Category Archives: custom design

Treasures from Trash, What is Art?

NEXT POST, The Making of a Masterpiece VI (Part 2) MORE IMAGES, STAY TUNED.

The Making of a Masterpiece VI (part 1)

Birth of A Concept:

The concept began with a pair of black opals the two peacocks, a perennial part of the Art Nouveau design lexicon. The peacock has been used as a symbol from the time of the ancient Greeks. However, in this case, it seemed particularly useful as a naturalistic excuse to show off the the bird’s plumage using a rainbow of colored gemstones.

Second Preliminary sketch.

Completed sketch

Accenting Color

Finding accents for gem opal is always a challenge. Very few gemstones find a simpatico with opal. In this case; ruby and blue sapphire worked very well, picking up the corresponding hues in the opals, but when it came to the orange tones in the opal, orange sapphire and diamond simply did not work. The only gemstone that the opal would accept was spessartite garnet. Here is the preliminary

layout: In the next post, I’ll share some more images including the steps involved in the hand manufacture of this beautiful pendant. Stay tuned…

The Making of a Masterpiece V

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An exceptional 32 carat Siberian amethyst custom cut by John Dyer

by Richard W. Wise, G.G.

In the old days an apprentice goldsmith was required to submit a finished work, sort o final exam and thesis in metal to prove his skills and worthiness to hold the title of master goldsmith. This work was known as a masterpiece.

Per usual at R. W. Wise, a client’s purchase of a particularly beautiful gemstone began the journey. The stone, a fairly large custom cut amethyst measuring 24 x 19mm, a tad large for a ring, practically begged to be made into a brooch. In consultation with our client, it was decided that it would be a combination piece that would be wearable as both a pendant and a brooch.

The client is particularly drawn to designs from The Art Nouveau Period (1890-1910). Le art nouveau, literally the new art, evolved from the Arts & Crafts Movement (1860-1880), really a philosophy as much as a movement that put great emphasis on naturalistic design, hand craftsmanship and the use of honest materials.

A 18k gold, plique a jour pendant by Art Nouveau master Lucien Gautrait. R. W. Wise Collection. Photo: Jeff Scovil

Art Nouveau jewelers retained the design concept but pulled out the stops when it came to use of materials. Drawing inspiration from ancient Celtic and Gothic designs, jewelry of this period are executed with naturalistic, often fantastical females and floral designs featuring asymmetrical whiplash like filigree. Art Nouveau designs are often quite intricate, made extensive use of enameling as well as exotic gemstones of all colors.

From Concept to Completion:

The Concept:

As with all custom design, the first step is the concept. The client supplied us with pictures of period designs. Master goldsmith Michael Corneau then reinterpreted the design ideas into a pendant/brooch that would frame the gemstone.

The finished sketch. The empty center is precisely the size of the gemstone. At the upper left the designer holds a narrow piece of shaped 18k gold wire the first section of the piece. Photo: Amy Judd

Execution:

Once the sketch is approved, we move on to execute the design. In this case the construction involved a large number of individually shaped elements.

The following images illustrate the construction process:

A series of tiny shapes, cut out, filed and fitted, then laser welded. Photo: Amy Judd

Soldering the elements. Photo: Amy Judd

Working with the flexible shaft tool, shaping and smoothing. Photo: Amy Judd

The finished Piece:

18k Art Nouveau style brooch with 32 carat Deep Siberian amethyst. Photo: Robert Weldon

Gold and Jewelry Prices in 2010

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As gold prices pass the $1,300 per ounce mark, it might be useful to talk about the relationship between gold prices and the price of finished jewelry. In the late 1970s, during the first gold rush I can recall, prices seemed to go up every week culminating in a peak price of $850 per ounce in early 1979. During this period, we adjusted our prices weekly and often found ourselves raising the ticket price on finished pieces to keep up with our replacement cost.

A Finished Piece of Handmade Jewelry Averages 70% labor, 30% gold:

After the peak things gradually calmed down and gold tended to trade between $350-500 for most of the next two decades. Gold is a material, in handmade jewelry it is normally 30% of the finished price. That means that 70%, on average, is the cost of the craftsman’s highly skilled labor. Paradoxically, the more handwork the less of a factor the actual materials become.

