THE HISTORY OF JET & JET MOURNING JEWELRY - David Horst
JULY 2012THE HISTORY OF JET & JET MOURNING JEWELRY - David Horstwould puzzle a monkey to try to climb this tree” and if youhave ever seen this tree, you would have to agree with thatstatement.thThe B.S.N.C. meeting on April 17 brought a real surprise basically, “all that we have been told about “jet” is probablyincorrect” . Now that comment really got our attention.What is JET: Technically it is “gem-grade coal”, black in color,not translucent, is a very soft 2.5 on the m.o.h. scale and coldto the touch. It ranges from dark brown to black and oftenhas brown streaks. It is naturally shiny and has concoidal(rings that gradually whirl out from the center, also called‘oystering’) fractures. Plus, it smells strongly of sulfur when itis burned. There are a number of inconsistencies indetermining what is jet from the point of view of ‘earthscience’ and modern geological study. David’s talk tried toexplain the various types of jet and where it can be locatedthroughout the world as well as the history and present dayusage.Jet averages 60-300 million years old from the Paleozoic Era.It is not a true mineral but a mineraloid, is organic and relatedto lignite coal the same element that is used as fuel forelectric power, primarily in Europe and on the east coast inAmerica, and as we all know it is extremely dirty whenburned! The dust often caused disastrousexplosions in the mines. The additional causewas that pieces were lit a fire and used ascandles. No one knows exactly how it is formedas it has been found and worked all around theworld. The seams of jet have been found tocontain ammonite fossils. When the earth crustwas moving, these same seams were divided upand moved across the planet. David is trying tolocate a company that can carbon date the pieces he hascollected from around the world.Jet is mostly fossilized Monkey Puzzle Tree. This grotesquelyspiky tree gained its popular name when first viewed, “ItThis will give you some idea of what is out there . The mostinformation quoted today is about the jet found in Whitby,England, which was the center of Victorian jet production.There was a book written in the 1920’s about jet from thislocation, which has been quoted, incorrectly, since thepublishing. David showed a number of slides of the jetworkshop in Whitby from the 1860’s. The conditions wereterrible; death came early to many of the workers due to thedust. Secret formulas were developed for special glues andpolishes for the jet pieces created there. The seams still areopen and small pieces can be found washed up on the coast.Whitby jet and Asturian jet have been dated at 180 millionyears old which is contrary to the fact that lignite coalaverages 60-100 million years. It has been found in theNorthwest area in the U.S. and in the Andes of coastal Peru aswell as in New Mexico where it was used by Zuni and Pueblo.Azabache Jet, found in northern Spain, has been supposed tofrom cypress trees and old ferns and has been dated to 120140 million years old. The oldest jet jewelry from there hasbeen dated at 17,000 BC. Germany has pieces dated at10,000 years BC. Ancient Romans were crazy about jet. TheRoman Eunuch Priests loved jet and accredited it to theirgoddess Cybele who was created with a black face made froma meteorite. To honor her, they created much of theirjewelry out of jet. In Greece, Jet is called GAIA which translates, even in current times to ‘motherearth’. This love and honor of jet spreadthroughout Greece, Turkey, and Rome. The Moorscreated a famous talisman for protection to wardoff the ‘evil eye’ using a piece of jet which is a fistwith the thumb tucked between the thumb andfirst finger this form has been called a ‘figa’,‘higa’, and ‘gigua’ in various cultures. Similartalismans are used throughout the world forprotection. Medieval Persian pieces were inscribed withverses from the Koran. Jet has also been found in Asia andChina as proved when a member brought pieces for Davidfrom that location. One strange point is that pieces found inRussian and in Tennessee are of the same hardness and today
