Wiresmithing offers jewelry artists a new way to make beautiful jewelry that has a modern contemporary look. As artists we're always looking for new and interesting ways to produce jewelry. We have an adventurous spirit that prompts us to take risks and test out new designs everyday. This book is dedicated to creating new designs by combining new wire wrap techniques with basic metalsmithing skills.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Complete unabridged reprint of the rare 1892 book. Chapters include ...(1) The Chemical and Physical Properties of Gold ...(2) The Precipitation of Gold in Waste Solution ...(3) The Different Colors of Gold ...(4) The Mixing and Melting of Gold ...(5) The Dry Coloring of Gold ...(6) The Wet Coloring of Gold ...(7) Melting and Casting of Gold ...(8) Electro-Gilding ...(9) Some Other Modes of Gilding ...(10) Practical Manipulations ...(11) Mixing Alloys of Gold ...(12) Useful Imitation Gold Alloys ...(13) Hints and Help ...(14) Collecting and Refining ...(15) Sundry Gold Alloys ...(16) Choice Recipes ...(17) Gold Values and Alloys ...(18) Index.

* Author's previous three beading titles have sold a total of 175,000 copies * Beading is as popular as ever, and Christmas is one of the key crafting occasionsWhether it's a tealight holder, a pom-pom light garland, a Christmas stocking, gift bags, or a Christmas jewelry set, readers will embrace the decorating and gift ideas found in Simply Sparking Christmas Beading. Easy-to-follow step-by-step instructions cover a huge range of techniques, including bead loom weaving, bead stitches, bead embroidery, and wiring, for projects that truly shine. With a selection of last-minute variation projects ideal for when time is short, even the most harried Christmas shopper will find something to craft in this accessible and friendly guide.

The survey Guide to the Arts began in April 1988 as interviews with jewellers, fashion designers and furniture restorers, based at Old Loom House in Whitechapel, launching a quarterly review "Cv Journal of Art and Crafts". "Cv Journal" was published to 1992 and the collection of interviews, features and reviews provided the foundation of the Cv/Visual Arts Research archive and subsequent publications. "Cv/VAR" addresses the fields of academic research, galleries and museums worldwide, and a growing non-specialist readership. The programme is categorized as Interviews with the Artists; Curators and Collections; Crafts Directory; Small Histories; Guide to the Arts; Art, Criticism and Display and an open area for current developments. Titles are published in conventional book format and made in-house by digital process as print on demand, as well as CD-ROMs in Cv Publications' software catalogue. "Cv/VAR 65" features an interview with Dr Michael Ryan of the National Museum Dublin recorded at the opening of Work of Angels at the British Museum in 1989. Discusses pieces found at Derrynaflan dating from 8th century including an ecclesiastical paten, jewellery, accessories and domestic artefacts. It gives detailed examination of celtic craftsmanship and iconography represented in individual pieces.

An in-depth study of the bead and how the native north and south Americans utilised beads for dress and ritual clothing from prehistoric to relatively modern times. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

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.

Featuring 450 full-color photos and 241 of the world's foremost narrative jewelry makers, this book showcases the best of what today's makers, ranging from newly graduated students to the luminaries of the jewelry world, have to offer us: jewelry that's designed to evoke a range of thoughts and feelings. Do you have a piece of jewelry that offers a story? What story does the jewelry we own or desire tell? Why are you attracted to some pieces, but repelled by others? The answers unfold in this contemporary compendium, also featuring a foreword by jewelry professor and expert Jack Cunningham, PhD, and text by artists Jo Pond and Dauvit Alexander (The Justified Sinner). The makers and images selected for this book are a broad representation of the genre of narrative jewelry, and offer a fascinating look for anyone who wears, collects, or has an interest in jewelry or design.

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.

The best on subject-discusses tools, materials, processes for creating lovely pendants, rings, pins, buckles, more. 164 illus.

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.

