FEBRUARY 1: New Jade

“Noble Space”

Last year’s challenge is a gift that keeps on giving.  As I made my way through the year, drawer by drawer, I chose to present the best that drawer had to offer, create a boffo necklace and blog it.  The gift is that many drawers offered several choices of fabulous beads which I put aside for future consideration.

Well, the future is now.  I have several trays full of plastic bags each containing a necklace wanting to be designed.  The first to jump out is New Jade with a magnificent carved jade centerpiece.

I’ve collected new jade beads for years, liking their milky green color with their cloudy opacity.  Guess what?  New jade is the trade name for semi-translucent serpentine!  It’s OK that it is not jade; I have always considered serpentine as a cousin of jade.

The real story here is the centerpiece:  it is real jade, variegated from white to mountain green, carved with the usual flourishes of talented carvers plus the open work circle which is not often seen—perhaps due to the difficulties posed by carving one of the hardest stones.

Many jade centerpieces in my stash are round and I now know why:  they were girdle ornaments in ancient China.  Read girdle as belt, perhaps similar to a Japanese obi.  In the Zhou dynasty (1050—256 AD), seven carved jade pieces hung down from the belts of men and women.  The wearers enjoyed the tinkling of the ornaments as they walked, reminding them of music, claiming it put them in a joyful disposition.

I enjoyed reading that in royal Zhou courts, only the king could wear white jade; princes wore green the color of mountains; prefects wore a water blue stone; and mere officials were assigned to prehnite which is pale green in color.  Men and women of all classes wore them, choosing emblems of their life’s work (which type of stone was not noted).

The necklace has three strands of hand cut new jade with earrings to match.  Both are finished in sterling silver.  It is 18.5” long.  The centerpiece is 2” diameter and .25” thick.  It is not heavy, weighing three ounces.  $99 the set.

I do not mean to imply the centerpiece is ancient.  To the best of my knowledge, it is contemporary.

Most of my research came from a book I purchased in Hong Kong in 1994.  Originally published in 1912, republished in 1974, my unabridged edition of Jade:  Its History and Symbolism in China by Berthold Laufer was republished in 1989.

 

 

Drawer 52: Recycled Found Metal

“Urban Jabber”

My Chinese Apothecary Chest:   in 1994, it arrived via container to California from Hong Kong, where I discovered beading during my husband’s ex-pat assignment. Serves as the repository for my beads.  Handcrafted.  It has 52 Drawers, mostly sorted by color.

2017 Challenge: Create a Necklace a Week, using only the Beads from one Drawer at a time. Voila!  52 Necklaces!

‘Week 52/Drawer 52: December 28, 2017: “Urban Jabber”

We have arrived at the last Wednesday of 2017 and at the bottom right last drawer. Drawer 52 actually contains faux amber, but the necklace would look a lot like Drawer 34 (August 23), so I have chosen to conclude my year’s work with panache.  I will tie together an amazing centerpiece with a quote from the artist which will, in turn, tie together my thoughts on rejuvenating my work in my 75th year.

Rochelle Ford, Palo Alto, CA, is the artisan who made the centerpiece. At age 58, she taught herself to weld, got a permit to salvage metal at the town dump, and turned her home into a gallery of her work.   I took some classes from her in the late 90’s to learn how to solder (I flunked, just like those drawing classes I took.  So if you can’t do it, buy it from one who can!)

I commissioned some recycled metal centerpieces from Rochelle and this is the last one in my inventory.

Life marched on.  I’m in Boston; Rochelle has turned 81 and is still welding.  Imagine my surprise three years ago when some ageing quotes popped up in my email, just like the cute dog and cat emails, and my friend Rochelle had a fabulous quote!  I copied it and put it on my studio bulletin board.  Here it is:

“ Every morning when I wake up, I say, ‘I’ll never be as young as I am today.  Today is the youngest day of the rest of my life.  Get up and do something fun!’” 

Her piece is 5.75” by 4.75”. There are many crazy bits of metal welded together and painted.  Like all my centerpieces, they dictate the colors of the beads:  here olive and copper were the obvious choices.  They had to be chunky, so there is lampwork glass, Indian glass, filigreed copper, a strand of small round flat vintage Czech glass, and it really demanded some hefty copper chain.  It weighs just 10 oz, not a heavy necklace.

The beaded section is 9.5” long on each side and features a large copper clasp. Matching olive  earrings don’t match with each other:  one is round and the other an organic pear shape.  As Rochelle recommends, have fun!  $139.