are found in larger chunks. Amber and jet are both organic“gems” that have been used throughout the world to createjewelry, especially pieces for the hair due to their lightweight. Black amber is often called jet although it is veryrare. Monks use it to create prayer beads for this veryreason. Many old, broken pieces have been repaired bymixing the jet dust with epoxy to disguise the break and thenresold so be very careful when purchasing, especially old, jet.donuts, which he drills with the holes going either up/downor side/side, and often both. One design that was long incoming has become his most desired the heart, called“broken hearts” as a very close friend who requested thisshape over and over died before seeing them come tofruition. These pieces are intentionally not uniform or totallysmooth. He calls this design “bilateral symmetry”. Mostnoticeably being that one part is left rough and broken onpurpose. Some of the hearts come with a skeleton key . Hehas become a muse to many jewelry makers as his pieces arepersonal for him but they also openly relate to others.Over the years, jet has been called by many names mostlyincorrectly and often with fraud at heart: Anthracite, Bakelite(phenolic resin), Bog Oak (usually carved with an Irish theme),Cannel Coal (a silvery green), Enamel, Epoxy Resin, Glass –French Jet / Vauxhall Glass, Horn, Lignite, Quartz/Black Onyx(treated by soaking the quartz in sugar water, and thenburned in sulfuric acid to cause the intense black color),Shale, Vulcanite or Ebonite (rubber sulfur heated to 115 ),and even Wood (stained/painted with black enamel).Here are some dates that elevate jet in the more moderneras:1649 – Jet was the color of jewelry worn when a person wasin mourning.1800’s – Pieces of jewelry gathered from around the worldwere located in the collection of a retired navy captain.1850 – Thomas Androus was appointed the maker of jewelryto Queen Victoria.1851 – His jewelry made of jet was featured in an exhibit inEngland.1861 – Queen Victoria chose jet as the color of jewelry uponthe death of her beloved Prince Albert. This period ofmourning went on for 20 years.1870 – Because of the popularity of jet, the factories inWhitby, England employed 1,500-2,000 workers which isamazing as the total population of Whitby was only 4,000people.1880 – French Jet which is actually glass and othersimulations came into vogue.1887 – Queen Victoria decided to wear silver and the sales injet slumped drastically.By 1921 – only 20 workers remained in the Whitby factories.This is why it is very important to know your vendors whenyou want to purchase real jet. Go to shows, speak withreputable vendors who carry jet, read, look at pictures inmineral books, ask questions, study earth science, andpractice ‘hands on’ to gain the knowledge.David V. Horste is one of the only lapidaries in North Americawho actually has worked with a variety of kinds of jet fromaround the world. He has a unique perspective and offers anew definition of what actually constitutes genuine gemstonejet. He started cutting stone when he was ten years old andhas been a full time lapidary artist since 1992 with a specialtyin larger, one of a kind, centerpiece and focal beads, alongwith some unique, free form cabochons. His current workfocuses more on working in gemstone jet, reviving theVictorian tradition of genuine jet mourning jewelry to helpthe bereaved, as well as to promote environmental andenergy education.To contact David and learnmore about JET:DVHdesigns David V. HorsteLapidary Artist, Beadmaker,Jet Mourning Jewelry 503680-8566www.dvhdesigns@gmail.comHistory aside, David showed a number of slides of his pieces one in particular holds special memory for him, a set of dogtags done in jet and petrified wood. So many artists andcollectors are using his carved jet pieces now, especially the2
The Golden Age of Costume Jewelry - Deanna DoeringPretties, pretties, pretties .all that sparkles cannot beanything other than wonderful! On June 19th, DeannaDoering, past President of the bead society, gave a dazzlingpresentation of only some of her collection of rhinestonejewelry.pieces coming out of “costume” houses which is what thefashion industry was called in those years .when a womandressed to go out, she put together a costume it became her“look”.Pre-The term “rhinestone” comes from crystals that wereoriginally found in/around the Rhine River inGermany. In the late 1780’s, occasions ofstate arose where it was almostmandated to wear your finest “jewels”when