Judaica by Ruth Shapiro

http://growingupjewish.com/ 

Writing this post has taken me longer than most – first because Ruth is a dear friend of mine, second because I don’t know anything about Judaica. So when looking at an object, while I could appreciate it’s artistic value, I had no idea what the object was or how it was used. So this became a learning journey and I am taking all of you with me!

Bio - In Ruth's Words:

      In addition to being a Judaic artist, I work as a part-time nursing consultant, in the legal field. I have been a registered nurse, in some very high-powered fields, since 1970. In 1981, I had a serious accident, which left me unable to continue at my previous pace. In 1984, I went to UCLA Graduate School to take a nursing course, but was unable to get into the class I wanted. I next went to Santa Monica Community College to see if they had a similar course, but was instead drawn to a course called "Lost Wax Casting" in the Adult Evening School.

I didn't have any idea what the subject was, but signed up anyway. Those 6 classes changed my life! I was hooked on this very old, exciting method of sculpture and jewelry-making.

At the same time, I had joined the Pomegranate Guild of Judaic Needlework, again a strange choice for me. While I'd always liked embroidery and knitting, etc., I'd also hated meetings and anything as sedentary and slow as a sewing circle! Well, the rich symbolism and visual stories I saw at the meetings fused with my new metal-working skills and my first mezuzah cases were made and sold in only a few weeks. Demand grew, and I was pulled along at a furious pace. I had to pull up any vestiges left of my Jewish education, and furiously read everything I could find, always just a step ahead of (or behind) the next project., from mezuzah to yod, to menorah to breastplate for the Torah. I took a few adult school jewelry classes, and added contemporary jewelry to my repertoire. I’ve taken many workshops in the last 2 years, learning more metalworking techniques from renowned artists, but always, Judaica has been my love.

In 1988, I went to Israel to learn techniques from some silver masters, and to enhance my spiritual development. My work has taken me to shows and exhibits all over the United Sates. My mezuzzot are in Israel and Canada as well. A yod of mine even went into space!

Until a few years ago, I always felt that I'd "ride the wave" as far as it took me; that I was somehow "supposed to be" a Judaic artist. I would keep at it as long as I could keep creating and keep selling. Just as I would start to think about other career directions, a new commission would appear. Just as I think I'll never have another fresh idea, a dream supplies me with a new mezuzah and a new technique. Do I think these events are Divinely created? Of course I do! In the last year, I've come to believe that I will never be "barren". I also don't harbor any beliefs in my own "talent". I believe that I am a vessel, and the spirit of God and creativity flow through the vessel, stay awhile, and move on. I just have to be there and be ready and open.

In the past 15 years as a Judaic artist, my life has dealt me a few curves and twists...a car accident here, a broken wrist there, a few illnesses. Each time, I made some adaptations in my work. Each time, my work grew in a new, unexpected and better direction. Each time, I learned some thing I might not have otherwise seen. Was this bashert?

* Editor’s Note: Bashert: (beh-sheert) destined, fated, meant to be.

Has my work made me more religious? Yes it has. I now collect the work of other Judaic artists. Their spirituality enriches mine. The more I learn in preparing for a project, the more deeply I feel for my religion, and the more I pass it on to my family. I now celebrate Shabbat, and become anxious to create anew. When I feel close to God, I pray. Only in my case, I pray with my hammer, my torch, and my sculptor's tools.

I feel it is a very special gift and privilege to be able to create decorations for the Torah. I was moved to tears the first time I saw a yod that I had made, hung on the Torah. The rabbi talked about the rich tradition of the Torah and the silversmiths who adorned them. He talked about the generations of Jews who would be proud to display them - in no way implying the adornments are as important as what they adorn.

Mezuzah

And you shall write [the words that I command you today] on the doorposts of your house and on your gates. -Deuteronomy 6:9, 11:19

The Mezuzah is a small case that holds a small hand written scroll of parchment (called a klaf). The scroll contains the words of the "Shema Israel" (Deuteronomy 6:4-9) passage, in which God commands Jews to keep His words constantly in their minds and in their hearts. The scroll also contains another passage (Deuteronomy 11:13). The passages are written in Hebrew, and contain 22 lines of 713 painstakingly written letters.