Rochelle’s story is too good not to tell, so I will do a week 53 wrap-up to tie together my thoughts on rejuvenating my work and what I learned over the past 52 weeks. We’ll pretend there are 53 weeks in 2017.

You will love her website www.metalsculptor.com, or google her name Rochelle Ford.

 

 

 

 

Drawer 51: Reverse Painting & Bumpy Beads

“Meditation on Nature”

My Chinese Apothecary Chest:   in 1994, it arrived via container to California from Hong Kong, where I discovered beading during my husband’s ex-pat assignment. Serves as the repository for my beads.  Handcrafted.  It has 52 Drawers, mostly sorted by color.

2017 Challenge: Create a Necklace a Week, using only the Beads from one Drawer at a time. Voila!  52 Necklaces!

Week 51/Drawer 51: December 20, 2017: “Meditation on Nature”

In the middle “double wide” drawer, I found two oddities: four glass beads painted on the inside that I found in a flea market-type setting in Beijing and my bag full of what I call bumpy beads, due to their surface texture, but undoubtedly vintage Bohemian pressed glass.

As I emptied out the bumpy beads, the bright green ones wanted to be near the painted glass so they could pop the green in the landscape scenes. Finding some matte vintage Lucite beads that didn’t overpower the painted beads was easy—Drawer 6 offered a great selection.  I chose three large plus a strand of medium faceted beads to intersperse with the green glass.

Reverse painting originated in Venice in the 13th century, resurfaced as a method of portrait painting in the 19th century, and enchanted Americans as fancy lampshades in 1910.  But it was the Chinese who elevated reverse painting to fine art using very delicate brushes.

This necklace features two beads with a typical landscape of a lake, a boat, a mountain, and a verdant foreground with a tree by the lake. The other two feature an elegant crane in flight and, on the other side, a resting crane.  Imagine packing all that inside a bead that is only ¾” in diameter!

Cranes are a frequent symbol in the Chinese culture since they are a sign of longevity.  A common expression is “heavenly crane” which is a reference to wisdom, the second role of the crane.

I could not find any images of my bumpy bead collection, so my name sticks. I am confident they are the pressed glass Bohemian-style beads made in post-war Germany.  See Drawer 30 for the story (7-26-17).

This necklace is 22.5” long. The clasp is a matte glass odd-shaped circle with a silver toggle.  I made earrings to match.  Since I’ve had the painted beads for so long, I used their original low price and not the average price of $12 to $15 each I saw on Etsy.  Therefore, the set is $79.

Stay tuned…only one more Wednesday in 2017. I plan to end this challenge with panache!!!

 

Drawer 48: Jade

“Momentum” 

My Chinese Apothecary Chest:   in 1994, it arrived via container to California from Hong Kong, where I discovered beading during my husband’s ex-pat assignment. Serves as the repository for my beads.  Handcrafted.  It has 52 Drawers, mostly sorted by color.

2017 Challenge: Create a Necklace a Week, using only the Beads from one Drawer at a time. Voila!  52 Necklaces!

Week 48/Drawer 48: November 29, 2017: “Momentum”

To me, Jade is Hong Kong. Worn by many citizens, seen in shop windows, handled at the Jade Market:  it is the heart and soul of Hong Kong.  I became very attracted to it.

When I discovered the Jade Market, I walked there from our Kowloon apartment, frequently slipping into the Yue Hwa Chinese Products Emporium, a large department store on Nathan Road, to find curios and objets for my growing Asian collectibles.

Approaching the Jade Market were countless small jewelry shops full of Cantonese-speaking shoppers, men in the street hawking big chunks of jade from their small pick-up trucks, and a few Westerners like me with anticipation glistening in our eyes. The Market is really a tent, permanently erected, and certainly the size of a football field.  I walked around until something I saw drew me in.  The vendor rushed around with a low stool, a tray and a smile.  I could sit for an hour, choosing the beads I deemed suitable for a necklace.

Don and I lived in Hong Kong for 18 months in 1993-4 and the memory of the Jade Market is still fresh. Unfortunately, what material I have left from that era isn’t enough to make a necklace.

So here is this week’s necklace: Suzhou jade, also called new jade, in a dark to light variation with two carved beads on each side  separating the two shades.  There were no leftover beads, so wear your silver earrings.  A nicely carved turtle, 2” x 2.25”, is the centerpiece.  Sterling silver clasp.

The tortoise is an enigmatic creature for the Chinese, “concealing the secrets of heaven and earth”: they see its shell as the vaulted  heaven and its underside as the flat disc of earth.  It also symbolizes steadfastness.