making an appearance at court orprivate parties. Naturally, not everyonewas of the financial status to be able toafford to wear real gems, especiallydiamonds, so jewelry set with rhinestonesbecame the next best thing. A century later the Czechartisans devised and perfected the high sparkle of artificialcrystals - glass - which, when cut and set in good settings itwas hard to tell the difference.Depression, women wore fine jewelry eventhough they may have been small items like agood set of pearls or a gold watch. The ArtDeco period had a few designers whocreated large impressive pieces but mostwere still small items but reflected thenew geometric designs.World War II began, affecting almost theentire world and rationing started. The artisans fled thecountries of their birth and most came to the eastern UnitedStates. After the war, the fashion/costume houses went allout to celebrate. Many people couldn’t afford gold anddiamonds, but copies of real jewelry abounded. Costumejewelry companies like Coro and Trifari knocked off the realitems creating high demand and other costume housesfollowed suit. Advertising boldy read, ‘these designs areattributed to .”. It was not cost effective for the hundreds ofcostume jewelry makersto try to sue in court over designinfringement, so they just moved on to new designs. Tomaintain that “look”, many of the ‘knock-offs’ were platedwith real silver and gold plate on top.Of course, with fine jewelry, there is the issue of cost andnaturally the security of the owner/wearer was of upmostimportance. “French Paste” now sometimes referred to as“Diamante” was made of clear glass and the styles wereusually with a ‘pave’ set design resulting an increase of facetsto throw off more sparkle. Zsa Zsa Gabor was beaten up badlyby thieves trying to steal her jewelry when they were simplyFrench paste copies. Most of the really goodpieces, as those worn by actresses and peopleof wealth, are sitting in bank vaults while thepieces worn are “paste” copies. One of therhinestone finishes we take for grantedtoday, Aurora Borealis or A.B. was notinvented until 1955. With modernrhinestones, it would seem unusual to nothave that additional touch that adds somuch more to a design.After the war, women took over jobs that were previouslyclosed to them and they started to earn real money.One of the major areas of employmentwas in the costume companies’ factorieswhere operation of punch and stampmachines was good employment paying 35- 60 per week or in today’s dollars 433- 743. That was BIG moneyconsidering the average annual wage was 2500! A gallon of gasoline was 15 and ahouse cost 5,600 vs. 70,000 today. Thisindustry brought in 150-200 million per yearand in the 1940’s it ranked right up there withother major industries. From Victorian times on, there was anextensive influence of deorativemetalwork. The war in Europe changedeverything for most of the population. In Europe, thepreponderance of jewelry artisans were the Jews. Theirinfluence was felt across all aspects of life; from flat wear,silver-plate, handbag handles, umbrella handles, to tablesettings the artisans were all at work. There were fabulousWith their ability to earn their own money, women started tobuy pretty clothes, went out to dinner and dancing, and ofcourse, wanted pretty jewelry to decorate those suits anddresses. They went to movies to escape daily life and wanted3
to dress up like the movie stars they saw on the big screen.Pins designed as nosegays of flowers abounded, as didclowns, ethnic styles, dancers, animals, birds, etc. How manyof the pins in our mother’s and grandmother’s jewelry boxesreflected this influence. The financial difference is reallynoted in the prices of jewelry from those days today. AlfredPhillipe of Triffari created pins that sold for 10. Now they’revalued at 500 and up. In 1945-1946, the famous Gimbals ofNew York advertised “The Little White Lie” to push theircollections of rhinestones and glass vs. the real diamonds andgems. Costume jewelry had in a sense “arrived’ and it was nolonger considered ‘vulgar’ to flaunt it.Ralph Lauren recognized the world’s shift in wealth and nowcaters to Asians and Russians who have a great spendingability. Kenny J. Lane first designed for Dior and createdcopies for Liz Taylor’s famous gems and eventually createdhis own