The meaning of the Hebrew word Mezuzah is simply "a doorpost". The Mezuzah should be placed on the doorposts of of every Jewish home. The exact placement of a Mezuzah is on the right side of the doorpost (when entering the home or room), on the lower part of the upper third of the doorpost (or around shoulder height for high doorways). The case should be permanently affixed with nails, screws, glue, or strong double-sided tape.

The Mezuzah is affixed at an angle because the rabbis could not decide whether it should be placed horizontally or vertically, so they compromised. The top of the Mezuzah should be slanted toward the room the door opens into.

Yodim, yad, or Torah pointer, one of Ruth’s was taken into space by a Jewish astronaut, Jeffrey Hoffman, about 10 years ago!

You are not supposed to touch the parchment on the Torah scrolls; some say because they are too holy; some say because the parchment, made from animal skins, is a source of ritual defilement; others say because your fingers' sweat has acids that will damage the parchment over time. Instead, you follow the text with a pointer, called a Yad. "Yad" means "hand" in Hebrew, and the pointer usually is in the shape of a hand with a pointing index finger (I always find this incredibly amusing). The scrolls are kept covered with fabric, and often ornamented with silver crowns on the handles of the scrolls and a silver breastplate on the front.

Jewelry
Drawing from the various symbols of Judaica, Ruth offers tiny mezuzahs, hamsa, chai and star of david for women and men.

Hamsa
The hamesh hand or hamsa hand is a popular motif in Jewish jewelry. Go into any Judaic gift shop and you will find necklaces and bracelets bearing this inverted hand with thumb and pinky pointing outward. The design commonly has an eye in the center of the hand or various Jewish letters in the middle.

There is nothing exclusively Jewish about the hamesh hand. Arab cultures often refer to it as the Hand of Fatima, which represents the Hand of G-d. Similar designs are common in many cultures. Why it has become such a popular symbol among Jews? I haven't been able to find an adequate explanation anywhere. My best guess: in many cultures, this hand pattern represents a protection against the evil eye (a malignant spiritual influence caused by the jealousy of others), and the evil eye has historically been a popular superstition among Jews.

Chai
This symbol, commonly seen on necklaces and other jewelry and ornaments, is simply the Hebrew word Chai (living), with the two Hebrew letters Cheit and Yod attached to each other.

The concept of chai is important in Jewish culture and the typical Jewish toast is l'chayim (to life). Gifts to charity are routinely given in multiples of 18 (the numeric value of the word Chai).

Ruth’s Judaica is available online at:
Artistic Judaic Promotions - http://www.ajp.com
...and on her website: www.growingupjewish.com

The Robert Bentley Company

http://robertbentleygemstones.com

At the Tucson Gem Show each year when the AGTA Show opens my first stop – ALWAYS...The Robert Bentley Company Booth. He has all the cut stones and druzys that other booths have BUT his are in innovative stones and great, bold shapes!

But I think what I look for from this company is “new trends”, especially in beads. Two years ago Bentley introduced some of the most fabulous rough finished Aquamarine – last year the trend was picked up by other “gem bead” companies. Unfortunately they aren’t done in the same way, with the same attention to detail and don’t make the statement that the Bentley beads do!

This is Robert Bentley...

The Man

Robert Bentley began his love affair with gemstones while accompanying his grandfather to rock hound meetings in the 1950’s. He graduated from Pratt Institute in 1972 with a Bachelor of Fine Arts degree in painting. While he continued to paint and sculpt (he still does today), his fascination with gemstones took precedence and The Robert Bentley Company showroom was opened in New York City in 1994.

Within the environment of The Robert Bentley Company’s extensive inventory of the best quality, best cut colored stones available today, Robert functions as a collaborator, instigator, and cohort within the jeweler’s design process, integrating his extensive knowledge and experience in gemology with an artist’s sensibility.

The Company

For nearly twenty years, The Robert Bentley Company has been working with an international community of talented stone cutters to provide the fine art jeweler with better, gem-quality colored stones. The extensive inventory spans a broad spectrum, from fine facets and uniquely crafted cabochons to natural crystal structures, distinctive crystal surface pieces, fine beads, druseys, and an array of phenomenal inclusions. The Robert Bentley Company is a member of the American Gem Trade Association.