The necklace measures 18.5” long plus 2.25” for the tortoise.

 

While still in Hong Kong, I started using my Jade Market finds. I found a helpful book to explain the meanings of carvings such as the tortoise above: A Dictionary of Chinese Symbols by Wolfram Eberhard, first published in 1983.

Drawer 42: Semi-Precious Gem Stones: Peridot

“Makes the Heart Leap”

My Chinese Apothecary Chest:   in 1994, it arrived via container to California from Hong Kong, where I discovered beading during my husband’s ex-pat assignment.   Serves as the repository for my beads.  Handcrafted.  It has 52 Drawers, mostly sorted by color.

2017 Challenge: Create a Necklace a Week, using only the Beads from one Drawer at a time. Voila!  52 Necklaces!

Week 42/Drawer 42: October 18, 2017: “Makes the Heart Leap”

I took this sweet necklace out of order three drawers ago because it would have been the third green necklace in a row. So, after a short break, here is the notable peridot, August’s birthstone.

Early in the Earth’s solidification as magma cooled to form rock, peridot was born. When magma cools slowly, large and clear specimens are created.  These large chunks were originally thought to be emeralds…sorry, Cleopatra, your prized necklaces were probably peridot!  Today there are no large specimens to mine (except in Burma, and they are blocked from export by the military junta).

The Pharaohs of Ancient Egypt liked peridot so much, they called it the “gem of the sun”. They also had the monopoly on their gem since it was exclusively mined in Zabargad—an island offshore in the Red Sea shrouded in fog.  I read the island “went missing” for several centuries—that thought makes me smile—until 1905 when the mines started up again, unfortunately terminated in 1958 by nationalization.

I love the green tones of peridot. It is classified as a silicate mineral and the less presence of iron in the rock, the deeper the green and the more slowly it cooled 3.5 billion years ago.  Also only stones above 5 carats are dark.  Light ones such as those I use are under 3 carats and found in Arizona, among other places.

When walking on the lava beaches of Hawaii, do you notice the sand sparkles?  The twinkly  grains aren’t sand, but tiny bits of peridot!  Lava is magma!

With all these fascinating stories about peridot, you won’t be surprised to learn it has strong magical powers! It dispels fears of darkness and nightmares.  This is perhaps due to the fact peridot in its natural environ shines in the dark.  It also attracts love and calms anger.

This two-strand necklace features color-matched peridot: one strand is round; the other features small briolettes with some chips at the end.

I added a faceted peridot briolette with a vermeil* bail, seed beads and clasp. Wear your favorite gold earrings with this necklace which measures 18”.  $99.

 

*Vermeil is gold plate over sterling silver.

Drawer 38: Semi-Precious Gem Stones: Chrysoprase

 

“Heart’s Desire”

My Chinese Apothecary Chest:   in 1994, it arrived via container to California from Hong Kong, where I discovered beading during my husband’s ex-pat assignment.   Serves as the repository for my beads.  Handcrafted.  It has 52 Drawers, mostly sorted by color.

2017 Challenge: Create a Necklace a Week, using only the Beads from one Drawer at a time. Voila!  52 Necklaces!

Week 38/Drawer 38: September 20, 2017: “Heart’s Desire”

If Chrysoprase isn’t a challenge to pronounce, try this: it is a cryptocrystalline which means it is composed of extra-fine crystals.  To me that is perfectly evident when I look at the translucence sparkling from the inside to the surface.  And BTW, this wonderfulness exists because the crystals have a trace of nickel in them!

 

 

The minty green color of the beads I am using in this necklace is the most popular of its several shades.

The rocks of chrysoprase I saw in my research all had brown streaks running through them.

That the cutters kept some brown is the feature that caused me to buy two strands  of these beads.

In sharp but pleasant contrast to the minty green is the solid honey brown of the two brown chrysoprase centerpieces and the earrings.  The contrast  gives this chrysoprase necklace real personality!

 

I am not a metaphysical user of crystals, but my research indicates chrysoprase is a major heart chakra: “its relaxing and serene vibes help cool the intense emotions of anxiety, especially if you place it over your heart”.  Another quote:  “the strong flow of healing energy through the heart boosts circulation and brings you closer to living from the heart and embracing universal love”.  Pretty nice way to exist…

The clasp and earwires are vermeil which is 14 karat gold over silver.  This two strand necklace measures 18”; and earrings are included.  $99.