design house. His enamel ‘garden’ pieces iwith beesis one of his ‘signature’ designs, with knock-offs usingbutterflies and lady bugs and are all over the market. He alsodesigns for Avon. His 54,000 copies of Princess Diana’ssapphire and diamond ring sold out on TV within 48 hours at 20. Many big design houses still do not go into litigationwhen their styles are knocked off. With the overseas market,and so many companies into the knock-off business, it wouldnot be cost effective. Instead, they choose to change thedesigns and move on to newer and better. Even thecompanies who do get their styles manufactured in countriessuch as China, Pakistan, and Korea have their design itemsgoing out the front door and immediate knock-offs with slightchanges going out the back door.Our jewelry, like our lives, is influenced by the world eventsaround us. In 1925, Coco Chanel is credited with starting usdown the yellow brick road of wearing all things pretty andespecially sparkling. She was in position to use whatever shewanted to put into her creations and was not adverse tomixing plastics with rhinestones. Her designs were sopopular that Verdura knocked off her ‘Maltese Cross’ pin andis now currently showing a cuff bracelet costing 49,500! In1927, Coro, the biggest company at that time, had their highend line, ‘CoroCraft’ and was greatly influenced by antiqueRussian designs and styles. In 1937, Chanel and Scapparelliwere influenced by the British coronation and ‘crown’ pinstook off. By the 1940’s, American companies developedgreat ‘colored’ glass rhinestones, but the Czechs still excelledin the clear. Foil backing was added to enhance the flash butyou need to be very careful of the foil so that it doesn’t getscratched off. Many manufacturers of that time covered theentire piece with lacquer for protection and it is this fact thatcollectors look for when purchasing old pieces. After the war,Czechoslovakia shipped cases and cases of glass, buttons, etc.to New York where they could, at one time, be purchased at 1/cup!Today, names of fame such as Paris Hilton, Beyonce’, JayLo,and even our local girl Laurel Burch have their items madeoverseas and yes, they also have knock-off problems. At firstthe items coming over are of good quality but then thequality goes downhill which is self-defeating at best.Beyonce’ jewelry line is on top partnering with Carol Lee.Her specialty is copies of the Duchess of Windsor’s jewelryand maintaining the high quality that she wants to stand for.Laurel Burch started out selling handmade jewelry items toher co-workers at Cost Plus and was the first to go to Chinafor manufacturing. Now she is gone and the resulting qualityis low and sales are reflecting that personal touch.Deanna passed around some of her collection while she explainedwhat was on each tray and why the pieces were special in their ownright. She noted that it is important to keep fingers, hair spray, lotions,and perfume off the jewelry and especially off the stones. Clean thepieces gently with a clean Q-tip. Be aware of air pollution. Store thepieces in 100% cotton or in acid freecontainers – and with the anti-moisturepackets.Today, museums have displays of jewelry past and present.In 1979, Avon purchased the famous blue box companyTiffany. Elsa Peretti’s open heart and tear drop styles, andPaloma Picasso’s XOX ‘hugs and kisses’ have been knockedoff by everyone. Pamela Anderson has a new line of“Paladium” jewelry. Deanna had never heard of that metalso looked it up it is based on platinum, can be repaired inthe same manner as good jewelry and does not tarnish anddoes cost less. eBay has an entire division set up to monitorsome jewelry sites for knock-offs and seriously guards thename brands of the good fashion houses from around theworld.And when you buy costume jewelry youbuy it because you like it and will wear it,and not as an investment. The market isfickle and what’s popular and in demandtoday may not be when you tire of it.4