Plate Cut Beads
From the more formal shaped plate cut (above) beads to the frenzy of the thinner plates.

Hammered Beads
Huge gemmy chunks of gemstone with a rough hammered finish – yet still clear, clean and polished!

Faceted Beads
These are some of the most dynamic beads – big beads with large free-form facets that, when used in a necklace would send light to the face.

Tubes
These – especially in Tourmaline and Aquamarine – are my favorites. They look like raw tourmaline and aquamarine crystals that are shaped, faceted (in long facets following the tube shape) and polished. They also offer this shape with hexagonal facets.

Lenses
Crystal clear round lentil shaped beads of some of the gemmiest (is that a word?) material. This is the grade of gem that usually gets sent to the faceters for use in indiviual cut stones.

RARE – this isn't just rare stones, but rare stones cut in beads! ...strands of watermelon tourmaline...



mixed beryl, lapis (polished and hammered)... apatite...

...and hammered Chalcopyrite!

Some Things To Keep In Mind While Viewing Website Photos...from Robert Bentley:

These images do not reflect our entire inventory. Aside from the selection of strands pictured we also carry various cabochons and faceted single stones, surface pieces and many other rarities.Our inventory is constantly changing. While we will add new and exciting stones as we receive them, it is always possible that we have stock which is not represented on-line. These images are intended as a guide, not a complete catalogue. If you are looking for something in particular please

e-mail or call us and we will be happy to assist you.While the images are kept as true to the original as possible, it is almost impossible to create perfect representations of these stones. Please keep in mind when viewing the images that most colors are less pronounced on-line then they are in person.

Contact Info:

Robert Bentley Company - Unusual Stones
E-mail info@robertbentleygemstones.com

Wendy Culpepper

Wendy Culpepper

Contemporary

Handcrafted

Designer Jewelry

http://www.wendyculpepper.com/

Wendy’s introduction to the arts and metals came at the University of Florida as an Engineering and Fine Arts Student. Originally focusing on her strong drawing skills, she traveled to Florence, Italy to immerse herself in a study of diverse mediums. This search for her artistic Muse had her exploring metalsmithing and jewelry design...the perfect blend, engineering, fabrication and the creativity she craved.

Following her heart, Wendy furthered her jewelry education by completing the Fashion Institute of Technology's vigorous bench jewelry and design program, graduating with the coveted honor of top design student. With her jewelry designs and beaded work selling right from her neck, Wendy began to explore an online business for her well-received pieces.

Culpepper’s first experience in the Jewelry Industry came when she joined the product development team at Me & Ro Jewelry (famous for their numerous celebrity clients). Her success in this position encouraged Wendy to look into launching her own line...and in 2005, W. Culpepper was born!

Wendy’s work is best known for her strong, simple carvings, bold statements, wear-ability and classic elegance. Her feminine and balanced pieces have led to a strong clientele and followers ranging from editors, stylists, celebrities and popular personalities. Her pieces have been featured in Lucky, InStyle, Redbook, People, and the Rachel Ray Show to name just a few!

The collections from this artist, range from the strong yet fluid movement of the Paradise Collection to the fun and feminine florals in the Flower of Life Collection and everything between... culminating in the funky organic feel of the Alligator Collection. There is a collection that will suit the mood and style of every woman.

While it is her Jewelry that drew me in, I think it was Wendy’s Artists Statement that spoke to me...below is just a small part of that statement:
“When working on a piece, I tend to have personal battles. I put my heart into my ideas, and I put a piece of myself in everything I do. I tend to be in my work, but as each piece progresses, it’s unusual for the audience to actually see all that I intended. I find that I mask so many of the ideas I begin with. Something in me tends to hold me back from fully exposing the ideas that I want to share. This obstacle is what I am working toward overcoming.”

Infinitely wearable - W. Culpepper can be purchased through their website and in various retail outlets http://www.wendyculpepper.com/

It’s good to be “Included”…

…if you’re quartz, that is!

