a professional finish.

"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.

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.

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.

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

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.

Why did the Vikings sail to England? Were they indiscriminate raiders, motivated solely by bloodlust and plunder? One narrative, the stereotypical one, might have it so. But locked away in the buried history of the British Isles are other, far richer and more nuanced, stories; and these hidden tales paint a picture very different from the ferocious pillagers of popular repute. In this book, Eleanor Parker unlocks secrets that point to more complex motivations within the marauding army that in the late-9th century voyaged to the shores of eastern England in its sleek, dragon-prowed longships. Exploring legends from forgotten medieval texts, and across the varied Anglo-Saxon regions, she depicts Vikings who came not just to raid but also to settle personal feuds, intervene in English politics and find a place to call home. Native tales reveal the links to famous Vikings like Ragnar Lothbrok and his sons, Cnut, and Havelok the Dane. Each myth shows how the legacy of the newcomers can still be traced in landscape, place-names and local history. Meticulously researched and elegantly argued, Dragon Lords uncovers the remarkable degree to which England is Viking to its core.

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.

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.

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.

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 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."

"...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.

If you love silver jewelry but don't have the time or patience to learn traditional silver-smithing techniques, then the exciting medium of silver clay will open up a whole new range of possibilities to your jewelry making. Boasting all the same properties as modeling clay, it is 99.9% pure silver--meaning that you can make high-quality jewelry using the easiest of techniques. Revised and reformatted Silver Clay Workshop is perfect for anyone taking their first steps with this rewarding craft. 22 projects that show perfectly the versatility of silver clay. Shape, roll, cut, mold and indent your way through them, learning the techniques as you go. From pendants and bracelets to rings and statement beads, there will be something for everyone.