DESIGNER AND MAKER: HANDS ON - Allison Antlemaninto a larger showroom space. Now she is in position to sellout of her studio, open the doors to craft shows, and also toteach. She has also spent the past four years as President ofthe Metal Arts Guild.Then came the real treat for all who attended thatpresentation. Allison took us through steps of How toExercise your Design Mind.How to work with conscious vs. subconscious. Art doesn’talways have ready answers. You need to step back and lookaround you, let your inner child come out to play like we usedto freely do. She gave an example of the passion flower treethat used to grow outside of her smaller old studio. Theinterplay of the light filtering through the leaves as well as thegorgeous flowers lent inspiration to many of her pieces shejust needed to carry out her vision. The new building gaveinspiration to her “metro” series inspired by the view of thelocal buildings being reflected in the water late at night.ALWAYS be open to recognize that “a-ha” moment and todevelop it, play with it, until it becomes something new andwonderful on its own.thOn May 15 the bead society received a real treat by localartist Allison Antleman who has her studio in Berkeley, Ca. Somany people do beautiful work with beads or metal or othercrafts but really do not call themselves artists. She set downsome pretty definite rules for how to make the bridge intobecoming an artist. Her primary goal and question was forevery person to ‘what does it mean to become an artist –look at yourself from the outside of your mind and workthrough the steps it will take to gain the finished product’.She went through the equipment she uses on a daily basisand how she stretched the mundane directions in thebooklets that came in the boxes to expand her artistry toheights she never imagined. Her initial pieces were madefrom solid pieces of metal again, the same problem ofweight. So she played with thick acrylic plastic to create herown templates and forms. She looked around again at natureand carved the acrylic plates to mimic the shapes that shediscovered. By playing around with what she had, she‘learned’ new techniques to gain the end results of hollowmetal shapes that give her pieces their structure and yet theirlightness.Originally from the east coast, when she and her husbandarrived at the Richmond Bridge and saw San Francisco andthe Gold Gate Bridge they knew they were home. Shecombed the beaches during the 1990’s picking up interestingdriftwood and debris then would go back to her studio andplay with those pieces enriching their natural designs withpolymer clay, metal, and beads. She took a course in MetalArts at San Francisco City College to learn the basics. Byroaming the waterfronts of Berkeley/Emeryville shediscovered the beauty of ocean glass and started to workthose pieces into her art wear. But she also realized thatthose pieces, though beautiful, were extremely heavy towear.She learned that by using the real stuff, real gems, real silverand gold; that her workmanship would blossom to a higherdegree. Frustration with what was on the market made herdevelop her own clasps gorgeous ones that continued thedesign and concept of each piece to the very end.She took time off for additional classes and five years oflearning where she wanted to go and how to accomplish it.She returned to her artistry in 1995 ready to go intobusiness. At the Berkeley Artisans Studio complex on HollisStreet in Berkeley, she was introduced to Susan Brooks another accomplished local artist. She joined with that groupand worked for four years in a small exquisite upstairsshowroom. Twenty-one years after that original class inmetal working, she finally realized that she needed to moveHer studio is filled with notebooks of sketches. She lets hermind expand each design to see where it could go howwould it look with carnelian, or citron, and what gems wouldbest interplay with those natural colors. She enjoys usingunusual stones and shapes in her designs. She went back to5
the naturally soft colors of the beach glass found in her earlymorning walks, letting her mind flow with the waters andgrasses as she roamed.Of upmost concern to Allisonwas that the piece must bewearable, must feel good onthe body, and there is also theconcern of how the wearerwould put it on, as well as howit moves with her bodymovement. It is also fun tomake pieces that can be wornmany ways.6)7)8)She passed out a paper that outlined ways to exercise themind.1) Have a room or space of your own on which todevelop your ideas. It doesn’t have to be a largearea, maybe just a rolling cart, but it must be totallyyours with no intrusions.2) Schedule