3 October 2014
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5 May 2014
Here's a rarity:
A Hermann Jünger brooch, 1960/70 at auction. (auctionata)
Also a rarity- a chance to see the back! Something I have never seen.
Jünger's maker's mark is a standing bird- and looks to me as though he's engraved the stamp himself-
a nice touch.
I was not expecting to see the square wire framework supporting the composition- very interesting.
There's a freeness in the face composition, and then a lot of formal, organised work to hold it together underneath.
There is always lots of things going on in a Jünger piece;
claw-setting, bezel setting, enamelling, granulation, fusing- a kind of playful game, mixing things up...
you'll see an emerald next to green glass, ivory next to white enamel.
Labels: Hermann Junger
15 April 2014
10 March 2014
31 January 2014
24 January 2014
I love working with pure gold- not typically used for today's jewellery, being somewhat softer than the lower alloys, but the trick is to make it proportionally hefty, then it is very robust, and… well…
Silver or 18k Horse Pendants can be adopted from
23 January 2014
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21 October 2013
"we can no longer marvel at a tube being bent"- well the tube part is straight.
Simple and heavy.
Gold plated bronze.
I first made this in 2009 I think...
but I may start making them again.
16 October 2013
14 October 2013
11 October 2013
10 October 2013
9 October 2013
7 October 2013
The silver version is available in The Golden Smith Shop. US$250
Here is the method:
First, roll out silver to a thin sheet, using rolling mills.
Cut out discs, then petals. I use scissors for this- snips or saw would be too awkward.
Flatten and texturise the flowers on a rough anvil, with an antique hammer.
Scribe lines on petals using a double-pointed tool and on a heavy paper pad to allow the right amount of push-out.
Close-up of said tool. I fashioned this from a broken twist drill and hold it in a pin vice.
Dome the shapes using a wooden punch and matrix.
I dont use steel versions of these tools as these would probably spread the already-thin material.
I also stone-washed (not shown) these components to de-burr the edges.
Little backing cups are made using the same method.
All components, including ear wires are organised for assembly.
The backing cups are soldered to the ear wires. Soldering (not shown) is done under an exhaust hood and I also wear a respirator- to protect myself from potential fume hazards.
The flowers have holes punched through their centres, and are attached to backing-cups with a ball rivet. These rivets are formed from short lengths of wire with little heads melted on each end- and will allow the flowers to move a little.
A hot little flame is needed to quickly melt this rivet-head without heating the adjacent solder join
-which has a lower melting temperature. In other words, if you do this wrong, the whole lot melts together... or falls off!
Repeat. Repeat. Repeat... Repeat!
Bend assemblage into earring configuration, with ear-hooks.
Looking a little grey at this point, I immerse them in a bath of citric acid,
which brings them to a bright colour.
I burnish the ear-hooks to be bright and smooth, and give them a soapy wash.
I may try some similar versions with elements other than flowers?