 

Drawer 37: Olive

“Empress of the Splendid Season”

My Chinese Apothecary Chest:   in 1994, it arrived via container to California from Hong Kong, where I discovered beading during my husband’s ex-pat assignment.   Serves as the repository for my beads.  Handcrafted.  It has 52 Drawers, mostly sorted by color.

2017 Challenge: Create a Necklace a Week, using only the Beads from one Drawer at a time. Voila!  52 Necklaces!

Week 37/Drawer 37: September 13, 2017: “Empress of the Splendid Season”

I never knew there were so many shades of olive until I looked into the so-named drawer #37. That said, the color of this necklace defies definition, even if the beads were living in my olive drawer!  It is a dusky green with gray tones…

I was pleased to see I had a good amount of American Art Glass which I paired with not one, but two, pieces of Lampwork Glass by Gail Crosman Moore. I balances Gail’s lush work with a common round agate.  A few inches of small faceted Labradorite provided subtle color support to the dusky art glass and brought the necklace to 19” in length.

 

 

The Art Glass is by David Christensen who used to commute from Rhode Island to California to sell his beautiful wares to folks like me. See Drawer 17 in my blog dated 5-3-17 for the Art Glass history.  These beads have the color embedded in the center—there are actually two shades of the color that my photographic inexperience may not allow you to see—and the clear glass surrounding each bead is cut in a diamond shape.

 

 

 

 

 

 

 

Gail’s beads have been featured several times this year; they never fail to mesmerize due to the complexity of their layered colors and their unique shapes.

 

I chose the spacer/extender Labradorite beads to compliment Gail’s and David’s colors. Labradorite is a semi-precious stone that is usually gray-green in color; its attraction is the iridescence that seems to move depending on the angle it is viewed from.  I like how an Intuit lore describes Labradorite:  it fell from the frozen fire of the Aurora Borealis.

This necklace is very tactile due to diverse shapes and a color that calls you in for a closer look and touch.

At 19”, with earrings included, it is priced at $189.

I first introduced a Gail Crosman Moore bead to this blog in 4-11-2016. Others followed in 4-12-17 as well as 5-3-17 and 5-10-17.  To access these blogs, choose the month and year in the  ARCHIVES box on the right side panel of the landing page of priscillabeadle.com.

In a final postscript, my friend Sue, a lover of Labradorite, created a kitchen island top out of this magnificent stone!!!

Drawer 36: LIME: Venetian glass

“Dreaming the Dreams”

My Chinese Apothecary Chest:   in 1994, it arrived via container to California from Hong Kong, where I discovered beading during my husband’s ex-pat assignment.   Serves as the repository for my beads.  Handcrafted.  It has 52 Drawers, mostly sorted by color.

2017 Challenge: Create a Necklace a Week, using only the Beads from one Drawer at a time. Voila!  52 Necklaces!

Week 36/Drawer 36: September 6, 2017: “Dreaming the Dreams”

I’ve expressed my love for Venetian glass many times and the romance continues with this week’s choice. This shade of lime is especially dreamy.  Actually, I do believe the gold foil centers of most of the beads causes the lime to impart a special glow on your neck.  I have worn this twice and the compliments were many!

It is my opinion that Venetian glass is made by true artisans on the Island of Murano, a vaparetto ride from Venice ( details of my visit there in Blog dated June 29, 2013).  Those artisans are the designers and the flame workers:  they both have their hearts involved in achieving outstanding results.  You don’t find any of the Venetian beads I’ve showcased this year in a bead shop (apologies to my local purveyor, Beaucoup Beads in Scituate…I still love to shop with you!), rather you have to go to shows where vendors lay out their best stuff, and make you drool!

Regarding this necklace, the 11 squares trimmed with yellow measure 7/16th of an inch…small, but large enough to be noticed.  There are smaller squares, only 1/4” across, that I used as spacers.  Be sure to notice two round lime beads with gold foil centers that comprise the focal point.  In fact, all these beads except the distinctive square ones have gold foil centers.

This 18.5” necklace comes with matching earrings.  Gold metal clasp.  The set is $109.

Drawer 25: Iridescent

  Week 25/Drawer 25: June 21, 2017: “I Believe I can Fly”

 I’ve made perhaps ten of these complicated woven necklaces in my 22 years as a bead jewelry artist. As a beginner in the 90’s, I took lots of classes from a lot of fabulous well-known instructors.  I loved learning about other artists’ styles and methods, hearing their tips, fondling their samples, and buying their beads and books.  For me, there is no better way to spend time.

helen dietze (always lower case) gave classes in making “Ambassadors”—knotted woven seed bead chunks about 2” x 6” strung on thread which was tied in a knot and worn long. As named, she took them on her travels and gave them away.  She also taught her techniques, including an advanced class where the Ambassador was used to encase a beautiful extraordinary object preferably found in exotic places.  These creations were meant to exemplify the “more is better” theory.  This class was made for me!