time. Open you daily planner and literallyschedule time for exploration and development force yourself to take the time just as you would togo to have your nails done.3) Practice. Nothing worth doing comes easily orquickly. Any artist working in any medium needs topractice over and over until it comes naturally. Onlythen can your mind expand outside of those normsto create its own play field.4) Failure is success. Don’t be afraid to fail at an idea,this only means that you were successful in learningthat the particular method didn’t work for you. Onlythen are you free to explore to find other ways thatwill bring success.5) Play. If you are stuck on one idea or method, put itaway. Frustration builds walls. Pick up somethingelse to play with. Don’t force an idea to comebecause that will guarantee that it will stay hidden.Often, late at night, when you body is at sleep; themind will wander and discover a solution on its own.You may be doing something as mundane aswashing the dishes when an ‘a-ha’ idea will just popout! Give yourself permission to put those dishesdown, and immediately run to your area to work outthat concept. Play time is more important thanbrainstorming which is probably why all these bigthink tank companies have extensive gyms and playareas.Push yourself into unknown territory by taking risks.Look at a tutorial, play with what is written and thensay, “but, what if I do this .”.Work on several projects at the same time. If youget bored with one, it will lead to making mistakesand frustration. Put that away for the time and pickup something else to play with, something that willnot take as much concentration or development.Make a basic pair of earrings or a quickie braceletwith lots of glitter and bling to bring a smile to yourheart. Then go back to the original project with alighter spirit.Come up with your own ideas. Carry that notebookwith you all the time. Make sketches of designs andcolors that you see in fabric, in ironwork, inadvertising. Look at ideas in books and magazinesand take them one step farther. Those little cells inour mind are always working. While you are sittinghaving a cup of coffee or tea, have that sketchbookout and doodle. The design mogul “Vera” mademillions on her sketches. She kept sketch papers allover her desk, in the bathroom, in her car, by herchair, by the bed .get the idea?Alison took us through slides of her work station. Sheshowed slides of the acrylic forms she created to enable herdevelopment of the hollow beads that have now become hertrademark. She also had them on display so we could gainphysical knowledge of her genius. Then we were in for a realtreat; slide after slide of her creations while she talkedthrough the development of each piece and how she mademodifications of previous pieces to gain the design for thenewer one. She wore the necklace that is featured on one ofher postcards and it is as light as a feather.To see more of what Alison andother artists in her area are doing,check out Pro-Arts –www.proartsgallery.org. andwww.berkeleyatistans.com TheMetal Arts Guild can be accessed atwww.metalartsguildsf.org. or visither new Metal Arts and JewelryDesign studio at 2599 Eighth St. # 45Berkeley, Ca 94710 510-704-1905www.antelman.com andinfo@antelman.com6
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Calendar of EventsJuly 7, 2012Saturday 11am-5pmAugust 3-5, 2012August 4 & 5, 20124 WeeksBeginning Aug. 6, 2012Mondays 1:30-4:30pm4 WeeksBeginning Aug. 6, 2012Mondays 10am-1pm3 WeeksBeginning Aug. 7, 2012Tuesdays 10am-1pmAugust 18, 2012Saturday 11amAugust 18-19, 2012Saturday 10am-5pmSunday 12pm-5pmTamara Hill Studio is having a TRUNK SHOW: a fabulous jewelry inventory saleclearance. It will feature turquoise, semi-precious gemstones, 'faux' ambers & manyunique designs at discounted prices (Tamara will not be present on the 7th, due to abroken arm-- but owner Kaeti Bailie will be featuring her work)Adrienne Leifer is an enamelist and will be showing her cloisonne enamel pendants atthe American Craft Council Show. For more details about this exciting event, please goto craftcouncil.org/sf.San Francisco Gem and Mineral Show. Treasure Island should make it much easier forpeople to get to. There will be plenty of free parking!! The building is the historiccontrol tower/administrative building located