In this issue - Enamel Guild North East

Volume 20 / Number 1
Leni Fuhrman’s piece, Wounded Venus, is included in the
following exhibit.
In conjunction with the Society of North American Goldsmith’s
(SNAG) 2012 Conference in Phoenix, Arizona, Mesa Art Center is
presenting the exhibition, CU|29: Contemporary Work in Copper
from April 6 to August 12, 2012. This juried exhibition will feature
contemporary artwork that is made primarily of copper. March 2012
Anne Havel had three pieces (two shown below) from her
“flower series” accepted to the “Best of Ohio” 2011 traveling
museum exhibition. The three pieces selected were “flower
series: flower study in yellow II, genetically engineered disaster,
and for the bees”. All pieces will be displayed at the Ohio Craft
Museum May 1 – June 19. They will travel to Southern Ohio
Museum, Portsmouth, Ohio from July 8 – August 27, and
complete the show at the School of Art Gallery, Kent State
University October 11 – November 11, 2011.
Anne’s work will also be included in the book “Form & Color”,
scheduled for release during spring 2011. Three pieces were
selected – “Canvas series: NOW I like rings & lopsided tears,
nuclear series: all the right angles, and pigeon moving:
combined drawings.”
Haeckel ocean series: metaphor for death by Anne Havel.
In this issue
Wounded Venus by Leni Fuhrman.
Members’ News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cover
President’s Letter.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Letter from the Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
EG/NE: A Look Back.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Off the Cuff with Derek Anastasia:. . . . . . . . . . . . . . . . . . . . . . . . 6
2012 Conference Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Call for Entries.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
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This will be my last letter as president of EG/NE. As many of you
know, I will not be running again this year. I have been president
for twelve of the twenty years of the guild and a board member
from the beginning. It is time for me to move on and let someone
younger lead the guild to new and greater achievements, although
I will remain active as a board member.
I remember the enthusiasm when we first formed the guild and
the hard work of everyone to grow the Guild to what it is today.
We fondly remember many of the original members who have died,
particularly Marilyn Druin our first president, Geraldine Berg vice
president, Peg Miller who was our treasurer for many years and
Antonia Schwed. Only four of the original board members are still
on the board, Isabella Corwin, June Jason, Marian Slepian and
myself. However other original board members, Kathy Wood and
Sue Garten, are still active in the guild.
Although I have many happy memories of our past activities
including interesting workshops and good friends made, I am very
excited and enthusiastic about wonderful things to come in the
Guild’s future. Our twentieth anniversary conference promises to be
excellent with great workshops, demonstrations and speakers, some
new and some old friends. We will end with a cocktail reception to
celebrate the enthusiasm of all our members who have given us the
past great twenty years and who will foster the continuing strength
of our guild.
From the Editor’s desk
edi tor: Jan i ce S pi llan e
What’s old is new again. That is the underlying theme for this year’s EG/NE Conference
Workshops and I hope you’re all as excited as I am about them. The range of topics
we included is not only interesting, but practical. In selecting these workshops the
planning committee discussed what really went into producing high-level enamels and
we kept coming back to metalsmithing techniques as the foundation from which we
all need to start. This led to the inclusion of three metalsmithing workshops – Adding
Texture and Patinas with Helen Driggs, Settings for Enamelists with Amy Roper Lyons,
and Cold Connections with Jan Harrell. Some of you may say, “know that, done that,”
but I guarantee you that these workshops will build on the knowledge many of you
acquired years ago. New products have emerged on the market and new techniques
and improvements on old ones have made metalsmithing easier and less frustrating…
especially for those of us who did not start out as metalsmiths. I for one struggle with
setting irregular shaped stones in my enamels and thus shy away from using them.
This has left me with two trays of really beautiful precious and semi-precious stones
that never see the light of day – a waste I can no longer afford to continue. Others on
the committee have expressed an interest in including a wider range of patinas that
can be used on the metals that showcase their enamels. And there continues to be
interest in working with cold connections, but doing so using a less time-consuming
process. I second that.
Jan Harrell will also share her process for creating and firing decal transfers, something
I know many of us would like to learn. And Amy Roper Lyons will introduce, to those
new to enameling, the basics of cloisonné and will also assist experienced enamelers
in taking their cloisonné pieces to the next level. This can ultimately lead to greater
satisfaction in a job well done and can also improve your success rate in being selected
for juried shows and also greater profits for those of you who sell your work.
