CRYSTAL IS NOW USED IN MODERNISTIC ART JEWELLERY.

Star (Christchurch), Issue 19267, 2 January 1931, Page 9

CRYSTAL IS NOW USED IN MODERNISTIC ART JEWELLERY.

To-Day’s Signed Article

Specially Written for the “Star”

By

Margaret Falconer.

Because of the modern jeweller’s ingenuity, crystal has reappeared importantly in his recent creations and is enjoying a great vogue among the ultra smart. So congenially does crystal fit into the mode that it has already been widely imitated in prystal—a composition which makes satisfactory novelty bracelets and bag ornaments, but which lacks the water-clear quality of crystal and which cannot be cut to have the sparkle and the brilliance of the quartz substance.

PJRYSTAL is in no waj' relegated to less expensive jewellery. It may be cut in the same shapes as diamonds, the chief visual difference being caused by its refractional qualities. Crystal serves as a perfect “ base ” for large and importantly designed pieces. Since the diamond has its least brilliance when cut into baguettes —a shape in high favour at this time—rock crystal treated in the same manner adequately replaces the precious stone in elaborately designed pieces of jewellery, bringing down their cost very considerably. Without doubt important contributing factors to the present vogue of crystal are the popularity of large jewels and the quality of its smooth surface, which, either clear or frosted, fluted or plain, lends itself so gracefully to modernistic treatment. Crystal is also a substance which combines with many others. Frosted or clear, it presents a perfect background for diamonds and for the coloured stones such as rubies, emeralds and sapphires, and is an harmonious attribute to onyx, jade, carnelian and the colourful agates. The icy glitter of diamonds against the opaque frosted crystal has proved particularly desirable in brooches, watches and pendants, and because it contributes to the effect of coolness this combination has appropriately stressed summer jewellery. Painted Crystal. Crystal has entered into the world of modern art' by another door as well. _ In fact, a veritable connoisseurship exists among those who have become interested in painted crystals, for here the natural appeal of rock crystal is combined with the art and the individuality of the painter. The first artist to devote himself to crystal painting was an Englishman, Charles Cook. His pendant, now famous, depicting a humming-bird and a flower, is at present a prized possession of Chapin Marcus of New York City, as genuine specimens of the crystals painted by Cook are now of great value. There will always be a limited production of painted crystals because of the patience, training and practice required until the technique can be mastered. Upon examining a well-done painted crystal under the microscope one marvels that the human hand can work so accurately in miniature. Interesting Process. The process of painting crystals is interesting. A clear piece of rock crystal with a bevelled surface is etched out on the under side with a fine tool not unlike a dentist’s drill. The subject of the painting is etched to different depths so that the finished piece may have the perfect threedimensional perspective. The painting must be done in reverse order. First, the highlights and finishing touches are applied, then the broader shadows and basic colours. So exquisitely does the expert employ his delicatte medium that within the space of a cuff-link facet have been executed fulllength pictures of golfers in motion, with the identity of the subject easily recognisable. When the painting has been finished the crystal semisphere is backed with mother-of-pearl, which adds a subtle iridescent glow. Sometimes this background is tinted to the colour of sky or water if the subject suggests such treatment. Jewellers who specialise in painted crystals are often called upon to reproduce portraits of pet dogs, of fine horses, or even yachts. portraits in Crystal. W T hen the orders for a human likeness are accepted most jewellers advise that his portrait be done in the flat rather than etched into the crystal itself, as surer results are so obtained. For this the process varies. A fine, delicately coloured miniature of the subject’s head (usually taken from a favourite photograph) is made on the mother-of-pearl with which the bevelled

crystal is backed. Then one may have such a crystal-encased portrait cleverly set into a purse-lock, pendant or cigarette case. Sport subjects are favourites with painted crystal fanciers. In addition to those already mentioned, fish, fowl, game, flags, and special insignia are frequently shown. These are put to numerous uses-cuff-links, vanities, bracelets and charms being among the most popular. It is generally conceded that the best painted crystals are produced in England, where—perhaps because the art was fostered by an English artist and because of the great interest shown in the work by British sportsmen—the artistcraftsmen excel. The word “crystal” is derived from the Greek, meaning clear ice or frozen water. But so deep in antiquity lie the roots of the romance of the substance that one can only guess at the many uses to which it was put during the more obscure and far-re-moved periods. Primitive Art. One of the most primitive examples of rock crystal art is found in a necklace of very crude beads, product of an ancient culture which flourished at one time in Central America. This is now in the American Museum of Natural History. Even today, in the keeping of a dateless tradition, Thibetan monks take crystal or tourmaline spheres to top their hats, while wearing necklaces of crystal beads combined with tourmaline, amethyst, jade or coral, the substance used to alternate with the crystal denoting the religious rank of the wearer. The limpid quartz was also used for cups, bowls and other vessels before glass was invented. In China the first carvings in crystal took the form of seals for the dignitaries of the land. Later the substance was made into garniture sets for the royal family, and subsequently appeared elaborately carved in the forms of idols and good luck symbols. Even to-day most crystal mined the world over is sent to China for carving, as Oriental lapidaries excel in the art; but in the finishing of the crystal sphere the Japanese are considered the greater craftsmen. Exquisite carvings in rock crystal were produced in the imperial lapidary works in Ekaterinburg in the province of Perm, Russia. Seals, vases and cups were decorated with conventional designs, sensitively rendered. It is also worthy of note that Benvenuto Cellini, the versatile Florentine master, delighted to work in this medium. Mystical Appeal. While crystal is not peculiar to any one part of the world, the most flawless specimens, which alone are suitable for the making of spheres, come from Brazil. Although this quartz is classed as semiprecious, perfect crystal spheres of size are extravagantly priced because of their rarity. Not long ago a ten-inch sphere was sold by Wanamaker to the Penn Museum in Philadelphia for 50,000 dollars. A globe of perfect crystal is like a huge drop of water. Such is the fascination of its polished surface and its translucent “ heart,” so hypnotic and the rays of light caught in the crystal ball, that even the extreme sceptic can scarcely fail to understand how this mineral became the basis of many curious superstitions and why it was a favourite topic in early literature. It is surprising, is it not, that even in these matter-of-fact times interest in mysticism is increasing rather than diminishing. Several important sellers of crystal objects d’art report frequent calls for crystal globes, and it is a notable fact that most of the purchasers of these limpid balls are young people. So it is on the common ground of human curiosity concerning the hidden and unknown that the generations of the past and the present meet again. (Anglo-American N.S.—Copyright.)