at the entrance to the island. For thosetaking public transit the Muni #8 stops right in front of the building. The SF club has ontheir website( www.sfgemshow.org) additional information about bus availability andcomments on features for the show.Delia Munoz will be helping you learn simple techniques for stringing, wiring andknotting, as well as easy to master techniques for more complex projects. Class willcover: intro to Beading Basics, Jewelry Strung from Beads, and Wired Bead Jewelry andEarrings, and Woven Bead Jewelry. CLASS FEE: 70 members 80 non-members & 35payable to D. Munoz. For more info visit www.sharonartstudio.orgDelia Munoz will be helping you Take creativity to even greater heights with beads bymaking original, one-of-a-kind jewelry pieces anyone can learn how to create! Class willexpand on topics such as intro to wire basics, beading, jewelry strung from beads, wiredbead jewelry and earrings. This course is designed for advanced students, and previousknowledge of basic bead work is needed. CLASS FEE: 70 members 80 non-members& 35 payable to D. Munoz. For more info visit www.sharonartstudio.orgDelia Munoz will be helping you learn simple techniques for stringing, wiring andknotting, as well as easy to master techniques for more complex projects. Class willcover: intro to Beading Basics, Jewelry Strung from Beads, and Wired Bead Jewelry andEarrings, and Woven Bead Jewelry. CLASS FEE: 53 members 63 non-members & 35payable to D. Munoz. For more info visit www.sharonartstudio.orgTamara has been invited by the Collector's Council of the Bowers Museum of Art, SantaAna and the Orange County Bead Society to give a lecture on "Significance of colorsymbolism in Himalayan Textiles, Costumes and Jewelry" She will also do a jewelrytrunk show there in the Fleur Gallery, on Friday, August 17th from 11 am - 7 pm, andagain after the lecture on Saturday, Aug. 18th.Kathy Getty’s August Studio Bead Sale! Preview sales appointments are available fromthe 13th of August. Please call me at 510-654-5420 or e mail me atkgjewelrydiva@comcast.net.September 7, 2012Carol Tanenbaum will be participating in Art murmurs. Visit my websitewww.caroltanenbaumdesigns.com.September 7-9, 2012Friday 12pm-6pmSaturday 10am-6pmSunday 11am-5pmOctober 5,2012The Garden of Beadin’ will be at the International Gem & Jewelry Show, Booth 922.They will have Czech & Japanese seed beads, Findings, Beading Supplies & much more.Bead society member get 10% off.October 12-14, 2012Friday 12pm-6pmSaturday 10am-6pmSunday 11am-5pmThe Garden of Beadin’ will be at the International Gem & Jewelry Bead Show. They willhave Czech & Japanese seed beads, Findings, Beading Supplies & much more. Beadsociety member get 10% off.Carol Tanenbaum will be participating in Art murmurs. Visit my websitewww.caroltanenbaumdesigns.com.8ARTIFAX on Sonoma Plaza450-C First Street EastSonoma, CA707-996-9494Fort Mason Center(Festival Pavilion)Booth #621Treasure IslandSharon Art Studiowww.sharonartstudio.orgfor directionsSharon Art Studiowww.sharonartstudio.orgfor directionsSharon Art Studiowww.sharonartstudio.orgfor directionsFleur Gallery of the BowersKathy Getty's StudioEmeryville Artists'Cooperative420 45th St .Emeryville, CA 94608Uptown Body and Fender401 26 StreetOakland, CASan Mateo Event Center2495 S Delaware St.San Mateo, CA 94403Uptown Body and Fender401 26 StreetOakland, CASan Mateo Event Center2495 S Delaware St.San Mateo, CA 94403
SUBMISSION DEADLINES & ADVERTISING RATESCOMMUNITY BOARDCALL FOR ARTISTS/ ARTISANS AND GALLERIESBe part of the 22nd Annual BERKELEY ARTISANS HOLIDAY OPEN STUDIOSA SELF GUIDED TOUR, MAP/DIRECTORY, WEBSITE, ADVERTISINGFor professional artisans/fine artists/galleriesproducing/showing quality handcrafted work.November 24-25, December 1-2, 8-9, 15-16, (22-24)Artisans participate from their studios in Berkeley (or nearby).Spaces on the map/directory are limited.Contact Susan Brooks for more information @ 510 sans.comSusan Brooks Open Studio.Hand wrought Je
10,000 years BC. Ancient Romans were crazy about jet. The Roman Eunuch Priests loved jet and accredited it to their goddess Cybele who was created with a black face made from a meteorite. To honor her, they created much of their jewelry out of jet. In Greece, Jet is called GAIA w
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