By Carson I A Ritchie
By Arthur Baker Ltd
1969 SBN 213 17955 5
Arthur Baker Ltd writes:
As this is the first handbook on ivory carving ever to be written, the author (who is one Britain’s foremost ivory sculptors) has tried to make it as complete as possible. Step by step instructions, fully illustrated by line drawings, take the beginner from the initial stage of buying the ivory through the sculpting and polishing processes. In the final chapter on Marketing and Exhibiting the author passes on his experience as a professional ivory carver and exhibitor for those who want to turn ivory carving from an enthusiasm into a livelihood. This book lays bare for the first time the secrets of ivory sculpture which have been transmitted from master to pupil over the centuries, but never published.
Although primarily intended for the beginner who has had no formal art instruction, this book will also interest the professional sculptor who wishes to move over from some other medium into ivory, particularly the special sections on cutting the cost of buying the tusks, studio arrangement and planning of work so as to eliminate unnecessary drudgery and leave as much time as possible available for the vital matters of inspiration an design.
In his advice to beginners in carving the author has tried to balance between the enthusiast who cannot afford any more equipment than what will go on a kitchen table, and the professional with a well equipped studio. A well chosen photographic section shows what ivories look like at different stages of the carving process and illustrates the work of contemporary sculptors in this field.
Ivory carving is not of interest just to the carver, but to the collector, the archaeologist, and the art historian as well. Special sections have been written to show how to distinguish between the provenance of one kind of ivory and another and how to track the use of different kinds of tools from their traces. So archaeologists can now begin to ask themselves the question ‘Is this statue Indian or African ivory, and how was it carved?’ with some hope of an answer.
About the author
Dr Richie is the first research worker to test every known kind of ivory for hardness and fluorescence. He began ivory carving as a complete amateur, and now exhibits with the Royal Society of Miniature Artists, Sculptors and Gravers.
Wednesday, March 07, 2007
Tuesday, March 06, 2007
The Rise Of Technology Addiction
Read on to learn more about the exponential growth of portable technology and the after effects: the link between the decision making process, work and private life....
@ http://news.bbc.co.uk/2/hi/programmes/click_online/6411495.stm
@ http://news.bbc.co.uk/2/hi/programmes/click_online/6411495.stm
Digging For Ethical Gems
The distribution of gemstones is very complex. The routes followed by gemstones to the marketplace are also very torturous. There are more individuals involved , each with their own interests. In gem producing countries, smuggling, child labor, illicit trading, and environmental destruction are widespread.
Read on to learn more about the concerns associated with gemstones @
http://www.coopamerica.org/pubs/realmoney/articles/ethicalgems.cfm
Read on to learn more about the concerns associated with gemstones @
http://www.coopamerica.org/pubs/realmoney/articles/ethicalgems.cfm
Psycho
Memorable quote (s) from the movie:
California Charlie, used car salesman (John Anderson): I'm in no mood for trouble.
Marion Crane (Janet Leigh): What?
California Charlie, used car salesman (John Anderson): There's an old saying, "First customer of the day is always the trouble!" But like I say, I'm in no mood for it so I'm gonna treat you so fair and square that you won't have one human reason to give me...
Marion Crane (Janet Leigh): Can I trade my car in and take another?
California Charlie, used car salesman (John Anderson): Do anything you've a mind to. Bein' a woman, you will. That yours?
Marion Crane (Janet Leigh): Yes, it's just that - there's nothing wrong with it. I just...
California Charlie, used car salesman (John Anderson): Sick of the sight of it! Well, why don't you have a look around here and see if there's somethin' that strikes your eyes and meanwhile I'll have my mechanic give yours the once over. You want some coffee? I was just about...
Marion Crane (Janet Leigh): No, thank you. I'm in a hurry. I just want to make a change, and...
California Charlie, used car salesman (John Anderson): One thing people never oughtta be when they're buyin' used cars and that's in a hurry. But like I said, it's too nice a day to argue. I'll uh - shoot your car in the garage here.