During the go-go late 70s some commercial manufactures thinking to take advantage of consumer awareness of high gold prices, began marketing gold jewelry by weight.

“Don’t worry, the gold is free!”

This was a problem for hand craftspeople. I recall be asked frequently to weigh handmade original pieces. At first I simply refused, but later I developed a standard response. “Don’t worry”, I would say smiling my most ingratiating smile, “the gold is free.” You can imagine the effect on the potential client, like a deer caught in the headlights, stunned speechless. It did provide an opening for me to launch into an explanation of the differences between commercial and handmade jewelry. Sometimes it worked, oftentimes it didn’t.

Brooch, hand constructed of gold sheet and wire.

Using the international gold price to deduce the price of a piece of handmade jewelry is a bit like comparing the price of a wooden house to the cost of a tree. The fact is, no one pays the spot gold price quoted in the morning paper. Craftsmen do not buy ingots, they buy manufactured sheet and wire of a certain size, shape and fineness.

Nobody Pays The Spot Price:

Gold: Manufactured sheet and wire stock

The price of manufactured gold differs from the spot price in the same way that the price of a board foot of lumber differs from the price of a pine tree. It is , in fact, 20-35% higher. Then there is waste. Saw a 1″ circle from a 1″ square of gold sheet and you end up with a certain amount of dust and a few tiny, unusable corners. Unless the workshop generates a great deal of scrap it is not cost efficient to melt that scrap down, make an ingot and roll it out into sheet. We can do it in our workshop, but under 5-6 ounces it doesn’t pay. So the dust and scrap is returned to the refinery for cash or credit of roughly 95% of the spot price. Net loss, 35% of the price originally paid. Polishing then reduces the rough weight by about 10% to yield the lovely hand polished piece of jewelry you see on display.

So, the next time you are tempted to ask a craftsman to weigh a piece of fine handmade jewelry, remember that gold price has a nebulous relationship to a finished piece of jewelry, particularly handmade jewelry. Remember too, craftsmanship counts.

The Making of A Masterpiece IV; Dendritic Agate Pendant/brooch

Hand & Eye:

The creation of a work of art is a process. Sketches are made, revised and a final design decided upon. However, during the course of the process, things change.

One of the larger questions in deciding on the final design for this pendant/brooch, was the complexity and placing of the appliques of white gold on the yellow gold surface of the pendant frame. These tiny branch like elements are meant to echo the natural pattern of dendritic inclusions in the agate itself (image left). The formation and cutting of this rare type of agate is the subject of the article below by Tarun Adlakah.

Both the designer, Michael Corneau and I agreed that too much applique would be too fussy. The question was, how do you minimize this design element without the result looking half-done. Michael came up with a couple of ideas, once the piece was in process figured out a better design which neither of us had discussed.

The finished piece was completely handmade from sheet gold using a saw, hammer, torch and laser welder. This method, known as hand fabrication is the true “handmade” method. The term is tossed about pretty liberally and often used to describe one of a kind pieces made in wax then cast by the lost wax method (cire perdu), but in my view unless you work in the metal itself, the piece cannot be said to be truly handmade.

A majority of the tools used in this process are hundreds if not thousands of years old. Some of the tools, such as the bow-drill featured below can be seen on tomb paintings from ancient Egypt. The laser welder is a new and very expensive tool. It was invented about twenty years ago and allows for precise cold-joining. It is particularly useful for adding the tiny filigree like elements pictured above

Poetry In Stone

by Tarun Adlakha

There are many legends surrounding the discovery of these stones and are mostly fables but it was around 400 years ago that the first documented records of their occurrence can be traced back to. A chance discovery gave birth to this lapidary art that flourished in the reign of the Chandela King Chhatrasal.

There are two primary occurrences of these stones spread over an area of about 50 kms radius in West Central India. The primary occurrence is of secondary river bed deposits in one of the tributaries of the Narmada river that has been weathered down by water and is a regenerating source after the annual post monsoon floods and is often associated with the transparent and more finely imprinted stones while the second inland source is associated with the translucent stones which are again sub characterized according to the regional peculiarities and are mined from the grey green volcanic ash beds at the depths of 40-85 feet.

