Revere - Professional Jewelry Making

Professional Jewelry Making

Alan Revere

BRYNMORGEN PRESS

BRYNMORGEN PRESS

318 Bath Road

Brunswick, Maine 04011

2011 by Alan Revere. All rights reserved.

Photography by Barry Blau and Christine Dhein

Illustrations by George McLean, emiko oye, & Alan Revere

Book design: Kathleen Cunningham Design

Oringinally published as Professional Goldsmithing

1991 by Van Nostrand Reinhold

Reprints of original engravings from LEncyclopdie, ou dictionaire raisonnde sciences, des arts et des mtiers by Denis Diderot. Courtesy of the Brancroft Library and the Revere Academy of Jewelry Arts.

Ebook production: booqlab

ISBN 1-978-929565-42-9

WARNING: Some of the traditional procedures described in this book can be harmful if not executed properly. Learn about the hazards of all techniques and materials before using them. Wear protective goggles and use proper safety measures. When in doubt, consult an expert.

All rights reserved. No part of this book may be reprinted or utilized in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photo-copying, recording, scanning, or by any information storage or retrieval system without permission in writing from the publisher.

This book as well as a complete listing of instructional opportunities for jewelers is available from:

Revere Academy of Jewelry Arts

760 Market Street, Suite 900

San Francisco, California 94102

www.revereacademy.com

(415) 391-4179 or fax (415) 391-7570

Many generous people have helped in the preparation of this book. During my practice and education I have met and shared information with countless craftspeople and other experts, each offering a unique point of view based on their own personal experiences. In 1972, in search of training that I could not find in the United States, I traveled to Pforzheim, Germany, a town known throughout the world as the Gold City. Pforzheim is located in the Black Forest region, and for nearly two hundred years it has served as a major international center of goldsmithing and jewelry manufacturing. For two years I had the good fortune to study at Pforzheims word-renowned Fachhochshule fr Gestaltung, formerly the Kunst und Werkschule, with students from jewelry communities around the world. Indeed, the school has trained leaders in the jewelry industry for well over a hundred years. Jewelry historian Ralph Turner noted that the Pforzheim school has probably produced more creative jewellers than any equivalent anywhere else in the world.

Professor Reinhold Bothner was most responsible for my training as a goldsmith. At the time that I worked with him, he was the senior master goldsmith in Pforzheim, having spent half a century creating treasures. I studied design with Professor Reinhold Reiling, a master goldsmith and internationally acclaimed jewelry designer. Professors Fll and Zeiss trained me in the skills of hand engraving and stone setting, respectively. In addition to my classes and studio work, I was employed in several workshops, including that of Klaus Ullrich, a renowned designer, master goldsmith, and master silversmith. It was while working for Professor Ullrich that I learned how to use precious metals.

Many other dedicated craftspeople helped me gather the information presented in this book. We all share a love of fine metal work and together are carrying our craft into the next millenium. Some are senior members of the jewelry community, and some are newcomers whose enthusiasm has helped keep the torch lit. Among these fine craftspeople are George McLean, Evert DeGraeve, Edward Friedman, Michael Good, Yas Tanaka, Jon T. Dixon, Karen Sprague, Paul Christiansen, Harold OConnor, Steven Kretchmer, Jaime Pelissier, Doug Zaruba, Frank Trozzo, George Sawyer, Joannie Mar, Wellington Dong, Julie Harrington, Holly Beye, Emmy McKenzie, Neal Pollack, Irene Hogan, Irving Gold, Enrique Lopz Larrea, David Clarkson, Keith Bartel, Abrasha, Michael Smorra, and Gregory Steerman. In addition, I wish to thank the many students at the Revere Academy of Jewelry Arts who helped me prepare the material for this book including: John Sliwa, Bruce Morrison, Catherine Glew, Jay Vullings, Keith Saslaw, Eric Baltzley, Vinnie DiPadova, Terry Cook, Jeff Gray, and Kristin Baker.

Two modern masters, Tim McCreight and Charles Lewton-Brain, contributed significantly to this project through their service as technical editors. I would like to thank George Holmes, the editor of Jewelers Circular-Keystone where much of this material first appeared, as well as Lilly Kaufman of Van Nostrand Reinhold for her support; Anna M. Miller for putting me in touch with VNR; and jewelry writer and critic Ettagale Blauer for her encouragement.

I would like the thank Bill Nigreen and Max Yasgur who colluded to save me from law school, as well as Andrew Wilner who showed me that crafts could be a way of life. I acknowledge Carolyn Chaikin Rosenberg who introduced me to art and craftsmanship at an early age. In addition to the photographs, Barry Blau has given this project many years of his tireless perfectionism and humor, both in the original and now revised edition.

The reworking of Professional Goldsmithing into Professional Jewelry Making was possible thanks to the tireless hours by my assistant, Christine Dhein, and book designer Kathleen Cunningham. Also thanks to Yas Tanaka and James Binnion for technical assistance, to emiko oye for her work on the illustrations, and to Robert Graham for his eye in proofing the text.

Finally, I wish to thank Sherli and my father George for their support, patience and encouragement during my journey, as well as my children Dustin and Alexis, who inspired me to prepare this material for future generations.

Ralph Turner, Contemporary Jewelry (New York: Van Nostrand Reinhold, 1976), p. 46.