Monday, March 14, 2011

The Real Apprentice


An article written for ASJRA by…
By Dr. Stephenie Slahor
Notwithstanding the recent television show about apprentices, the “real” apprentice system began centuries ago. Those who created different types of wares, jewelry, metalwork, textiles and so on had an apprentice system that was strictly regulated and enforced through their guilds.
Parents usually began the process of apprenticing their children, with boys the most likely to become apprentices. When the child was about eleven years old, his parents would visit with a “master” in the trade and discuss the child’s abilities and motivation for becoming an apprentice.  If the master agreed, the child packed up a few belongings, and a small mat and blankets, and went to live with the master. Sometimes the parents paid a fee to the master for agreeing to take the child to educate him, but it is likely that some masters chose apprentices on the basis of talent they showed, too, so that fee may not have been a requirement for arrangement.
The master lived at his shop, usually “above the store” on the upper floor, where there were living quarters for the master, his wife and his own children. The apprentice usually slept beneath the workbench, but did take his meals with the master’s family. Apprentices were little more than servants to their masters so their “place” was the master’s shop. The master’s living quarters were off limits to the apprentice, and the master and his family were not to be disturbed there except for an emergency.

The new apprentice learned about the workshop, customer show room, and the storeroom, and where everything was located or stored. The apprentice also had to learn the names of the tools and supplies used in the trade.  
The apprentice was not allowed to visit any inns or taverns unless in the company of the master, or even the apprentice’s own family without the permission of the master. The apprentice was expected to devote nearly all his time to the work given him, and to do that work with his best efforts.
Little by little, the apprentice was given more training. Of course, starting at the bottom rung of the ladder of knowledge meant the apprentice often had the more tedious or strenuous tasks to do.  Exhaustion usually ruled by the end of the workday.  Most crafts demanded steady hands and rested eyes so sleep was important and the nighttime was for rest.
Sunday was not a workday. The apprentice would accompany the master and his family to church, and perhaps some diversion or activity, but, at sundown, the apprentice was expected back at the shop where his supper awaited him. 
As the years rolled on, the apprentice would grow more skilled at the master’s craft.  At about age fifteen or sixteen, the apprentice might be allowed to attend the master’s guild meetings, but did not vote or take part in discussions. The guildhall was a meeting place for those who practiced the particular craft of that guild. Generally, the guildhall was a showy city landmark and contained a large meeting hall, paintings of past masters of the guild, and displays of items crafted by members of the guild. 
Only the most skilled crafters were admitted to the guild’s membership, which consisted of those persons who were allowed to have shops in the city where their goods were crafted and sold. Consequently, the guild held many meetings about whom to admit. Also of importance was the setting of prices.  he guild made sure that its members sold at prices that were fair and consistent. The guild could also regulate the hours worked by a master to assure that no one worked too many hours and the guild also had a member welfare function. At guild meetings, the names of members who were sick, injured, or too old to work were read, along with the particular aid each needed. Guild members could vote to pay a stipend to those needing financial help, or vote to render whatever aid was necessary. The money came from dues paid by the members.  Meetings of the guild might also discuss complaints from the members about being cheated or wronged by a customer. Remedies would be discussed, then a member of the guild would be charged with the task of pursuing the remedy with the city’s mayor or the courts. 
The guild reviewed applications of those who sought to become members. The applicant’s work samples were reviewed, and the applicant was questioned about his skills and his character. Only the best were admitted and anyone with poor ethics, or whose work was not of a good quality, would be denied membership.
Most guilds, including those for goldsmiths, operated similarly. The guilds were there to regulate the quality of what was produced and the business of selling what was produced. 
The Worshipful Company of Goldsmiths began in London in 1327 with a Royal Charter from King Edward III, and another Royal Charter in 1393 from King Richard II for allowing the guild to own properties and rents for charitable purposes. The company also tested gold and silver. Like other guilds, the Worshipful Company had a patron saint in the person of St. Dunstan.  
London was not the only site of a goldsmiths’ guild, though. In the 1200’s, Paris already had over 100 goldsmiths and jewelers. Apprentices were expected to learn how to certify, work, file, solder, forge, saw, cast and polish gold.  (It was not uncommon for goldsmiths to be jewelers as well.) 
As a business, goldsmiths created many ceremonial and artistic objects for the church. Such items as chalices, patens, monstrances, pyxes, censers, candlesticks, crosses and seals were created. The market was not strictly the church, though. Royalty and nobility enjoyed the prestige and beauty of gold, too, so goldsmiths created items of personal adornment and household decorations such as flatware, platters, goblets and art.  Jewelry was common for both men and women of nobility.    
The Black Plague interrupted some of the commerce of the time, but once Europe overcame the plague, commerce increased and goldsmithing was once again flourishing in the late 1400’s and onward.  Not only London and Paris dominated, but also Bruges, Utrecht, Florence, Strasbourg, and Cologne. 
At that time, much of the world’s gold was coming from Africa, with Venice serving as the main marketplace for gold coming to Europe.  Exports were forbidden until the gold was refined to at least 23 carats/958 fine. Venice controlled most of the gold trade for 400 years. 
Later, additional discoveries of gold occurred in Hungary and Bohemia.  The Renaissance explorers were beginning voyages to the “New World” in pursuit of the fabled sources of gold and other precious commodities.  Those new stores of gold expanded the goldsmithing trade and, although still a precious commodity, gold items and jewelry became more popular as gold became more affordable to people becoming more financially secure as the European economies grew in the Renaissance and later. 
So a goldsmith apprentice, as in other trade, worked for his master for at least seven years, and, if the apprentice’s work was consistently good, his master would submit an application to the guild on the apprentice’s behalf, recommending journeyman status. (The word “journeyman” is from the French word “journee,” meaning day, implying that the journeyman would be paid for his work by the day.) At the guild, there would be testimony about the apprentice’s character, and a vote taken on whether to grant journeyman status.  If granted, the apprentice was not yet a foreman or master, but he was a step up from apprentice. The move from apprentice to journeyman usually occurred when the person was eighteen to twenty in age. It was an important move because a journeyman was paid for his labor, and the unpaid apprenticeship was over. The master might also give a portion of the shop’s profits to the journeyman for items on which they had worked together. 
In about three years from becoming a journeyman, the applicant could submit a “masterpiece” of his trade to the guild. That masterpiece work would be used as a sample to judge whether he was ready to be admitted as a member of the guild. Earning the title “master” was an honor, but came only after careful review of the work and the person, to be sure that the guild was inducting a worthy candidate.
And that’s the story of the “real” apprentice