 

 

 

 

So, helen, here is what you taught me 20 years ago, adapted to my style, and an appropriate challenge for Week 25, almost halfway to the end; almost to my 75th birthday!

 

 

 

 

A bit of a bio of helen: Born in perhaps 1919 (she disallowed discussions of her age); she studied art at the Rudolph Schaeffer School of Color and Design in San Francisco; was widowed in 1959; lived in a house in San Leandro, No. California, which was packed to the rafters with mosaics, yarns, looms, and beads.  Small of stature, she was tall in presence:  perfect make-up with signature red lipstick; hair up in a chignon; black clothing; and always a major necklace on her neck.  She was our Georgia O’Keefe.  helen passed away in 2004, at approximately age 85.  Needless to say, the crowds at her memorial were huge.

In closeup, above, in step 5.

To describe my necklace, I shall do it in terms of the construction process (usually called my design process):

  1. Go to the bottom of the necklace and find the knot of beads. This section, about 2” x 2” is the “Ambassador” starting point. I added the sterling silver fish and the pewter frog. Attach it to the 4” long shell with some holes supplied by Mother Nature.
  2. I weave and knot my way up and over the shell strip using multi-color beads of varying sizes. My principal colors reflect the iridescent shell—greens, pinks and greys in all shades. Blues and reds thrown in for punch.
  3. Practicing “more is better”, I add another shell, 2” at its longest. By now I am working with four strands of strong bead thread on each side.
  4. I start up one side. I string 2-3” on two strands and knot them. I string a new strand, add a few beads to one of the strand I just knotted. Repeat over and over. But I only go up 3-4” on this one side.
  5. Then I turn my attention to the other side, always consulting side 1 to assure balance by bulk and color.
  6. Note the Guatemalan fish dangles at about the 4” mark. Here I terminate one strand on each side so I can progress with three strands.
  7. I work narrower as I round the neck area, tie off and cut one more strand to finish with only two.
  8. The darling frog button gets attached on side 2 and I string medium size Czech glass on the loop side, completing the closure and the necklace. It took 22 hours by my best guess. Did you find the fourth fish dangle?

This woven necklace is 22.5” long. The centerpiece section is 7”.  $139.

Drawer 17: Dark Green

 

“Fascinating Rhythm”

I’m challenging myself in 2017 to create one necklace a week using only the beads from one drawer of my 52 drawer Apothecary Chest.

Week 17/Drawer 17: April 26, 2017: “Fascinating Rhythm”

In the glass bead world, a hierarchy of three levels exists: American Art Glass (officially called “furnace beads”); lampwork glass which I use a lot; and blown glass (see Drawer #1).

These American Art Glass beads were designed by David Christensen, Rhode Island, and I used to buy them from him by the hundreds when I lived in California. This dark green color was attractive to me because when you look closely, it sparkles due to the silver foil with which he embellished the green.

To get wonky for a moment, “furnace glass” is an American adaptation of an Italian method called “latticinio” which uses glass canes—like all three levels do—and encases them in clear glass, then manufactures them in large scale furnaces. They are not individually made, like lampwork and blown glass.

The most predominant stone in this necklace is green aventurine, which is from the ubiquitous quartz family. Sometimes I have to look twice to identify these beads since jade comes in a similar shade of green.

Also featured are some lovely pressed glass beads made in West Germany. They were hand made from 1948 to the 70’s, when they switched to machines.  I bought these vintage beads from a CA vender in 1995, so there is a chance they were hand-made.  They are the distinctive bullet-shaped beads and the leaves with white stripes.

Green Aventurine has some interesting properties: they are the heart chakra; they comfort; they settle nausea; and they give courage to the wearer in social situations.

In my quest for an unusual clasp, I found a green glass circle and paired it with an oversize pewter lobster clasp.

This two-strand necklace measures 21” and earrings are included. It is $99.

Part of the fun of each week’s necklace challenge is journaling in my “Maker’s Notebook”. It starts on the right where I leave four spaces for data which can only be entered after I finish the necklace. The body of my scribbles are thoughts that emerge as I am designing, then stringing, then closing off the necklace and earrings. On the left, I then do a drawing and color it in. I draw after completion; my design process lets the beads percolate as I gather piles of them–a process too intuitive to draw in advance.