There is truly something for everyone this year, new and experienced alike. I encourage
you to join in the fun and attend one or more of these exciting workshops. Don’t let
money keep you away. Full and partial scholarships are available for the workshops
as well as for the conference. What better time than this 20th anniversary of ours to
reconnect with friends and learn something new. I hope to see you there.
Sandra Kravitz
Janice Spillane
Editor
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By : Jan i ce Sp i lla ne
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The Enamel Guild/North East came to fruition through the leadership
of Marilyn Druin, along with a handful of enamelists from New Jersey
who saw the need for a larger regional association to further the art
of enameling.
In 1988 Marian Slepian was awarded a solo show at a large research
company in New Jersey and found that she could not fill the space
herself. She asked four others from NJ to participate: Marilyn Druin,
Patricia Lange, Peg Miller, and Katharine Wood who then formed the
Enamel Guild of New Jersey for this show. They enjoyed success and
continued to show as a Guild. Soon there were requests from enamelers outside NJ to join and the Guild decided to expand membership
to others outside the state. In 1992 a new Guild was formed, currently
known as the Enamel Guild/North East, with five of the NJ members
(Marilyn Druin, Peg Miller, Marian Slepian, Antonia Schwed and
Katharine Wood) as founding members around whom the new guild
was formed.
list from this
The Guild’s wish
included:
first conference
• A newsletter
members’
• A calendar of
otos
enameling ph
os
es, bios and vide
id
sl
of
ry
ra
• A lib
hip
rs
uncil for mento
• An advisory co
n exchange with
• An informatio
wide
d industry world
other guilds an
urce directory
• A printed reso
ting materials
• Printed marke
umers
aterials for cons
• Educational m
erative
• A buyer’s coop
• Advocacy • Seminars
The first EG/NE meeting was held at the Newark Museum, resulting
in 41 charter members from six states – Connecticut, Massachusetts,
New Jersey, New York, Pennsylvania, and Vermont. An enamels
workshop was subsequently established at the Newark Museum
through a bequest to Marian Slepian from Professor Cooke at William
Paterson State College, along with a grant from the First Mountain
Crafters Guild. This gave the fledgling Guild a home for future
meetings, workshops, and annual seminars.
The first board of the EG/NE included Marilyn Druin as
President, Isabella Corwin and Geraldine Berg as Vice-Presidents,
Corresponding Secretary Jerry McGeoy, Recording Secretary Larissa
Rosenstock, and Treasurer Rolin San Juan. Officers included Mel
Druin, Ursula Duba, June Jasen, Sandra Kravitz, Felicia Liban,
Gail Lyman, Doris Ratz, Elizabeth Shaw, Averill Shepps, Marian
Slepian, Marion Theisen, Juan Torres, Vincent Verdi, Ginny Whitney,
Katharine Wood, and Yoshiko Yamamoto. The first editor for the
Newsletter was Doris Ratz, authoring Vol. 1 No. 1 Winter 1992.
That first two-day conference was jam packed, starting with an
address by Hortense Green, the Coordinator of Affiliate Relations for
the American Craft Council and creator and director of the 1993 Year
of American Craft. Presentations were given by Rick Snyderman of the
Synderman Gallery and Works Gallery in Philadelphia, PA, on craft
marketing and current trends; Milton Naham, master enameler and
jeweler, on technical issues; and Barbara Minor, a research associate at
Louisiana State University, on sources of inspiration. Barbara also did a
workshop on photographing one’s work. There were slide presentations
of members’ work, discussion of 3D objects, wall pieces/architecture,
jewelry and arts, and a tour of the Newark Museum. The very first
financial report showed a balance of $1,286.72, with the year ending at
$4,225.26, the majority of which coming from two $600 donations and
membership fees.