Friday, February 25, 2011

THE NEW YORK MINERALOGICAL CLUB

In 1886 the New York Mineralogical Club was formed by famed Tiffany gemologist George F. Kunz, B.B. Chamberlain, and Professor Daniel S. Martin...Kunz was elected as secretary. The club functioned without a president until 1895 when Kunz received that position that he held for many years.

The club’s original mission was to keep alive an interest in only New York City minerals, but it now has a broader focus and is dedicated to the science of mineralogy through the collecting, describing and displaying of minerals and associated gemstones.

Its fine collection of more than 700 mineral specimens from New York City is housed at the American Museum of Natural History. It includes specimens of beryl, chyrsoberyl, garnet, tourmaline, stillbite, and xenotime, alongside many other species. Many of these specimens were found during the construction of the New York City’s subway system or in the bedrock underlying the foundations of New York’s famous skyscrapers.

During the 125 years the club has been in existence a number of honorary members have been appointed in recognition of their contributions in the filed of of minerals and mineralogy including Joseph Arons, Sir William Henry Bragg, Russ Buckingham, Maria Sklowdowska Curie, Edward S, Dana, Clifford Fondel, Victor Goldschmidt, Carl Kroti, Alfred Lacrois, Chalres Palache, Frederick Pough, Waldemar T. Schaller, Leonard J. Spencer (all deceased) and Lawrence H. Conklin (considered an authority on Kunz) and Richard Hauck (the mineral hauckite was named in his honor).