A sterling new study of the exquisite designs of Danish silversmith Georg Jensen (1866-1935) and company. Nearly one thousand photographs illustrate much of the stunning jewelry, hollowware, and flatware designed and produced from 1904 to the present. One of the most talented, original, and influential silversmiths of the twentieth century, Jensen's life and the company he founded are thoroughly researched. This book explores his place within the late nineteenth century arts scene, his training as a sculptor and silversmith, the establishment of his own workshop, and its expansion into an international company. The contributions of many gifted designers who worked for the company are discussed in detail. Interpretation of the marks used on Jensen silver is provided. This is a major revision of a very important book, with over 200 new photos and new information. It is an invaluable reference work for owners of Jensen silver, artists, silversmiths, designers, curators, and art dealers.

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."

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.

Goldstruck: A Life Shaped by Jewellery sets luxurious imagery of a lifetime s work alongside an honest and often comically autobiographical account of Stephen s career in the jewellery world. The book is a lavish collation of Stephen s personal and professional life, encompassing material such as photography by Rankin and Amelia Troubridge documenting his coveted collections, intricate sketches and designs that convey a fascinating creative process, and archival imagery including magazine editorials, advertising campaigns and intimate photography from Stephen s personal collection. Alongside such visual opulence, a foreword by Tracey Emin and a host of candid and personal recollections from luminaries of the worlds of art, entertainment and fashion, Stephen charts his career from the first steps of enrollment upon a jewellery- making course at his local college in Rochester, Kent to his rise to international recognition.

The Arts and Crafts Movement, a fascinating period in American decorative history, led to the unprecedented commercialization of fine crafts and the empowerment of thousands of women and immigrants, who began to pursue new careers in design and handicraft. In 1893, the World's Fair in Chicago heralded the egalitarian art movement in America that led to the establishment of a plethora of metalwork and jewelry companies and studios by the turn of the century. Darcy Evon documents how these new trends spread throughout the Midwest and eventually the country, led by innovative pioneers who inspired an entire nation. They designed exquisite, original pieces of metalwork and jewelry by hand, starting with basic raw materials. Dozens of previously unidentified shops, artists, their creations, and accurate information on well-known historical figures, are featured for the first time in this important, major publication. Organized by trade name and location, this book is for collectors, dealers, and art historians, as well as artisans.

Beads are one of the great New Orleans symbols, as much a signifier of the city as a pot of scarlet crawfish or a jazzman's trumpet. They are Louisiana's version of the Hawaiian lei, strung around tourists' and conventioneers' necks to demonstrate enthusiasm for the city. The first in a new LSU Press series exploring facets of Louisiana's iconic culture, Mardi Gras Beads delves into the history of this celebrated New Orleans artefact, explaining how Mardi Gras beads came to be in the first place and how they grew to have such an outsize presence in New Orleans celebrations. Beads are a big business based on valuelessness. Approximately 130 shipping containers, each filled with 40,000 pounds of Chinese-made beads and other baubles, arrive at New Orleans's biggest Mardi Gras throw importer each Carnival season. Beads are an unnatural part of the natural landscape, persistently dangling from the trees along parade routes like Spanish moss. They clutter the doorknobs of the city, sway behind its rearview mirrors, test the load-bearing strength of its attic rafters, and clog its all-important rainwater removal system. Mardi Gras Beads traces the history of these parade trinkets from their origins in Twelfth Night festivities through their ascent to the premier parade catchable by the Depression era. Veteran Mardi Gras reporter Doug MacCash explores the manufacture of Mardi Gras beads in places as far-flung as the Sudetenland, India, and Japan, and traces the shift away from glass beads to the modern, disposable plastic versions. Mardi Gras Beads concludes in the era of coronavirus, when parades (and therefore bead throwing) were temporarily suspended because of health concerns, and considers the future of biodegradable Mardi Gras beads in a city ever more threatened by the specter of climate change.

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.