logo circa 1995
The inaugural exhibition for the organization – “Enamels: Small Works,”
was held at the Brookfield Craft Center, Brookfield, CT, from March
16th through April 18th, 1993. This juried show was open to all EG/NE
members in good standing for a fee of $15 for four entries. Twenty-three
members participated. The second show, Contemporary Treasurers, was
open to all enamelers in the US and ran from October 1 to October 31,
1993. Thirty-five enamelists took part in this juried show.
1994 was a productive year,—
• The Guild received tax exempt status through the efforts
of Mel Druin
• The first buy and sell was offered at the 1994 conference
• The first group project, tiles with an animal theme, began and
was ultimately donated to the Penn Bay Hospital, Rockland, Maine
• A pot luck diner was held at the Druins’
• Scholarships were first established
From that very first conference the guild has grown to almost 100
members and has conducted annual conferences with pre and post
conference workshops; has held numerous other workshops; has
sponsored 6 juried exhibitions; has networked with other guilds; and
has been active in The Enamelist Society as board members. The Guild
has also produced a newsletter highlighting members’ work, activities of
interest, upcoming shows, articles on new techniques and products, and
general articles of interest. And, what was once a black and white fold
over is now a multi-page color, on-line newsletter.
Take a bow EG/NE and a special thank you from our current membership to those of you who have contributed so much over the years and
who have played an instrumental part in our Guild’s success.
current logo designed by
Guild member Leni Fuhrman
off the cuff
with derek anastasia:
a collector’s insights on
enamel cuff links
By : Ja n i ce S p i lla ne
How many collectors come to their passion
by chance? For me it was a burnt wooden box of
my father’s I found upon his death. For Derek Anastasia it
was the pair of antique gold cuff buttons given to him by his
grandfather over two decades ago when he graduated from
Indiana University School of Business. That first pair has cascaded
into a collection of 3,286 pairs and 700 single enamel cuff links, a
collection that is the world’s largest and most comprehensive.
While amassing this collection Derek has garnered a wealth of
information about the history of cuff links and the masters who
made them. This has made Derek the go to person for anything
to do with enamel cuff links and their four-century history. His
collection has been gathered through painstaking research and
networking and searching the world over for that elusive pair that
would, if acquired, complete his collection. He has yet to find that
final pair, but says, “I still savor the hunt and the undeniable thrill
of acquiring a newly discovered pair.” The best thing about his
collection is that, unlike many, it is not hidden away in a vault for
just a few eyes – he wears his collection daily and proudly on his
tailored French shirt cuffs – a new pair for every day of the week
for months on end. Derek says, “I’m wearing a piece of history
and it says something about the time and place
when it was made.”
The exact date that cuff links arrived
on the scene is unknown, but it is
assumed that they originated in the
1700’s in England or Europe as an
alternative to ribbons that men
wore on their cuffs. A jeweler,
clockmaker, or optician – all of
whom had the skills necessary to
craft such fine jewelry, most likely
made these cuff buttons, as they were
first known. Due to the expense they
were made for the upper class, perhaps a nobleman or rich merchant. And while jewels were often
incorporated into the design of the silver and gold
buttons, enamels were highly prized because of their
rich color, brilliance, durability and overall warmth.
The jewelry capitals of the world – Italy, Russia, England,
and France made some of the most coveted and beautiful
enamel cuff links.
cufflink backs
In the United States, high-end jewelers such as Tiffany
and Cartier and mass-market makers Foster & Bailey and
Krementz were also known for their fine work. Derek notes
that cuff link decoration has followed the art and styles of the
period and as a collection they offer a timeline of the evolution
of art design.
From the ornate cuff links of the Victorian era, to the flowing
designs of the Art Nouveau period, to bold and graphic designs
associated with Art Deco, enamel cuff links have kept step and
master enamelers have created miniature works of art that
have withstood the test of time.
early 1900’s
Cuff buttons started as a pair of buttons that migrated to the
shirt cuffs and were attached by a short chain. Sometime in
the late 1800’s the back cuff button changed to the cuff link
– where the cuff link back was decorated as well as the front.
Later the cuff link back became the pivoting back (a torpedo
shaped piece of metal) that we commonly
see today.
Cuff links became massproduced in the late 1800’s due
to mechanization and thus they
became more affordable and
were widely worn by men and
women alike. Derek says, “The
market for enamel cuff links
is and always has been strong.