The club has published a number of booklets with the most famous being James Manchester’s Minerals of New York and Its Environs. In recent years the club has published three gem and mineral almanacs, two guidebooks to mineralogy, and several other publications which have received regional and national awards.

The current membership is over 250 including a unit for young collectors. Monthly meeting are held the second Wednesday of every months (except in July and August) and are open to the public.
Upcoming events include the Spring 2011 New York City Gem & Mineral Show which will be held March 5-6 at the Holiday Inn, 440 W. 57th St. (kids are welcome) and a lecture at the March 9 meeting by president Mitch Portnoy on “The Magnificent Building Stones of the New Yankee Stadium in the Bronx".

Saturday, February 19, 2011

More Jewelry and Relates Arts Exhibitions and Lectures


Marcus Adams: Royal Photographer

Queens Gallery, Palace of Holyroodhouse
Edinburgh, Scotland
February 25-June 5, 2011

Reliquaries for Everyday Life: Andrea Wenckebach
Zilberschmuck Gallery
Toronto, Ontario, Canada
March 1-26, 2011

Ceylon, Luxury Goods from the Renaissance
Museum Rietberg
Zürich, Switzerland
Through March 13, 2011

Secrets of the Silk Road
University of Pennsylvania Museum of Art & Anthropology
Philadelphia, PA
Through June 5, 2011

Association for the Study of Jewelry & Related Arts Offers Fall Trip to Baltimore

American Jewelry Travel:
WEEKEND IN BALTIMORE-NOVEMBER 4-5, 2011
The weekend will include curator’s tours of The Treasury Room and the Asian Galleries of the Walters Art Museum, a visit to the Walters’ Annual Jewelry Fair, a visit to see the jewelry and miniatures collection at the Maryland Historical Society, luncheons and possibly additional events. We don’t have a price yet for the trip (travel to Baltimore is on your own) as the museums are still working out our visit.
If you think you will be interested in attending ask us to put you on our reservation list to be notified when all details are finalized. It will not obligate you to join us but there will only be 20 spaces for this trip and a number are already reserved.

Friday, December 10, 2010

Association for the Study of Jewelry & Related Arts Offers Free Exhibition Tour

On Saturday, April 30, 2011, the Association for the Study of Jewelry & Related Arts (ASJRA) is offering a curator’s tour of The Jewelers of the Hudson Valley exhibition at the Forbes Galleries, New York City at 2 p.m. ASJRA is sponsoring the exhibition. There is no charge for this tour. You may bring a guest if you would like but you do need to r.s.v.p.

The exhibition will feature the work of seven prominent studio jewelers - ASJRA members Pat Flynn, Tom Herman and Jennifer Trask, as well as the work of Jamie Bennett, Sergey Jivetin, Arthur Hash and Myra Mimlitsch- Gray, jewelry loaned from the collection of the Samuel Dorsky Museum and work by graduate students in the Metals Program at SUNY/New Paltz. If you are interested in either event please email us and let us know at ekarlin@usa.net.

NEW JEWELRY AND RELATED ARTS EXHIBITIONS, LECTURES AND OTHER EVENTS

Royal Faberge´
The State Rooms, Buckingham Palace
London, England
August 1-September 25, 2011

Japanese Fashion Now
Museum at FIT
New York City
Extended through April 2, 2011

George Dobler Jewellery 1980-2010

Schmuckmusuem
Pforzheim, Germany
April 11-June 26, 2011

Hammer, Sketchbook and CAD—90 Years of Vocational School For Goldsmiths at Pforzheim Schmuckmuseum
Pforzheim, Germany
July 10-October 30, 2011

Threads of War: Clothing and Textiles of the Civil War
Charleston Museum
Charleston, SC
Through September 5, 2011

Serpentine: The Snake in Jewelry
Schmuckmuseum
Pforzheim, Germany
November 26, 2011-February 26, 2012