California Charlie, used car salesman (John Anderson): I'm in no mood for trouble.
Marion Crane (Janet Leigh): What?
California Charlie, used car salesman (John Anderson): There's an old saying, "First customer of the day is always the trouble!" But like I say, I'm in no mood for it so I'm gonna treat you so fair and square that you won't have one human reason to give me...
Marion Crane (Janet Leigh): Can I trade my car in and take another?
California Charlie, used car salesman (John Anderson): Do anything you've a mind to. Bein' a woman, you will. That yours?
Marion Crane (Janet Leigh): Yes, it's just that - there's nothing wrong with it. I just...
California Charlie, used car salesman (John Anderson): Sick of the sight of it! Well, why don't you have a look around here and see if there's somethin' that strikes your eyes and meanwhile I'll have my mechanic give yours the once over. You want some coffee? I was just about...
Marion Crane (Janet Leigh): No, thank you. I'm in a hurry. I just want to make a change, and...
California Charlie, used car salesman (John Anderson): One thing people never oughtta be when they're buyin' used cars and that's in a hurry. But like I said, it's too nice a day to argue. I'll uh - shoot your car in the garage here.
Victorian Jewellery Design
By Charlotte Gere
William Kimber and Co Ltd
1972 SBN 7183 0232 X
William Kimber and Co writes:
Jewellery design has rarely been so inventive as during the second half of the nineteenth century. Changes in fashion were closely followed, changes which increased in frequency with improved communications and regular international exhibitions, so that fashions which stemmed from Paris or Rome would soon be adopted in England—and America. While mechanical manufacture meant that the growing demand for fashionable jewellery could be met, contemporaries were alert to the dangers of mass production. The Great Exhibition of 1851 was itself directed to raise the standard of design in manufacture, and stern criticisms were leveled against the jewellery produced throughout the period, yet there survives today a wide selection of well designed nineteenth century jewellery of fine workmanship for the collector and the bargain-hunter to browse over.
Identifying the varied styles and fashions which influenced the craftsmen and manufacturers, such as the enthusiasm for neogothic, archaeological motifs, adaptations of Japanese and Indian art, and botanical novelties, Victorian Jewellery Design is an absorbing guide to the probable origin of many of these nineteenth century pieces—providing the kind of knowledge that enabled the author to identify a gold bracelet in an Oxfam shop as being made by Carlo Doria for Robert Phillips. It traces the influences underlying the changes of fashion, and shows how it was frequently artists—sometimes producing their own hand-made pieces—such as William Burges, Charles Rickett, the Pre-Raphaelites and the leaders of Art Nouveau, who introduced fresh inspiration, rather than the trade craftsmen.
William Kimber and Co Ltd
1972 SBN 7183 0232 X
William Kimber and Co writes:
Jewellery design has rarely been so inventive as during the second half of the nineteenth century. Changes in fashion were closely followed, changes which increased in frequency with improved communications and regular international exhibitions, so that fashions which stemmed from Paris or Rome would soon be adopted in England—and America. While mechanical manufacture meant that the growing demand for fashionable jewellery could be met, contemporaries were alert to the dangers of mass production. The Great Exhibition of 1851 was itself directed to raise the standard of design in manufacture, and stern criticisms were leveled against the jewellery produced throughout the period, yet there survives today a wide selection of well designed nineteenth century jewellery of fine workmanship for the collector and the bargain-hunter to browse over.
Identifying the varied styles and fashions which influenced the craftsmen and manufacturers, such as the enthusiasm for neogothic, archaeological motifs, adaptations of Japanese and Indian art, and botanical novelties, Victorian Jewellery Design is an absorbing guide to the probable origin of many of these nineteenth century pieces—providing the kind of knowledge that enabled the author to identify a gold bracelet in an Oxfam shop as being made by Carlo Doria for Robert Phillips. It traces the influences underlying the changes of fashion, and shows how it was frequently artists—sometimes producing their own hand-made pieces—such as William Burges, Charles Rickett, the Pre-Raphaelites and the leaders of Art Nouveau, who introduced fresh inspiration, rather than the trade craftsmen.