The “hottest” trend among jewelry designers today is the use of these lesser known gemstones of the quartz family. If we were looking at almost any other gem an inclusion of anything would devalue the gem. This however is not the case with certain quartz varieties. Due to the soft, porous nature of this gem other minerals are able to grow into it.

QUARTZ From the Slavic word for “hard”

Color: Clear, Pink, Purple, Blue, Green, Golden, Brown
Moh’s Scale: 7 (hearty, good for everyday wear)
Crystal System: Trigonal, Hexagonal Prisms
Chemical Composition: Silicon Dioxide

Macrocrystalline Quartz – crystals identifiable with the naked eye. This group is represented by most of the stones gemologists classify as varieties of quartz: Amethyst, Rose-de-France or “Pink” Amethyst, Citrine, Rock Crystal, Prasiolite or “Green Amethyst, Smoky Quartz (and the various browns – whisky, beer, champagne and cognac), Rose Quartz, Aventurine, Tiger’s-Eye, etc.

Quartz is the most common gem on earth…literally found in almost every corner of the world. Important deposits are found in Bolivia, Brazil, the Swiss Alps, Madagascar, Russia, the Ukraine, Mexico, Namibia, Sri Lanka, Zambia, Uruguay and the United States.

Rock Crystal Quartz is a transparent variety valued for their clarity while some are valued chiefly for their inclusion. Rock Crystal it is the perfect showcase for Mother Nature’s surprises, due to the amazing clarity of a gem quality stone.


Rutilated Quartz - the most popular of the “stuff in quartz” category...in this variety, golden needles of rutile are arrayed in bundles, sprays and various patterns inside the clear quartz. Sometimes called “Angel Hair”, each pattern is different, and some are breathtakingly beautiful.

Tourmalinated Quartz - this variety shows black or dark green tourmaline crystals in a thicker, rod-type inclusion. This can be in heavy patterns and sprays or random spikes. One of the favorites of faceters is to facet a round with a single rod of tourmaline running from the culet to the table – the optical illusion is quite spectacular.


“Stuff in Quartz” - has become a collecting category - today some of the more popular varieties include (pun intended)...Pyrite (gold), manganese oxide, form crystal "dendrites" (small branch-like), Chlorite (mossy, green), black Hematite (often seen at the “hub” of a wagon wheel spray of rutile needles), red Hematite platelets or Lepidocrosite (can give an overall pink or red color), green Edenite, golden Goethite needles, Epidote (thick green crystals), Actinolite...


...and my current favorite – Medusa Quartz, a clear crystal quartz with small Gillilite inclusions...named for their resemblance to the Medusa Jellyfish!





Asterism - the star effect that appears as rays of a star on the domed surface of a cabochon gem. This occurs when a strong, single light source reflects off layers of thread-like inclusions that inhabit these unique gems.

Chatoyant Quartz – if those threads align themselves in a single direction, much like the strands in a spool of thread, the reflection will appear as a single ray of light called a Cat’s-Eye. Other examples of chatoyancy in quartz are the Hawk’s-Eye, Ox-Eye and Tiger’s-Eye varieties. These are finely fibrous, opaque aggregate that are formed when quartz replaces the mineral crocidolite (a type of asbestos).

Throughout history quartz has been a jeweler’s chameleon, standing in for more expensive gemstones ranging from diamond to jade. Now, finally, quartz is coming into its own, allowing the average consumer the “luxury” of beautiful jewelry...with less common varieties beginning to show their appeal. Designers are using included quartz today for “high-end” pieces due to it’s “one-of-a-kind” nature.


I want to say a special thank you to Barbara Smigel for the use of the photos from her website: http://www.bwsmigel.info/

Bead Weaving – Sculptural Art and Beyond...

The Art of Weaving Glass Beads was the Spring 2008 show at Mostly Glass Gallery in New Jersey!

This show featured Madelyn Ricks and Sharmini Wirasekara along with five other artists working in jewelry and sculptural bead weaving.

I was looking through the catalog for this event and noticed that most of the pieces have sold! So take a few minutes – get over to the website and check it out before they take it down!

http://www.mostlyglass.com/Exhibits/glass_beading_08.htm

Madelyn Ricks – Beyond Kimonos...