The Amazons: Mysterious Warrior Women
Historical Museum of the Palantine
Speyer, Germany
Through February 2, 2011

Indian Tibet

Linden Museum
Stuttgart, Germany
Through January 5, 2011

Altino: Glass of the Venetian Lagoon
National Archaeology Museum of Altino
Venice, Italy
Through November 30, 2011

Alberto Zorzi Unicum-Jewellery and Silver 2000-2010
Museo Fortuny
Venice, Italy
Through January 9, 2011

The Magic of Amber—Amulets and Jewellery from the Ancient Basilicata in Southern Italy
Italientisches Kulturinstitute
Zurich, Switzerland
Through January 9, 2011
Roman-Germanic Museum
Cologne, Germany
January 28-April 25, 2011

Frozen*Susan Klemm
Loupe Gallery
Montclair, NJ
Through December 20

Family Jewels
The Bead Museum
Glendale, Arizona
Through July 31, 2011

Jueri No Ima An Exhibition of New Contemporary Japanese
Jewellery Bluecoat Display Centre
Liverpool, England
Through January 22, 2011

Designer Jewellers Group
Babican Centre
London, England
Through January 5, 2011

Christmas Show
Electrum Gallery
London, England
Through January 8, 2011

Christmas Collections
Lesley Craze Gallery
London, England
Through December 24

Five for Silver, Six for Gold
RBSA Craft Center
Birmingham, England
Through January 7, 2011

Cool Construct: New Kids on the Block
Kath Libbert Jewellery Gallery
London, England
Through January 30, 2011

Tuesday, November 16, 2010

Cynthia Gale Creates a Jewelry Collection Inspired by Eugene Grasset Prints




Created to coincide with the opening of the Americas Wing and Shapiro Family Courtyard at the Museum of Fine Arts, Boston on November 20th, Cynthia Gale has been working in conjunction with the MFA to create a beautiful new addition to her signature collection, inspired by Eugene Grasset prints.

 

Working with plates from Plants and Their Application to Ornament (Wild Rose, plate 68 and Columbine, plate 11), Cynthia Gale has reinterpreted the beautiful stylized flowers of Grasset (1841-1917), a Swiss graphic designer and teacher of decorative arts in Paris in the late 19th Century. Developing influential theories of graphic design and emphasizing a reliance on organic patterns while developing decorative motifs, Eugene Grasset was influential in graphic, jewelry, ceramics, furniture and fabric design.

The illustrated work resides in the permanent collection of the Museum of Fine Arts, Boston. Says Katie Muldoon, Associate Buyer of Jewelry and Textiles, “Plants and their Application to Ornament by Eugene Grasset is a beautifully printed book in the permanent collection of the MFA, Boston. We enjoyed reviewing plate designs and jewelry concepts with Cynthia and are very happy with her interpretation of the artist’s illustrations.” 

Says Cynthia Gale regarding the collection, "My new Grasset Collections celebrate repoussé, the distinctive metalwork technique featured in Cynthia Gale Signature. This hand-hammered, labor intensive process is used to shape the Columbine and Rose motif, resulting in soft, sculpted floral forms. Through the incorporation of blush pink pearl and hand cut, white mother of pearl, Grasset's soft color palette comes alive with a gentle, customized femininity that every woman loves to feel!"
Mother of pearl, pink pearl and sterling silver are used to recreate the Wild Rose and the Columbine into a variety of classic and chic accessories for women. Necklaces, earrings, pins and bracelets are available for purchase online through the Museum of Fine Arts, Boston online shop, at the museum’s store or select items are available on the GeoArt by Cynthia Gale website. http://www.geoartnyc.com.

GeoArt by Cynthia Gale specializes in artisan-crafted sterling silver jewelry. Her signature collections are licensing partnerships with over fifteen of the nation’s top museums and cultural institutions and the GeoArt by Cynthia Gale line has evolved from ideas reflecting the rich cultural diversity of New York City and Cynthia’s passion for it. Our philosophy is simple: to create exquisite, quality sterling silver jewelry designs inspired by art and the world around us.