Monday, March 05, 2007
The Tanzanite Story
Tanzanite is a variety of Zoisite named after its country of origin, Tanzania. It was first discovered in 1967 and is still the only place where it can be found. Tanzanite is known for its varying shades of violet; also occurs in brown, pink, greenish and yellow. All these shades may turn to blue upon heat treatment. The results of this treatment are stable. Tanzanite is an attractive stone with a color to match any other.
More info on mining practices @
http://www.irinnews.org/film/Gem-Slaves-view.htm
TANZANIA
Gem Slaves: Tanzanite's child labour
English transcript @ http://newsite.irinnews.org/Report.aspx?ReportId=61004
More info on mining practices @
http://www.irinnews.org/film/Gem-Slaves-view.htm
TANZANIA
Gem Slaves: Tanzanite's child labour
English transcript @ http://newsite.irinnews.org/Report.aspx?ReportId=61004
The Birds
Memorable quote (s) from the movie:
Mitch Brenner (Rod Tayler): What about the letter you wrote me, is that a lie, too?
Melanie Daniels (Tippie Hedren): No, I wrote the letter.
Mitch Brenner (Rod Tayler): Well what did it say?
Melanie Daniels (Tippie Hedren): It said 'Dear Mister Brenner, I think you need these lovebirds after all. They may help your personality.'
Mitch Brenner (Rod Tayler): But you tore it up?
Melanie Daniels (Tippie Hedren): Yes.
Mitch Brenner (Rod Tayler): Why?
Melanie Daniels (Tippie Hedren): Because it seemed stupid and foolish.
Mitch Brenner (Rod Tayler): Like jumping into a fountain in Rome?
Melanie Daniels (Tippie Tayler): I told you what happened!
Mitch Brenner (Rod Tayler): You don't expect me to believe that, do you?
Melanie Daniels (Tippie Hedren): Oh, I don't give a damn what you believe!
Mitch Brenner (Rod Tayler): I'd still like to see you.
Melanie Daniels (Tippie Hedren): Why?
Mitch Brenner (Rod Tayler): I think it might be fun.
Melanie Daniels (Tippie Hedren): Well it might have been good enough in Rome, but it's not good enough now.
Mitch Brenner (Rod Tayler): It is for me.
Melanie Daniels (Tippie Hedren): Well not for me!
Mitch Brenner (Rod Tayler): What do you want?
Melanie Daniels (Tippie Hedren): I thought you knew! I want to go through life jumping into fountains naked, good night!
Mitch Brenner (Rod Tayler): What about the letter you wrote me, is that a lie, too?
Melanie Daniels (Tippie Hedren): No, I wrote the letter.
Mitch Brenner (Rod Tayler): Well what did it say?
Melanie Daniels (Tippie Hedren): It said 'Dear Mister Brenner, I think you need these lovebirds after all. They may help your personality.'
Mitch Brenner (Rod Tayler): But you tore it up?
Melanie Daniels (Tippie Hedren): Yes.
Mitch Brenner (Rod Tayler): Why?
Melanie Daniels (Tippie Hedren): Because it seemed stupid and foolish.
Mitch Brenner (Rod Tayler): Like jumping into a fountain in Rome?
Melanie Daniels (Tippie Tayler): I told you what happened!
Mitch Brenner (Rod Tayler): You don't expect me to believe that, do you?
Melanie Daniels (Tippie Hedren): Oh, I don't give a damn what you believe!
Mitch Brenner (Rod Tayler): I'd still like to see you.
Melanie Daniels (Tippie Hedren): Why?
Mitch Brenner (Rod Tayler): I think it might be fun.
Melanie Daniels (Tippie Hedren): Well it might have been good enough in Rome, but it's not good enough now.
Mitch Brenner (Rod Tayler): It is for me.