For those of you who are involved in Bead Weaving – Madelyn Ricks is a household word. For a metalhead like me – she was a revelation!

Madelyn Ricks works exclusively in peyote stitch using Japanese Delica seed beads for her very popular Kimono series, her whimsical sculptures, and her Jewelry.

For the kimonos, she first graphs her designs by hand, gluing multiple sheets together, then beads it in separate strips which are stitched together.

Weaving Glass Beads

The art of interlocking beads together with thread is both ancient and universal. Madelyn's designs are a mixture of many different cultures and times. The technique is peyote stitch named by the Native Americans in the US. A very strong multifilament nylon thread is used.

The square glass beads are a high quality glass manufactured in Japan using novel techniques. Many of the beads are plated with precious metals such as 24K gold, rhodium and palladium.

Also used, are lot of silver-lined colored beads to create a lot of sparkle, making the finished piece look like small dots of colored light woven together.
There are very few artists that work with beads this small (about 300 per square inch), or create pieces with such intricate patterns and colors.

Sharmini Wirasekara - Robes

Sharmini creates Robes and Wall hanging Objects predominantly inspired by Mexican Art. For the Robes, she chooses to work in Off-Loom techniques mostly peyote stitch, using Japanese Delica seed beads.

Some of her Wall Objects are Neckpieces. For those, in addition to Peyote, she uses a single-needle right angle weave, and prefers the Czech seed beads because their roundness gives the pieces a different look and shape.

A Brief History of Working with Glass Beads

As fans of The Antiques Roadshow can tell you – beads have been an integral part of most cultures in every region of the world. There are patterns that are specific to Southwest Native Americans and those patterns can even be broken down to northern Arizona tribes versus Southern Arizona tribes.

Glass Beads and Bead Weaving have, throughout history, been used to denote not only region but the “class” of the wearer. With ornate and intricate patterns reserved for the Emperor/Chief and simpler designs for the working class. Alternately, glass beads have been used as currency in some African cultures as well as historically for trading in the Native American tribes.

The great glass center of the world was for centuries The Venetians who originally began working with glass around 1200, and by the eighteenth century had a near-monopoly on the glass bead market. The trade became a staple throughout Europe and when the great European explorers began their travels, these beads became prime trade items and were distributed throughout the established seafaring trade routes.

Glass beads are usually made using one of two methods... drawn glass, a method that involves molten glass that is then stretched or drawn out into a long, thin tube. This method created what we now know as seed beads...the drawn glass is cut and tumbled to soften the edges. The second, and oldest method, virtually the same as the methods used by today’s lampworkers, on a much smaller scale!

In the 1980’s computer control of seed bead manufacturing came into play, both in the Czech Republic and in Japan.

Bead weaving techniques are usually either the use of a bead loom that has multiple warping threads through which beads are woven as the weft, like in traditional textile weaving...or off-loom bead weaving.

The later incorporates the many techniques developed by various cultures worldwide. With names such as peyote, herringbone, right angle weave, ladder, brick and netting stitches these techniques involve working with a needle and threading material to form patterns.

The "Spanish Inquisition Necklace"

The Spanish Inquisition Necklace
Janet Annenberg Hooker Hall of Geology, Gems and Minerals Collection at the
National Museum of Natural History of the Smithsonian Institution

Earliest Cut Gemstones?

There are a multitude of legends surrounding this necklace...indicating that it was worn by the lovely ladies of Spanish and French royalty. In the early 20th century, it was purchased by the Maharajah of Indore, whose son eventually sold the necklace in to Harry Winston. Winston dubbed it the “Spanish Inquisition Necklace”, for reasons known only to him, and the name stuck.

Many of the gemstones in this stunning necklace date back to the 17th century, when Spanish conquistadors shipped large quantities of emeralds from South America to Europe and Asia. Unfortunately very little is known about the provenance of this spectacular double row of diamonds and emeralds ending in the chandelier like drape of unique ”football-shaped” diamonds and emeralds.