Those who appreciate them
will always buy, whether it’s on
platinum, gold, sterling or base
metal.” For more information
on enamel cuff links visit
http://www.EnamelCuffLinks.com
circa 1920’s
Derek Anastasia
circa 1930’s
Jamie Bennett
2012 Conference Over view
Conference speakers
The Enamel Guild/North East is celebrating its 20th anniversary this year in
grand fashion. At the center of the celebration is a timely and relevant oneday conference on The Future of Enameling that will be held on Saturday,
April 28th, 2012, at the Newark Museum, Newark, NJ. Registration and instant
gallery begin at 9 AM; conference starts at 10 AM; cocktail reception & raffle at
4 PM; offsite group dinner at 7 PM.
Jamie Bennett
Four enamel jewelry experts – Jamie Bennett, Helen Driggs, Jan Harrell and
Amy Roper Lyons will share their insights on key enameling issues and
techniques, which will include demonstration. Premier jewelry professional –
Patricia Kiley Faber of Aaron Faber Gallery will discuss the practical aspects of
enamels, namely sales. Some of the highlights are:
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A demonstration of new metalsmithing products and techniques
A look at students who push the envelope – their perspectives and practices
Summoning your inner muse and maintaining your creative spirit
The future for enamel jewelry sales
New selling techniques and repositioning oneself to make a real impact
A panel discussion on challenges and opportunities
A question and answer session that will leave no question unanswered
After the conference catch up with old friends at the cocktail hour and then
join us for dinner at a local restaurant.
Be sure to sign up for one or more of our exciting workshops – Helen Driggs on
Texture and Patinas; Jan Harrell on Applying Decals to Enamel and Incorporating
Cold Connection Techniques; Amy Roper Lyons on Demystifying Cloisonné and
Mastering Settings for Enamelists. If you are serious about enameling and want
to keep up with the latest issues, practices, and techniques then you do not
want to miss this exciting and informative multi-day experience.
Directions to the Newark Museum and further details about the
conference and workshops may be found on the EG/NE website at
www.enamelguildnortheast.org.
New Paltz and a three-time recipient of the National Endowment for
the Arts Fellowship and two-time recipient of New York State fellowships.
He has exhibited through out the U.S. and abroad. His work is in permanent
collections in over twenty museums. He is known for the meticulous use of
color and ornamentation in his work. He is an authority on contemporary
jewelry trends.
Helen Driggs
Helen is the managing editor of Jewelry Arts Magazine and is an expert
metalsmith. She has developed and marketed numerous metalsmithing
videos and workshops and written extensively on these topics. She is a
frequent workshop instructor.
Helen Driggs
Patricia Kiley Faber
Patricia is co-owner of Aaron Faber Gallery in New York, founded in
1974 to present the work of contemporary studio jewelry artists. She
is a graduate gemologist (GIA) and is a member of many jewelry
associated organizations and is a frequent lecturer on studio jewelry.
Jan Harrell
Jan has been involved with enamels for over 35 years. She received a BFA in
jewelry and enameling from Texas Tech University and an MFA in Sculpture
from the University of Houston. She is an enamel instructor at the Glassell
School of Art and has received awards at numerous juried shows worldwide
and has contributed to many books and publications on jewelry and
enameling and is a much sought after enamels lecturer and instructor.
Patricia Kiley Faber
Amy Roper Lyons
Amy is a studio jeweler and enamelist. Her work is concerned with the
marvelous variety of form and color found in the natural world. She creates
one-of-a-kind and limited edition pieces in high-karat gold, enamels, and
gemstones. Lyons’ award-winning jewelry has been published in magazines
and books. Her jewelry is exhibited nationally at museums, galleries and craft
shows. She received her BFA from the University of the Arts in Philadelphia, PA. Jan Harrell
Amy Roper Lyons
Pre Conference
Two-Day Workshops
April 26 & 27, 2012
conference Workshops
conference Workshops
Image Transfer with Decals with Jan Harrell
You will concentrate on creating your own decals with inexpensive water-slide
decal paper for laser printers. Jan will bring examples of images that you can use.
She will also demonstrate coloring techniques after the line work is established.
Composing with Color and Line: Cloisonné
Enameling Demystified with Amy Roper Lyons Explore cloisonné enameling with award-winning enamelist Amy Roper Lyons.