Melanie Daniels (Tippie Hedren): Well not for me!
Mitch Brenner (Rod Tayler): What do you want?
Melanie Daniels (Tippie Hedren): I thought you knew! I want to go through life jumping into fountains naked, good night!
Gems And Jewels
By Benjamin Zucker
Thames and Hudson
1984 ISBN 0-500-01326-8
Thames and Hudson writes:
From time immemorial precious stones have been prized as tokens of love, as symbols of wealth and social status, or as objects endowed with magical or religious significance. This comprehensive survey of the history and uses of the principal types of gems provides revealing insights into their origins, into methods and styles of cutting at different times in history, and into the aesthetic appeal of numerous examples of the jeweler’s art. Thus, garnet-ornamented objects from the Ango-Saxon Sutton Hoo ship burial vie for place with elaborate lapis lazuli funerary jewelry from ancient Egypt and Sumer, while the imaginative treatment of baroque pearls in the Renaissance period contrasts with the directness of North American Indian designs featuring the skystone, turquoise. Similarly, such magnificent objects as jade figures carved with exquisite subtlety by Chinese craftsmen and an emerald-encrusted crown by Pierre Arpels (from the former royal collection of Iran) serve to illustrate examples of work from widely differing cultures.
In addition to discussing outstanding specimen stones, such as the famous Tiffancy Diamond, and comparing key differences in shades of color within one type of gemstone—as in the case of opals from Australia and Mexico, and of sapphires from Kashmir and Ceylon—the author reveals the vital clues that enable the expert eye to distinguish between natural and synthetic stones and between natural and cultured pearls, and gives guidelines on methods of grading and on relative values.
Whatever one’s personal preference for colors, styles or materials, this lavishly illustrated book—with individual chapters devoted to ruby, sapphire, emerald, diamond, pearl, amber, lapis lazuli, jade, turquoise, opal and garnet—will provide a wealth of fascinating information.
About the author
Benjamin Zucker is the author of How to Buy and Sell Gems: Everyone’s guide to buying rubies, sapphires, emeralds and diamonds, and has conducted special seminars at the Smithsonian Institution, Washington, D.C.
Thames and Hudson
1984 ISBN 0-500-01326-8
Thames and Hudson writes:
From time immemorial precious stones have been prized as tokens of love, as symbols of wealth and social status, or as objects endowed with magical or religious significance. This comprehensive survey of the history and uses of the principal types of gems provides revealing insights into their origins, into methods and styles of cutting at different times in history, and into the aesthetic appeal of numerous examples of the jeweler’s art. Thus, garnet-ornamented objects from the Ango-Saxon Sutton Hoo ship burial vie for place with elaborate lapis lazuli funerary jewelry from ancient Egypt and Sumer, while the imaginative treatment of baroque pearls in the Renaissance period contrasts with the directness of North American Indian designs featuring the skystone, turquoise. Similarly, such magnificent objects as jade figures carved with exquisite subtlety by Chinese craftsmen and an emerald-encrusted crown by Pierre Arpels (from the former royal collection of Iran) serve to illustrate examples of work from widely differing cultures.
In addition to discussing outstanding specimen stones, such as the famous Tiffancy Diamond, and comparing key differences in shades of color within one type of gemstone—as in the case of opals from Australia and Mexico, and of sapphires from Kashmir and Ceylon—the author reveals the vital clues that enable the expert eye to distinguish between natural and synthetic stones and between natural and cultured pearls, and gives guidelines on methods of grading and on relative values.
Whatever one’s personal preference for colors, styles or materials, this lavishly illustrated book—with individual chapters devoted to ruby, sapphire, emerald, diamond, pearl, amber, lapis lazuli, jade, turquoise, opal and garnet—will provide a wealth of fascinating information.
About the author
Benjamin Zucker is the author of How to Buy and Sell Gems: Everyone’s guide to buying rubies, sapphires, emeralds and diamonds, and has conducted special seminars at the Smithsonian Institution, Washington, D.C.
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