The large diamond and emerald gems were probably cut in India in the 1600s. Stringing the gems was an extremely delicate procedure that entailed drilling small holes in the large emeralds and the 16 largest diamonds. It is believed that the large diamonds and Columbian emeralds were most likely cut in India in the 17th century, making them one of the earliest examples of cut gemstones in the Smithsonian's Collection.


Characteristics of the Spanish Inquisition Necklace

The lower-half of the necklace which is double-stranded consists of two concentric semi-circles, made up of smaller diamonds interspersed with pairs of large barrel-shaped diamonds and emeralds, placed symmetrically on the strands. There are eight pairs of larger diamonds and four pairs larger emeralds on these strands. A chandelier-shaped pendant made up of five large emeralds is placed centrally on the double strand, with the largest emerald in the necklace centrally placed on the lower strand.

The upper-half of the necklace is single-stranded made up of smaller diamonds only. At the two points on the necklace where the upper-half and lower-half meet, two large emeralds have been placed. Altogether, there are 15 large emeralds, 16 large diamonds, and around 120 smaller diamonds in the necklace.
The largest emerald in the necklace is an old Indian-cut, 45-carat, barrel-shaped emerald placed centrally in the necklace. According to the Smithsonian, "The rich velveteen color and exceptional clarity place the large emerald among the world's very finest quality emeralds. The shape closely approximates the form of the original elongated hexagonal crystal, suggesting that the crystal faces were simply rounded off to yield the largest possible gem."

Ownership Timeline

Designed for a Maharajah - the first known owner of the necklace was Tukoji Rao III of Indore

1926 - Yashvantrao II, the son of Tukoji Rao III, ascended the throne of Indore after the abdication of his father, and inherited the crown jewels

1947 - Yashvantrao II sold diamond and emerald necklace to Harry Winston

1947 – Katherine Hepburn wears the necklace when she attended the 19th Annual Oscars at the Shrine Civic Auditorium

1955 - Harry Winston sold the "Spanish Inquisition Necklace" to Mrs. Cora Hubbard Williams of Pittsburgh

1972 - Cora Hubbard Williams bequeathed the necklace to the National Museum of Natural History of the Smithsonian Institution

Currently - the "Spanish Inquisition Necklace" is displayed in the Janet Annenberg Hooker Hall of Geology, Gems and Minerals of the NMNH of the Smithsonian Institution in Washington DC

Masons Studio Jewellers

...jewellers in the true sense of the word, who hand-fabricate one-of-a-kind pieces...

http://www.masonsjewellers.com.au/

This logo is the maker's mark for Masons. It represents the hand and eye, which is the basis of making work. It is registered with the Gold and Silversmiths Guild of Australia.

The Masons

Phill is the father; Tyrus the son. In between laughing and entertaining each other, they work very well together side by side; like two peas in a pod.

Phill and Ty work before the public, separated from them by a pane of glass. Nothing is hidden; even their award-winning pieces are made with an audience. Some viewers stand for long periods of time, watching a piece being produced. On a few memorable occasions, the piece produced was purchased by the viewer, after hours of following its fabrication...

Because they work before the public, they must restrict their use of machinery, and largely confine their efforts to working by hand at the bench. Fortunately, this suits their interest, which is hand-fabrication, rather than mass production; so, very little use of machinery is called for, anyway.

With inspiration from the Cosmos – to the Tasmanian environment they live in – this father and son team exhibits a variety of styles. The cosmic feel of the “Saturna” collection, the poignant statements made by the “Three Blades” and “Art of Whaling” collections, to the classic jewelry designs of the modern jeweler...make Masons a company to watch!

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COMBING THE COSMOS... This is a tale as much about technique and material, as it is about motif and theme. In the late 'eighties, Phill began playing with differentially colouring titanium, and with setting gems into it, commencing with combs as a form.

Initially, the combs were treated much as 'samplers', to work out the technique of colouring the titanium only in the insets. The rest of the titanium is left the natural grey colour. The recesses in the comb above are predominantly one colour only, in order to simplify mastering the process. As this was acheived, the range of colours was broadened, as in this piece.

Eventually, the combs evolved into brooches, with a larger diversity of set stones than just citrines representing the sun. Moonstones, garnets, etc., were used in conjunction with suitably shaped and coloured insets, to represent saturns, comets, and so forth.