Beginners will learn all the basics and advanced students increase their mastery.
Designing, composing with color, wire-bending, smooth blending of colors, use of
foils and inlays, texturing and forming the fine silver, and more will be covered. Settings for Enamelists with Amy Roper Lyons
Amy shares the method she has developed for setting her cloisonné enamels. This
easy to learn variation on prong setting is both elegant and easy to repair should
need ever arise. You will fabricate a setting for an enamel piece you bring with you
Cold Connections with Jan Harrell
This workshop will provide many alternatives to help one incorporate enamel and found
objects into jewelry and small object designs. Jan will cover the use of alternative cold connections – rivets, tubing, and screws. The many tips and tricks will make the
process a snap.
Adding Texture and Patinas with Helen Driggs
You will explore ways to add texture to your metal and color through the
use of patinas. You will then learn how to incorporate these techniques
into your enamels.
Photos: Jim Lawson
One-Day Workshop
April 29, 2012
Post Conference
Two-Day Workshops
April 29 & 30, 2012
Call for Entries
and Workshops
Call for Entries:
EG/NE Juried Exhibition at the
Cape Cod Museum of Art
Entry Deadline: March 30, 2012
Please go to our website for details –
www.enamelguildnortheast.org
Exhibition: 2012 National Juried
All-Media Exhibition
Sponsor: Petersburg Regional Art Center
Location: Petersburg, VA
Entry Deadline: July 6, 2012
PRAC is pleased to announce its first National Juried
All-Media Exhibition. This exhibition will be held
from October 12 – November 3, 2012 in the Main
Gallery on the first floor of the art center. Two or
three-dimensional artwork in all media will be
accepted; up to 50 inches in either direction. All
works must be original and completed within the
last 5 years. Each artist may submit a maximum of 10
pieces electronically. PRAC will award $1200 in prizes
during the reception and awards ceremony,
including a $500 Best in Show Award, a $400 2nd
Place Award, and a $300 3rd Place Award.
For more information download prospectus at
http://www.pracarts.com/2012prac.pdf
ENAMEL G UILD /
NORTH EA S T
Workshops:
Amy Roper Lyons is giving a workshop in West
Palm Beach, Florida, Armory Art Center’s 2012
Visiting Master Artist Workshop Series.
Cloisonné Workshop with AMY ROPER LYONS
“Composing with Color and Line: Cloisonné
Enameling Demystified.” March 29-31; Cost: $425
The Armory Art Center
1700 Parker Ave.
West Palm Beach, FL 33401
[email protected]
www.armoryart.org
OFFICERS
President, Sandra Kravitz
Vice President, Janice Spillane
Vice President, Kimberly Geiser
Secretary, Cecilia Echeverri
Treasurer, Sheila Beatty
BOARD MEMBERS
Ruth Altman
Mary Aulde
Isabella Corwin
Mel Druin
Leni Fuhrman
Lois Grebe
June Jasen
Alan Kravitz
Jane Lampkin
Louis Rodrigues
Marian Slepian
Cindy Wright
EDITORIAL COMMITTEE
EDITOR
Janice Spillane
E-mail: [email protected]
Leni Fuhrman
Kimberly Geiser
P u r p o s e o f E n a m e l G u i l d / N o rt h E a s t:
To promote the art of vitreous enamel and to educate both
the public and the members of EG/NE through activities such
as exhibitions, workshops, publications, lectures, demonstrations, educational programs and symposia throughout the
northeast region of the USA.
To communicate and to cooperate with other enameling and/
or craft organizations and individuals on a worldwide basis
with similar educational interests and objectives.
T h e b e s t way to g e t yo u r a r t i c l e
published in our Newsletter:
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Please write an article, do not just send information. MSWord
format is preferred, however pasted into the email is fine.
Please send all information by e-mail to [email protected].
Use the email subject area for a brief explanation.
Please keep submissions under 800 words.
If you are sending images, please send them as digital
files in jpg format at a resolution of 300 dpi. If this is not
possible, you may send photographs or color photocopies to
the editors. We are unable to accept slides.
You may also, if necessary, send a typed article to the editors.
We are enamelists; computer technology will not stop the
publication of your article. Please give the editors extra time
if not in email format. Thank you for saving the editors a lot
of work.