Chemically these agates are quartz nodules with atypical banding and occasional druzy hearts with a hardness of around 7 on the Moh’s scale. Some nodules have yellow skins though that is again not a typical feature. The impressions though are still a scientific debate though most opinions point to the purely inorganic depositions of iron, magnesium and tin ions while a smaller school of thought believes that these were organic material replaced by ion exchange process over millions of years by inorganic metal salts and agatized.

The cutting process despite the advent of the gem saws has still remained the same for the last 400 years. The finally sorted stones are then sent to the master cutters who use a length of bow string coated with silicon carbide mounted on a wooden stand to slowly grind layer by layer until the dendrite bearing layer is reached. It is a painstaking process because the layers are very fine and the dendritic impressions even finer and not more than a few microns thick. One wrong stroke and a beautiful gem is ruined.

News From Our Workshop

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Handmade Originals

By Richard W. Wise, G.G.

Well, we are home and back in the saddle again. I am sure that you are all heartily sick of images of us having fun in the sun but, Rio, St. Helena’s, Namibia, South Africa, Mozambique and Kenya: what a great trip.

One good reason to come home, a chance to see two beautiful new creations from the workbench of Laurie Donovan. These handmade original rings are made using a technique we call “floral appliqué”.

The Inspiration:

The design inspiration is drawn from Ukiyo-e or Japanese woodblock printing. The Ukiyo-e style began to influence Western art shortly after the island empire was pried open by Commodore Perry in 1855. In Japan, Ukiyo-e was originally a cheap reproducible art form aimed at the masses, so cheap that these prints originally found their way to Europe, stuffed into crates, as packing material. It wasn’t long before the Ukiyo-e style began to have a strong impact on Western art, inspiring the Art Nouveau movement along with such disparate souls as Gaugan, Van Gogh and Frank Lloyd Wright. (image right: 19th Century Japanese Ukiyo-e woodblock print with stylized leaves)

Ring #1,The Design:

Ukiyo-e provides an excellent point of departure for the Spectrum Award winning artist to demonstrate her lyrical mastery of line. In her experienced hand the jeweler’s saw becomes as versatile as an artist’s pencil. (image left: Ms. Donavan cuts individual petals from gold sheet with jeweler’s saw) The choice of colored golds, in this case yellow and white, provide a subtle counterpoint. The shank of the ring is in 18k white with a sanded finish. This finish adds depth and allows the polished yellow leaves to standout sufficiently to echo and complement the vivid scintillation of the Fancy Vivid Yellow and colorless (D-VS2) diamonds.

The Gems:

Exceptionally brilliant, these Fancy yellows have a slight orangy secondary hue (FVoY). Vivid Yellows will almost always read as either slightly orange or slightly greenish. The orange secondary hue is much to be desired because it adds a sense of sunny warmth. (pictured right, original parcel of FVoY from which these stones were taken)

Ring #2, Design & Gems:

Ms Donovan constructed the second floral appliqué ring of green gold with rose colored appliquéd flower petals. Again the artist draws inspiration from the highly stylized Ukiyo-e designs. Each individual rose gold petal
is unique and beautifully frames the diamond to complete the blossom. These two colored golds are sufficiently exotic to stand up against the combined scintillation of three ideal cut round (D Vs2) diamonds. The green gold is cool, the rose warm. Note the artist has pierced the center section of the design to open it up and give it a lighter feeling. The green gold shank has been sand finished to maximize the contrast and bring out the color of the delicate rose colored petals.

Custom Design; From Concept to Completion:

We have specialized in custom design since our company was formed in 1978. We stand ready to work with you.

Rings in the floral appliqué style can also be made with other gemstones (yours or ours) by custom order. We have been working with contented clients for 28 years. Prices start at about $2,000.00 for a ring in 18k and vary depending upon the complexity of the design. As always the pieces are designed around and for the stones and we create several life-size sketches from which to choose your own unique design. If the first sketches don’t please you we will do more. There is never an extra charge for our creative services.

Visit our online gallery; www.rwwise.com. and send us an email richard@rwwise.com or call us toll free at 800.773.0249 (413.637.1589 in Berkshire County, or outside the U.S.).

Hours; Dead of winter: Thursday, Friday and Saturday from 10-5 (EST). Leave a message and we will call you back.

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