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Faceting the Stones
Phill facets all the major stones used in Masons studio jewellery. This is considered unusual for a goldsmith to do, and has several advantages, which give leverage to the pieces Masons make, compared to other makers.

Firstly, the scarcer gem rough can be sourced and imported directly from the mine. This allows Masons to sidestep the usual fare offered by wholesalers to jewellers. Phill travels overseas annually to maintain contacts, and then regularly imports such seldom seen stones as colour-change and green garnets, and blue tourmalines, or even more common stones of uncommon clarity, including facetable moonstone and opal.

The second advantage of Phill faceting the stones is that the larger sizes can more frequently be gleaned, and more economically, in the rough, than already cut.

20 carat green garnet rough, dopped ready for cutting
Thirdly, more satisfying cutting designs can be used. Even with the traditional cuts, the number of facets can be maximised, increasing scintillation; whereas many professional cutters cut only the minimum number of facets, and still consider the job done...

The 5.85 carat gem cut from the above rough, and set as a ring.
Moreover, new cutting styles can be employed, producing gems which, for instance, show the appearance of checkers in the stone, or other visual illusions.
And, best of all, stones can be cut in Masons own designs.

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Three Blades: the Pen.., the Sword..., the Ploughshare...'
The blades were linked by the two biblical quotes; that the pen is mightier than the sword; and that swords were to be beaten into ploughshares.

The blades were wrought from titanium. The handles were polished silver-oxidised bones: a bird leg for the pen; a dolphin vertebae for the sword; and a cow rib for the plough.

The case with display fronts was especially made for the 'Three Blades...', based on the expertise Phill gained after a workshop with Ms. Penny Carey-Wells, who taught at the University of Tasmania School of Art on all things to do with paper, bookbinding, etc.

In that International Year of Peace, Phill was awarded the 'Mobil (Australia) Award for Excellence in Craft, for this sculpture.
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The Lapidary
Both Phill and Ty have a deep and abiding fondness for stone. Perhaps it comes from bearing the name 'Mason'...

Phill first joined a lapidary club - the Parramatta Lapidary Club - in 1965, and has been a member of such a club ever since. He remembers in those early days of easy pickings, club members driving direct from Agate Creek, Far North Queensland, back down to Sydney towing a trailer overloaded with world-class agates, directly to the club rooms in time for the monthly meeting, just to awe everyone. And it was awesome in those days when fine stones could be picked from the surface of the earth without digging...Agate Creek has been visited by Phill and Ty since, but it now involves deep digging in the tropical heat.

Photo Above: Phill casting harsh shadows, deep digging at Agate Creek, Queensland, 2004

Petrifactions attract Ty more than agates. He collects the rare petrified manferns (Osmandacaulis) that occur in Southern Tasmania at Lune River. In contrast to the conditions at Agate Creek, digging manfern can be muddy, wet and cold.

Photo: Phill retrieves a chunk of petrified wood from Lune River, Tasmania.

Travelling overseas every year, Phill has seized opportunities to source interesting stone, and maintains a stockpile or rough which varies from opal to chrysoprase, and about a ton of his first lapidary love - agate.

Finessing the cutting of stone, and innovation in its setting, is a pursuit of Masons. Rather than simply cutting cabochons - smooth, round-topped shapes - Phill prefers tablets and columns; and Ty prefers stone-carving. Ty was awarded third prize in the international Opal Jewellery Design Awards, 2002, held at Lightning Ridge every two years, for an innovative opal carving and setting.

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The MaSON - Ty

Ty's enthusiasm for the sport of Skateboarding translated into avant garde motifs as he became a jeweller.

Tyrus won the Tasmanian Fine Craft Award, 1997, with this bangle, entitled 'Skating Rink', . The piece was acquired by the Burnie Regional Art Gallery.

The wonderful thing about the design was that the skateboard was held on to the bangle by the pavilions of the gemsetting, in such a way as to allow the board to be spun around the 'rink'. The accompanying ring was entitled 'Ramp Ring'. The finger is actually supported by the four boards resting in each corner.

Don't hesitate - GO - check out their website...this Father and Son team are originals!

http://www.masonsjewellers.com.au